#of course Simon watches Castlevania

[akumajoaurora]

Castlevania Games Do Have a Story (And Why It’s Important That It Stays Subtle)

Ok so this is basically an expanded writeup of some loose thoughts I posted to Twitter earlier today in response to the news that the God of War Ragnarok guy wants to do a Castlevania game, but this is something I’ve been thinking about for a long time, so I figured it deserves to be on a long form post and not just Three Sentences Per Post Dot Com.

A big criticism of Castlevania that I hear pretty frequently is “Oh, it has no story”. However, this is untrue- Castlevania games very much do have a story, they’re just not presented in the format that most people are used to. 

A lot of story-driven video games play out somewhat like a TV show or a novel. You get to watch the story play out from start to finish, with characters talking to each other, and often moving and acting as though you were watching TV. There’s nothing wrong with this format- I enjoy it a lot myself! Everyone who knows me knows I’m a big fan of Devil May Cry, after all. But this isn’t the only way to tell a story.

With the exception of a few games (mainly Lament of Innocence and Curse of Darkness), Castlevania has a much different format. While there are some cutscenes, they’re generally much more limited and there aren’t very many per game; In some of the really old games, there really isn’t much dialogue at all, and instead the main plot points are given to you in scrolling text at the beginning and end of the game or in the game’s manual. This is important because it pushes you, the player, to engage with the text. The story is there, but how deep does it run? How does each game play into the overall saga of Castlevania? That’s what you have to discover for yourself, and clues can often be found in the level design, the music, and flavor text.

To give an example, let’s analyze one of my personal favorites story-wise, Castlevania II: Simon’s Quest. 

This game takes place 7 years after the original Castlevania. Our friend Simon Belmont, now 29 years old, has already killed Dracula. However, he begins to feel gravely ill, and fears he may be on his deathbed. He goes to the family cemetery to contemplate this, and a mysterious unknown woman appears to him, who tells him that he’s been cursed by Dracula. In order to save himself, he will need to collect five scattered pieces of Dracula’s corpse, use them to resurrect Dracula, and then kill him again, all within seven days or he will die. The mystery woman then disappears.

Simon travels the land in search of the Dracula relics. Along the way he, of course, fights monsters, and also talks to the ordinary people of Transylvania in search of clues; Some of them are nice or even flirtatious towards him, but a lot are openly hostile, and will lie to him or try to scam him. Every night, Simon’s curse worsens, and the famous words “What a horrible night to have a curse...” appear as more and more monsters start to come out. During this time the player is unable to go indoors. Depending on how long it takes you to complete the game, Simon either dies fighting Dracula, or survives and frees himself from the curse. He then is seen making a grave for Dracula. This is the text of the good ending:

"The encounter with Dracula is terminated. Simon Belmont has put an end to the eternal darkness in Transylvania. His blood and sweat have penetrated the earth and will induce magic and happiness for those who walk on this land."

So, what can we get out of this short, dialogue-lite game? Let’s take a look.

Even though Simon has already defeated Dracula, the fight is not over. He can’t truly escape his family legacy, and the ongoing battle between man and vampire. Simon, like many Belmonts, is trapped within a cycle of violence- Even when he does what he’s “supposed” to do. It’s manifesting in an extremely physical way that forces him to engage with the conflict- If he were to do nothing, the curse would quite literally kill him within a week.

Simon is a thoughtful and spiritual person who respects his family greatly. Rather than getting angry about his condition, giving up, or even asking a doctor, he went to his family cemetery to contemplate in the presence of his ancestors. The fact that he seemingly didn’t go to a doctor brings me to my next point...

Simon is largely disliked by his neighbors- Even though, again, he’s already killed Dracula. A common element of Castlevania games is that the Belmont family are feared and distrusted for their magic powers and their proximity to the supernatural, and this is certainly true for Simon. Still he continues to fight.

Despite this, he clearly still has someone looking out for him. Who is the mystery woman? Is she an ancestor spirit (Sypha, perhaps)? Is she a witch? An anonymous admirer? Either way, she cares enough for Simon to help him in his time of need.

Simon is, ultimately, a deeply kind and caring person. Even though Dracula caused so many people horrible suffering, including Simon himself, he still took the time to build a grave for Dracula. He showed respect even for his greatest enemy and went out of his way to provide him dignity in death.

