Why did Dracula "save" Jonathan for the very last night until his journey? We know from how he fed on Mina for three days she was pale and weak, but not dead, so he could have been feeding on him for a few days/week until he succumbed.
But he kept him unbitten until Jonathan's final letter was written and only then Dracula declared that "he is mine tonight", and the rest is history.
Dracula prefers foreplay over the climactic act when he's enjoying himself rather than pressed for time. He likes playing with his food and/or future conscripted vampires. With Jonathan, he gives the superficial reason of wanting the Englishman around to learn how to speak in the same way. Which might be part of it! But to have him prisoner and literal captive audience for two months implies the more likely desire of just enjoying the cat-and-mouse of it all. Teasing things out until the last possible night and what Dracula assumes will be Jonathan's last night as a human being full of terror before the Brides have their turn with him, forcing him into inevitable vampirism.
Even with the Demeter crew, we see him playing. None of the men aboard strike him as anything other than another revitalizing meal in potentia, so the only fun he has is playing the torturous game of picking them off one by one in the dark, but the play is there.
You mentioned how different his MO with Mina was--how brisk. I'd say it's because it was all business. And petty vengeance. Not only was he striking at an enemy by trying to conscript her, not only was he violating her and her husband in what played out very much like a rape and a hovering promise that in time she will very literally be another of his pretty undead pets like the Brides. It was also to (unsuccessfully) give him eyes and ears on the group using her borrowed senses. He was on the clock with Mina, which is why she gets the quickest treatment.
Though I think there is something else worth mentioning in how he preys on Lucy; the character we're meant to assume is the template for how he hunts out new undead members to the Dracula club. And what do we learn from her case?
We see that if it weren't for Mina, Van Helsing and the suitors' intervention, his playtime with Lucy would have been far, far shorter and had even less impression on him than the book already showed. Lucy has friends. Lucy has people giving her new blood to stall her undeath. Lucy's conscription keeps getting stalled--and that is what keeps Dracula interested. It's a matter of engagement, pride, and, most likely, the only reason he really bothers to play more extravagantly with her. Hence the theatrics of getting poor Berserker in on it.
And after all that back and forth and bleeding and biting and Bloofer Ladying? He immediately loses interest and starts sniffing after the Pretty Girl in Piccadilly. Which, while indicative of him being a glutton for beauties, shows another very lopsided treatment compared to how he toyed with Jonathan.
I've pointed out before how Jonathan is the only character in the book Dracula goes out of his way to have whole conversations with. Mina gets one villain monologue, the group gets some fist-shaking and moustache-twirling at the Piccadilly house, but even when he has no reason to, Dracula really does go full gothic horror 'courtship' mode with Jonathan. Chatting, cooking for him, maintaining the whole castle charade; true, with increasing acts of abuse and psychological torment, but he actually engages with Jonathan.
This, when Lucy doesn't get so much as a 'Hey xoxo ;)' and Mina is given a traumatic speedrun to get her into vampire mode ASAP.
Dracula shows minimal finesse with Lucy, none with Mina, and devotes two months to Being Very Intimately Weird with Jonathan. Which means the question is less 'Why did Dracula wait so long to bite Jonathan?' and more 'Why is Jonathan's treatment so different from every other victim of Dracula's period?'
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Gambling Apocalypse Tenma AU
As I rewatch Kaiji I inevitably end up wanting to combine show I like with other show I like and stuffing fav characters into show. So here we are.
This was uh going to be a short summary type thing but I accidentally wrote a novella about it sorry
This AU starts off with a much more depressive Tenma. After Tobio's death, rather than immediately pour his grief into developing a robot version of his son, he recedes into himself, psychologically paralyzed, likely turning to alcohol to drown out his anguish.
His mental state is taken as an opportunity within the Ministry of Science to have him ejected from his position; Tenma was never the most well-liked director, and there were those with ambition to usurp him that would jump at the chance. Not that he especially cares in his state.
He's eventually dragged out of his stagnation by Ochanomizu - who, inadvertently, becomes the very catalyst pushing Tenma to develop a robot replacement to his child. This was not what he meant by encouraging Tenma to fill the void left by his son.
...But, well, he is no longer the director of the Ministry of Science. His access to limitless government funds and resources for "scientific research" has been cut off, and this is a project he cannot finance on his own. He can't ask Ochanomizu for help, but...interestingly...a representative of a certain shady organization known as the Teiai Corporation reaches out to him, offering to finance and support his project. A sane and well-minded Tenma might think better of it, but grieving and desperate, Tenma accepts their offer and is able to create a robot in the image of his beloved Tobio. For a while, there's joy in his life.
But the bill, as ever, comes due: Tenma must pay up, and the very resources that had been at his disposal will certainly ensure that he will, or else. Of course, he doesn't have the money; instead, he is given a choice. He can relinquish the robot Tobio in order to wipe out his debt - the child is a sophisticated and powerful robot, after all - or he can participate in a certain illicit event hosted by the Teiai Corporation.
