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Jay Kristoff’s Empire of the Vampire trilogy is an illustrated dark fantasy saga set in the Empire of Elidaen, a realm plunged into perpetual twilight by a supernatural catastrophe known as “daysdeath,” in which the sun has dimmed enough to allow vampires to walk freely in daylight and dominate humanity. At the start of the series, 27 years have passed since daysdeath, most human kingdoms have fallen, and vampiric empires hold sway, led by the cruel “Forever King,” Fabien Voss. In the absence of light, flowers no longer bloom and the world smells perpetually of rot.
The series is narrated through a frame story in which Gabriel de León, the last of the silversaints, a holy order of vampire hunters, recounts his life to the vampire historian Jean-François Chastain while imprisoned in the fortress of Sul Adair. Over the course of the series, it is revealed that daysdeath was caused by a forbidden ritual performed by the five Priori, the “first” ancient vampires of five bloodlines, including Fabien of the line Blood Voss. Daysdeath can only be undone by a prophesized savior known as the Holy Grail, whose blood is sacred.
Empire of the Vampire (2021), the first book, establishes Gabriel’s origin story. Recruited into the Silver Order at fifteen after discovering his paleblood nature (the child of a mortal mother and a vampire father), Gabriel rises to become the Order’s greatest champion, only to be excommunicated when he falls in love with the holy sister Astrid Rennier. Years later, Fabién murders Astrid and their 11-year-old daughter, Patience, setting Gabriel on a path of vengeance. The novel’s second timeline introduces Dior Lachance, a streetsmart orphan revealed to be the Holy Grail of San Michon, a living descendant of the Redeemer whose sacred blood can heal the dying and burn vampires to ash. In the novel’s complex theology, the Redeemer is a foundational figure (analogous to Jesus Christ) who was killed on a wheel, the wheel becoming His symbol.
Gabriel is recruited to protect Dior but after discovering that his own Order intends to sacrifice Dior in a ritual, Gabriel kills his mentor, Abbot Greyhand, and the silversaint Chloe Sauvage to save her. Gabriel also encounters his sister Celene, long presumed dead, now a vampire serving the secretive Esani bloodline, a cult of cannibalistic vampires who believe they can save the souls of those they consume through a sacrament they call “communion.”
Empire of the Damned (2024) deepens the trilogy’s central conflicts by splitting its narrative between Gabriel and Celene. After the massacre at San Michon, Gabriel, Celene, and Dior journey south to seek an ancient Esani vampire named Jènoah, but find only ashes and a fragmentary prophecy about ending daysdeath. During a brutal battle at the Esani stronghold of Cairnhaem, Celene betrays Gabriel, and Dior is captured by Nikita Dyvok, the Blackheart, and his sister Lilidh, the Heartless. In captivity, Dior discovers that her blood can break vampiric thralldom and builds a secret resistance within the Dyvok court, aided by the young Princess Reyne á Maergenn.
Meanwhile, Gabriel is rescued by Phoebe á Dúnnsair, a duskdancer (shapeshifter) of the Ossian Highlands, and the pair become lovers. Gabriel rallies the Highland clans to march on Dún Maergenn, and in a climactic assault, Baptiste Sa-Ismael destroys the Blackheart, and Celene consumes the ancient Aléne Voss. Yet victory comes at devastating cost: Lilidh snaps Dior’s neck, and Gabriel, believing the girl dead, vanishes without attending her funeral.
The novel closes with two revelations that reshape the trilogy’s trajectory. First, in a tomb beneath the cathedral, Celene witnesses the awakening of Mother Maryn, the eldest surviving Esani, roused from centuries of slumber. Second, three days after her death, Dior opens her eyes. These twin developments propel the action of Empire of the Dawn, in which Maryn’s guidance steers Dior toward a prophecy requiring her to claim the Fivefold Throne of Elidaen on Maidsfeast, Gabriel is driven by the discovery that his daughter Patience has been raised as a vampire by Fabién Voss, and Celene is caught between her devotion to the Esani cause and the growing suspicion that her masters may harbor a darkness deeper than the one they claim to fight.