In the end, the people finally recognized Simon’s good deeds, and he was hailed as a hero... But at what cost? It’s worth noting the specific phrasing, “his blood and sweat have penetrated the earth”. Simon had to give so much of himself, very much putting his life on the line in order to keep humanity safe. The burden of heroism is an extremely heavy one.

Simon’s Quest becomes even more poignant when put into place with the wider Castlevania timeline. Simon is one of so many Belmonts to be feared and hated by his neighbors, give everything in order to save them, and finally win their respect- But at a very high cost. Again and again this cycle plays out. It’s also worth mentioning that Simon’s Quest is the origin of the famous background music track, “Bloody Tears”. Interesting name, isn’t it? Whose tears are they? Are they Simon’s- Is the curse ravaging him so badly that he’s literally crying blood as he keeps fighting? Are they the tears of the Belmont clan, unable to escape their fate? Or maybe tears shed for, or perhaps by, the spirits of all those who have lost their lives to Dracula? Worth thinking about. 

Every Castlevania game has a story, and all of them come together to create a much wider tale of life, death, and rebirth, generational trauma, the cosmic battle between good and evil, the nature of humanity, finding light in the darkness, and why we keep fighting. Like the gothic novels it draws from, it poses many questions about the nature of life, death, suffering, and what it means to be human. The format in which this story is told is a unique one that encourages introspection and participation. If you’re someone who enjoys media analysis, I highly recommend the Castlevania series.

Ultimately, while I don’t think it’s impossible to do Castlevania in a more traditional format (after all, LoI and CoD pulled it off pretty well), I do think that the layers to the story are a big part of what makes it, well, Castlevania. I don’t think it’s at all fair to say that Castlevania doesn’t have a story- Many of the games don’t have a distinct linear dialectical narrative the way a lot of modern games do, but they very much have a story. Why not try experiencing it?

In conclusion,

#Castlevania #I'm 100% sure I'm going to regret making this post very quickly but I need people to understand how fucking cool Castlevania is #I like thinking!! I like games that make me think! And I want people to stop being mean to Castlevania #Long post

[alpaca-clouds]

Winter Whumperland Day 03: Don't Cry For Me

Day 03 of @amonthofwhump 's Winter Whumperland Challenge. I chose Mistaken Identity as a prompt.

Fandom: Castlevania (Netflix)

Characters: Lisa & Simon Belmont

Genre: Whump

Length: 1062 words

CW: Early Signs of Dementia

[Link to Ao3]

A/N: A lot of headcanon in this one. I ship Trephacard as a triad and hence the second Belmont child is actually the son of Alucard and Sypha. And it is Simon Belmont.

“Morning” was a relative term. Most people would've called this noon. But in a household in which half of the people were vampires, nights and days quickly switched places. As such it was only now that Simon brought the breakfast his father had prepared to the room of his grandparents.

He knocked and was greeted by the voice of his iacă. “Yes?”

Balancing the tablet he opened the door, entering the room that was mostly darkened, always prepared for his bunic who could not be in the sunlight. Said bunic was not here right now, probably just idling away in the laboratory, just as he so often did.

“I brought you some breakfast,” he said with a smile, putting the tablet down on the table in the rather large room. It was the same room, that much he knew, his mother had once occupied when she had come to the castle so many, many years ago.

“Thank you, Adrian,” she said, groaning as she got up.

Somehow the name made a shiver run down Simon's back. He had known, that his iacă was not in the best state of mind any longer. Bunic had said it came with the age. As human aged, their minds became fragile, starting to forget things, starting to stop following reality in the same way they did when they were younger. Of course Simon knew, that he looked quite alike his father. It was not that strange to be mistaken for him in general. Just that his iacă did it right now made him realize, that her mind really was slowly failing.

Still, he forced a smile onto his lips. “It's Simon, iacă. I am Simon.”

She blinked, as she sat down at the table. There was a strange haze in her eyes as she watched him. Only slowly recognition set in. “Right. Right. Simon. I am sorry, my dear.” She managed a slow smile, her teeth still in a remarkable condition considering her age. She took his hand, patted it. “I am truly sorry.”

