According to its creators, The Lost One is an ‘animated horror concept that seeks to reframe the vampire myth through a theological lens rather than traditional Gothic folklore.’ The production team describes the story as centered on Evral, a devout wanderer who attempts to end the legacy of Cain and instead becomes the first vampire — a transformation they frame as a consequence of divine judgment rather than supernatural infection.

The concept originates from director Anky Cyriaque, who presents the project as an ongoing development initiative and as an exploration of belief, consequence, and cosmic rupture. In the production team’s materials, Evral’s transformation is characterized not as melodrama but as a shift in the sacred order, where conviction becomes a catalyst and righteousness turns into trespass. At this early stage, the creators outline the work as a conceptual inquiry into faith, punishment, and the unintended outcomes of spiritual certainty.

Conceptual Foundations

As described by the production, The Lost One draws on scripture, apocrypha, and angelic lore to move away from the familiar lineage of Western vampire narratives. Within the team’s framing, the vampire is not imagined as an aristocratic outsider or seductive figure, but as someone altered through a confrontation with ancient moral logic. This approach, they note, is intended to situate the story within a broader cultural and metaphysical landscape shaped by sacred texts, cosmic judgment, and the intersection of myth and consequence.

In these materials, the resulting creature is portrayed as a tragic figure defined by divine error rather than darkness, a thematic direction the creators identify as central to how they envision the character and the world around him.

The Lost One is envisioned as an animated work because the medium offers the scale and flexibility needed to depict the project’s proposed mythic and theological imagery. In their materials, animation is described as a way to explore settings and events that extend beyond the limits of live-action, ancient civilizations in collapse, celestial upheaval, and landscapes shaped by divine consequence.

The team outlines a collaborative group intended to support this direction. They note that the script, written by Wil Radcliffe, draws on a mixture of lore and thematic loss. Producer Ivan Collazo is described as grounding the project’s independent framework, while early casting announcements name Kreesha Turner, Katy Yoder, and Tara Abboud as performers intended to shape the emotional tone of the piece. Composers Cody Carpenter and Ron Schultz are cited as contributors to the project’s planned sound palette, and sound designer Mark Relyea is listed as shaping its intended auditory atmosphere.

These elements, as described by the creators, are presented as part of the conceptual foundation they hope to build upon if the project advances.

(R-L: Kreesha Turner, Katy Yoder and Tara Abboud)

Conceptual Framing

The production materials frame The Lost One as a story rooted in belief and consequence, outlining Evral’s transformation as an inquiry into conviction, faith as catalyst, and the unpredictable results of engaging with sacred structures. In the creators’ description, divine order is neither benevolent nor stable, but ancient, impersonal, and severe. They present these themes as part of a broader conceptual territory they hope to explore, how inherited myths shape fear, how belief systems generate both meaning and fracture, and how horror can expose the wounds embedded within theological and cultural narratives. At this stage, the project remains conceptual, with these thematic and stylistic elements representing the framework the team intends to develop if and as the project moves further into production.

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*This feature examines The Lost One as an emerging conceptual project within the horror space, and is currently in pre-production. NightTide’s coverage reflects the thematic approach presented by the creative team, not an endorsement.

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