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#death castlevania
prickly-paprikash · 7 months
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My favorite little character trait so far in Castlevania Nocturne is Olrox's possessiveness.
Once he marks something as his, it's his whether he even realizes it or not.
We are told, straight up by him, that he turned his lover into a vampire without his partner's say-so. Lenore mentioned the nature of Vampires—the ever-present hunger. This burning desire to grow and consume, consequences be damned. We see this in Erzsebet's obsessive need to become the ruler of all things in existence, so much so that she has fashioned herself as the Messiah. We see this compulsive gluttony in Carmilla and her all-consuming greed; she simply must have it all, because no one else is deserving of the world.
We see it in Godbrand's animalistic, sadistic tendencies when hunting his prey. Chō's demented need to make every kill, every transformation a perverse performance of her monstrous skill.
We definitely see it in Dracula. His anger and wrath, razing kingdoms and laying waste to societies.
There is a gaping maw seemingly inherent in all those turned into Vampires. Humanity's flaws taken to their most extreme conclusions once the Vampiric venom drips through.
Olrox is possessive beyond belief. What is his is his.
He claims he doesn't love Mizrak, but risks exposing himself to Drolta and Erzsebet the second Mizrak's life is in danger.
He cannot let go, just like Vlad. He must get even. With Olrox, at least this thirst for vengeance is balanced by his adherence to what he views as justice, which means he isn't the type to initiate a war in the name of his beloved. Olrox is "An Eye for an Eye" adherent.
It's something that truly intrigues me, because every single named Vampire exhibits this endless hunger.
Even Death, who is considered a type of vampire itself.
Alucard, I think, is free (or at least more in control) because of Lisa's own human nature—the ability to feel satisfaction, as well as her nurturing light. This is only developed further because of Trevor, Sypha and Greta.
Which begs the question: what is Tera's hunger? What is that idea or feeling that'll hook its fangs into her skin and drive her into reckless abandon?
Love for Maria and Richter? The feelings of betrayal against the Abbott? Her hatred of Erzsebet for the murder of her sister?
Another fucking reason why I need SEASON 2 NOW GOD FUCK NETFLIX STOP RENEWING EMILY IN PARIS YOU WACKOS.
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nyxshadowhawk · 3 months
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Alucard and Death by Nat_Evangelich
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the-crow-binary · 9 months
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A Belmont in red, shaking his fist at Death... Throws him a few centuries back. :)
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autumnmobile12 · 1 year
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The Vampires in Castlevania
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Vlad III Dracula Ţepeș (Impaler) was a real person.  He was a Wallachian voivode who was born sometime between 1429 and 1431, and he died in 1476.  The exact manner of his death has been lost to history, but the common belief is he was beheaded in battle and his head was sent to Sultan Mehmed II in Constantinople as proof of his death.
As for Bram Stoker’s Dracula, some historians are starting to doubt the prince was the actual inspiration for the famous vampire.  One of the reasons for this is Stoker was a very thorough note-taker, but none of his notes for writing Dracula mention Vlad III or any of his lifetime achievements/atrocities.  So it’s possible Stoker only chose the name ‘Dracula’ because he knew it translated as ‘son of the Devil.’  Further reading - Dracula: Sense and Nonsense by Elizabeth Miller.
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Carmilla is the name of a lady vampire in the novella Carmilla by Sheridan le Fanu, a story that is actually older than Stoker’s novel.  It features a lesbian relationship between Carmilla and the protagonist, Laura, and was written as a criticism of the Victorian view of women, specifically repressed sexuality.
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Varney also comes from a book.  Varney the Vampire or The Feast of Blood was a penny dreadful written by James Malcolm Rymer and Thomas Peckett Prest.  (I haven’t read this one all the way through, but there is a scene where Varney is struggling to get over a garden wall, and I think that’s hilarious.  Not exactly apex predator material.)
Varney:  You think you have me stymied, don’t you.
Trevor:  No, I think a garden wall has you stymied.
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Lenore is the name of a German poem written by Gottfried August Bürger.  It’s about a woman named Lenore who curses God because her beloved did not come back from war, so Death kidnaps her to reunite them, effectively condemning her soul for eternity.  It’s not about a vampire, but the poem has had a hand in influencing vampire literature.
Anyway, does anyone else really want to see Lenore cheering Trevor on in the last battle?  Or stealing the knife and ending Death herself.  Cause I do now.
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The closest thing to a vampire in Viking folklore is the draugr, although this creature is more of a restless ghost than what we think of as a vampire.  They haunt the graves of the dead and guard the treasures they acquired in life by driving humans insane, drinking their blood, eating their flesh, and other nasty things.