“It's alright, iacă,” he replied and turned to go, but she would not let go of his hand.

“Stay with me for a while, would you?”

He took a deep breath. He had only returned to the castle a few days ago and was not yet quite sure how he felt about her being here. His parents and bunic had agreed to have her hear for the last… Well, they did not know how long she would last, did they? Maybe a few months, maybe years. He just did not know how to feel about it.

Yet, he sat down on the other side of the table, watching her. She was old by now. 71 years. Very old for a human. His parents kept telling him that she had had a long life. It was just that Simon just didn't get it. Why would she want to die? She could have had immortality?

His mother and father had chosen immortality as well. It only seemed reasonable, right? Why wither away and die, when you could live forever?

Not that he had ever been given a choice. Being born immortal and all.

“What is it, child?” she asked in a soft voice, as she started eating the porridge his father had made for her. There was some honey in it. Honey and jelly.

Wasn't it weird? Normally Simon was very straight forward. But around his iacă… He felt somewhat insecure. He could not just ask her, could he? “Nothing.”

She chuckled. This weird kind of chuckle old women tended to have. “Come on now, Simon. I have known you all your life. You can't lie to me.”

He groaned. Why would no one ever let him be? “I just don't get it, iacă. Why would you want to die?”

Stirring her porridge in the bowl, she was silent for a long moment. “Because I don't want to life forever.” Her voice was tired, as she spoke, but the little smile curling her lips still soft.

Simon just stared at her, still unable to understand.

He had been around dying people before. Of course he had. After all he had killed quite a few fuckers himself. He had killed some evil dudes and dudettes. As well as a long list of monsters. And of course he had been there when people in the town had died from old age or sickness. But it never had been anyone this close to him. Some of his earliest memories was with his iacă up in England. Not to mention he had spent almost a year with her and bunic when he was 15. She almost was like a second mother to him.

“Don't fret, Simon,” she said, taking another spoon to her mouth. Her hand was shaky as she was moving it, betraying her weakness. “Everything that lives will at some point die. You, too.”

“But I…” He stopped himself. He would die in battle, would be killed one way or another. Because his kind did not know a “natural” death. And really, dying in battle seemed better to him – more epic, specifically, than this. Slowly withering away like a flower plucked from the ground. “I just don't understand.”

She just continued eating, watching him as he tried to figure it out. Her hair had long turned grey, her face was wrinkled. Of course he knew by now, that she had died once before. But that made it even harder for him to understand. Why would she want to die again?

He looked at his own fingers. Long, just like his father's, like his grandfather's as well. His hair was blond meanwhile, just as hers once had been. He swallowed hard, before he looked at her again. “I don't want you to go, iacă,” he whispered.

This prompted her to put down the spoon. With a still shaky and strangely soft hand, she took his. “I am not yet gone,” she replied. “But once I am I don't want you to cry for me. I had a good life. I did my best to do good. That is something I wish to be celebrated.”

Once more he found himself swallowing as he slowly nodded. “I… I will try that,” he breathed, as he stared at her. She really was going to die. “I promise I will try.”

#amow winter whumperland 2022 #whump #mistaken identity #family #castlevania netflix #castlevania fanfiction #lisa tepes #lisa castlevania #simon belmont #demencia

[maxriderg]

In honor of #ChristmasEve2022 and #KeithSilverstein's #52ndBirthday, allow me to share this and as well as welp, hitting the bell to cue this. https://m.youtube.com/watch?v=899kstdMUoQ

Ladies and Gentlemen, Today is Sir Silverstein's 52nd Birthday and well, have a #Happy52ndBirthday to the one and only, Keith Silverstein (1970-present) himself, the English-language #AfricanAmerican Voice Actor who is known for voicing Barry in #DisneysAmphibia, Garland in #MobiusFinalFantasy, Midas Felgreed in the #StarOcean series, Zasalamel in the #SoulCalibur series, Simon Belmont in the #Castlevania series, Vector the Crocodile in the #SonictheHedgehog series, Zhongli in #GenshinImpact, Wolfram in #MyHeroAcademia, Robert E.O. Speedwagon in #JoJosBizarreAdventure, Deep Sea King in #OnePunchMan, Masaimichi Yuga in #JujutsuKaisen, Coyote Starrk in the #BleachSeries, Manji in the original #BladeoftheImmortal anime series, Monspeet in #TheSevenDeadlySins series, Professor Souichi Tomoe in the #SailorMoon series, Johab Libert in #Monster (I'm referring to the #Shogakukan franchise), Flynn and Tatsuya Suou in the #ShinMegamiTensei and #Persona series with him as Dr. Wily/Doctor Albert W. Wily from the #MegaMan series alongside with him as Char Aznable in the #MobileGuitGundam series and of course, him as the #HunterXHunter series' Hisoka Morow.

