Masters of Death employs mythological and cultural backgrounds from across the world, creating a foundation of inclusivity and exploration. The text highlights characters such as Gabriel, Raphael, God, and Lucifer from Abrahamic religions while incorporating characters such as Volos and Isis from Slavic and Ancient Egyptian religions, respectively, presenting a thorough tapestry of the world’s religious and cultural backgrounds. Through these characters, the text provides a sense of commonality and grounding within a complex world, suggesting that fears of mortality are universal, transcending culture and religion.

Blake also highlights a wide worldview of creatures, particularly through Viola’s vampirism. Although Viola is technically a vampire, she describes herself as an aswang—a shapeshifter vampire from Filipino folklore. According to Filipino folklore, aswangs feed on unborn babies, which is why Viola feels uncomfortable around the pregnant woman at the open house. The incorporation of such folklore displays an appreciation for varying approaches to death and the afterlife, which are often explored through world folklores, myths, and legends. Masters of Death demonstrates the cultural universality in humanity’s fascination with mortality and immortality through legends that attempt to comprehend and explain what happens after death. Rather than making this concept scary, the text uses dark humor, authority, and cultural knowledge to highlight the unknown aspects of the afterlife.