🦇Random Drac fact of the day! 🦇
If he ever lets Jonathan leave the castle to hunt alone, the second he gets back he gets tackled and then forced to sit and get nuzzled for an hour
it looks cute, but in reality, the count is re-scenting him. Nuzzles can be for affection but they’re first and foremost a type of claiming tactic. That doesn’t mean it can’t be cute. (Johnny only lets the Count do this because he finds the Vampire’s resulting purrs endearing)
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I’m probably far from the first to say this BUT.
Dracula and Jonathan being romanticized or reinterpreted as a couple makes way more sense than Dracula and Mina. At least from a narrative standpoint and judging by their interactions in Stoker’s original novel. Which. Knowing about Stoker’s sexuality makes a lot of sense.
Why has no one based a movie or novel off of this idea? I would love to see it.
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Dracula and Mina
Alas, work has pulled me away from tumblr right at a pivotal moment again, but here we are, so I'll make some thoughts here on a number of topics; Lucy, Renfield, and Mina.
Starting with the most recent; Dracula's 'visitation' to Mina.
(T/W: discussions of sexual assault)
This scene is so often framed in adaptations as some sort of love scene, building from the Jack Palance 1974 edition, which was both the first to feature Dracula being explicitly Vlad Tepes in his backstory and the first to feature the 'lost love' subplot - in this case, Lucy, with the attack on Mina being his wrathful vengeance for the gang killing his vampire bride after he had finally found her again.
The Palance edition borrowed this subplot of a vampire pining for his reincarnated lover, not from any canonical Dracula, but from Barnabas Collins of Dark Shadows. Before this, while Dracula could be seductive, he was a ruthless, predatory bastard - see both Bela Lugosi and Christopher Lee's performances - it was here with this lesser-known, though still quite good, Dracula adaptation that the course starts to divert.
This of course set the stage for romantic and sexy Draculas of subsequent adaptations, Louis Jordan, Frank Langella and Gary Oldman among others all depicting various tiers of Dracula as the tragic, romantic and suave villain, sometimes antihero.
Which brings us further and further from Stoker's calculating monster, and from the original intent of this scene, which still reads to me as one of the most chilling and uncomfortable scenes of the book - really it's the climactic horror scene of Dracula, the last time the heroes are caught flat-footed by the Count's power before they take the fight to him, and the culmination of the slow-burn establishment of Mina's selfless heroism, the strength of her relationship with Jonathan, Renfield's tragic arc, and the idiot ball the cast has been grabbing by leaving Mina out of their boy's club.
Without whitewashing it, the scene reads unambiguously as an assault, with Mina attacked in her bedroom by the Count, subdued with physical force, fed upon and then forced to drink Dracula's blood. The aftermath leaves her bruised, traumatised, and declaring herself 'unclean'. It's not a subtle metaphor and it's not meant to be. It is meant to make your blood run cold and to me, Mina's grief and shame and self-loathing, Jonathan's impotence and despair, and the horrified reactions of the gang, it is brutally effective.
It also re-establishes the stakes of Dracula and the threat of the villain; maybe they are fighting the good fight to avenge Lucy and stop the Count's attempt to conquer England, but there are very personal stakes too. If they fight Dracula, he will bite back, and their loved ones will suffer and die.
Here I think it's important to step back and note what Stoker handles in what to me reads as a surprisingly modern response; though Mina bears the physical and emotional scars of her encounter with Dracula, her 'hysterics' are brief (and entirely fucking justified given the circumstances, my god) and she is quick to reassert her strength and composure and seize agency of her situation, declaring that since the worst thing has already happened to her, she can have no more fear. From here, her role as the group's brains and heart is not only undiminished, it gets stronger, as the other characters start relying on her more and sidelining her less. As paternalistic as Van Helsing is here (and boy do we get a lot of long rambling Papa Helsing speeches here) it's Mina who ultimately has the strength of will to not only decide first to die human rather than share Lucy's fate, and then to accept fighting that to the end alongside her companions.
Jonathan's reaction to her scarring, too, is something left out of most adaptations, and I think it flies under the radar as one of his most powerful character moments; here in this story, which only gets more Catholic from here, with all the characters fervently fighting for immortal souls against this agent of the Devil, etc etc, Jonathan Harker is willing to consciously damn his own if it means that Mina won't face eternity alone.
For a good English Protestant boy who's already suffered horribly at the hands of vampires, this is monumental, stands in stark contrast to the fate of Lucy and Arthur, and makes total sense for a man who loves his wife more than his own soul.
This - the loss from the story of Dracula's brutality and cruelty, Mina's courage and resilience, and Jonathan's bottomless devotion - is why I can't stand adaptations flipping the script on this scene and everything it implies, even if it is uncomfortable and awful to read, it's supposed to be, and it defines so much about all three of these characters going forward.
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[the women lifting cake to their mouths and staring directly into each other's eyes]
Lucy: I'm so in love with my man
Mina: I, too, am in love with my man
Lucy: I found another man who would be better for you
Mina: tell me more
Lucy: he owns an entire lunatic asylum
Mina: I've got chills
Lucy: let's disrobe in front of the fire and talk more about how horny we are. for men
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A Touch Through Time - Official Post
So... the reveals for the Rare Male Slash Exchange (RMSE) finally happened today, so here I am sharing the three fics I wrote for it!
All three fics are in my Masterpost and my Mizuka's Odyssey series!
So... I wrote for Dracula, Fire Emblem Awakening, and Persona 3!
[links go to AO3 - all three fics are rated M and have 1000 words]
This fic is particularly special, because my assignment was none other than my friend, Birdie (@0nelittlebirdtoldme)! She managed get me into the Dracula TV show that aired on BBC in 2020, and... well, as a vampire writer myself, I had to take a stab at other vampire fandoms, and I can promise you that this won't be the last of it ^_^
Title: A Touch Through Time
Fandom: Dracula (TV 2020), Dracula - Bram Stoker
Ship: Dracula/Jonathan Harker
Rating: Mature
Category: M/M
Word Count: 1000 words
Summary: Jonathan follows after Dracula and his hands, over the course of their relationship and through the sands of time.
You may be interested? @mrsmungus, @udaberriwrites, @magma-saarebas19, @aislinnstanaka, @lena-hills, @bees-and-sunshine @bleepbloopbotz, @sliebman10, @axolotlsupremacyowo, @tsunderewatermelon, @0nelittlebirdtoldme, @argyleheir
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No 3 Forbidden Taste (JonathanXDracula)
After 7 years since they vanquished the vampire known as Count Dracula, Jonathan Harker didn't expect the tragedy that befall him on that day, leading him to live a life under the Count's rule. However, once it ended, he opened his eyes to realize he was returned to the time, before he was attack by Dracula's female companion.
It’s the long awaited Dracula arc, how did Jonathan became one of the “villains”, let’s see~~
https://archiveofourown.org/works/48582301/chapters/122545429
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