#SameVoiceActor #GroupPictures #EnglishDubbedAnime

[carryonsimoncarryonbaz]

Little Secrets

for @nightimedreamersworld from the prompt list and tags you posted. Thanks to @ninemagicks for leading the way. 

From a tumblr prompt list by @mraculous and sent to the Carry On fandom by @nightimedreamersworld : ‘a mutual friend tried to introduce us, but we already knew each other from LARPing but we’re both too embarrassed to admit that so I jokingly said we used to date and oh god now our friend won’t stop interrogating us about it’ AU

Little Secrets, a Snowbaz LARPing AU (2774 words)

Simon

“Do you want to come over Friday? I can order in curry and I’ll even watch that Netflix thing you’re obsessed with, if you like,” Penny says, before taking another bite of her sandwich. I’ve already finished mine but I take the chance to steal one of her crisps. She never finishes them. I hate seeing them go to waste.

No one should ever bin salt and vinegar crisps. It’s a crime against humanity.  

It’s been harder to coordinate our schedules this term. Even meeting for lunch is a treat. We’ve not had a night in for weeks. It’s not as easy, now that we don’t live together.  

And it’s not often that Penny offers to let me decide what we watch. Says she’s got standards and I watch too much “brain numbing rot.”

Castlevania is not rot. It’s fucking brilliant. My costume for this campaign is based on Trevor Belmont. It’s wicked good.  

I’m gutted to have to turn her down though. Friday’s going to have to be a no. We’ve been gearing up for this campaign for weeks and I can’t miss it.  

“I’m sorry. I can’t Friday.”

Penny looks at me over the top of her glasses. “Why not?”

She doesn’t know about this. About the LARP club I joined. It’s something I started doing over the summer, when she was away in India with her family.  

I was bored. And lonely.

I don’t know why I haven’t mentioned it. It’s not that I’m embarrassed about it. I’m not. It’s a hell of a lot of fun swinging a sword around and taking part in campaigns. Even the costume workshops are entertaining.  

Everyone’s so friendly. Well, most of them are, at any rate.

Penny tends to frown upon things like this. Things that don’t serve a purpose. Making new friends doesn’t count as serving a purpose. She’s told me more than once that having too many friends is an unnecessary burden. “There’s only so many hours in a day, Simon. Two, three people, that’s all any of us have time for.”  

That’s all Penny has time for. I’m lucky to be one of her three people.  

Telling her I’m spending two nights a week LARPing with near strangers while dressed as a medieval monster hunter likely won’t go over too well.  

Especially as that amounts to two nights a week I’m not doing my coursework or revising. Sacrilege.  

“Uh. I’ve got . . . uh, there’s a study group.”  

“On a Friday night?” Her eyes widen.  

“Yes.” The shorter the answer the better with Penny. I can’t get caught in a lie if I’m barely saying anything.

“For which class?”

Fuck it all. I can feel my leg starting to jiggle. She’ll know the gig is up if I don’t answer soon.  

“Medieval Literature.” Thank fuck I’m actually taking that class this semester or she’d be onto me.  

It’s not that far off, anyway. Most of the costumes qualify as Medieval.

“Dedicated lot.”

“Quite.”

“It’s good to see you being so devoted to your studies, Simon, what with applications for graduate programs coming up.”

As if I needed the reminder.

“Maybe we can try to find some time next week, then.”

“That’d be great.” I reach out to steal another crisp. She smacks my hand away. “I do miss you, Pen.”

Penny pushes the bag of crisps over to me with a sigh, but she’s smiling. “I miss you too, Si.”

It’s not until the next week that we manage to make plans. And it’s not for curry and Netflix.

