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chorus-the-mutate · 7 months

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This is an edited repost of the Erzsebet Bathory character analysis I wrote yesterday that I refuse to let go to waste. I tried doing the right thing and tagging all of the necessary trigger warnings only for this post to be completely hidden from the Castlevania Nocturne and Erzsebet Bathory tags. Since I can't afford to tag the proper trigger warnings without being punished please do not read this post if discussions of rape or sexual assault triggers or upsets you in any way. I don't take these topics lightly and they are vital to this analysis of Erzsebet Bathory.

This post also contains major spoilers for this first season of Castlevania Nocturne.

This may seem presumptive of me to say but this thought has been stuck in my head for several hours: Erzsebet Bathory is the most rapist adjacent villainess I've ever seen without her actually being a rapist.

The first and smallest point against her is how often she mentions virgins. I know that Erzsebet's initial mention of virgin sacrifices is supposed to tie into the origin of her alter ego and consumption of Sekhmet but it's super fucking weird that it played into why she wanted to sacrifice Maria.

Next point against her is the lawyer's daughter. I'm not sure if this lady was a virgin but when she's first brought to Erzsebet she's already terrified and too dazed to fight back. It's obvious that she doesn't want to be there and that even if she did that she can't really express that desire. But Erzsebet still takes this lady out of a literal gilded cage, sits down and sits this lady on her dress to admire her despair before drinking her blood. The next time we see the lady she's still dazed. The only differences are that she's dolled up and seems more suggestible. Even with hundreds of people in this ballroom scene the lady is literally ignored by everyone except for Erzsebet who dances with her and parades her around for her own amusement. Everyone else knows that Erzsebet likes to make her victims suffer and they still refuse to acknowledge the lady because Erzsebet has made it clear that she's her possession. Hell the only person who is unhappy enough with Erzsebet to go rogue at this point is Olrox and he STILL IGNORES THIS LADY. When the lady is dragged outside to be fed on again without anyone batting an eye it reminds me of a rapist roofying their target and proceeding to do everything in their power to seem interested in their victim's well-being in order to take them to a second location. And no one speaks up since Erzsebet is the Harvey Weinstein, Prince Andrew or Thomas Jefferson of the vampire world; the embodiment of people in power getting away with abuse until the damage has already been done.

The last and biggest point against Erzsebet is the entire scene where she turns Tera into a vampire. For me personally that is just an allegorical rape scene and it's executed very well. Erzsebet makes her entrance at the abbey as a lioness of a woman, a literal predator who wants to take Maria as a sacrifice and turn her into a vampire to ensure Emmanuel the Abbot's loyalty. Tera protests and offers herself to Erzsebet instead. This is such blatant coercion that Tera refers to herself as the ram Abraham sacrificed to God instead of Isaac. And the only question or concern Erzsebet has at this point is if her sacrifice should be a virgin. The only reasons she accepts the sacrifice are Emmanuel's genuine love for Tera and the fact that Tera is a powerful sorceress. Once Erzsebet settles for Tera and physically lifts her to her level no one can stop her. Maria gets knocked out for trying and Richter gets bodied immediately after. Their only option is to get the hell out of there once Annette makes an opening and Richter rightfully runs for his life. Even Maria, the only person that could look back and see Tera turn, is knocked out and that feels like an intentional writing choice to give Tera one last shred of dignity. Erzsebet holds Tera really close in this sort of hug as she feeds on her and once she's fed she literally sits Tera on her lap for her turn to feed. Then Erzsebet cuts herself and the blood starts dripping down on Tera, starting at her skirt, going to her blouse and reaching her face. At first Tera doesn't react but then her body responds to the blood and she feeds even though she doesn't want to. Even though no one wants this for her. And that is exactly what it's like when someone has an unwanted orgasm. Tera's body is protecting itself the same way a victim of assault would and that paired with the blood on her skirt being reminiscent of the blood on a woman's thigh in the aftermath of an assault hammers home the rape allegory. It's very sad and uncomfortable to think of Tera's turn to vampirism this way but the thought lingers hours after like a grimy film on my brain.

I 100,000% believe that Erzsebet would have been an actual rapist if Netflix Castlevania didn't romanticize Lenore raping Hector and ending their relationship on friendly terms. Not to mention Sumi and Taka's sudden shift from allies to sexually assaulting Alucard out of spite. Castlevania Nocturne seems to shy away from rape and sexual assault in favor of allegories or moments so brief that I missed them unlike its predecessor. So I'm blaming the gratuitous depictions of sexual assault in Castlevania on Warren Ellis, the creator of Netflix Castlevania, who doesn't work on this show for a very good reason.

