Vampyr Memes Compilation

the fact that lady ashbury adopted charlotte with no intention of making her immortal, knowing she would one day bury her own daughter

I really have only a few complaints with Vampyr as a fan. The lack of fast travel after you enter a new location, that we can't save Carina Billow, and Jonathan's romance with Lady Ashbury. My first playthrough I didn't even know Jonathan was in love with Lady Ashbury until around the very end because I never stopped to visit her mansion. Personally, I liked their friendship a lot more, but their romance probably should've been integrated more into the main cutscenes. And I've got nothing against Ashbury herself, but I think her and Jonathan are a little too similar for me to find a romance between them interesting.

Concept Art for Vampyr

Welcome to a new series where I will share some of the amazing concept art for DON'T NOD's games. Absolutely in love with the different art styles I've seen throughout the concept art I've looked at and seeing the environments and characters in a style that may not reflect the one used in game.

I don't plan on posting chronologically (in terms of game release dates). So for this first entry, since supposedly it was recently "halfway to Halloween"...

First up: Vampyr

With concept art by Gary Jamroz-Palma, Gabriel Lemaire, Florent Auguy and Adrian Meribault.

I never noticed it, but Lady Ashbury is pretty bigoted toward Skals, at least in the early game.

Vampyr ~ Masterlist

Info : All my works for the game Vampyr

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Jonathan Reid

°Watch over you...my Heart ->fluff, comfort, blood, fem reader

°The sunrise ->kissing, fluff, comfort, fem reader

°One drop ->angst, hurt/comfort, fluff, fem reader

°Jonathan Reid - The first encounter ->angst, hurt/comfort, fluff, fem reader

°I'll take care of you->fem reader, hurt/comfort, fluff, angst

°Two bats and London->fem reader, angst, hurt/comfort, fluff

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Geoffrey McCullum

°Coming soon

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Sean Hampton

°Coming soon

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Lady Ashbury

°Coming soon

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BioShock/Sinking City/Vampyr: The Blood of Alex the Great

Liz and Lady Ashbury make their way to Fontaine Futuristics, aided by a map that Eleanor made for them from Delta's memories. Thankfully, they don't have to contend with Alex the Great controlling the building's security. Instead however, they have to deal with the numerous Mutants walking around.

Fontaine Futuristics was ground zero of the Mutant outbreak, as it was Orrin Lutwidge's original base when he arrived in Rapture, and where he gave the mutated ADAM to his new splicer recruits. The source of that ADAM is what they're here to investigate, as well as any leads on Lutwidge's plans.

Thanks to the large number of Mutants wandering the halls and floors of Fontaine Futuristics, Liz and Elisabeth have to use their stealth abilities to evade their notice. Evidently, Elisabeth has a Peeping Tom plasmid like Liz's, along with her teleportation plasmid. Something's off, though, but Liz can't tell what it is.

After getting through the main building, they don their diving suits again and venture out to the entrance to the secret lab. Outside, they find the bodies of a dozen or so Mutants who tried to make the walk outside without a suit on. What's frightening about this trail of death is the evidence of them evolving.

Each one is further along than the last, having survived the crushing pressure and lack of air longer. The very last one, a few yards from the entrance, wasn't crushed at all, but certainly drowned. On its neck is what appears to the beginnings of a set of gills. Liz can't help but shudder as they walk past.

Time is running out.

In the lab, they instantly become aware of a massive, living thing within the huge tank in the middle of the main room. Its movements and heartbeat suggest that it is asleep, and so Liz and Elisabeth make sure to move carefully and quietly around the tank. The red tinge of the water keeps them from seeing inside, and they're both thankful for that.

In the room to the left, they find out where Lutwidge got the mutated ADAM. Alex the Great wasn't killed when Delta electrocuted him, just very close to death. After Delta left, Alex regenerated, and that's how Lutwidge found him. After figuring out that Alex had essentially mutated into a giant ADAM slug, Lutwidge began extracting ADAM from him to generate new recruits.

Thanks to Alex the Great's mutations, his ADAM is corrupted. There's something more vile in its reactions, something primitive. Reading through Lutwidge's observations, Liz suddenly has another episode, seeing the same gothic city as before, witnessing ordinary people mutating into grotesque monsters, Beasts, like the Mutants.

"We are born of the blood, made men by the blood, undone by the blood. Our eyes are yet to open. Fear the Old Blood."

Those words echo through Liz's mind as the episode progresses. When she comes out of it, her nose bleeding again, Elisabeth tells her that she was saying that phrase. She's looking at Liz strangely now, and her eyes keep dropping down to the blood draining out of Liz's nostrils with something like hunger.