We’re at Foyles, having spent the last hour listening to one of Penny’s favorite poets do a reading and a Q & A. Penny’s dead gone for Nikita Gill. I thought it was mostly because she’s a femininst and Indian but I see the point, now that I’ve heard her read from her latest book. She’s brilliant.

Penny’s in line to get her book signed and I’m just sort of shuffling along with her, feeling like a bit of a tit, seeing as I’ve not got a book myself.

Should I? I feel I ought to at least have something, but it’s too late now, we’re almost to the signing table.

Predictably, Penny gets into an intense conversation with the author while I stand there, shifting from foot to foot uncomfortably and nodding every so often. The store clerk finally gets Penny to shove off. She drags it out for another minute and then we’re finally clear of that scene.

I’m ready to head to the pub for a bite, but Penny stops down the line to talk to someone from her seminar and I’m left at loose ends again. It’s mostly uni types in the crowd, nearly all of them intense and bright eyed as they talk over each other now and indulge in some excitable hand waving. There’re a few blokes here and there, moody looking types with man-buns, horn rimmed glasses, and oversized jumpers. I recognize one or two from my classes but no one I know well.

Penny stops to talk to another person and I’m in despair over dinner. I wander over to a book display and idly flip through some paperbacks as I wait for her. Thankfully it’s not more than a few minutes later when I hear her call out to me. “Simon!”

I trot over, more than ready to make a run for the pub but her first words aren’t “let’s get out of here.”

“Si, I want you to meet my friend.”

Oh, fuck. We’re never going to get to the pub at this rate. I plaster a smile on my face and turn to say ‘ hello’ to whoever it is Penny is bound and determined to have me meet.

And I freeze.

“This is Baz. He’s in my Modern British Poets seminar and he’s almost as keen about vampire lore as you are.”

I raise my eyes and meet Baz’s cool stare, that one eyebrow of his arched as he meets my gaze.

Fuck. I don’t need to be introduced to Baz. I know Baz. He’s the Mage in our campaign. He’s a fucking ruthless one too, dead brill with his spells, even though he’s a bit shit when he’s got to do any swordwork.

That was my main job on the summer campaign--give him cover so he could cast his spells and decipher his runes and whatever else it is that Mages do.

I’m front line offense now--cut down anyone in my path, long before they can get near the rest of our party. It’s up to Gareth and Niall to have Baz’s back this time around.

I can’t very well pretend I don’t know him, but I really don’t want to be explaining that I’m in a LARP club to Penny in the middle of this bookstore, not in front of Baz.

Fuck.

I give Baz a pleading look which I’m sure only confuses him, based on the way his eyebrow arches up even more. I don’t know how to convey “don’t tell Penny you know me from the Dragonknight campaign” with just my eyes.

“I’m well acquainted with Simon, Bunce.”

I am well and truly fucked.

“You two know each other?” Penny gives me a penetrating look.

Baz keeps talking. “Yes, we’ve been--” but I interrupt him before he can say anything more.

“He’s my ex.”

I have literally no idea why I said that. And there’s no taking it back, now that it’s out there.

Two sets of eyes goggle at me, both of Baz’s eyebrows reaching for his hairline now. Penny looks scandalized.

“Your what?” she asks.

“My ex-boyfriend,” I clarify, literally begging Baz to go along with this with my eyes. I probably look like a gormless twat. Just go along with it, I try to broadcast that thought across the two feet of space between us.

“Your ex-boyfriend,” Penny says flatly. “How do I not know about this, Simon?”

Baz looks just as curious, but thank Christ he doesn’t say anything.

“Oh, you now, summer romance, short-lived fling, gone but not forgotten.” I’m literally babbling.

“Very short lived,” Baz says drily. “So short lived I’d be surprised if he had mentioned it, Bunce.” He’s smirking, the smug bastard. Arms crossed over his chest, that one fucking eyebrow mocking me now.

“Yes, ah, you know, summer.”

“I’d say I don’t know at all, Simon.” Penny’s looking between us, a suspicious look on her face. “Why don’t you fill me in. I’d love to hear about my best friend and my study partner getting together and me being none the wiser.”

Baz is full on grinning now. “Yes, why don’t you tell her, Simon? Unless you’d rather I did?”

I think the fuck not.

