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Dracula: Bound in Blood
Bound by Blood, Freed by Desire
Transylvania, 1897. Jonathan Harker, a man of duty bound by society's expectations, travels to the imposing castle of Count Dracula. Tasked with settling the Count's estate affairs, Jonathan finds himself both repulsed and strangely drawn to the darkly alluring master of the castle. His engagement to the beautiful Lucy Westenra feels like a prison of his own making.
Dracula, an immortal weary of his endless existence, recognizes in Jonathan the echo of a love long lost. Convinced that fate has delivered a second chance, Dracula is determined to unravel the young man's true desires, buried beneath self-denial.
As their bond deepens, Jonathan is torn between the safety of his old life with Lucy and the forbidden passion Dracula offers—a chance to embrace his authentic self and a love that defies convention.
Hunted by those who would see their love destroyed, Jonathan and Dracula must navigate the treacherous path between the lives they've known and an eternal love that could be their salvation—or their undoing.
Can they break free from the shackles of their pasts to build a future together, or will the world deny them their chance at happiness?
In this captivating MM retelling of Bram Stoker's classic, Dracula and Jonathan's love story unfolds in a dance of desire, danger, and the hope for redemption and a satisfying HEA.
Novel contains dark gothic themes and lots of blood.
Transylvania, 1897. Jonathan Harker, a man of duty bound by society's expectations, travels to the imposing castle of Count Dracula. Tasked with settling the Count's estate affairs, Jonathan finds himself both repulsed and strangely drawn to the darkly alluring master of the castle. His engagement to the beautiful Lucy Westenra feels like a prison of his own making.
Dracula, an immortal weary of his endless existence, recognizes in Jonathan the echo of a love long lost. Convinced that fate has delivered a second chance, Dracula is determined to unravel the young man's true desires, buried beneath self-denial.
As their bond deepens, Jonathan is torn between the safety of his old life with Lucy and the forbidden passion Dracula offers—a chance to embrace his authentic self and a love that defies convention.
Hunted by those who would see their love destroyed, Jonathan and Dracula must navigate the treacherous path between the lives they've known and an eternal love that could be their salvation—or their undoing.
Can they break free from the shackles of their pasts to build a future together, or will the world deny them their chance at happiness?
In this captivating MM retelling of Bram Stoker's classic, Dracula and Jonathan's love story unfolds in a dance of desire, danger, and the hope for redemption and a satisfying HEA.
Novel contains dark gothic themes and lots of blood.
315 pages, Kindle Edition
Published October 10, 2024
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91 people want to read
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Displaying 1 - 11 of 11 reviews
November 12, 2024
Morrigan Black seems to take inspiration more from Francis Ford Coppola’s Bram Stoker’s Dracula (1992) film than from Bram Stoker’s actual Dracula (1897).
Coppola’s film just flatout invented the “past lover reincarnated” storyline, presumably to expand Dracula’s screen time, but it’s entirely absent from Stoker’s work, which remains a horror novel at heart. Dracula: Bound in Blood follows Coppola’s direction by leaning heavily into this trope. Given that this book is a romance, it’s an understandable choice; however, it’s clear where the inspiration is coming from and it ain’t Stoker…
Coppola’s influence is especially evident in the characterization of Lucy Westenra, who is cast here as Jonathan’s fiancée. Lucy is portrayed with the same “flirty, hyper-sexualized vamp” energy that Coppola gave her, rather than the sweet, innocent girl Stoker describes. While Lucy is a great character and deserves more attention, her presence here feels awkward, considering Jonathan already has a canonical fiancée: Mina Murray, who is nowhere to be found in this version. Black’s choice to swap out Mina for Lucy adds literally nothing to the story and I am confused to why this decision was made in the first place.
In a similar vein (pun intended), Black introduces an original character, Vigo, as Dracula’s servant—an addition that feels redundant, given the existing character of Renfield in Stoker’s work. Renfield’s obsession with Dracula and his eventual betrayal of the protagonist could have easily been recontextualized to serve the same purpose as Vigo, who has his own obsession with Andor and ultimately betrays the protagonists. While Vigo is not a bad character, he ultimately feels like an unnecessary detour from the rich original cast Stoker created.