The third book’s opening Dramatis Personae reminds readers that the five vampire bloodlines (Voss, Dyvok, Ilon, Chastain, and the secretive Esani) each possess distinct supernatural gifts, and that Gabriel’s enchanted blade Ashdrinker, already damaged in the first novel and further broken in the second, remains the prophesied instrument through which daysdeath might be undone.
Jay Kristoff (b. 1973) is an Australian author of fantasy and science fiction whose career has been defined by commercial success, critical accolades, and periodic controversy. A New York Times, USA Today, and international bestseller, Kristoff has published 18 novels across multiple series, accumulated eight Aurealis, an Australian Book Industry Award, and David Gemmell Award nominations. His work spans young adult and adult audiences and has been translated into more than 35 languages, with over 2 million copies in print worldwide. His major series include the Lotus War trilogy (Stormdancer, Kinslayer, Endsinger), the Illuminae Files (co-authored with Amie Kaufman), the Nevernight Chronicle (Nevernight, Godsgrave, Darkdawn), the Lifelike trilogy, the Aurora Cycle (also with Kaufman), and the Empire of the Vampire trilogy.
Despite this success, Kristoff’s career has been marked by accusations of cultural insensitivity. The most sustained criticism targets his debut, Stormdancer (2012), a steampunk fantasy set in a fictionalized version of feudal Japan. East Asian readers and bloggers, including book review sites such as The Book Smugglers, charged Kristoff with superficial and inaccurate use of Japanese language, mythology, and social customs, arguing the novel treated Japanese culture as exotic set dressing rather than engaging with it substantively. A 2012 review on the site described the novel as a case of cultural appropriation, citing numerous factual errors in its depiction of Japanese honorifics, naming conventions, and social structures (Ana and Thea. “Smugglers’ Ponderings: On Stormdancer by Jay Kristoff.” The Book Smugglers, 14 Sept. 2012). A 2022 retrospective on Fantasy-Faction reached similar conclusions, noting that the novel’s errors suggested research drawn from surface-level sources rather than deep engagement with Japanese history (JC Kang. “Stormdancer: What Could Have Been.” Fantasy-Faction, 9 Mar. 2022).
Additional criticism targeted the Nevernight Chronicle for its depiction of the Dweymeri, a fictional seafaring culture that Māori readers identified as drawing heavily from their traditions without adequate care. Separately, critics flagged the character name “Adonai,” one of the Hebrew names for God, as attached to a practitioner of blood magic, arguing this invoked the antisemitic blood libel trope. In response, Kristoff issued a statement pledging to change the character’s name in future printings and donating charity fundraiser proceeds to the Anti-Defamation League and AAPI organizations (Jay Kristoff. “Addressing Recent Questions.” GoodReads, 22 Apr. 2021).
Empire of the Vampire represents a departure from the works that drew the heaviest criticism. Rather than drawing from a specific non-Western culture, the trilogy builds its world from a blend of Western European medieval history and Catholic theological tradition. Its fictional Empire of Elidaen is modeled on a broadly Francophone feudal society, its religious framework is an analog of Roman Catholicism complete with saints, martyrs, cathedrals, a Pontifex, and a holy Inquisition, and its vampire mythology is rooted in the Christian sacramental tradition of blood and communion. Critics have not leveled the same charges of cultural appropriation against this series. The depth with which Kristoff engages Catholic iconography, from the theology of redemption and damnation to the institutional corruption of a powerful church, suggests a more sustained and serious treatment of his source material than was evident in his earlier work.
Kristoff especially uses the iconography of institutional religion to explore themes such as The Perils of Uncritical Faith. Through the excesses of the series’ central religion, the One Faith, and the exaggerated belief of the Esani, the Empire of the Vampire saga shows how unquestioned and fanatical beliefs can subvert the core of humanistic values that are the bedrock of great religions.



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