It's nothing major...just a four-hour gambling cruise with a collection of desperate, damned souls that were also swept into debt with Teiai. The conditions are simple: Those who choose to participate are given a chance to clear their debts wholesale should they win. And should they lose...?
Well...no one really knows what happens to the losers seized by Teiai. It's said that they labour away their debts under Teiai's watchful eye and are freed once their work has covered their debts, though it's rumoured that most perish before they reclaim freedom.
There's only one answer Tenma can give, of course; he's not willing to lose Tobio again.
Thus is Tenma's debut into the Gambling Apocalypse, where he must become cutthroat in order to survive; if he wants to see his son again, he must make choices that will doom the hapless to miserable servitude, with a nonzero chance it ends in their death.
He survives the cruise, but of course, it was hardly enough to clear his debt; the cruise was never going to be the end of it. Teiai doesn't let go of its victims that easily. He will be called on again: this is a weight that hangs over him, all while he returns to his son Tobio. The same hands that have pushed innocents into hell must now be the hands that can embrace his child.
He wants to protect Tobio from the truth and enjoy what peaceful moments he's allowed with his son, but it's difficult. It's difficult to be the parent of a child who cannot understand the danger that looms ahead; this "happy" home is not to last. Tenma angers quickly and easily. He turns that anger onto Tobio.
As Teiai's games become more and more vicious and unrelenting, as his conscience holds onto the last vestiges of thread that remain, Tenma even threatens, once, to give the boy in: it would all end, then; the debt would be clear and no longer would he have to endure Tobio's childish annoyances, his ungratefulness.
The next time that Tenma is beckoned, Tobio takes matters into his own hands. He does understand, now; and he would have, if only Tenma had bothered to explain sooner. If it's a debt that needs clearing, he will work. He will help his father clear his debts however he can. Of course, it's difficult to find work as a child; but a circus troupe finds amusement in the idea of a child robot, and takes him in. He is whisked into a certainly unpleasant working situation, but he remembers his father, and what he must be enduring. Tobio, also, will endure.
When Tenma returns, Tobio is gone.
All that held Tenma back from becoming something monstrous has disappeared. All that kept him going has disappeared. When he is called upon by Teiai, there is no knowing what sort of person might come out the other end; whether a monster clawing his way to freedom regardless of what actions he must take, or a desolate husk surrendering defeat.
There is still a light, however dim: Found by Professor Ochanomizu and rescued from the circus, Tobio - now Atom - is able to shed light on the situation which Tenma took great pains to keep hidden from his old friend. With time running out, Ochanomizu and Atom must do what they can to save Tenma - from Teiai, and from himself.
-----
UHHH and that's a wrap!!!! I couldn't quite decide which way Tenma would go after hitting Rock Bottom in this AU, and tbh it would really depend on the kind of mental state he's in at the time. On the one hand I like the narrative of Ochanomizu and Tobio racing to prevent Tenma from crossing a line (actual outright murder probably) - or having to pull him back into humanity (and yknow, his ensuing penance)
But on the other hand having him get sent to Teiai Evil Hell Prison would be interesting because a) there's a lot of narrative potential having Tenma faced with what Teiai is doing with the people that lose the games and b) need him to decimate the foreman at chinchirorin Kaiji style
Tenma's whole character is definitely a much different guy in this AU, he starts off pretty sympathetic, the guy you wanna root for, he just ends up having an inverse character arc where he gets worse instead of better. His conflict with "Tobio" is also kind of reversed, less about being unsatisfied with Tobio as a son and more not being able to handle the fact that he probably has intense PTSD now and isnt capable of coping with it in a way conducive to being a parent (or like, coping at all)
Anyway that's gambling apocalypse tenma!!!
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Season 3 Good Omens prediction: that trope where the two estranged lovebirds are about to bare their hearts once more, agreeing to meet in the hopes of reconciliation, both of them longing and willing to patch things up, both of them scared and excited and guilty and hopeful, as it seems like they're going to fix things now - so they plan to meet at the Place of Romantic Meeting where they hope to rekindle what they had, heal each other's hurts and start anew -
Except the Big Bad isn't having any of it and imprisons one of them, furious at how these heartsick idiots keep having to follow their idiotsick hearts and messing everything up. The other one shows up at the planned rendezvous point, and waits, and waits, and waits. Holding their breath each time someone opens the door - but every time, it's someone else. Hope dwindling, wrestling with despair. The door opens again - and it's the one they were waiting for! Relief!! Vindication! They weren't foolish for hoping after all! "I was beginning to think -" they chuckle, then freeze, as the figure turns and they see them fully. "Ah." Stammering apologies, I thought you were... somebody else. Despair emerges the victor. They make a quiet, resigned exit. They understand.
Somewhere, in a literal or metaphorical cage, their other half is also stricken with grief and guilt, knowing how their absence is bound to be perceived.
Of course, they reunite. Eventually. (It's a love story! They'll be fine in the end, you can be sure about that 😁)
But in the meantime?
...
Twist that knife.
😈😈😈
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