At first, I – perhaps unkindly - suspected Morrigan Black might not have read Dracula, let alone Dracula’s Guest, but in hindsight, it seems likely the Episode in Paris was intended as a nod to that lesser-known short story. Just like Dracula’s Guest, this section features Jonathan in danger during his journey to Transylvania, only to be mysteriously rescued by Dracula. In Stoker’s original, we don’t know whether the wolf that saves Jonathan is Dracula himself or simply under his influence. This ambiguity adds suspense and foreshadows Dracula’s dark, protective pull on Jonathan.
In Dracula: Bound in Blood, however, Black’s attempt at a re-creation results in a confusing sequence of events that in my opinion detract from the main plot. Jonathan is pursued by strangers who initially seem to be mind-controlled civilians reporting back to Dracula, yet when Dracula arrives to “rescue” him, he calls these pursuers “Children of the Night.” This label raises more questions than it answers: are they vampires? Are they actually working for Dracula, or are they independent agents? And if they’re Dracula’s “children,” why are they practically assaulting Jonathan? It’s all left unexplained, creating more confusion than suspense. Especially since this never comes up again.
While I appreciate the idea of building tension on Jonathan’s journey, the Paris section feels disjointed and ultimately irrelevant to the plot. Cutting the initial 5 Chapters, or revising them to feature a threat that – in hind sight - could be interpreted as Van Helsing’s hunters for example, would have made the story flow more smoothly.
As it is, this whole mess is bordering on the bizarre and I’m not gonna lie… Black almost lost me.
That said, the Lover Reborn plotline had so much potential, but its execution was a letdown. The Prologue reveals the entire setup, spoiling what could have been a suspenseful, immersive discovery if unravelled alongside Jonathan.
Even though the Lover Reborn plot falls a bit flat in the suspense department, one of Morrigan Black’s clear strengths is her ability to craft a gothic atmosphere that feels both immersive and suspenseful. From eerie descriptions of Castle Dracula to the thick, ominous air that hangs over Jonathan’s journey, Black successfully evokes the dark romance of the setting. The early interactions between Dracula and Jonathan also bring out an undeniable chemistry; their connection, infused with tension and fascination, feels both compelling and authentic.
Black demonstrates a solid grasp of suspense, building an ominous undercurrent that underscores the forbidden nature of their romance. It’s clear that she has the ability to balance romance with the mystery and foreboding that make gothic stories so compelling. The atmosphere she creates is one of the book’s most enjoyable elements for me, showing her skill in blending romance and horror effectively.
I really loved the creative twist on Dracula’s Brides.
Black introduces an eerie group of former lovers—men who, like Jonathan, once resembled Dracula’s long-lost love, Béla. They exist in a tormented state, clinging to their tragic unfulfilled promises of eternity, warning Jonathan of the fate he risks by becoming Dracula’s next obsession. This chilling portrayal, complete with their agonized red-eyed forms calling him “brother,” is both haunting and heartbreaking, adding a layer of horror that brings the gothic atmosphere to life.
Discovering them could have easily been the climax of Jonathan uncovering Dracula’s tragic history with Béla, realizing the horror of Dracula’s obsession, and fleeing in terror. This would have made for a perfect opening for Van Helsing to enter as an antagonist as well.
While the initial romance between Dracula and Jonathan is engaging, it quickly devolves into a repetitive cycle of “I love him—but I’m a monster—but I love him…” with Dracula’s self-imposed restraint repeated to the point of exhaustion. This conflict could have been more compelling if it focused on Dracula’s inner question: Do I love Jonathan for who he is, or am I merely chasing the shadow of Béla? This dilemma would have deepened Dracula’s character and made the Lover Reborn plot truly meaningful. The monster dilemma could still have been present, but dialed down to let the reincarnation theme take center stage.
