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Vampire legends exist worldwide, each with unique variations depending on the region

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In Hindu folklore, the vetala is an evil spirit who haunts cemeteries and takes demonic possessionof corpses. They make their displeasure known by troubling humans. They can drive people mad, kill children, and cause miscarriages, but also guard villages.

They are hostile spirits of the dead trapped in the 'twilight zone' between life and afterlife. These creatures can be repelled by the chanting of mantras. One can free them from their ghostly existence by performing their funerary rites. Being unaffected by the laws of space and time, they have an uncanny knowledge about the past, present, and future and a deep insight into human nature. Therefore many sorcerers seek to capture them and turn them into slaves.

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King Vikramaditya and a vetala in the Vetala Panchavimshati.

A vetala ( Sanskrit: वेताल, vetāla) is a class of beings in Hindu mythology. They are usually defined as a knowledgeable ( fortune telling) paranormal entity said to be dwelling at charnel grounds. Reanimated corpses are used as vehicles by these spirits for movement. A vetala may possess and leave a dead body at will.

In Hindu folklore, the vetala is an evil spirit who haunts cemeteries and takes demonic possession of corpses. They make their displeasure known by troubling humans. They can drive people mad, kill children, and cause miscarriages, but also guard villages.

They are hostile spirits of the dead trapped in the 'twilight zone' between life and afterlife. These creatures can be repelled by the chanting of mantras. One can free them from their ghostly existence by performing their funerary rites. Being unaffected by the laws of space and time, they have an uncanny knowledge about the past, present, and future and a deep insight into human nature. Therefore many sorcerers seek to capture them and turn them into slaves.

There is also a strong Vetala cult in the Konkan region, under the names of Betal, Vetal, Vetoba. Since Betal is said to be the husband of the goddess Shantadurga, there will be a temple dedicated in honour of Betal either within the temple complex of Shantadurga or somewhere in the sylvan surroundings. There is a Betal temple in Amona, Goa. Betal is a form of Bhairava and is the head of all spirits and ghouls and vampires and all kinds of pisachas.[citation needed ]

The Vetala Panchavimshati is a collection of twenty-five stories, featuring a vetala as one of the two central characters. It is a part of the Kathasaritsagara, a work that was compiled no later than the 11th century. It features a frame story of a sorcerer who asks King Vikramaditya to capture a corpse hanging on a tree that stands in the middle of a cremation ground. The corpse is possessed by a vetala, who proposes to tell the king a story along the journey. After the vetala finishes the story, he would ask the king a question, which he would have to answer. After Vikramaditya answers the question, the vetala would return to the tree, the corpse hanging upon it once more. This event occurs twenty-four times, after which the king is unable to answer the question posed by the vetala. Impressed with the king, the vetala informs him of the evil designs of the sorcerer, and grants him a gift that would allow him to acquire the powers of witchcraft and defeat the sorcerer.

Vikram Vetal, a 1986 Indian fantasy film directed by Shantilal Soni was based on the Baital Pachisi about King Vikramaditya and the Vetala.

Vikram Aur Betaal was a television programme based on the Baital Pachisi produced by Ramanand Sagar and directed by his son Prem Sagar that aired on DD National channel. It was remade as Kahaniya Vikram aur Betaal Ki in 2009 and aired on Colors TV. Vikram Betaal Ki Rahasya Gatha (2018), an Indian mythological serial based on Baital Pachisi aired on &TV. Indian animator Rajiv Chilaka directed Vikram Betal, a television film for Cartoon Network in 2004 which was produced by his Green Gold Animations. Vicky & Vetaal (2006-2007) and Vicky Aur Vetaal (2015-2016), which aired on Disney Channel India, also featured Vetala as the main character.

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A vetala ( Sanskrit: वेताल, vetāla) is a class of beings in Hindu mythology. They are usually defined as a knowledgeable ( fortune telling) paranormal entity said to be dwelling at charnel grounds. Reanimated corpses are used as vehicles by these spirits for movement. A vetala may possess and leave a dead body at will.

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The Mahabharata states that the original pishachas was the creation of Brahma. The epic offers various interpretations of the being, including its residence in the court of Kubera or Brahma and worshipping the deities of its residence, and its worship of Shiva and Parvati. The pishachas are described as having fought on the side of Ghatotkacha against Karna. But they are also said to have served the Kauravas, acting as the horses of the chariot of Alambusha.[1]

Other legends describe them as the sons of either Krodha (figuratively "Anger") or as Dakṣa’s daughter Pishacha. They have been described as having bulging veins and protruding red eyes. They are believed to have their own languages, known as Paiśāci.

According to one legend, they are sons of Kashyapa and Krodhavasa, one of the daughters of Prajapati Daksha. The Nilamata Purana of the 7th century says the valley of Kashmir was inhabited by two tribes: the Nagas and the Pishachas.