Everything from her size as Sekhmet to her tendency to torture women and girls before killing them contributes to the allegory of Erzsebet being the vampire equivalent of a rapist. She exudes power and not only does she enjoy making others feel helpless she's also great at it. She is a sadist without honor, willing to parade her lady victim of choice around vampire high society or hang a young girl on hooks to drain dry rather than let any of them die a quick death. The dragged out, needless suffering Erzsebet inflicts along with her preference for women and virgins frames her feeding as something more sexual in nature than the other vampire nobles who simply indulge in their gluttony. Even Olrox feeding on his former boyfriend isn't framed sexually, it's framed as a desperate, romantic gesture to keep his lover alive. And every vampire I remember from Castlevania has their feeding framed as a tool for political power or sheer, simple gluttony. Even the vampire general Cho was shown to be more of a tyrant or a general sadist clinging to power in Japan than a deviant.

Erzsebet's sheer sadism actually contrasts quite well with Dracula's humanity and restraint. He understood humanity, only feeding to survive or strike down the merchants who slighted him. (He probably also used feeding as a tool for political power but I don't think we saw that directly.) Dracula ultimately came to understand humanity so well that he fell for Lisa Tepes, the exemplar of what it means to be human. And that love is why I believe he respected Lisa's wishes and let her keep that humanity instead of turning her into a vampire. And after Lisa's death Dracula stopped feeding entirely, hoping to extinguish his life and take out as many people as he could because he believed that humanity should've been better. He believed that the people who lived alongside Lisa would've stood up for her and they betrayed her out of a mix of fear, religious reverence and apathy. Meanwhile Erzsebet doesn't care about humanity, seeing people like the lawyer's daughter as possessions or people like Tera and Emmanuel the Abbot as pawns to further her own rule. She might be taken aback by Drolta's death once she learns of it but there's an equal chance that she wouldn't even bat an eye.

So what do these points of analysis mean for Erzsebet and Tera's future dynamic as master and pawn? The one thing that's certain is that Tera has been fundamentally changed, forced into an unprecedented nightmare scenario that will drag her down a dark path. But I'm an optimist and I believe that Tera will ultimately be redeemed. She may never be human again but her humanity, her love for her son and daughter will save her soul. Ultimately I hope that Tera lives and recovers from the trauma of Erzsebet turning her. I hope that she goes home to her children and is taken in with open arms. But if Tera dies she will die as Tera, not as a pawn, and that is because Erzsebet could never kill her humanity.

#castlevania nocturne #castlevania nocturne spoilers #please heed the preamble #this post still discusses dark subject matters so I want you guys to be careful #erzsebet bathory #tera #tera renard #tera castlevania #dracula vlad tepes #anti lenore #sumi castlevania #taka castlevania #I really want to know what you guys think #and please forgive me if I've read way too much into Erzsebet #I just can't stop thinking about her lack of regard for most anyone #this could contribute to the colonization allegory with Erzsebet but I don't have the background or education to contribute to that talk #long post #ash rambles

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autumnmobile12 · 1 year

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Where his vampire lineage is concerned, I feel like Alucard led a pretty sheltered life before Lisa died. He certainly knows how to use his vampire abilities, but I don’t think he knows very much about his father’s people.

When Sumi and Taka mention Cho, Alucard apparently did not recognize her even though he and Sypha are the ones who killed her. So he never met Cho, even though she was one of Dracula’s generals. Sure, this can probably be explained by distance. Wallachia and Japan are thousands of miles away from each other, but this still doesn’t explain why Alucard didn’t even know/recognize her name.

Also, in Season 2, he never once tells Sypha or Trevor anything about the vampires who fight for his father, which would have been extremely useful information.

Based on all of this, Dracula probably never told him anything about his Generals.

Isaac straight up refers to Alucard as a spoiled child and doesn’t even regard him as a threat. There’s a history here we didn’t get to see, but clearly Isaac didn’t think too much of him.

Then there’s this scene. He’s pretty bitter and hostile toward the Belmonts. But if we look at it from the context to Lament of Innocence, Alucard conveniently leaves out how Dracula orchestrated the kidnapping and murder of Leon’s fianceé. So either he doesn’t care, which is out of character, or he was never told this part of the story.