Then there’s the “Cat-Béla” twist—a bewildering revelation that Béla’s spirit returned as Dracula’s cat and Jonathan was just some random dude who happened to look exactly like Béla. While it might be just the kind of trick a demon would pull, it felt jarring and confusing. Especially since shortly after, we’re presented with a slightly ambiguous suggestion that Jonathan was Béla’s reincarnation all along, courtesy of the demon’s “white lie” meant to nudge them toward a happy ending. But this twist was both far-fetched and unnecessary. Dracula’s epiphany could have been far more grounded: a realization that, while Jonathan may resemble Béla, he’s fallen in love with Jonathan as a unique individual. Problem solved—no need for a demon ex machina.
The demon’s intervention ultimately doesn’t even solve Dracula’s problem. The issue up until that point seemed to be Dracula’s reluctance to condemn Jonathan to vampirism—not anything related to Béla’s reincarnation. Knowing Jonathan isn’t actually Béla’s reincarnation doesn’t directly address Dracula’s self-loathing over his vampiric nature, so the “white lie” doesn’t add up logically. It’s as if the story’s intention was there, but the execution simply didn’t deliver.
Obsession with past loves emerges as a recurring theme that could have provided a powerful, satisfying conclusion. Dracula is haunted by his love for Béla, Vigo is fixated on Andor, and Van Helsing is consumed by hatred for Dracula, who he believes killed his wife. Each of these characters is trapped in a cycle of longing or revenge, and we see how this fixation leads them down self-destructive paths.
It would have been immensely satisfying, and thematically rich, to see Dracula come to a point of release—understanding that his obsessive love for Béla is holding him back from true happiness. Having him recognize how similar obsessions have destroyed both Van Helsing and, most likely, Vigo, would reinforce the idea that true happiness with Jonathan is only possible if he lets go of the past. This would allow Dracula to see Jonathan as his own person rather than a reincarnation, giving him the freedom to love fully in the present.
Ultimately, a resolution like this would have been a mature, meaningful way to tie up the Lover Reborn plot and Dracula’s inner conflict. It would have given the story a deeper sense of growth and change, highlighting that clinging to the past can only lead to ruin—a message that feels right at home in a gothic romance.
I’ll admit, I already have beef with the original Van Helsing. While he’s a necessary character, he’s – in my opinion - poorly handled in the source material—typically coming across as more of an exposition machine than a character with depth. Film adaptations tend to improve his character by giving him actual chemistry with Dracula (think Edward Van Sloan or Peter Cushing), adding tension and making his role more engaging. Unfortunately, Dracula: Bound in Blood’s version of Van Helsing reverts to a similar pitfall as the original: he barely interacts with Dracula, instead becoming an almost cartoonishly villainous figure, even going so far as to kick Jonathan’s dog.
This exaggerated villainy misses a real opportunity to explore a potentially very profound storyline where Van Helsing, in his obsessive quest for revenge, becomes the very thing he seeks to destroy. His journey could have mirrored Dracula’s, showing how unchecked obsession corrupts, distorts, and ultimately consumes a person. Instead, Van Helsing is presented as a straightforward antagonist, with none of the tragic complexity that could have made his character resonate.
The story’s resolution of Van Helsing’s arc—where Andor swoops in to steal’s the killing blow, after informing Van Helsing that he’s been obsessed with the wrong vampire all along—does little to elevate the character. Rather than a tragic or thought-provoking twist, it feels like a rushed punchline. Van Helsing could have been a dark reflection of Dracula, each consumed by their pasts, but instead, his character ends up feeling shallow and somewhat trivial.
Vigo is one of the more interesting characters, with his tragic backstory and complex past romance with Andor. The concept of his character—a former lover who becomes a bitter betrayer—has strong potential, but it needed far more polish and depth to fulfill its role in the story. Vigo’s hatred and betrayal could have been powerful, but they feel too sudden and disconnected from his past with Andor, lacking the nuanced motivation that could have made him a compelling antagonist.
