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Areum has fallen into a strange world called 'Soltera' after a car accident. She is mistaken for a vampire because of her hair color, and she is sold to a Duke’s house by a slave trader. The identity of Millard Travis the master of the Duke’s house that bought her is the one and only vampire in the world! Desperate to survive in any way, Areum becomes Millard's direct servant, vowing to serve him as her master. Areum tries to belly up on Millard day by day and his attitude starts to change.
Areum has fallen into a strange world called 'Soltera' after a car accident. She is mistaken for a vampire because of her hair color, and she is sold to a Duke’s house by a slave trader. The identity of Millard Travis the master of the Duke’s house that bought her is the one and only vampire in the world! Desperate to survive in any way, Areum becomes Millard's direct servant, vowing to serve him as her master. Areum tries to belly up on Millard day by day and his attitude starts to change.
Eighteen-year-old vampire princess Jessica Packwood is in for the fight of her life--and her husband's--when Lucius is accused of a horrible crime. Jessica, trying to prove herself worthy of the throne, faces betrayal by those closest to her, in this sequel to "Jessica's Guide to Dating on the Dark Side."
The scandalous true crime story about the Papin Sisters, as told by one of comics' most stylized talents. Christine Papin, an overworked live-in maid, is reunited with her younger sister, Lea, who has also been hired by the wealthy Lancelin family. They make the estate's beds, scrub the floors, and spy on the domestic strife that routinely occurs within its walls. What starts as petty theft by the maids ― who are flashing back to their tumultuous time in a convent ― shortly turns into something more nefarious. Madame Lancelin’s increasingly unhinged abuse ignites the sisters' toxic upbringing and social class exploitation and explodes into a ghastly double murder, an event that shocked and fascinated 1930s France and beyond. Maids has high bravura and high intrigue, all drawn in Skelly’s highly stylized manner, which combines the best of pop art, manga, and Eurocomics.
More than 2,300 works of fiction and poetry are discussed, each cross-referenced to other works with similar or contrasting themes. Winners and nominees for major awards are identified. Books that are part of a series are flagged, with a complete list of books in series included in a final chapter, along with a comprehensive list of awards, of translations, and of young adult and children's books.
Fantasy-roman.
In 1896, French magician and filmmaker George Méliès brought forth the first celluloid vampire in his film Le manoir du diable. The vampire continues to be one of film's most popular gothic monsters and in fact, today more people become acquainted with the vampire through film than through literature, such as Bram Stoker's classic Dracula. How has this long legacy of celluloid vampires affected our understanding of vampire mythology? And how has the vampire morphed from its folkloric and literary origins? In this entertaining and absorbing work, Stacey Abbott challenges the conventional interpretation of vampire mythology and argues that the medium of film has completely reinvented the vampire archetype. Rather than representing the primitive and folkloric, the vampire has come to embody the very experience of modernity. No longer in a cape and coffin, today's vampire resides in major cities, listens to punk music, embraces technology, and adapts to any situation. Sometimes she's even female. With case studies of vampire classics such as Nosferatu, Martin, Blade, and Habit, the author traces the evolution of the American vampire film, arguing that vampires are more than just blood-drinking monsters; they reflect the cultural and social climate of the societies that produce them, especially during times of intense change and modernization. Abbott also explores how independent filmmaking techniques, special effects makeup, and the stunning and ultramodern computer-generated effects of recent films have affected the representation of the vampire in film.