Black Gate's Matthew David Surridge said that The Great God Pan influenced Bram Stoker's Dracula (1897) as both works feature "an introductory sequence featuring a horrified Englishman in a non-English setting; then a variety of seemingly-unconnected events in London, the metropole at the heart of Empire; then the discovery that all those events are in fact inspired by one malign and supernatural intelligence, that the rational contemporary capital is threatened by the irrational and archaic; then an equivocal conclusion.
The fear of sex, women, foreignness."
John C. Tibbetts notes that both Helen Vaughan in The Great God Pan and Lucy Westenra in Dracula are "demon women of voracious and malignant sexuality".
Theodora Goss also notes similarities between the death of Helen Vaughan in Machen's novella and Lucy's death in Dracula.
Tibbetts also notes that Machen's portrayal of Helen Vaughan as demonic and hyper-sexual may have influenced a similar character, The Woman of Songs, in Richard Marsh's The Beetle (1897).

The Great God Pan was highly influential on the circle of writers around H. P. Lovecraft.
The structure of Machen's story influenced the structure of Lovecraft's "The Call of Cthulhu" (1928).
Pan's depiction of a monstrous half-human hybrid inspired the plot of Lovecraft’s "The Dunwich Horror" (1929), which refers to Machen’s novella by name.
According to Lovecraft scholar Robert M. Price, "'The Dunwich Horror' is in every sense an homage to Machen and even a pastiche.
There is little in Lovecraft's wonderful story that does not come directly out of Machen's fiction."
 Pan also inspired Lovecraft to create his character Nodens who appears most prominently in The Dream-Quest of Unknown Kadath (1943).

Clark Ashton Smith was inspired by The Great God Pan to write his story "The Nameless Offspring" (1931), which also features a monstrous child born of a human and a supernatural entity.
It has been suggested that Michael Arlen's novel Hell!
Said the Duchess (1934) is a parody of The Great God Pan, as Arlen was influenced by Machen's work.
The Great God Pan influenced Peter Straub's novel Ghost Story (1979) in its depiction of a shapeshifting monster who terrifies those it encounters.
Straub himself frequently credited The Great God Pan as having been a major influence on his work.

According to film historians Keith McDonald and Roger Clark, Mexican film director Guillermo del Toro's portrayal of the faun in his 2006 dark fantasy film Pan's Labyrinth was inspired by the "ambivalent and possibly dangerous" portrayals of Pan in late Victorian and early Edwardian novels, including Machen's The Great God Pan and Pan's Garden (1912) by Algernon Blackwood.
Del Toro deliberately chose to imitate the darker, more sinister fauns of Machen and Blackwood rather than the "sweetly domesticated figure" of Mr. Tumnus from C. S. Lewis's The Lion, the Witch and the Wardrobe (1950).
The original title of the film in Spanish is El Laberinto del Fauno (The Labyrinth of the Faun), but the English title Pan's Labyrinth emphasizes the connection between del Toro's film and the body of late nineteenth-century writings about Pan, including The Great God Pan.

Stephen King wrote that his novella N. from his story collection Just After Sunset (2008) is "a riff on Arthur Machen's The Great God Pan....  Mine isn't anywhere near [as] good [as the original], but I loved the chance to put neurotic behavior—obsessive/compulsive disorder—together with the idea of a monster-filled macroverse."
King has also cited Machen's novella as an influence on his novel Revival (2014).
Similar to Pan, Revival features an experiment on a young woman's brain which allows her to see into another world.
Josh Malerman said The Great God Pan partly inspired his novel Bird Box (2014).
Black Gate's Matthew David Surridge said that The Great God Pan influenced Bram Stoker's Dracula (1897) as both works feature "an introductory sequence featuring a horrified Englishman in a non-English setting; then a variety of seemingly-unconnected events in London, the metropole at the heart of Empire; then the discovery that all those events are in fact inspired by one malign and supernatural intelligence, that the rational contemporary capital is threatened by the irrational and archaic; then an equivocal conclusion. The fear of sex, women, foreignness." John C. Tibbetts notes that both Helen Vaughan in The Great God Pan and Lucy Westenra in Dracula are "demon women of voracious and malignant sexuality". Theodora Goss also notes similarities between the death of Helen Vaughan in Machen's novella and Lucy's death in Dracula. Tibbetts also notes that Machen's portrayal of Helen Vaughan as demonic and hyper-sexual may have influenced a similar character, The Woman of Songs, in Richard Marsh's The Beetle (1897).
The Great God Pan was highly influential on the circle of writers around H. P. Lovecraft. The structure of Machen's story influenced the structure of Lovecraft's "The Call of Cthulhu" (1928). Pan's depiction of a monstrous half-human hybrid inspired the plot of Lovecraft’s "The Dunwich Horror" (1929), which refers to Machen’s novella by name. According to Lovecraft scholar Robert M. Price, "'The Dunwich Horror' is in every sense an homage to Machen and even a pastiche. There is little in Lovecraft's wonderful story that does not come directly out of Machen's fiction."  Pan also inspired Lovecraft to create his character Nodens who appears most prominently in The Dream-Quest of Unknown Kadath (1943).
Clark Ashton Smith was inspired by The Great God Pan to write his story "The Nameless Offspring" (1931), which also features a monstrous child born of a human and a supernatural entity. It has been suggested that Michael Arlen's novel Hell! Said the Duchess (1934) is a parody of The Great God Pan, as Arlen was influenced by Machen's work. The Great God Pan influenced Peter Straub's novel Ghost Story (1979) in its depiction of a shapeshifting monster who terrifies those it encounters. Straub himself frequently credited The Great God Pan as having been a major influence on his work.
According to film historians Keith McDonald and Roger Clark, Mexican film director Guillermo del Toro's portrayal of the faun in his 2006 dark fantasy film Pan's Labyrinth was inspired by the "ambivalent and possibly dangerous" portrayals of Pan in late Victorian and early Edwardian novels, including Machen's The Great God Pan and Pan's Garden (1912) by Algernon Blackwood. Del Toro deliberately chose to imitate the darker, more sinister fauns of Machen and Blackwood rather than the "sweetly domesticated figure" of Mr. Tumnus from C. S. Lewis's The Lion, the Witch and the Wardrobe (1950). The original title of the film in Spanish is El Laberinto del Fauno (The Labyrinth of the Faun), but the English title Pan's Labyrinth emphasizes the connection between del Toro's film and the body of late nineteenth-century writings about Pan, including The Great God Pan.
Stephen King wrote that his novella N. from his story collection Just After Sunset (2008) is "a riff on Arthur Machen's The Great God Pan....  Mine isn't anywhere near [as] good [as the original], but I loved the chance to put neurotic behavior—obsessive/compulsive disorder—together with the idea of a monster-filled macroverse." King has also cited Machen's novella as an influence on his novel Revival (2014). Similar to Pan, Revival features an experiment on a young woman's brain which allows her to see into another world. Josh Malerman said The Great God Pan partly inspired his novel Bird Box (2014).
The Great God Pan