With the origin of the Mutated ADAM discovered, they head over to the room on the other side of the tank. They both can't help but feel like something is watching them, even when they're invisible.

After some searching in the labs where the Big Daddies and Little Sisters were bonded together, they find some notes of Lutwidge's. After the splicers who took Alex the Great's ADAM began turning into Mutants, Lutwidge came up with a plan on how to control them.

Using the same method as Andrew Ryan did to control the splicers and win the Rapture Civil War (mind-control pheromones distributed throughout the city via the ventilation), Lutwidge will take control of the Mutants and continue with his original plan. Blueprints for a prototype that would allow him to keep the Mutants docile in a single area are among the documents they find, explaining how he is able to keep them at bay wherever he sets up shop.

With Lutwidge in Arcadia, the source of Rapture's fresh air, he must be closing in on his goal to take control of the Mutants. Once he does that, he can kill everyone else in Rapture, including the survivors in Minerva's Den, and then plunder the city for its horrifying secrets.

With Lutwidge's plans now in hand, Liz and Elisabeth begin making tracks for the exit. In the main room, Elisabeth grabs a sample of Alex's ADAM, knowing that Jonathan and Tenenbaum will likely want some for analysis. Liz looks over at the tank, just in time to see the massive and distorted silhouette of Alex the Great charging at them, also noticing the huge cracks in the tank's glass for the first time.

The tank's glass shatters as Alex the Great smashes through, great gashes appearing in his skin only to heal in seconds, shards pushed out right after they impale him. His bulbous head appears to have no mouth, until it opens to expose a circular maw of razor sharp teeth like a huge leech's. Laughing, crying, and roaring all at the same time, he lunges at them, pulling himself along with two pairs of elongated arms.

Elisabeth grabs Liz and teleports them both to the airlock. As she hits the button to close the doors and begin cycling the airlock, Alex appears at the end of the corridor and begins pushing his way through the coral to get at them. Just as he's about to reach the airlock, the doors close in his face. Liz and Elisabeth hear his cries from behind the door as they race the rising water to get their helmets on.

Once outside, they begin making tracks away from Fontaine Futuristics. They'll walk until they find another airlock and then they'll find a bathysphere to take them back to the Den. They've both had enough of Fontaine's old stomping grounds.

As they walk amongst the ruins of Rapture, Liz begins to realize what's been bothering her about Jonathan and Elisabeth Reid. Not once has she seen them eat food, or drink water or alcohol, and despite the use of their strange plasmids, they don't use EVE hypos.

As she remembers the look in their faces whenever she's gushing blood from her nose after an episode, she recalls a story that Charles told them about his own adventures in Oakmont, about a Mayan priestess brought back from the dead with a taste for blood....

OK. I have an idea about vampyr, But there is no time to write this. I'll just post a link to the Pinterest board here so people have a relatively clear idea of ​​what they can expect in the distant future.

A few with Elisabeth.

At first mysterious savior, then getting caught in the act.

Gah! Woops. Shit. Fuck.....busted.

In the penultimate three, Jonathan was standing on a plank, I kept wondering about the heigh disparity.

Okay, I think I'm coming to the end of Vampyr and there are always those patterns, right? Disaster only happens to women, there's this Red Queen and apparently Jon's creator is not only her son, but some kind of "Red King" too...

But frankly I've never trusted Elisabeth and knowing that technically she's being prioritized and put ahead of the epidemic, Jon's creator and the Red Queen makes me think that maybe I'm not crazy. And seriously, this love thing for Lady Ashbury, right? No one can stand it, there are people here with more chemistry with Jon than her…

...and I was so sad that I didn't get a new "creator" window since geoffrey is now Jon's firstborn son :(

Something I think could've improved Vampyr was our choice in romance. While I like Lady Ashbury, she only makes sense if you are a purely good person who takes no lives. Just give us a different partner if we wanna be bad. We could have been given the options of McCullum or Thelma Hawcroft the lady with Cotard’s Syndrome. Like we could've been given a choice to turn anyone. McCullum, Swansea or any of the npc's. They could help us throughout the game, the romance option and after we save London we can either rule over London, or  just kill as we please

Noticed my style has been trending towards simplification over the last few posts as I discover that maybe lineart isn't something to be scared of. (Big step for me in digital art!)