For instance, a touch of foreshadowing could have made Vigo’s betrayal more believable. We could have seen hints of his resentment or questionable loyalty, especially once Andor enters the story. Without this buildup, Vigo’s shift feels abrupt, leaving us questioning how Andor even discovers Vigo’s collusion with Van Helsing. Some subtle signs, even just after Andor’s arrival, would have strengthened the narrative and added intrigue.
Then there’s the lack of closure. The last we see of Vigo, Andor knocks him unconscious, but we’re left wondering about his fate. Did Andor ultimately kill him? Was there a chance for redemption? This unresolved ending weakens Vigo’s storyline, leaving an incomplete arc where a clear, tragic conclusion could have reinforced the theme of destructive obsession. If Andor had chosen to end Vigo’s life, it would have underscored the message that unchecked obsession—whether in love, hatred, or vengeance—only leads to ruin.
Maybe I’m reading too much into a silly smut novel, but as someone who’s obsessed with the original Dracula, I couldn’t help but see the potential for a rich, thought-provoking exploration of obsession woven throughout this novel. Morrigan Black’s take on Dracula shows sparks of brilliance—there are moments of gothic atmosphere, complex character backstories, and compelling romance that draw readers in. Yet, for all its promise, the story ultimately feels like a rough draft of something greater. With more polish, this could have been a remarkable study in how past loves, grudges, and obsessions shape and sometimes destroy us. In its current form, though, Dracula: Bound in Blood remains an entertaining but imperfect addition to the Dracula retelling genre—a story with tantalizing ideas that almost, but not quite, reach their full potential.
Coppola’s film just flatout invented the “past lover reincarnated” storyline, presumably to expand Dracula’s screen time, but it’s entirely absent from Stoker’s work, which remains a horror novel at heart. Dracula: Bound in Blood follows Coppola’s direction by leaning heavily into this trope. Given that this book is a romance, it’s an understandable choice; however, it’s clear where the inspiration is coming from and it ain’t Stoker…
Coppola’s influence is especially evident in the characterization of Lucy Westenra, who is cast here as Jonathan’s fiancée. Lucy is portrayed with the same “flirty, hyper-sexualized vamp” energy that Coppola gave her, rather than the sweet, innocent girl Stoker describes. While Lucy is a great character and deserves more attention, her presence here feels awkward, considering Jonathan already has a canonical fiancée: Mina Murray, who is nowhere to be found in this version. Black’s choice to swap out Mina for Lucy adds literally nothing to the story and I am confused to why this decision was made in the first place.
In a similar vein (pun intended), Black introduces an original character, Vigo, as Dracula’s servant—an addition that feels redundant, given the existing character of Renfield in Stoker’s work. Renfield’s obsession with Dracula and his eventual betrayal of the protagonist could have easily been recontextualized to serve the same purpose as Vigo, who has his own obsession with Andor and ultimately betrays the protagonists. While Vigo is not a bad character, he ultimately feels like an unnecessary detour from the rich original cast Stoker created.
At first, I – perhaps unkindly - suspected Morrigan Black might not have read Dracula, let alone Dracula’s Guest, but in hindsight, it seems likely the Episode in Paris was intended as a nod to that lesser-known short story. Just like Dracula’s Guest, this section features Jonathan in danger during his journey to Transylvania, only to be mysteriously rescued by Dracula. In Stoker’s original, we don’t know whether the wolf that saves Jonathan is Dracula himself or simply under his influence. This ambiguity adds suspense and foreshadows Dracula’s dark, protective pull on Jonathan.
In Dracula: Bound in Blood, however, Black’s attempt at a re-creation results in a confusing sequence of events that in my opinion detract from the main plot. Jonathan is pursued by strangers who initially seem to be mind-controlled civilians reporting back to Dracula, yet when Dracula arrives to “rescue” him, he calls these pursuers “Children of the Night.” This label raises more questions than it answers: are they vampires? Are they actually working for Dracula, or are they independent agents? And if they’re Dracula’s “children,” why are they practically assaulting Jonathan? It’s all left unexplained, creating more confusion than suspense. Especially since this never comes up again.
