The Curse of the Vampire Ghouls The curse of the vampire ghouls is a haunting and supernatural phenomenon that has captured the imaginations of people for centuries. It is a dark and chilling tale of beings who are neither fully dead nor alive, forever trapped in a state of eternal hunger and torment. At its core, the curse of the vampire ghouls revolves around the idea of a vampiric creature that feeds on the blood of the living. Unlike traditional vampires, however, these beings are also plagued by an insatiable hunger for flesh. And so, they roam the night, preying on unsuspecting victims and devouring their flesh and blood. Legend has it that the curse of the vampire ghouls is a punishment inflicted upon those who have committed heinous crimes or blasphemies against nature.
So anyways, Lutz and Garner are investing Jenny and Thom's deaths, and they quickly stumble across the yoga studio, in part because warlock lawyer Will Spanner (Ryan Cleary) gets involved, on behalf of an actual white witch who has already been suspicious of Samuel. It is not clear this time around that Will is still a lawyer. It's even less clear that his awakening as a powerful warlock at the end of Blood of the Chosen has taken hold even a little bit. Also, kudos to everybody involved in making Angel of Death: this is the 12th film in the series with an adult Will, and while we haven't exactly been swinging from peak to peak, we are incontestably at the very worst Will yet: Cleary plays the character with a petulant squawk, and he's not even trying to win the battle to hold more attention than the veneer of eyeshadow he's been caked with, nor the spiked hair and V-neck shirts. The whole package exudes the horrible aura of some dreadful Angelino himbo whose glory years are a decade in the past, but who has decided that he will fight aging by clinging to a years-out-of-date conception of what is "hip" until you can practically see the sweat forming. And if that's what the movie wants us to think of Will, then okay, but I can't imagine it's what the movie wants. It's deeply unwatchable, anyways.
And then every single cast and crew member, individually, is given a title treatment using 3-D rendered text zooming in on itself so it flips around. So for right now, we re just looking at the first leg of the trilogy Witchcraft XIV Angel of Death , which is one of those back to basics stories that the franchise trotted out every now and then, and that makes sense for a place to start this profoundly ill-advised exercise in brand extension.
Legend has it that the curse of the vampire ghouls is a punishment inflicted upon those who have committed heinous crimes or blasphemies against nature. Their existence is said to be a perpetual torment, as they are condemned to forever crave and consume the very essence of others. Once a person has fallen victim to the curse, their transformation into a vampire ghoul is said to be swift and horrific.
ANGEL OF DEATH
The notion of an angel who extracts the soul from the body at death seems to have developed from earlier ideas about divinities of death. Such figures are widespread in world culture. In Hinduism, for example, Yama is the god of the dead. In the earliest Vedic texts, Yama ruled an afterlife realm not unlike the Norse Valhalla in which the deceased enjoyed carnal pleasures. As Hinduism was transformed in the post- Vedic period, Yama became a rather grim demigod who snared the souls of the departed and conducted them to the otherworld.
The angel of death concept was most fully developed in rabbinical Judaism. As did Yama, the Jewish angel of death (malakh ha-mavet) metamorphosed across time. At first these biblical emissaries of death were clearly under the direct command of God, as for example in Second Samuel:
Then the angel stretched out his arm towards Jerusalem to destroy it; but the Lord repented of the evil and said to the angel who was destroying the people, “Enough! Stay your hand.” (2 Sam. 24:16)
Although no biblical reference identifies a particular angel or group of angels as having the specialized task of meting out death, many references do make allusions to “destroying angels” (Exod. 12:23, 2 Sam. 24:16, and Isa. 37:36); a fatal “reaper” (Jer. 9:20), and “messengers of death” (Prov. 16:14).
Only in postbiblical literature does the idea of the angel of death as such emerge. This “angel” gradually develops into a demonic figure acting on his own initiative. According to the Talmud, the angel of death was identified with Satan, and the notion of the angel of death as evil was reflected in many folktales and in many folk practices associated with death, burial, and mourning. For instance, one commonly known bit of folklore is that it is impossible to die in the midst of studying the Torah.
The many folktales associated with the angel of death fall into roughly three categories. In the first group, which may be called tales of horror and magic, the stubborn and cruel angel of death is a kind of antihero, somewhat like Dracula in many vampire stories. In the second category the angel of death can be defeated, especially by human deception. In these tales he is portrayed as being rather stupid. In the final group the angel of death is moved by compassion to spare someone’s life or otherwise act benevolently. In many of these narratives the confrontation with the angel of death occurs on a wedding night, during which one of the two betrothed is fated to die.
FURTHER READING:
- Encyclopaedia Judaica. Vol. 2. New York: Macmillan, 1971.
- Masello, Robert. Fallen Angels . . . and Spirits of the Dark. New York: Perigree, 1994.
- Sykes, Egerton. Who’s Who: Non-Classical Mythology. New York: Oxford University Press, 1993.
- Wigoder, Geoffrey. The Encyclopedia of Judaism. New York: Macmillan, 1989.
SOURCE:
Angels A to Z 2nd Edition – Written by Evelyn Dorothy Oliver & James R. Lewis – Copyright © 2008 by Visible Ink Press
The many folktales associated with the angel of death fall into roughly three categories. In the first group, which may be called tales of horror and magic, the stubborn and cruel angel of death is a kind of antihero, somewhat like Dracula in many vampire stories. In the second category the angel of death can be defeated, especially by human deception. In these tales he is portrayed as being rather stupid. In the final group the angel of death is moved by compassion to spare someone’s life or otherwise act benevolently. In many of these narratives the confrontation with the angel of death occurs on a wedding night, during which one of the two betrothed is fated to die.
Their physical appearance changes drastically, with mottled and decaying flesh, elongated fangs, and eyes that glow with an unholy hunger. They become creatures of the night, able to move with inhuman speed and strength, striking fear into the hearts of anyone who crosses their path. The curse is believed to be passed on through a bite from a vampire ghoul, much like the traditional vampire lore. Once bitten, the victim is slowly drained of their life force, their body decaying and becoming more vampiric with each passing day. It is an agonizing and terrifying transformation, driving the victim to madness and despair. In folklore, it is said that the only way to break the curse of the vampire ghouls is through a series of complex rituals and prayers. These rituals often involve the use of sacred relics and the invocation of ancient powers. However, the success of these rituals is uncertain, and many believe that once the curse has taken hold, there is no escape. The curse of the vampire ghouls continues to captivate and terrify people to this day. Its dark and twisted nature taps into our deepest fears of the unknown and the supernatural. Whether one believes in the existence of these creatures or not, the curse serves as a cautionary tale, reminding us of the consequences of our actions and the price we may pay for our sins..
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