“Ah. Well. You know we met  . . . ah . . . at the library.”

“What on earth were you doing at the library?”

What the fuck was I doing at the library? I never go to the library and Penny knows that.

Fuck.

“Wasn’t that when your laptop was being wonky?” Baz chimes in.

I scowl at him. Only one of us needs to be fabricating this tale and that someone is me.

“At least that’s what I remember you saying, when you came in that night.”

Bloody hell.

“Uh, yeah. That’s what it was. Had to come in and do a lit search on premises.”

“It’s a good thing I was working the desk that night,” Baz says, uncrossing his arms and sliding his hands into his jeans pockets.

My eyes follow his hands down and keep going.

I don’t think I’ve ever seen Baz in jeans before. Tunics? Yes. Majestic robes? Yes.

Elegant, fitted jeans that are snug all the right spots? Well, I’d remember seeing that before, is all I’m saying.

I drag my eyes back up to his face. “Uh, yes, um, good thing.”

I didn’t know he worked at the library.

“Simon came in, just before closing time, with the idea that he was going to do a search and print it all out in mere minutes.” He’s really warming to the subject and I’ve lost control of this whole situation.

“Typical,” Penny says and I’m outraged.

“What?” I sputter.

She nods her head at Baz. “He gave you those puppy dog eyes and that crooked little smile of his, didn't he?”

“Now, see here, I’m the one telling the story and–”

But Baz steamrolls right over me. “Oh, you know he did, Bunce.” He gives me a fond look that makes my face heat up.

What’s he playing at? I rub at the back of my neck, feel the clammy sweat starting to form there.

“Got you to do the whole thing for him, didn’t he?”

This is pure slander. I’m not going to stand for this.

“I couldn’t resist his roguish charm.”

“Listen, now--”

Baz just keeps talking. “I had no idea he was such a shameless flirt.” He shakes his head at me and actually manages to look almost mournful, the lying bastard. “Charmed me, wined me, dined me. But once his laptop was functional and the research project complete, just a few short weeks later, he dumped me without a second thought.”

“Simon!” Penny’s glaring at me now. She’s bought his whole fabrication and I’ve got no one but myself to blame for this farce.

“Just wait a bloody minute!” I yelp.

Baz hunches his shoulders and lowers his head. “By text, no less.”

“Really, Simon, how could you?” Penny’s all righteous indignation, her hand coming to rest on Baz’s arm, eyes blazing as she rakes her gaze over me. “I go away for a few weeks and you not only manage to seduce my friend but then unceremoniously dump him by text? You know better than that. You were a bloody wreck when Agatha did that to you!”

And now she’s airing my entire sordid dating history to Baz in the middle of a bloody Foyles on a Thursday night and I’ve not even had dinner. This takes the biscuit, I swear to god.

“Penny, listen, it was nothing like that, really, I swear.”

She’s got her arms crossed over her chest. “Then how was it, Simon?” Cold as ice. You’d think Baz was her best friend and confidant, not me.

This is a fucking disaster. I’d have been better off telling her about the LARPing.

I am going to tell her about the LARPing. It’s the only way out of this mess.

“Listen, Pen, I’m sorry. I thought you’d be upset I was wasting my time--”

“Wasting your time?” Baz interrupts. “Is that what you’re calling our two weeks, then?”

“That’s not what I meant!” I’m going to let a berserker just go by me and wreck Baz this week, I swear I am. Won’t even brandish my sword at him, I’ll just point him in Baz’s direction. It’d serve the bastard right. “Listen, Penny, I was going to tell you, but I was a bit embarrassed--”

“As well you should be, the way you behaved.” Penny interrupts me this time and I have reached my fucking limit.

“Would the two of you let me finish one bloody sentence?”

Two expectant faces meet mine but I swear there’s a glint in Baz’s eyes and his lips quirk like he’s trying to keep himself from laughing. Arsehole. I may go after him myself this week, if he’s not careful. Go rogue. It’d be worth it, just to wipe the smug look off his face.

He’s got his hair down tonight. I don’t know why I didn’t notice that earlier. He’s usually got it up when we’re–fucking hell, why am I thinking about his hair right now?