While I appreciate the idea of building tension on Jonathan’s journey, the Paris section feels disjointed and ultimately irrelevant to the plot. Cutting the initial 5 Chapters, or revising them to feature a threat that – in hind sight - could be interpreted as Van Helsing’s hunters for example, would have made the story flow more smoothly.
As it is, this whole mess is bordering on the bizarre and I’m not gonna lie… Black almost lost me.
That said, the Lover Reborn plotline had so much potential, but its execution was a letdown. The Prologue reveals the entire setup, spoiling what could have been a suspenseful, immersive discovery if unravelled alongside Jonathan.
Even though the Lover Reborn plot falls a bit flat in the suspense department, one of Morrigan Black’s clear strengths is her ability to craft a gothic atmosphere that feels both immersive and suspenseful. From eerie descriptions of Castle Dracula to the thick, ominous air that hangs over Jonathan’s journey, Black successfully evokes the dark romance of the setting. The early interactions between Dracula and Jonathan also bring out an undeniable chemistry; their connection, infused with tension and fascination, feels both compelling and authentic.
Black demonstrates a solid grasp of suspense, building an ominous undercurrent that underscores the forbidden nature of their romance. It’s clear that she has the ability to balance romance with the mystery and foreboding that make gothic stories so compelling. The atmosphere she creates is one of the book’s most enjoyable elements for me, showing her skill in blending romance and horror effectively.
I really loved the creative twist on Dracula’s Brides.
Black introduces an eerie group of former lovers—men who, like Jonathan, once resembled Dracula’s long-lost love, Béla. They exist in a tormented state, clinging to their tragic unfulfilled promises of eternity, warning Jonathan of the fate he risks by becoming Dracula’s next obsession. This chilling portrayal, complete with their agonized red-eyed forms calling him “brother,” is both haunting and heartbreaking, adding a layer of horror that brings the gothic atmosphere to life.
Discovering them could have easily been the climax of Jonathan uncovering Dracula’s tragic history with Béla, realizing the horror of Dracula’s obsession, and fleeing in terror. This would have made for a perfect opening for Van Helsing to enter as an antagonist as well.
While the initial romance between Dracula and Jonathan is engaging, it quickly devolves into a repetitive cycle of “I love him—but I’m a monster—but I love him…” with Dracula’s self-imposed restraint repeated to the point of exhaustion. This conflict could have been more compelling if it focused on Dracula’s inner question: Do I love Jonathan for who he is, or am I merely chasing the shadow of Béla? This dilemma would have deepened Dracula’s character and made the Lover Reborn plot truly meaningful. The monster dilemma could still have been present, but dialed down to let the reincarnation theme take center stage.
Then there’s the “Cat-Béla” twist—a bewildering revelation that Béla’s spirit returned as Dracula’s cat and Jonathan was just some random dude who happened to look exactly like Béla. While it might be just the kind of trick a demon would pull, it felt jarring and confusing. Especially since shortly after, we’re presented with a slightly ambiguous suggestion that Jonathan was Béla’s reincarnation all along, courtesy of the demon’s “white lie” meant to nudge them toward a happy ending. But this twist was both far-fetched and unnecessary. Dracula’s epiphany could have been far more grounded: a realization that, while Jonathan may resemble Béla, he’s fallen in love with Jonathan as a unique individual. Problem solved—no need for a demon ex machina.
The demon’s intervention ultimately doesn’t even solve Dracula’s problem. The issue up until that point seemed to be Dracula’s reluctance to condemn Jonathan to vampirism—not anything related to Béla’s reincarnation. Knowing Jonathan isn’t actually Béla’s reincarnation doesn’t directly address Dracula’s self-loathing over his vampiric nature, so the “white lie” doesn’t add up logically. It’s as if the story’s intention was there, but the execution simply didn’t deliver.