Even if we don’t take the video games into consideration though, there’s still what Dracula did to the merchants at Kronstadt. We don’t know what his issue was with them, but what is the worst a group of humans can do to seriously offend a vampire? (Lisa’s death excluded.) Did the punishment really fit the crime? Plus, this can’t be the only horrible thing the vampire has done throughout his career, and I imagine even Dracula isn’t one to sit his son down and tell him all about the lives he’s taken. This makes sense if he dedicated his final years to his human wife and his child.

I’ve mentioned in a previous post how the skull Alucard is looking at in this scene is the skull of a vampire infant, so I really think this scene is a subtle nod to ‘atrocities are committed by all sides in war.’

In Alucard’s mind, Trevor is a useless drunk, but Trevor might’ve viewed him as just a brat who only knows one side of the story and that’s the side that puts his father in a favorable light.

#castlevania netflix #castlevania #alucard castlevania #trevor belmont #character analysis #vampires #alucard childhood #castlevania dracula #dracula and lisa #sypha belnades #alucard analysis #castlevania isaac #sumi and taka #cho #japanese vampire #dracula's generals #netflix #lament of innocence #leon belmont

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alpaca-clouds · 1 year

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About that Alucard rape scene

Okay, let’s talk about this scene, shall we?

I had a talk about this yesterday and I might think my take on this scene is at least somewhat unique, so let me post it here, too.

I have mixed feelings about the rape scene. Because on one hand, I absolutely understand why a lot of folks consider it as cynical for basically all storyarcs in season 3 (with the exception of Isaac’s) to end on a downer. I also think, that this should’ve been set up better than it was. But!

As a dude (trans dude, but still), who is a rape survivor, this scene still means a lot to me. You know why?

Because I can basically not think of one other example from media where a guy is raped, while clearly being physically stronger than his rapist and the scene is not used for humor or to otherwise emasculate the guy – nor is it used as some sort of sexual fantasy or anything.

See, here is the thing with how media represents rape: Almost all of the time it is rape of a female character by a male perpetrator. And either it is shown as very titillating towards a presumed cishet male audience, or it is just some sort of trauma porn. Sometimes it is both. Almost all of the time there is a lot of violence involved. The victim will be beaten, held down, will be screaming and wailing and… barely any director will hold back on that kinda stuff.

Even with female victims we rarely get scenes as portrayed in Castlevania, that are a) very held back on what they show and b) show a victim that reacts with the freeze/friend response to it, just going along even though they clearly don’t want it.

Why do I care?

Well… Because if you are a survivor and reacted like that, you often will either not be believed or be blamed for the rape/be told you wanted it. Especially if you are physically stronger than the perpetrator. Because of media bias, a lot of folks think that rape only than counts as rape, when it involves physical violence. Which is just… not the case.

We also do assume that the number of unreported rape of male victims (especially through female perpetrators) is fairly high, because society thinks it is either impossible for a woman to rape a man and/or for it to be emasculating of the man.

Hence… I really do value the scene and how it is shot. Because it is clear to most folks that it is rape – and yet it is not used for humor or to emasculate Alucard, while also being shown as the kind of traumatic experience that it is. And really… I am thankful for that. Because it is the kind of depiction that we are absolutely lacking in media.

#castlevania #castlevania netflix #alucard castlevania #adrian tepes #taka and sumi #that one scene #cw: rape

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alucarddear · 2 years

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Do you think the Taka and Sumi incident was Alucard's first time?

It probably was his first time, and that adds even more to how traumatising it must have been for him.

His character was socially isolated, highly introverted, the “cold spot” in the room. Sypha went on to say “his sadness is like an icy well; bottomless.” He didn’t seem like the type who would be actively seeking pleasure—that’s different to accepting it when offered, like he did with Taka and Sumi. Alucard never came across as flirty or suggestive or even inappropriate to signify sexual maturity in any way we can infer. In fact, we’d actually been fed the complete opposite signs.

The show also tried to tell us that Alucard was still emotionally immature, still growing up when he was forced to make the tough decision to go against his father. He also said so himself that he aged very fast. He was 19 when he attacked Dracula, 20 when woken up in S1E4, but given that he’d been asleep for a year, we can say he was mentally 19, max. (We don’t even finish developing our prefrontal cortex until age 25, so some immaturity at least checks out scientifically. As Sypha once said, perhaps he really was indeed just an angry teenager in an adult’s body :p).

