>>6019718>Vampires, virginsI already gave my disquisition on sex and death on the last qtg lol
https://archived.moe/qst/thread/5962533/#5984673https://archived.moe/qst/thread/5962533/#5997001https://archived.moe/qst/thread/5962533/#5997017In fact in an early iteration of my Vampire Beach House setting, instead of the Fear Innocence Cruelty Outrage attributes I was thinking of literally just two stats SEX and DEATH literally based on the number of encounters with those phenomenon lol (the system might be similar to the minimal two or three stat type games like Trollbabe or those games that evolved from the Ron Edwards Sorcerer rpg)
Recently I watched the Werner Herzog Nosferatu The Vampyre film (1979) it is a bit embarrassing and cringeworthy to watch because of the peculiar and grotesque English accents lol (I believe the film was shot twice in two separate languages) but the film has some very intriguing cinematography with a very authentic looking castle (I believe it is Pernstejn / Czech republic South Moravia)
https://en.m.wikipedia.org/wiki/Pern%C5%A1tejn_Castlethere are some visually sumptuous Caspar David Friedrich Wanderer style Romanticism panorama fog mountain cliffside scenes, I thought it was interesting that Herzog set the story earlier heralding a poetic Goethe / Romanticism sublime type era (more 18th century) in contrast to the technomodernity factual and journalistic emphasis of Bram Stoker 1899 late Victorian decline of empire era etc. Apparently the insane director Herzog actually did the scene where he released 11,000 white rats or something in the Netherlands during a plague ridden danse macabre situation (this scene reminded me very strongly of the Dishonored videogame, even down to those high city townhouse architecture buildings, I wonder if the designers used it for visual inspiration for the Dishonored rat flood abilities etc)
But the interesting bit of the film to me was it incorporated a detail into the vampire myth, about why the vampire fears daylight. Herzog depicts it not as the sunlight / sunrise itself killing the vampire (portrayed as an utterly unsympathetic and hideous, lonesome, tortured fiendish abomination, cursed with an inability to die) but instead as being part of a ritual, whereby if a virtuous maiden can captivate the vampire and sacrifice herself (ie vigorous copulation / bloodletting) through the entire course of the long hours of night, the vampire will be killed (by shame? remorse? guilt?) as the ordeal ends by sunrise (the maiden dies though). I thought this maiden sacrifice / shame of daylight discovery was an interesting background detail to this very traditionalist interpretation of the vampire myth by Herzog