Obsession with past loves emerges as a recurring theme that could have provided a powerful, satisfying conclusion. Dracula is haunted by his love for Béla, Vigo is fixated on Andor, and Van Helsing is consumed by hatred for Dracula, who he believes killed his wife. Each of these characters is trapped in a cycle of longing or revenge, and we see how this fixation leads them down self-destructive paths.
It would have been immensely satisfying, and thematically rich, to see Dracula come to a point of release—understanding that his obsessive love for Béla is holding him back from true happiness. Having him recognize how similar obsessions have destroyed both Van Helsing and, most likely, Vigo, would reinforce the idea that true happiness with Jonathan is only possible if he lets go of the past. This would allow Dracula to see Jonathan as his own person rather than a reincarnation, giving him the freedom to love fully in the present.
Ultimately, a resolution like this would have been a mature, meaningful way to tie up the Lover Reborn plot and Dracula’s inner conflict. It would have given the story a deeper sense of growth and change, highlighting that clinging to the past can only lead to ruin—a message that feels right at home in a gothic romance.
I’ll admit, I already have beef with the original Van Helsing. While he’s a necessary character, he’s – in my opinion - poorly handled in the source material—typically coming across as more of an exposition machine than a character with depth. Film adaptations tend to improve his character by giving him actual chemistry with Dracula (think Edward Van Sloan or Peter Cushing), adding tension and making his role more engaging. Unfortunately, Dracula: Bound in Blood’s version of Van Helsing reverts to a similar pitfall as the original: he barely interacts with Dracula, instead becoming an almost cartoonishly villainous figure, even going so far as to kick Jonathan’s dog.
This exaggerated villainy misses a real opportunity to explore a potentially very profound storyline where Van Helsing, in his obsessive quest for revenge, becomes the very thing he seeks to destroy. His journey could have mirrored Dracula’s, showing how unchecked obsession corrupts, distorts, and ultimately consumes a person. Instead, Van Helsing is presented as a straightforward antagonist, with none of the tragic complexity that could have made his character resonate.
The story’s resolution of Van Helsing’s arc—where Andor swoops in to steal’s the killing blow, after informing Van Helsing that he’s been obsessed with the wrong vampire all along—does little to elevate the character. Rather than a tragic or thought-provoking twist, it feels like a rushed punchline. Van Helsing could have been a dark reflection of Dracula, each consumed by their pasts, but instead, his character ends up feeling shallow and somewhat trivial.
Vigo is one of the more interesting characters, with his tragic backstory and complex past romance with Andor. The concept of his character—a former lover who becomes a bitter betrayer—has strong potential, but it needed far more polish and depth to fulfill its role in the story. Vigo’s hatred and betrayal could have been powerful, but they feel too sudden and disconnected from his past with Andor, lacking the nuanced motivation that could have made him a compelling antagonist.
For instance, a touch of foreshadowing could have made Vigo’s betrayal more believable. We could have seen hints of his resentment or questionable loyalty, especially once Andor enters the story. Without this buildup, Vigo’s shift feels abrupt, leaving us questioning how Andor even discovers Vigo’s collusion with Van Helsing. Some subtle signs, even just after Andor’s arrival, would have strengthened the narrative and added intrigue.
Then there’s the lack of closure. The last we see of Vigo, Andor knocks him unconscious, but we’re left wondering about his fate. Did Andor ultimately kill him? Was there a chance for redemption? This unresolved ending weakens Vigo’s storyline, leaving an incomplete arc where a clear, tragic conclusion could have reinforced the theme of destructive obsession. If Andor had chosen to end Vigo’s life, it would have underscored the message that unchecked obsession—whether in love, hatred, or vengeance—only leads to ruin.