Side note:  I’m really curious as to what led Godbrand to becoming a vampire.  Immortality didn’t really play a huge factor in Old Norse culture since the Vikings believed a glorious death in battle was the one and only way to go to Valhalla.  Other deaths that were deemed shameful or unworthy landed you in Helheim, which I really need to address further in a separate post.
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Japan also doesn’t have an exact vampire equivalent, but they do have some yokai spirits that have vampire-like characteristics, including but not limited to:
Nukekubi:  A flying head that detaches from its human body at night and attacks people to drink their blood.
Rokurokubi:  A similar creature to nukekubi except the head doesn’t detach but rather travels from the body via an elongated neck.
Nure-Onna:  The ‘drenched woman’ is a large serpent with the head of a woman that drinks blood.
Personally, I would have loved to see Cho’s head fly off to attack someone simply to see Sypha, Alucard, and Trevor briefly panic.
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beevean · 1 year
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Translating Symphony of the Night's bios
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Alucard (Adrian Fahrenheit Ţepeş)
Age: 400 (presumed)
A hybrid born from Count Dracula and a human mother. Despite his beautiful androgynous features and slender body, he is physically strong and can use dark magic.
His main weapon is a sword, and by using various magical devices and items, he can gain the ability to transform and magical attacks.
He is a taciturn and gloomy young man, but he has an intelligent and calm personality.
Maria Renard
Age: 17
A girl who is distantly related to the Belmont family of vampire hunters, and also Richter's sister-in-law.
She herself is a vampire hunter who defeated Count Dracula with Richter in battle five years ago.
An intelligent and active girl who has the amazing power to control animals. On her journey to find a missing Richter, she hears rumors of a resurrected Castlevania.
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Richter Belmont
Age: 24
A descendant of the Belmont family, who have fought Count Dracula for generations as vampire hunters. In the battle five years ago, he defeated his nemesis, Count Dracula, but has been missing for a year. A hot-blooded man with a strong sense of justice, who fights with a whip that has been used for generations as a weapon against vampires by his ancestors.
Count Dracula (Dracula Vlad Ţepeş)
Age: 800 (presumed)
As the lord of Castlevania, he has terrorized many people. With his mighty power of darkness, he is the supreme ruler of the dark world and he is skilled in black magic.
He was revived for the third time in the 18th century, but he was supposedly destroyed, along with the castle, by the vampire hunter Richter Belmont...
He is also Alucard's father.
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Master Librarian
The master of the Long Library. He serves Dracula and is acquainted with Alucard.
By talking to him, you can purchase items, sell gems, and obtain various information.
Death
The Grim Reaper, who works as Count Dracula's confidant. He is also acquainted with Alucard, and ends up taking his equipment near the entrance to the castle.
Shaft
A mysterious monk versed in various dark arts. Five years ago, he was the one who revived Dracula, but was defeated by Richter Belmond in that battle. … supposedly.
Lisa
The wife of Count Dracula, she had a son with him. That son is the main character of the story, Alucard.
The beautiful Lisa has already passed away, and her image lives on in Alucard's heart.
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inversionimpulse · 8 months
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honestly I think my favourite bit of Castlevania lore is that Dracula has a magic artifact that, among other things, enables him to summon and control Death
He acquired it through a complex scheme that involved... Death doing what Dracula said to. Which worked because he and Death were already friends back when he was still just a human lashing out against God in his grief. Somehow.
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the-edude · 6 months
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Day 28 & 29: Death and Dracula
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the-smashor · 6 months
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If Lisa didn't exist, Dracula and Death (From the games, not the show) would be shipped constantly.
My source for this is that Remilia Scarlet and Sakuya Izayoi from Touhou have the exact same dynamic (Powerful vampire and person who's incredibly loyal to them for no apparent reason) and they're in the Ho Yay section for Touhou on TV Tropes.
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devileaterjaek · 1 year
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Death (Castlevania Judgment)
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soulshield39 · 6 months
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I’m making a prequel and this is the prologue.
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alpaca-clouds · 11 months
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Castlevania Season 4
Currently seeing a lot of people watching Castlevania for the first time and being as confused as everyone else once was about season 4 and certain story developments.
Spoilers - Obviously.
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The story decisions in question basically show up in all the storylines:
Why is Alucard just okay with everything about having talked to Greta for approximately two hours?
What the fuck is the deal with the entire Targoviste storyline, that kinda goes nowhere?