I think it is highly likely that incident was his first time indeed. His responses to their advances showed signs it might have been his first experience. He was very flustered, and he even cried during it. I personally interpret that as overwhelm, like some sort of tears of joy as if he couldn’t believe it, the connection and intimacy that was happening at the time. “You’ve been so alone,” they said to him. He was shocked by that—flustered, hopeful, touched. Of course, unknowing of what was to come, of the two’s real agenda. Sam Deats confirms this is correct.

Thus, it wasn’t all sex to Alucard. (And that wasn’t even sex to Taka and Sumi either—it was borderline rape too. It was via deception. It was a mission. It was attempted murder.) But to Alucard, that was his first real taste of intimacy, the connection he was always craving. He was very lonely prior to them coming into his life. He was vulnerable and that was a completely abhorrent way to attempt to murder somebody, too. It fucks with the mind much worse than if they had simply attempted to poison him or outright stab him or something.

Not only will it make him mistrust humans, but it will also scar him romantically/sexually. It makes you wonder: how will he let another person in his heart? How will he be able to trust his future sexual partner?

We did see him regress a bit in the beginning of S4, and the show was clever about ending S3 with that downward spiral, giving us a glimpse of Alucard potentially going Dracula on us because of that incident (pikes, anyone?), but no, the kindness in him prevailed. Come S4, when humans needed help again, he let them in yet again, despite having very valid reasons to not want to take the risk again of being betrayed or backstabbed—literally.

That scene really didn’t need to occur to give him a bad time lol, and that was probably done for shock, but… his response after the fact is also one of the reasons why I love him tbh.

#Alucard deserved better #alucard #adrian tepes #adrian fahrenheit tepes #castlevania #taka Castlevania #Sumi Castlevania

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thekingwhereitallends · 11 months

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Started watching Castlevania,finished third season and gotta say it's a masterpiece.

Hector and Alucard didn't deserve to go through that hell😭💔

#alucard tepes #hector #trevor belmont #sypha belnades #trepha #sumi #taka #castlevania #vampire #anime #animated series #sad #dark #tragedy

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quiveringdeer · 4 months

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damn the last episode of season 4 is really all I could've ever hoped for an ending to a great show!! and Vlad and Lisa even get a second chance they fuckin deserve!!!!

I'm scared to watch Nocturne tomorrow and see how it all comes crashing down since it's 300 yrs in the future I guess. buuuut I'm curious about seeing Drolta and Olrox- who sparked my interest in finally watchin the series anyway so...

#nat talks #castlevania #im actually pretty glad trevor came back and greta seems to be just as badass as lisa for alucard #tho i was real sad about sumi and taka 😔#i really wanted the three of them to get some happiness #all four of them coulda ended up a badass polyam couple since greta seemed down for that #guess it's off to find fixit fics on ao3 tomorrow

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theforgottendaydreamer · 2 years

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Sometimes I think of how Alucard thought he'd found love or at least someone who cared about him after Trevor and Sypha left- and they never stopped caring for him and loving him ofc but a man with abandonment issues can't know that- but these people he'd found ended up raping and almost killing him

#castlevania #alucard #sypha belnandes #trevor belmont #taka and sumi #adrian Ţepeş

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datorangemf · 2 years

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I have something for you.

BEHOLD! The biggest bag fumblers in castlevania.

Taka and Sumi fumbled the bag so fucking hard it's honestly embarrassing.

#orange #they could've been sittin pretty and suckin vampire dick and knowing more about the castle but NO!#castlevania #taka castlevania #sumi castlevania #alucard castlevania #They just had to fuck it up by rushin the process.

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monkeydlesbian · 1 year

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UGH I KNEW IT WAS MORE THAN SEX YALL SUCK

#castlevania liveblog #sumi and taka can DIE 😭

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pinkvampiress · 2 years

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I wanted to love Sumi and Taka so badly. Everything that went down just gave me so much pain. I wanted Adrian to have a poly union.

Also as characters I really liked Sumi and Taka; they looked like they were slated to be some well executed Asian characters (Sumi not being docile, and slightly darker in complexion, Taka being a himbo and having wavy hair with freckles; showcasing Asians can have array of features. Also going through the art book I must say Castlevania had probably the most diverse range of East Asians I’ve ever seen for a show [even if it was just Japanese background characters] I was vibing with that so hard)

But we couldn’t even have that 🙃

Their lack of patience, lack of trust and paranoia cost them so much.

#castlevania #castlevania spoilers #castlevania s3 #taka and sumi #it’s been two years and I still can’t move on

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autumnmobile12 · 11 months

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All right, this scene is a contentious one to say the least.