Maybe I’m reading too much into a silly smut novel, but as someone who’s obsessed with the original Dracula, I couldn’t help but see the potential for a rich, thought-provoking exploration of obsession woven throughout this novel. Morrigan Black’s take on Dracula shows sparks of brilliance—there are moments of gothic atmosphere, complex character backstories, and compelling romance that draw readers in. Yet, for all its promise, the story ultimately feels like a rough draft of something greater. With more polish, this could have been a remarkable study in how past loves, grudges, and obsessions shape and sometimes destroy us. In its current form, though, Dracula: Bound in Blood remains an entertaining but imperfect addition to the Dracula retelling genre—a story with tantalizing ideas that almost, but not quite, reach their full potential.
This entire review has been hidden because of spoilers.
October 16, 2024
Beautiful, thrilling, sweet
I love the book. Read the whole thing in one day. Honestly, I’m not going to say too much because I want you to read it, and I believe you won’t regret it but the only reason why this didn’t get five stars from me is because the characters, Andor and Vigo didn’t get an explained ending. It was left more open ended and I feel as though I got a bit invested in there story, well the bits that was told and I would have loved to see more of their ending than what we got.
I love the book. Read the whole thing in one day. Honestly, I’m not going to say too much because I want you to read it, and I believe you won’t regret it but the only reason why this didn’t get five stars from me is because the characters, Andor and Vigo didn’t get an explained ending. It was left more open ended and I feel as though I got a bit invested in there story, well the bits that was told and I would have loved to see more of their ending than what we got.
March 16, 2025
This stuck so close to the myth of Vlad that I was shockingly surprised. A lot was so familiar but still new in its essence. I enjoyed this so much. Even with keeping the names of the characters but changing their involvement. Amazing really. I’ve always had a love for Dracula, all the way back to Brampton Stoker when I was a kid. It was my introduction to vampires and I haven’t stopped since.
This story is gritty and steaming with passion. My favorite from this author so far.
This story is gritty and steaming with passion. My favorite from this author so far.
January 6, 2026
4.25/5 I really liked the story, tho i felt like it dragged a little too much, and i felt like Jonathan and Dracula didn't really sepend that much time together. i mean i definitly can see that they're meant to be together, but i wish to have seen them interacting more.
SPOILERS AHEAD!
I wish Vigo and Andor would have had their own HEA but i do think they eventually would (none can convince me otherwise)
I also wish that Dracula would have head turned the real Bailor into a vempire, but i get the sybolism of finally letting him go. I do really appreciate that in the end Jonathan wasn't actually Bailor.
SPOILERS AHEAD!
I wish Vigo and Andor would have had their own HEA but i do think they eventually would (none can convince me otherwise)
I also wish that Dracula would have head turned the real Bailor into a vempire, but i get the sybolism of finally letting him go. I do really appreciate that in the end Jonathan wasn't actually Bailor.
Read
May 27, 2025DNF’d at 60%. Jonathan pissed me off. The romance wasn’t romancing. Book just wasn’t doing it for me. I tried to see if I could get into it after wanting to dnf earlier and got to 60% so I really tried. Just wasn’t for me. Maybe for someone else.
October 11, 2024
It was awesome, i loved it, i highly recommended.
October 25, 2024
great read
If you love the Dracula story , then you will love this ! Erotic and romantic, dark and mysterious. Count Dracula has never been more desirable.
If you love the Dracula story , then you will love this ! Erotic and romantic, dark and mysterious. Count Dracula has never been more desirable.
January 18, 2025
Dracula
I truly enjoyed the twist and plot of this story. Full of second chances and letting go of the past. I wish there was more!
I truly enjoyed the twist and plot of this story. Full of second chances and letting go of the past. I wish there was more!
June 13, 2025
3.25⭐ a different twist to Dracula's story. Johnathan did get on my nerves multiple times. glad he got it together in the end
October 24, 2025
4*
Overall, I've enjoyed this book.
This was a great retelling, keeping the codes of the original while adding the issues of the Victorian era.
Overall, I've enjoyed this book.
This was a great retelling, keeping the codes of the original while adding the issues of the Victorian era.
Displaying 1 - 11 of 11 reviews