Despite what the first movie interpretations show,
vampires have always been symbols of sexuality.
The first recorded evidence of a vampiric image
is a prehistoric picture drawn on a bowl showing
a man copulating with a beheaded vampire
Vampires have always been creatures of the night.
They swoop down in the dark, penetrate their victims
(usually women), obtain what they want, and then,
in most cases, depart satisfied.
If this content were to be discussed in a context
other than vampires, it would sound like a rape.
Once depicted as grotesque and repellent, now
vampires in popular culture are anything but.
They’re alluring, irresistible, almost inhumanly
beautiful and virtually always sexual in nature.
As figures of abject horror, the vampire personifies tabo.
We project all that is condemned upon them so they become
emblems of moral decay, perfect to pull us into the world
of pain and pleasure, kink and S&M.
In cult TV show Buffy the Vampire Slayer the need
for human blood became a metaphor for puberty,
with teenagers driven into wild creatures by
their burgeoning sexual desires.
In the 80s drama The Lost Boys, where capes,
brocade waistcoats in colours called ‘nightshade’
or absinthe and billowing white lace, were
replaced with punkish smudged eyeliner and PVC,
True Blood fully realised the appeal of vampires as beings
that could full fill all of our pain driven kinky desires.
In a disgusting example of hate sex, vampire Bill twists
Lorena’s neck around, the bones of her spine crunching
until something snaps and out of the mangled head come
Lorena’s own blood slurs out of her mouth
as Bill furiously tries to inflict enough
harm that she stops enjoying it, taking
sadomasochism to the next level, one which
those with a pulse are not likely to enjoy.
Feeding on the blood of humans becomes the ultimate
sexual release. This trend develops further in
more modern vampire tales, where exchanges of
blood and bites are at once fetishistic,
animalistic, and spine-tinglingly sexy.