I want to look at the elements that make up this part, starting from the very beginning.

After waking up in Gresit, Alucard had one goal: Kill Dracula. Throughout Season 2, he’s determined, he has points of dry, sarcastic humor, but as a whole, his personality is pretty grim. He is absolutely unwavering in his determination.

Once Dracula was dead, though, he now has to live with the guilt of not only killing the father who loved and raised him but also the guilt over being unable to save his mother when she needed him. When Lisa was taken, Alucard was traveling, and though he never explicitly says this, I would bet anything that ever since that night he has asked himself, “Why wasn’t I there? What could I have done differently? If I had done _______, she would be here right now and none of this would have ever happened.” Alucard is a rational character. He understands that what happened to Lisa was a cruel accident of fate. She was accused of witchcraft, and he and his father were simply in the wrong place at the wrong time. They couldn’t have predicted her death, they couldn’t have changed it.

But this is how the Bargaining Stage of Grief plays out. This is what sets him apart from Trevor and Sypha by the end of Season 2. Between the three of them, Sypha still has her family waiting for her. She still has her people and the optimism to still see the brighter future. (Which is a trait she never fully loses.) As for Trevor, he had already lost everyone he’d ever loved, and so he definitely already went through all the messy stages of grief to the point of sad acceptance that his family is dead and now he has to live with that.

Alucard can’t identify with that kind of acceptance yet, for either of his parents. The grief is too raw, and so I believe his decision to remain behind while his companions left without him was a form of self-punishment. In spite of the understanding it wasn’t his fault, he doesn’t believe he deserves to be happy after everything that happened. Sure, he says he needs to protect the accumulation of his father’s knowledge, and while that might have been true, I feel like he had other options. The show demonstrates that magic is capable of the impossible, so I feel like there should have been some kind of spell that could be engineered to keep his father’s/the Hold’s collection from being destroyed or looted. If he asked Sypha and Trevor to stay and help him, I think they would have. Instead, he watches them leave without asking them to visit or even expecting to see them ever again. And we leave him finally breaking down over his losses.

All this to say he was not in a good headspace when Sumi and Taka showed up, which they picked up on and exploited to their advantage. (The guy was talking to dolls he’d made to resemble his friends, and he was mimicking their voices in pseudo-conversation. Funny conversations, yes, but damn, that coping mechanism…)

The first thing Alucard tells them is he ‘will not be hunted,’ but there is a disturbing irony here.

Attacking them indicates that his guard was up and he was ready to end lives if he had to. Self-preservation is on point. It’s Sumi and Taka who de-escalate the situation. “We mean you no harm. We came to ask you for help.” They’re smiling and laughing by the end of this initial encounter. They tell him their story. “We’re these poor, innocent waifs from a distant land searching for a way to save our people. Pity us.” They present themselves as non-threatening, wide-eyed victims who only need help, which is a ruse he unfortunately falls for.

“It’s time for your reward.”

It makes my skin crawl how despicable that one line of manipulation is. This is the chink in Alucard’s armor: the idea of guilt that persists after the mother he couldn’t save and the father he killed, especially the latter. Understandably, although Alucard recognizes what he did was necessary, the fact he’s committed patricide is weighing on him. There was Sypha’s words of comfort at the end of Season 2 that was it was ‘okay to love the man,’ but neither she or Trevor are around. This leaves the opening for the toxic, false comfort of Sumi and Taka’s manipulation. Here they are introducing the conflicting idea that what he did is worthy of praise.

Couple that with the factor that at this point, he’s only known them for a few days at most. Obviously, that’s nowhere near long enough to establish an emotional connection that’s strong enough to say, “Yes, I want to be with this person.” But his silence is not consent; in fact, I see this as fear that if he does not go through with this like they want, it will make them leave him like Sypha and Trevor did. Again, they are playing on that fatal loneliness. Coercion.

Soft words, soft voices, and that is he what he needed to hear.

And Sumi and Taka knew exactly what to say.

Back in their flashback about Cho, Sumi and Taka talk how they ‘studied’ her, studied the way she fought, and learned about her weaknesses for years. This is the subtlest bit of foreshadowing I’ve found so far in the series. It shows that Sumi and Taka don’t hunt vampires the way Trevor does. They’re formidable fighters, yes, but they were not born and raised to hunt like the Belmonts were. They don’t have that specific training or discipline, so they make up for it with deceit. They ingratiate themselves with their prey, observing them and looking for the weak point.