Pishachas like darkness and traditionally are depicted as haunting cremation grounds along with other monsters like bhutas and vetālas. Pishachas are supposed to possess the ability to shapeshift and assume any form at will, and may also become invisible. They also feed on human energy. Sometimes, they possess human beings and alter their thoughts, and the victims are afflicted with a variety of maladies and abnormalities like insanity. Certain mantras are supposed to cure such afflicted persons and drive away the pishacha possessing that particular human being. In order to keep the pishacha away, they are given their share of offerings during certain religious functions and festivals.

Pāṇini, in his Aṣṭādhyāyi, described the pishacha as a "warrior clan".[This quote needs a citation] In the ancient literature, the Dardic people in the north of Kashmir were referred to as "Pishacha" and Dardic languages were called Paiśāci. They are said to have been descendants of Prajāpati Kaśyapa.

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Pishacha. Pishachas (Devanāgarīपिशाच, Piśāca) are flesh eating demons, according to Hindu mythology. Their origin is obscure, although some believe that they were created by Brahma. Another legend...

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Empusa or Empousa (/ɛmˈpjuːsə/; Ancient Greek: Ἔμπουσα; plural: Ἔμπουσαι Empousai) is a shape-shifting female being in Greek mythology, said to possess a single leg of copper, commanded by Hecate, whose precise nature is obscure. In Late Antiquity, the empousae have been described as a category of phantoms or spectres, equated with the lamiai and mormolykeia, thought to seduce and feed on young men.

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The Snow Vampire: This version of Yuki-onna hails from four Japanese provinces; Aomori, Gunma, Niigata, and Miyagi. Here it is said that Yuki-onna is a dreadful snow vampire, haunting the snowy forests, looking to feed. She lives by sucking the vital energy of human body, which is mentioned as seiki. She is said to extract the seiki first by freezing victims to death and then sucking the seiki through the dead victim's mouth. Especially in Niigata prefecture, it is said that Yuki-onna likes the seiki of children, so the mothers are warned over there not to let their children play on snowy nights near a forest.

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Yuki-onna (雪女, lit. ‘snow woman’) is a spirit or yōkai in Japanese folklore that is often depicted in Japanese literature, films, or animation.[1]

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A vampire is a mythical creature that subsists by feeding on the vital essence (generally in the form of blood) of the living. In European folklore, vampires are undead humanoid creatures that often visited loved ones and caused mischief or deaths in the neighbourhoods which they inhabited while they were alive. They wore shrouds and were often described as bloated and of ruddy or dark countenance, markedly different from today's gaunt, pale vampire which dates from the early 19th century.

Vampiric entities have been recorded in cultures around the world; the term vampire was popularized in Western Europe after reports of an 18th-century mass hysteria of a pre-existing folk belief in Southeastern and Eastern Europe that in some cases resulted in corpses being staked and people being accused of vampirism.[citation needed] Local variants in Southeastern Europe were also known by different names, such as shtriga in Albania, vrykolakas in Greece and strigoiin Romania, cognate to Italian strega, meaning 'witch'.

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A vampire is a mythical creature that subsists by feeding on the vital essence (generally in the form of blood) of the living. In European folklore, vampires are undead humanoid creatures that often visited loved ones and caused mischief or deaths in the neighbourhoods which they inhabited while they were alive. They wore shrouds and were often described as bloated and of ruddy or dark countenance, markedly different from today’s gaunt, pale vampire which dates from the early 19th century.

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A jiāngshī (simplified Chinese: 僵尸; traditional Chinese: 殭屍; pinyin: jiāngshī; Jyutping: goeng1 si1), also known as a Chinese hopping vampire,[1] is a type of undead creature or reanimated corpse in Chinese legends and folklore. Due to the influence of Hong Kong cinema, it is typically depicted in modern popular culture as a stiff corpse dressed in official garments from the Qing dynasty. Although the pronunciation of jiangshi varies in different East Asian countries, all of them refer to the Chinese version of vampire.

In popular culture, it is commonly represented as hopping or leaping. In folkloric accounts, however, it is more formidable, capable of giving chase by running, and if sufficiently ancient or if it has absorbed sufficient yang energy, capable also of flight. According to folkloric understandings, "jiāngshī” came from the hills, soaring through the air, to devour the infants of the people".

In both popular culture and folklore, it is either represented as anthropophagous (i.e. man-eating), therefore resembling Slavic vampires, or as killing living creatures by absorbing their qi, or "life force".[3] It is usually not represented as blood-sucking, as in the West European conception. During the day, it rests in a coffin or hides in dark places such as caves and forests.[4]

De Groot suggests that the belief in jiangshi was the result of the natural horror at the sight of dead bodies, nourished by the presence of unburied corpses in the imperial China, which "studded the landscape", the idea of the vital energy flowing through the universe as capable of animating objects - including exposed corpses, and by severe cultural taboos concerning postponement of burial. These fears are described as having preoccupied "credulous and superstitious minds in Amoy".

