Plot
In the plot, Krista Starr returns from military service in Iraq to learn that her twin brother, Zack, has died under mysterious circumstances. Her investigation reveals that Zack was a "familiar" - a kind of indentured servant who agrees to do a vampire's bidding in the hopes that his "master" will eventually reward him with eternal life. Krista's search for her brother's killer soon brings her face to face with Blade, as well as with the killer himself, Marcus Van Sciver, a powerful vampire and high-ranking member of the House of Chthon. Smitten with Krista, Marcus decides to turn her into a vampire by injecting her with his blood. Krista is then approached by Blade, who injects her with the same serum he uses to control his own vampire instincts, and offers her a chance to help him avenge her brother's death and bring down Marcus and the House of Chthon, and revealed that Zack was trying to do a sting operation with Blade. The two form a reluctant partnership.
The remainder of the season follows Krista's attempts to maintain her cover in the House of Chthon, all the while struggling with her growing predatory nature, and Marcus' (supposed) efforts to develop a "vaccine" that will render vampires immune to all their traditional weaknesses; sunlight, silver, garlic, etc. It is later revealed that Marcus' true purpose is to create a virus called the Aurora Project that will specifically target "purebloods," the ruling vampire class, and leave the turnbloods (normal vampires like Chase and Marcus, who were once human) unscathed. He eventually unleashes his weapon in the series finale, surprisingly enough with Blade's help.
Read more about this topic: Blade: The Series
Famous quotes containing the word plot:
“After I discovered the real life of mothers bore little resemblance to the plot outlined in most of the books and articles I’d read, I started relying on the expert advice of other mothers—especially those with sons a few years older than mine. This great body of knowledge is essentially an oral history, because anyone engaged in motherhood on a daily basis has no time to write an advice book about it.”
—Mary Kay Blakely (20th century)
“Those blessed structures, plot and rhyme—
why are they no help to me now
I want to make
something imagined, not recalled?”
—Robert Lowell (1917–1977)
“James’s great gift, of course, was his ability to tell a plot in shimmering detail with such delicacy of treatment and such fine aloofness—that is, reluctance to engage in any direct grappling with what, in the play or story, had actually “taken place”Mthat his listeners often did not, in the end, know what had, to put it in another way, “gone on.””
—James Thurber (1894–1961)