Why are Hector and Lenore just fine after everything that she did in the end of season 3?
Why was St. Germain so easily corrupted? (And why does his love interest not even get a name or voice lines?)
Why does Carmilla so suddenly go off the deep end?
Why don't the four storylines never meet up, ending the story without the main characters (that is the group of Hector and Isaac, vs the trio) ever meeting?
Why is Varney?
And I mean, we are never going to fully know. But chances are good, that Warren Ellis had thought he would get five seasons to tell his story - instead of only four. Now, we never got confirmation for that, but there are a lot of points speaking for it - most notably just that the last season feels rushed af.
Now, a big question is, why it got then cut down into four seasons. There is a lot of speculation. For once there is of course all the shit coming out about Warren Ellis at the time. So maybe Netflix wanted to cut him off, before all of that came out. There is also the fact, that season 4 went into production in 2020 and we all know what happened in 2020. So chances are, that the show might well have been impacted by the pandemic. There is also the fact, that Ellis was allegedly in general hard to work with for some people. Another fact. And, lastly, it might just have been a Netflix thing, even though we are getting Nocturne. (You know... *cries in Inside Job and DeadEnd*)
There is also the fact, that a lot of folks harrassed Netflix and the creators about everything season 3. Especially the Alucard scene and what happened to Hector. And if we look at Rise of Skywalker, we know it would not have been the first and only time that fans harassing a studio got them to backpaddle on story decisions.
But I think a lot of writing decisions for the most part can be explained with simple Story Economy under the idea that Ellis had if not calculated for five seasons, then at least for more episodes in that last season.
I have often heard people talk about "But why are Alucard, Trevor and Sypha even there?", because it is very clear that for the most parts season 3 and 4 are very much the story of Hector, Isaac and the Styria sisters. With everything else kinda feeling more like an obligation. (Even though, unpopular opinion: I do like both the Alucard and the Lindenfeld storylines in season 3.) And this is very noticable in season 4 of course. The entire Varney thing comes out of nowhere. St. Germain's Face-Heel-Turn comes out of nowhere. Death comes out of nowhere.
The simple answer is, of course, that the main trio is the main trio and it would probably not have been within the contract with Netflix or Konami or whoever to write them out. Not to mention that, yes, Alucard is probably half the reason some viewers are there. Hence, they needed a storyline.
Now, again, I am mostly just speculating. But I do assume that at some point the plan has been to pitch Carmilla against the main characters. It would not have been surprising to me, if the original plan was to have her slowly go off the deep end in season 4, have her make a deal with Death and maybe give her a redemption arc in season 5 (because she feels like a too well developed character for the development in season 4 being the original plan).
But given the "end it with season 4" and "main trio has to do stuff, because main trio" requirements that had probably have to be met, a lot of decisions make sense.
Why does Alucard get over his trauma within hours of meeting Greta? Well, because there was no time for him to have a proper recovery arc, before he had to be there for a finale to happen. Maybe, too, because of the harassment and some fans not wanting to see Alucard in a position of weakness.
What is the deal with Targoviste? Mostly just to give Trevor and Sypha something to do, before they could join for the finale. Also to introduce Varney.
Why is Varney? Because there was no character, who would believably get into "making a deal with Death" within just one season. Hence he was just a tool to bring Death into the plot. (Which kinda makes sense, given Death is a main antagonist in several of the games.)
Why are Hector and Lenore just fine? Because here, too, there was no time for a proper recovery arc. Also, maybe, because a lot of people got angry, too, about Hector being put into the position of weakness. So it was just swept aside.
Why does Carmilla go off the deep end so quickly? Because there was no time for a proper corruption arc either. But she needed to be the bad guy for that storyline, because otherwise there would not have been a proper finale for the entire Styria storyline, as it was unable to reconnect to the Wallachia storyline.
And why is St. Germain so easily corrupted? I would assume because some executive decision had been made that he had to be put into the season.
The thing is really, that if you just look at it logically, the plot points kinda make sense - but because they are so rushed, they do not feel right. And of course this does kinda ruin a lot of it, because the ending is what matters a lot in stories.
Now, personally, I am mostly fine with where all the arcs end. I personally am fine with the ending of building a village around the castle. I am fine with Isaac taking over Styria. I am fine with Dracula and Lisa coming back from the dead. And yes, I am fine with Lenore dying. But it does feel rushed and I do not like how the plot gets there.
Most of all, I wished that there was a bit more emotional fallout from season 3. I definitely do not like how Alucard is just suddenly fine - or how Hector and Lenore are suddenly fine. It does feel emotionally... unfullfilling. *sighs*
But nothing to do about it now.