“Ok, so let me finish what I’ve got to say or I swear to Christ I am going to go off.” Baz inclines his head and waves a hand at me in a ‘have at it’ gesture. Penny frowns but holds her tongue. “So, while you were gone this summer I got a bit caught up in LARPing.”

“You did what?” Penny asks.

“LARPing. Live action role play.”

“Whatever for?”

“I don’t know. For something to do.”

“And why are you telling me this now?”

I pull at my hair and groan. “Because that’s how I met Baz. He’s not my ex. I’ve never gone out with him. I just made that all up, rather than tell you about the whole LARP business.”

“Why on earth would you concoct all that nonsense, Simon?” Penny’s looking completely perplexed but Baz has this cheeky grin, the absolute wanker.

He’s got a dimple in his left cheek.

Fuck.

“Because I thought you’d be irritated. It’s not something that serves a purpose.”

“Why would I care what you do with your free time?”

Oh my fucking god.

I give my hair another yank. “Aren’t you always telling me I should spend more time on my studies? Keep my social life a bit more contained?”

Penny has the audacity to shrug. “I’m not your keeper. If you need to swing a sword around to let off some steam, far be it from me to argue.”

She turns to Baz and smacks him on the arm. “What were you thinking, going along with all this nonsense of his tonight? I’d not expect that kind of foolishness from you, Baz.”

Baz leans against a bookshelf and flashes her a grin. “Let’s just say my curiosity was piqued, when he threw that ex comment out there. And you know how I love to spin a good story, Bunce. He certainly wasn’t going to pull one over on you by himself.” His eyes light on me and there’s something smouldering in the depths of them. Something I’d like to get a closer look at.

“Well, you’re ridiculous, the both of you,” Penny says. “You deserve each other, honestly.” She shakes her head. “Anyway, I’m starved. It’s past time we went to dinner.”  

“Enjoy the rest of your evening.” Baz’s eyes never leave mine. “I’ll see you Friday then, Snow?”

He used my LARPing alias.

I liked it better when he was calling me Simon.

Penny hooks her arm around his. “Come join us, Baz. Since you and Simon already know each other so well.”

He adjusts his book bag on his shoulder. “I suppose I could do with some dinner.”

Penny keeps her hold on his arm and leans back to look at me behind Baz’s back.

And then she winks.

I think I’m the one that’s been played.

And when Baz’s knee knocks into mine as he squeezes into our booth at the pub I realise I don’t mind one bit.

also on ao3 Little Secrets

#LARPing AU #prompt list #my writing #my fics #thank you for this list #this one leaped out at me #fun list and fun prompts #non magical AU #of course Simon watches Castlevania

[someguynamedstevewrites]

My Roommate is an Apparition: WHAT A HORRIBLE NIGHT TO HAVE A DAD - Part 2

Based on characters created by @reddpenn

————————————-

Oh man, am I late on posting this.  So many things going on.  Not to mention figuring out how to follow up the first part.

It seems people really like the first-person narration from “A-Pink-Ciation of Culture”, so I went with that again with this piece.

Almost DAILY, I get likes or re-blogs and the occasional follower despite not having posted anything since March.  I’m very curious and would like to hear from you readers about what you like about my writing and what appeals to you.  Eventually, I want to make a living off of writing, but until that time, I definitely could use any and all feedback.

Anyway, now that that’s out of the way, on with the story!

 From the Diary of Lily, March 1st, 2020:

Okay, diary, I’m coming to you because I honestly have no idea where else to go to try and sort through the evening I just had with my Dad and Tulpa.   I can’t put my finger on it, but something about tonight just... bothers me!  It’s like I’m on pins and needles and can’t stop thinking about, well, a LOT of stuff.  Just... hear me out and maybe it’ll make sense if I put this all down on paper (I.E. You).  I just spent the last twenty minutes trying to talk things through out loud, but that got me nowhere so here goes nothing:

First off, my Dad came to visit a week earlier than what I had planned, and immediately sets up shop in my living room with his NES and copy of Castlevania III.  Only problem was I hadn’t talked with Tulpa about his visit since I was expecting him until NEXT weekend.  I kept thinking that the last thing I wanted was for anything weird to happen during his visit.

Which, looking back on it, was a really stupid thing to worry about.

