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Luke Peterson
Luke Peterson

Sex With Vampir [CRACKED]

User with this ability either is or can transform into a sex vampire; a unique type of sex vampire that not only feeds on blood but also pure sexual energy as an alternative source of nourishment. As such they tend to possess different supernatural abilities and traits from their sexual nature because of their powerful connection as sexual beings then that of ordinary vampires.

Sex with Vampir


As most vampires are said to be beyond natural beauty, tantric vampires are the most beautiful vampires of them all. They also posses superior healing and hypnotic powers compared to most vampires as much as they can control tantric energy in themselves and others.

Users of this power are or can also be resistant to most traditional vampire weaknesses such as sunlight and some rare cases even having a capable of reproduction, which is notable impossible as vampires are typically undead and are thus incapable of reproduction.

It is a film that haunts you for a variety of reasons. The music score and the directing keep you enthralled with every scene. No dialogue is heard, but every moment is felt. Even in a world of modernized CGI creatures, the classic vampire look of Count Orlok still holds fearsome weight today. Music and shadow create an atmosphere that is just as seducing as the vampire lore the film seeks to detail. All of this is true, but what makes this film seal the deal, and go for the jugular (as vampires are known to do), is the underlying themes that lurk in the very shadows of the horror it presents.

January 19, 1998: a night that teenage dreams are made of. Buffy Summers lost her virginity to her then-lover, Angel, a vampire with a soul. It was mixed with all the saccharine anxiety that comes with your first time, plus a heavy dose of gothic aesthetics. After that momentous night, however, Angel lost his soul and turned into a blood-lusting killing machine, a frightening metaphor for how your first time can often be more traumatic than romantic. Angel eventually regained his soul, and he and Buffy shared many more intimate moments before the series's conclusion. It was all very sweet, but as an adult, 20 years after the debut of Buffy the Vampire Slayer, I find myself revisiting another night in Buffy's sexual history: November 20, 2001, when she and the soulless vampire Spike had sex so passionately it tore a house down.

Watching Buffy as a teenager, the conservative journey of Buffy's sexuality never seemed odd to me. But now, on the series's 20th anniversary, I wish that Buffy felt better about her sex life. Not to traffic in Sex and the City stereotypes, but in my life as a gay adult man in Los Angeles, I have partaken in many a brunch where I've had the opportunity to talk about my dating life with my friends. Women and gay men discussing their sex lives over mimosas might seem clichéd at this point, but in a society where it's not uncommon for women and gay men's sexuality to be shamed or criminalized, you take safe haven where you can find it. I often wish Buffy had felt more comfortable confiding in her friends, something she became less able to do as the series went on.

The oft-maligned sixth season of Buffy is much better than you remember. The first post-WB season (the last two of the series aired on UPN) is infamously the season in which Joss Whedon's role in the show was greatly diminished as he worked on the series's epic musical episode "Once More, With Feeling," while also developing the sci-fi show Firefly for Fox. But the series's explorations of depression, loss, and sexual desire are never better than they are in this season, even when they sometimes miss the mark. Buffy's relationship with Spike in particular manages to encompass the series at its very best, and it's this relationship that, even at its most troubling, has stuck with me long after Buffy's final episode aired.

Buffy and Spike's relationship starts off volatile; after all, before they developed feelings for each other, he was one of her greatest foes. When they first have sex in the episode "Smashed," their passion erupts in a drawn-out fight that tears down the very foundation of the abandoned house they're fighting in. But after, something odd happens: Buffy, struggling with the loss of her mother, newfound adult responsibilities, and a lingering depression from being brought back from the dead, somehow manages to laugh. The moments where she enjoys her relationship with Spike are truly sublime in an otherwise emotionally dreary season.

And, more than that, Buffy casts aside her teenage notions of love where she pined after Angel and her boring-as-hell college boyfriend and begins to explore her sexuality. Nowadays, it's not out of the norm to see female characters discussing their sex lives, how they get off, and what pleases them. Unfortunately, as feminist as Buffy was, it was still a show geared toward teenagers; it was hardly appropriate for Buffy to embrace her inner Belle de Jour. She could have sex with handcuffs, but she also had to hide her relationship with Spike and feel intense shame and wonder, Why do I let Spike do those things to me?

