Buffy the Vampire Slayer portrayed two distinct vampires. Angel, Buffy’s teenaged lover, exhibited the more commonly acceptance human appearance. Anger or blood lust caused a minor physical transformation. A grossly furrowed brow, green elongated eyes, and stereotypical fangs. With the exception of these facial changes, the vampire remained wholly human in appearance. On the opposite end of the spectrum, Buffy faced true breed vampires released from the Hell Mouth. These vampires exist in an animal-like state. Vicious claws and fangs are ever-present. Hunched posture and a limping gait add to their creature aspect. Discolored flesh, which Buffy called their “fruit punch mouth” surrounds their mouths, from centuries of feeding off human blood.

This example from Buffy the Vampire Slayer depicts the vast variety of vampires in one setting, let alone through the ages and across the globe. Angel represents, what we consider, the “modern” vampire. The Hell Mouth creatures resemble the “historical” of “folkloric” vampire. Let us examine each manifestation of the vampire.

A great discrepancy exists in the folklore of the vampire. It is strongly held that Lilith, the night demon or screech owl of the Bible, is the first vampire. Demonized by her refusal to return to the Garden of Eden (as told by Jewish doctrine). To accept this tradition we are forced to see the modern vampire existing from the very beginning. Lilith fed from the blood of children during the night comparable to the historic view of the vampire. However, she also visited men in their sleep as a beautiful seductress stealing their seed and their blood. This sexual aspect of Lilith runs deep in the modern vampire.

Regardless of the story of Lilith, the vampire sprouted up far from the Bible’s reach. These local creatures epitomize the historic vampire traits. Vicious, bloated, disfigured monsters; even their mothers would not recognize the humans they once were. These corpses returned from the grave to feed off their family, friends, and neighbors. Cursed by a life outside excepted practices or random omens, such as a dog leaping over their dead body. These revenants, reanimated corpses, increased in number when a society was plagued by death and disease. A grotesque harbinger of death to blame.

The vampires of folklore rarely resembled the living, never exuded sexuality, and typically fed locally. Nothing more than an animal. Unintelligent, obsessive compulsive, and emotionless undead creatures prowling the night. Susceptible to religious icons, pungent odors, and sunlight. The apotropaics vary with region and era. From those mentioned above to burying a suspected vampire at a crossroads to confuse them or nailing their corpse inside their coffin.

Modern vampires drip with sexuality, grace, and knowledge. Centuries spent observing, experiencing, and learning brings them unparalleled intelligence and patience. Not only do these vampires retain their human appearance, most times, it is enhanced, more attractive than in life. Typically, the modern vampire is depicted with deathly pale skin. While these creatures live off the blood of the living, they entrance their victims and accept a compulsive offering. In literature, some vampires begin their undead life closer to the historic vampire in regards to instinct and lack of control. Time provides the modern vampire with control.

Modern vampires shriek at the sight of religious iconography, avoid hallowed ground, and must be invited into your house. Each of these traits are up for grabs. Christian symbols have no affect on Charlaine Harris’ vampires. MaryJanice Davidson’s Eric Sinclair, King of the Vampires, cannot hear God’s name spoken without tremendous pain. Christine Feehan’s Carpathian vampires shape shift into unlimited forms. Let The Right One In, the film, shows how a vampire must hide and relocate to avoid detection.

With only four contemporary examples, we see a great variety of vampire. The greatest difference between the historic, or folkloric, vampire and the modern vampire how he or she is seen through the eyes of the storyteller.