Blood Trinity

Supernatural warriors bound by an extraordinary code of honor face an ultimate test of loyalty in the exciting new paranormal thriller from New York Times bestselling authors Sherrilyn Kenyon and Dianna Love. Atlanta has become the battlefield between human and demon. All her life, Evalle Kincaid has walked the line between the two. Her origins unknown, she’s on a quest to learn more about her past...and her future. When a demon claims a young woman in a terrifying attack and there’s no one else to blame, Evalle comes under suspicion. Now she’s on a deadly quest for her own survival. Through the sordid underground of an alternate Atlanta where nothing is as it seems to the front lines of the city, where her former allies have joined forces to hunt her, Evalle must prove her innocence or pay the ultimate price. But saving herself is the least of her problems if she doesn’t stop the coming apocalypse. The clock is ticking and Atlanta is about to catch fire...

Reading Vampire Gothic Through Blood examines the manifestations of blood and vampires in various texts and contexts. It seeks to connect, through blood, fictional to real-life vampires to trace similarities, differences and discontinuities. These movements will be seen to parallel changing notions about embodiment and identity in culture.

Special Ops AX Agent Abel Nightroad teams up with a spunky young novice named Esther to try and stop Gyula, the bloodthirsty Marquis of Hungary, from unleashing the legendary Star of Sorrow. Young adult.

A kidnapping gone wrong. A chronically ill child. And a union nobody sees coming…except the barrel of a gun. Quin Hedger is a rare breed. He’s a doctor who grew up on a ranch, with four brothers, a pious mother and a father who left this earth not long ago. Quin is hard-working, has a heart of gold, and will do anything for any of his patients, namely one. Getting little Trinity a new kidney isn’t any easy task, but he’s been at it since she was a baby and he isn’t giving up, not even when her corrupt Uncle arranges an ill-fated kidnapping that has a sudden twist. Whitney has raised Trinity all but on her own. Trinity’s father left when he couldn’t handle dealing with a sick child, but thankfully her brother Peter is there to sweep up the bits and fill the gaps…until he’s more trouble than he’s worth. Trinity’s doctor, who insists on being called ‘Dr. Quin’ as a kind sentiment, has always put her daughter front and center, so it tugs at both their heartstrings when they have to watch her health start to deteriorate. When Trinity’s father surprises Quin and Whitney, they’re led down a path of hope, only to be let down once again, as Trinity lays in hospital, missing out on her young life. Although hopeful, Quin keeps hitting brick walls in his quest to find what the little girl needs, and in doing so, he also finds what he’s always needed, but he can’t have both until the one he loves can love again. It’s a slippery slope and a tricky one at best. And when Quin finally sees the fog clear, he finds himself looking down the barrel of a gun.

Explores the intersection of the vampire and zombie with 21st Century dystopian and post-apocalyptic cinemaTwenty-first century film and television is overwhelmed with images of the undead. Vampires and zombies have often been seen as oppositional: one alluring, the other repellant; one seductive, the other infectious. With case studies of films like I Am Legend and 28 Days Later, as well as TV programmes like Angel and The Walking Dead, this book challenges these popular assumptions and reveals the increasing interconnection of undead genres. Exploring how the figure of the vampire has been infused with the language of science, disease and apocalypse, while the zombie text has increasingly been influenced by the trope of the areluctant vampire, Stacey Abbott shows how both archetypes are actually two sides of the same undead coin. When considered together they present a dystopian, sometimes apocalyptic, vision of twenty-first century existence.Key featuresRather than seeing them as separate or oppositional, this book explores the intersection and dialogue between the vampire and zombie across film and televisionMuch contemporary scholarship on the vampire focuses on Dark Romance, while this book explores the more horror-based end of the genreOffers a detailed discussion of the development of zombie televisionProvides a detailed examination of Richard Mathesons I Am Legend, including the novel, the script, the adaptations and the BBFCs response to Mathesons script

Abel, Tres, and Esther set out to meet with the rest of AX after Gyula's death, and as they set out on a new mission, they face many challenges, including a formidable vampire, a bloodsucking tree, and a dangerous mermaid.

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.

Race in the Vampire Narrative unpacks the vampire through a collection of classroom ready original essays that explicitly connect this archetypal outsider to studies in race, ethnicity, and identity. Through essays about the first recorded vampire craze, television shows True Blood, and Being Human, movies like Blade: Trinity and Underworld, to the presentation of vampires of colour in romance novels, graphic novels, on stage and beyond, this text will open doorways to discussions about Otherness in any setting, serving as an alternative way to explore marginality through a framework that welcomes all students into the conversation.

Sister Esther joins forces with the warriors of the Vatican, but begins to suspect the relationship between Cardinal Caterina and Abel is not on the up-and-up.

New Vampire Cinema lifts the coffin lid on forty contemporary vampire films, from 1992 to the present day, charting the evolution of a genre that is, rather like its subject, at once exhausted and vibrant, inauthentic and 'original', insubstantial and self-sustaining. Ken Gelder's fascinating study begins by looking at Francis Ford Coppola's Bram Stoker's Dracula and Fran Rubel Kuzui's Buffy the Vampire Slayer – films that seemed for a moment to take vampire cinema in completely opposite directions. New Vampire Cinema then examines what happened afterwards, across a remarkable range of reiterations of the vampire that take it far beyond its original Transylvanian setting: the suburbs of Sweden (Let the Right One In), the forests of North America (the Twilight films), New York City (Nadja, The Addiction), Mexico (Cronos, From Dusk Till Dawn), Japan (Blood: The Last Vampire,

This work provides an extensive guide for students, fans, and collectors of Marvel Comics. Focusing on Marvel’s mainstream comics, the author provides a detailed description of each comic along with a bibliographic citation listing the publication’s title, writers/artists, publisher, ISBN (if available), and a plot synopsis. One appendix provides a comprehensive alphabetical index of Marvel and Marvel–related publications to 2005, while two other appendices provide selected lists of Marvel–related game books and unpublished Marvel titles.

Garron Greeley thought he had it all—a great new job and the man of his dreams to call his own. When his lover Sonny sprang the idea of a commitment ceremony on him, Garron couldn't have been happier. Except for a few men, the town seemed supportive of their relationship, and many showed up to witness their special day. The ceremony is everything he hoped for, until an act of bigoted violence shatters Garron's world, leaving his new husband in a pool of blood in the middle of the street. He's left wondering if asking for everything will leave him with nothing. Working with his new brother-in-law, Garron sets out to prove the identity of the shooter and bring him to justice. Along the way he learns that true love can have many different forms.

Sonny Good loved his life as an FBI agent, but when his father died and he was needed back home he quit the agency and became a rancher. Now several years later, Summerville, Nebraska is starting to seem a little isolated. An openly gay rancher in the middle of Nebraska just doesn't have many prospective dates. That is until Garron Greeley moves to town. Garron is the town's newest resident and bad boy bartender with shoulder-length dark brown hair and tribal tattoos. Sonny is struck by lust at first sight. Things between the two of them take off like a rocket until Sonny learns Garron is also the brother of the man who owns the neighbouring ranch. The man Sonny considers his enemy, which leaves Sonny to decide what's more important—the feud with his neighbour or a potentially blazing passion with Garron?