What I am getting at with this ramble: I do not think that Ellis (who is a horrible human being, but also a pretty good writer) has suddenly forgotten how to write stuff. I mostly just think that there was a lot of Drama going on behind the scenes. Partly because Ellis is a bad human, but also because of pandemic being pandemic.
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beetch666 · 1 year
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my favorite art pieces i’ve done in 2022
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viralvava · 1 year
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sorry gang. i burnt the cooking
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the-crow-binary · 7 months
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The two eternal bastards boyfriends :)
(Curse you, Death! Why you gotta be so difficult to draw)
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askvarneyakadeath · 1 year
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Um Death your zipper's down.
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"The fuck's a zipper? And why's it down? Gotta cheer your zipper up a bit it sounds like, get it a beer or something. I don't know, alcohol fixes most of humanity's problems apparently."
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beevean · 6 months
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@viralvava
~
Existence was a lonely affair, for Death. He was created at the beginning of time, only bound to collect departed souls and to the avatar of his Creator. He was feared, he obeyed: that was the beginning and the end, and Death knew no more, and simply did what he was made for, without anything else touching his mind.
Master Bernhard was an excellent ally, when it came to providing souls: his little, petty games always ended with one or two souls for Death to collect. He took no joy in separating parents from children, or betrothed from one another, but it was the purpose of his existence. That, however, did not make for enjoyable company. Master Bernhard was far too self-conceited to strike a conversation with whom he looked as a servant. It was alright with Death, as he himself was not one to waste words for those who did not deserve them.
Then, one day, Master Cronqvist completed the Crimson Stone, and Death bowed to the newborn vampire not without curiosity. What sort of Lord would he become? One hungry for power? One who longed for solitude? A benefactor for his subjects? It was new: and for the first time in centuries, the spark of excitement ignited in Death's ribcage.
What Master Cronqvist, and then Dracula, ended up being, was a friend.
Death was reticent in borrowing such paltry human terms, but he figured that it fit their situation. Master Dracula spent his first centuries as a vampire in relative peace, building up power, only feeding when necessary - a far cry from Death's former master - and striking conversations with him. He was eager to know more about the world, and he relied on Death's ancestral knowledge and wisdom, to give him advice on how to rule on the land, or simply because for the longest time, the two of them were the only being in Master Dracula's own castle. It suit Death just fine: his Master made for enjoyable company.
But Master Dracula seemed to be a more magnanimous vampire than his predecessor, because he eventually fell in love. Death took care of his Master's human wife, and his hybrid son when he came to light. For reasons he could not explain, Death kept feeling a twinge of repulsion at the sight of Master Dracula smiling at the woman, but he kept quiet, for his Master's joy is what he existed for. And so, for the first time since he could remember, he regretted taking a human soul - the one who plunged his Master into despair. Still, Death never left Master Dracula's side, and collected all the souls of the victim of his grief, aware that for the world he was nothing but a monster, but for Death, he was but a lonely man in need of comfort.
And then the Belmont slew his Master, with the same weapon that had slashed Death centuries prior.
How could have Death failed him? The vampire's soul returned to the abyss, far where Death couldn't reach him; but it still beckoned to him, his closest servant, to be brought back.
He could not allow it. He worked tirelessly on a plan to revive the Lord. He had to, he had to bring Master Dracula back to the human world, where he belonged...!
The useless Devil Forgemasters frustrated all of his efforts.
No matter what Death did, Master Dracula spent more time dead than alive. And Death worked alone, collecting souls, waiting until the time was right... missing him.
The notion was laughable. Master Dracula was a mere child, compared to the eons Death had existed for. He served him, because he had to, but surely he couldn't have left an impact that strong in a few centuries.
No, he eventually was forced to accept. He was not only bound by duty. What pushed him to try everything in his power, manipulating unwitting humans, striking alliances with the odd Belmonts, slaying wayward vampires who dared to take his Lord's place, was the joy that resonated in his core when his Master rose back from his ashes. Every time he was called back by the greed of humans, Master Dracula was more wan, his eyes more sunken, his fangs longer and sharper; but he always greeted Death with a smile, as if no time ever passed for him.
But it passed for Death. Even an ancestral being such as him could feel the weight of a mere century, if spent alone without the only creature he could call a friend.
The sight of the young human clad in white was a blow to his ribcage. Death will never, ever forgive the Belmont clan, who forced him to fight that weak, pitiful, haughty boy who no longer had any memories of his old confidant.
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