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中国志异之僵尸 - 小红书

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3 亿人的生活经验，都在小红书

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In most legends, vampires are incarnations born from corpses—a form of "the dead coming back to life." Death itself is already something that terrifies the living. The idea of someone returning from the land of the dead, attempting to make others as "dead" as they are, is truly chilling. In earlier times, people didn’t fully understand corpses; when they observed unusual changes in bodies in graveyards, like traces of blood seeping out or the corpse appearing more flushed than when it was buried, they would mistakenly believe that the corpse had come back to life and secretly drank human blood. In my view, at its core, this reflects humanity’s fear of death and the unknown. When people confront an end they would rather not even imagine, they naturally distance themselves from it and dread any "accidents" in this process that might affect them. It’s like seeing an extremely hideous insect, something you've never encountered before; if it stays still, it’s unsettling but tolerable. Yet if it suddenly starts writhing in an unexpected way, it becomes utterly revolting and terrifying.

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The feeling vampires give me: unknown, terrifying, dangerous, mysterious, gloomy, corpse-like

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Yoko Ono's work Bag (also known as Bag Piece) is a conceptual performance piece first performed in the early 1960s. In Bag, Ono invites participants to enter a large black cloth bag alone or with a partner, effectively isolating themselves from the outside world. The experience encourages participants to confront their sense of self, intimacy, and vulnerability. By removing visual cues and forcing individuals to rely on touch, sound, and intuition, Bag explores themes of identity, personal boundaries, and the human connection to others in an unknown space. This work is a powerful reflection on human interaction, privacy, and the concept of liberation from societal judgments. Ono’s Bag embodies her unique approach to art, merging minimalism and conceptualism to challenge audiences to engage in a transformative, introspective experience.

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How to express the unknown and the mysterious? It's hazy, unclear, yet it seems to be there. Vampires remind me of a black mist lingering in a graveyard. But using mist directly feels too straightforward and lacks subtlety. Yoko Ono once used a black bag in a piece of performance art, so perhaps using black cloth as the main element could evoke a uniquely profound feeling.

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In Death Stranding, the handprints are a symbolic mark left by the "BTs" (Beached Things), representing their eerie presence. BTs are entities caught between the worlds of the living and the dead, a result of the mysterious supernatural event known as the "Death Stranding," which traps souls on the edge of the living world. These entities carry a powerful aura of death, and contact with them can trigger a catastrophic explosion called a "Voidout."

The handprints visually capture the hidden threat and unknown fear associated with BTs. They are normally invisible and can only be sensed through special equipment or abilities (like Sam's BB unit). The appearance of handprints signals that BTs are nearby, a warning of their approach and the potential danger they bring.

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在芬兰的时候给车拍的手掌印 #死亡搁浅 #BT

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The danger and eeriness remind me of hands emerging from the ground out of nowhere, much like the hands in Death Stranding. In that game, Beached Things (BTs) reach out from beneath the earth to grab the player’s character, and these hands are left behind by the souls of the deceased. I imagine a piece of black cloth with numerous black hands suddenly reaching out, stretching the fabric so that you can see many hands within, all shifting and moving underneath. It would look as if there’s a strange, living organism beneath the dark fabric, writhing and changing shape.

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【死亡搁浅】别出声，来自bt的压迫感！_哔哩哔哩bilibili_死亡搁浅

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简介：游戏：死亡搁浅；已有120名死亡搁浅玩家向您推荐本视频，点击前往哔哩哔哩bilibili一起观看；更多实用攻略教学，爆笑沙雕集锦，你所不知道的游戏知识，热门游戏视频7*24小时持续更新,尽在哔哩哔哩bilibili 视频播放量 17437、弹幕量 4、点赞数 120、投硬币枚数 4、收藏人数 22、转发人数 472, 视频作者 赫与卡_, 作者简介 ，相关视频：死亡搁浅拔叔最帅片段，太吓人了，这游戏的压迫感和绝望感没谁了，死亡搁浅 不愧是18＋游戏，二弟快被吓掉了，这压迫感绝了，这是我给死亡搁浅的一封情书，炸完好走多了，在死亡搁浅里确实可以看到别的玩家在和BT战斗，小岛秀夫死亡搁浅，走着走着就起一段BGM，逼格拉满！，新手必看！如何安全通过BT区 - 死亡搁浅，《来自BT的压迫感》 -死亡搁浅，刚开始玩死亡搁浅遇到BT的时候是真的吓人

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The sense of danger reminds me of blood. If there were many hands writhing beneath a piece of black fabric, people might perceive it as a terrifying creature. And if a tar-like color began to seep from the fabric, resembling the blood of something long dead, it would strongly evoke a feeling of rot and danger. Yoko Ono displayed her work Bag as a form of performance art, with the performer inside the bag acting like a living sculpture. I think a vampire created this way would also convey a sculptural quality.