This particular moment of reflection comes after one of the most startling moments in the series. Buffy and Spike seemingly have anal sex in the balcony of a nightclub only several feet from her friends. The very act of this is shameful to Buffy, and writer Steven S. DeKnight's script describes her as "wracked with guilt." But would this have seemed out of place in Fifty Shades of Grey? On Sex and the City, Miranda was already enjoying the thrills of public sex, and George Michael was making tongue-in-cheek references to his "lewd behavior" arrest in his '98 single "Outside." As a teenager, I felt that shame right alongside Buffy, but as an adult, I can't lie that I find the moment exhilarating and wonder why it was even written if it only exists to shame our heroine.

A study I frequently refer to, conducted by Cathy Spatz Widom and Christina Massey in 2015, followed children who were abused and neglected, as well as those without this type of trauma history, into adulthood. They found that those who had histories of physical abuse and neglect were at increased risk for arrest for a sex crime as an adult, but those children who experienced sexual abuse were not significantly more likely than their non-abused and neglected counterparts to be arrested for sex crimes.

Vampires have blood, which is what's used to fill those erections generally required for sex, in their system only after they've hunted and sucked their victims dry. Everybody knows that. We also know that whatever Edward hunted was some strong stuff because if the new B.D. trailer is any indication, we're talking earth-shaking, headboard-busting vampire sex.

Instead of blood, vampire veins can sometimes flow with venom. And if venom holds the power to turn a human into a vampire then let's be real, it can probably give the youngest Cullen a major hard-on.

We can only imagine what the Cullens were taught in Vampire Sex Ed, but maybe Edward should have paid closer attention, because the sparkly vampire went and got his new wifey seriously knocked up. How?

All vampires were once humans, and their body's state when they made the change remains. Read: Edward ain't shooting blanks and Bella still has the eggs for them to make a nice little half-mortal, half-vampire spawn named Renesmee.

Bauhaus arguably invented goth rock with "Bela Lugosi's Dead," their debut single from 1979. The intense, dub-influenced song is a salute to horror star Bela Lugosi, who established the look of cinematic vampires to come in the 1931 movie Dracula.

Neil Young uses vampirism as a metaphor for the greed of the oil industry in "Vampire Blues," a number from his 1974 classic On the Beach. "I'm a black bat, babe," Young sings. "I need my high octane."

Concrete Blonde's 1990 track "Bloodletting (The Vampire Song)" revels in its vamp glamour, slinking along with a sexy groove and slashing horror-movie guitars as frontwoman Johnette Napolitano sings entirely unambiguous lyrics about New Orleans blood suckers straight out of an Anne Rice novel.

The Toadies' 1995 alt-rock hit "Possum Kingdom" plays up the seductive side of vampire mythology, with its narrator using the promise of eternal youth and beauty to score with a girl by a lake. This is pretty much the only occasion when "Do you wanna die?" is actually a compelling pick-up line.

The vampire in Kings of Leon's 2008 hit "Closer" is a 200-year old creep who doesn't feel even a trace of remorse when he bleeds his victims dry. Even still, Caleb Followill sings the song with an anguished tone that pushes the listener to identify with the plight of this monster in spite of themselves.

"We Suck Young Blood," the most gothic tune in the Radiohead discography, is a creepy piano-led number in which Thom Yorke portrays old, powerful people as vampires out to suck the life from the young and weak. It's hard to tell what is more sinister: Yorke moaning "we want the sweet meats," or the slow, sickly clap that punctuates the piano chords.

Slayer are usually focused on singing about serial killers, Satanism and hell, but they were inspired to write about vampires in "At Dawn They Sleep," a morbid and unrelentingly heavy cut from their 1985 album Hell Awaits.

My Chemical Romance's debut single "Vampires Will Never Hurt You" immediately established the New Jersey rockers as a band eager to merge the melodrama of emo with images lifted from horror and sci-fi. More recently, the band wrote "Vampire Money," a snarky tune making fun of bands jumping on the vampire bandwagon to score lucrative spots on Twilight soundtracks.

Long before Mary Timony teamed up with Sleater-Kinney's Carrie Brownstein and Janet Weiss to form Wild Flag, she was the frontwoman of the Nineties indie band Helium. Helium's first EP Pirate Prude featured multiple songs referencing vampires, the best being "Baby Vampire Made Me," a tense rocker in which Timony sings from the perspective of a ravenous blood sucker out to devour and infect everyone in sight. 041b061a72


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