From the moment the giant, snarling werewolf emerges from the floor, you can see where From Software’s Bloodborne takes its inspiration.
From the moment I heard the vampire’s name, I associated him with forbidden desires. After all, I was only seven-years-old when the R-rated Bram Stoker’s Dracula (1992) was released to theatres and very much forbidden from seeing it. Despite the begging, my parents decided it “…just wasn’t for kids.” Unacceptable! We were a family of horror fans (seriously, my dad had me convinced he was an actual werewolf) and vampires were definitely my thing. Perhaps as a consolation, my mother went out and bought me a high-collared black cape from our local K-Mart. That Halloween, an elementary-aged but very convincing Count Dracula stalked the streets of Bay St. Louis, Mississippi in white face paint and plastic fangs.
In an undergraduate classroom, even one full of English majors, it can be hard for nineteenth-century literature to turn heads. “Achingly dull” or “overly wordy” are typical responses to the Victorians. Despite its place in our cultural imagination, Dracula doesn’t incite average readers to clamour for Bram Stoker’s foundational novel. But by the time Dracula’s three sultry vamp ladies crawl suggestively down Jonathan Harker in bed, who is insensate with fear and “languorous ecstasy,” students realise this isn’t some stuffy sermon on middle-class morality they’re dealing with. The assumed Victorian prudishness doesn’t fly, but catapults out the nearest window. This isn’t what they were expecting. Certainly not from 1897. But why not?
Apart from Bram Stoker’s Dracula, there’s hardly a more famous vampire novel than Interview with the Vampire by Anne Rice. It was among the first of its kind to take a modern stance to the vampire tale, such as coping with the existential horror of living forever when one’s loved ones have grown old and died, or the ethics surrounding drinking human blood.