Alucard said he would not be hunted.

But he was.

The entire time they were there, Sumi and Taka were studying him the way they studied Cho. They saw Alucard’s loneliness and they took full advantage of the trust he gave them. He invited them into his home, fed, and looked after them, he saw himself as their friend while the whole time they were looking for a way to kill him. They were continuously asking about weapons, magic, off-limits rooms in the Castle, when the Castle could be fixed, etc. They were trying to zero in on the ‘kill room’ where he would be at his most vulnerable.

It’s hard to say how much of Sumi and Taka’s story was true given the outcome, but I’m inclined to believe it was but with one caveat. I don’t think they helped their fellow prisoners escape. I think they were the only survivors. There’s no evidence of this other than the fact I think it’s suspicious that they left their friends behind to seek help. Okay…Japan is a long way from Wallachia. They couldn’t find anyone closer? They didn’t try to smuggle more people away? They don’t even mention their people in their angry ranting before they try to kill Alucard.

There’s also the brief line where they say they were given to Cho’s court as children. It’s not clear whether or not their parents were forced to give them up as tribute to Cho, but that’s irrelevant if they themselves felt betrayed and abandoned by the people who should have loved and protected them. There is the later line where they say everyone lies to them. With that, I think they were so far in the fog of grief and anger that in their minds, they were unable to recognize Alucard could have been a genuine ally to them, and they only saw him as just another vampire who was evil and needed to be killed.

The beauty and the tragedy of both Alucard and Lisa’s characters is that they are both so incredibly kind and selfless, and they want to believe in people. Even when the Bishop’s henchmen came to her home, Lisa didn’t immediately jump to the conclusion of witchcraft and fear. She asked if the Archbishop was ill and if they needed her help. When they started tearing apart her home, she told them whatever they wanted she would give it to them. She didn’t try to run. She tried to explain calmly about her medical practice and that what she did helped people. Her undoing was a man who meant her harm.

Lisa’s arrest is mirrored in the moments before Alucard kills Sumi and Taka. Even though he realizes what’s happened and the situation he’s in, realizing they aren’t with him out of love and this was all a manipulation, a trap, and even rape——even though he realized all that, he still wanted to help them.

Right before they die, he is begging them to listen, that is their friend, and he can help them. The world is not against them. These aren’t the words of a man trying to save himself. He is living admirably up to the virtues he learned from his mother. He waited until the last possible moment before choosing to save his own life over theirs. And his last line to them is, “I never lied to you.”

There’s no condoning what Sumi and Taka did to Alucard, that is an undeniably fucked up thing to do to a person and the plot accounted for it by killing off their characters. However, I do feel these two are a testament to how anger and hatred will destroy a person and are a kind of foil to characters like Isaac. Isaac was horribly abused in his past and he had every reason to resent humanity, and yet by the end of his arc, he was beginning to let go of his anger and start a new life where he could be happy. This is the lesson Isaac learns by the end of Season 3 whereas we leave Alucard again weeping alone with the memory of people he couldn’t save: his mother and father and the two people he thought were his friends. Again, he is grieving. “I was a good friend to them, wasn’t I? I helped them, didn’t I? What did I do wrong?’

The answers are yes, yes, and no, he did nothing wrong. Grieving is coming to terms with that.

And finally, we have the gruesome way in which he ‘displays’ their bodies outside the Castle as a means to warn off other travelers or intruders. Impalement was a very degrading means of execution. It was excruciatingly slow, extremely painful, and those who faced this sentence would suffer for hours if not days in public. You see the rage and humiliation he feels, and so by impaling the corpses, he in turn inflicted that humiliation on Sumi and Taka. It’s probably as close to the ‘eye for an eye’ mentality as he gets.

A recurring theme throughout the series is innocence against the brutality of a cruel world. Characters like Sypha, Alucard, and Lisa can give all the kindness they have to offer, but they can’t change the fact that people like the Judge and Bishop exist. Characters like Trevor and Isaac lost their faith in humanity and found it again with the help of people like Sypha and the Ship Captain. And characters like Dracula, Carmilla, and even Sumi and Taka, lost their way entirely and were swallowed up by their rage and pain.

#castlevania #alucard tepes #sumi and taka #lisa tepes #cho #castlevania netflix #character analysis #character development #alucard and lisa #isaac #castlevania dracula #character comparison #trevor belmont #sypha belnades #grieving characters #grief #this one was hard to write

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