I just found out I can draw (scribble?) on my phone and thereby fast-forward the simplification process (and I can also paste existing images into the picture):

(And of course smiley face Lady Ashbury has a nice realistic portrait of Reid in her imagination because she paints realistic portraits)

i've been playing vampyr and i got to the fight with dorothy and could not beat her, so i ran back to lady ashbury's house to get comfort from the hot vampire lady because the only thing that will make me feel better after dying ten times is a sexy victorian vampire calling me her beloved

did you guys notice that lady ashbury kills TWO dudes named william by the end of the game

Speaking to Lady Ashbury before the funeral

I have, unfortunately, decided to transcribe certain dialogues in Vampyr because I Need The Lore. so for the first one, because I made this decision just now and this is the point I'm at in the current playthrough, here's the optional conversation with Lady Ashbury if you speak to her right before leaving for the funeral in Chapter 3.

Lady Ashbury: Jonathan? Are you alright? Y Decision: > Words cannot describe the emptiness... > I'll survive the pain... > It's not that insufferable. Jonathan: Time is my ally... I'll survive the pain... Lady Ashbury: I'm here for you, Jonathan. If you ever need to talk. Jonathan: Could I ask you some delicate questions? Lady Ashbury: Ask and I will answer, if I choose. Jonathan: There's so much I want to know. I mean, what? Where? Who? Lady Ashbury: Slow down, Jonathan! And please, not all questions should be answered. Jonathan: Please, tell me. Are you Lady Ashbury? Is that your real name? Lady Ashbury: Yes, and no. I was born Elisabeth Samantha Mary Englewood. Out of pure vanity, I cannot tell you when I was born. Jonathan: Where? I mean, you don't live here...? Lady Ashbury: I have a house in London where I reside with my daughter. Jonathan: A daughter? Is she a... Lady Ashbury: No, Charlotte is a perfectly normal young lady, and if you must know, whom I adopted. Perhaps you'll meet her someday. Jonathan: Tell me, why do you finance this hospital? Lady Ashbury: I'm lucky to be in a privileged position to help those less fortunate. Kindness takes the edge off the years. Jonathan: If you'll forgive me, it seems a little hypocritical healing those that you may kill? Lady Ashbury: Jonathan, we are what we are. A paradox. Dead flesh with a lust for life! Jonathan: And our Dr. Swansea? He's fine with this culling of patients? Lady Ashbury: Dr. Swansea is a man firmly rooted in the realities of the modern world. He understands what we're trying to achieve here. Jonathan: How do you live with the guilt? Lady Ashbury: I can't answer that, Jonathan. But we have to accept our nature. Nothing good can come of fighting who we are. Jonathan: Have you killed someone you've known? Lady Ashbury: Jonathan, have you forgotten what I do here? I need to meet the men and women I kill. Jonathan: Have you ever killed family? Lady Ashbury: I will not answer that. In time, perhaps.

Unlife is Strange: Chapter 13 is up.

So the good news is I am finally - finally - finishing Rachel's flashback arc up, because for the past year it really felt like it was dragging on too long. The not so good news is that the current chapter was so long, that I had to split it into two parts. 

Not to worry though, I have literally one more segment to finish up before part two is complete, and I plan to post it on my birthday in September, along with Love's Sacrifices next chapter.

In other words I can finally get back to work on the "present day" chapters, regarding the Diaz Brothers, the Price-Caulfield Family, the Red Queen awakening in 2020, “Vampire Nathan” and the new Chengrich arc I thought up.

There’s a whole lot of half written material I’ve been sitting for over a year to get Rachel’s flashbacks over with. Arc Fatigue is a bitch, am I right ?

Originally I planned on Steph to be Rachel’s love interest, but that was before True Colors was announced, and I had to change a lot for what I had in mind for Steph and her arc. 

As a result, we now have a “Tulpa” Steph subplot. Even so, this chapter and the next is meant to give the Ambergrich ship a send off before moving onto the other subplots. 

We are also gonna learn a little about this Vampyr’s take on King Arthur (but I’m saving the full story for down the road), and a backstory that could be expanded on should I decide to write a full Until Dawn story.

Content Warning: While this chapter itself is pretty light, the “second half” was gonna contain brutal vampire related violence, and mild smut - but all that’s been moved to “Part 2″. (even then, extensive sex scenes are moved to a side story of prompts). 

With all that said, this “half” features a pretty gruesome fight scene, depictions of grooming relationships and discussions of rape (pertaining to Arthur, and Mordred’s origins); recreating and memories of Rachel’s time in the the Dark Room. As the stories tags say, Mark Jefferson is his own trigger warning.

There’s also discussions of colonialism, but it’s talked about as part of the backstory. There was also gonna be a reveal of who Max and Chloe’s “donor” is for their child, Bill, but that’s saved for the next chapter I guess.