I mean, Dad’s a pretty open-minded guy and he’s quite weird himself.  He’s actually quite proud of his weirdness (embarrassing as it is sometimes).  He tends to under-react to all kinds of things like it’s no big deal.  I’ve even asked him why he doesn’t freak out about some of the stuff he comes across in real life or on TV, and he just tells me, “I’ve seen weirder.”   (If some of the stories he’s told me are true, then he has.  He really, REALLY has!)

For example: if Tulpa had come into the room holding a... I dunno, a plate or something, like would that really freak my Dad out?  Pfft, No!  He (maybe?) wouldn’t see her, all he’d see was a “flying saucer” (he deliberately would make that lame pun too), and then get back to his game.  Then later, he’d try and tell me about the real flying saucers he saw years ago, or something.

Since I had assumed that Dad wouldn’t have been able to see her, it eventually clicked in my head that what I was actually worrying about was, “what would Tulpa think of my Dad?”  He’s a huge Goofus that likes to make bad jokes, tell tall tales, and play video games!  And even if he did weird her out, it’s not like she could go anywhere... right?  I mean, she might avoid interacting with me because of him, but...

Oh...

Oh wow...

I just read what I just wrote and I can not believe I was being THAT irrational!  ( Man, people are stupid sometimes; me included!)

Avoid me because of my DAD!?   That’s gotta be the dumbest thing I’ve ever thought!   It’s not like he LIVES here or anything!   He’s not the one paying the rent; I am!  And... I’ve gotten to know Tulpa pretty well these past few months, but... I guess I still have a lot more to learn about her.  Case in point:

————————————-

So Tulpa tells me that she wants to meet my Dad, and after coming to my senses somewhat, I say she can sit in so long as she doesn’t touch anything (see flying saucer explanation above).  A few minutes later, she walks in looking like the tall girl from Keep Your Hands off Eizouken (I had to look the name up; I couldn’t remember it for the life of me).  By that I mean, she’s coming in as a tall, lanky, skinny, somewhat pale skinned girl looking to be about my age.  She’s wearing some modest clothes and, if I’m being honest with myself, they looked kind of cute in that outfit they had on.  It was a nice ensemble.

Then Dad says “Hi” to her.

...

Let me repeat that in case it hasn’t clicked with you yet.

My Dad GREETED her!

He! SAW! Her!

When I asked her about it later, she said to me that she thought that since he’s my Dad, then whatever it is that allows me to see her could be something my Dad has too.  So far, her theory has been proven right, but... I’m not one-hundred percent sure, because Tulpa... well... she changed.

And I’m being literal here, too!  She no longer had that transparency to her like usual.  She had a nose!  She had ears!  She had five fingers!  And she looked...

...well...

...good.

Tulpa said she had never tried doing this before, but figured that in the off-chance that her hunch was correct, she wanted to make a good impression on my Dad.  (Why do I keep thinking about that old joke in movies and TV shows about the overprotective Dad that threatens the boy about to go on a date with their daughter?)  She even went so far as to create her own “clothes”, saying she knew they’d be important.  Considering that she doesn’t wear (or need) clothes any other time, I ask her how she came to that conclusion.  I still have no idea what she meant when she suddenly bellowed out, “GOOD...!  GRIEF...!  HE’S...!  NAKED!”

[Edit:  It’s from Spongebob, because of course it was.]

So I’m not sure if Dad could see her because she purposely made herself opaque, or if he would have been able to see her if she wasn’t in her human “disguise” (and yes, I’m calling it a disguise and I’ll explain why a bit later, okay?).  But either way, she walks in and my Dad just starts chatting away like so:

————————————-

“Hi there! You must be Lily’s roommate!” says Dad.

At this point, I’m kind of frozen solid on the couch, just watching and listening as everything unfolds in front of me like it’s being burned into my retinas.  You know that saying about slow-motion train wrecks? Y’know, about how you can’t look away from them? This is probably why I remember the conversation so well.

“Heh...Hello,” she responds back nervously.

“I’m Lily’s Dad,” he says as if it wasn’t obvious, “Hope you don’t mind if we play some games out here.”

Tulpa shakes her head and stutters out, “No...N-not at all.”

“Great!” Dad responded with a smile that said, “Even if it was bothering you, I’m still going to take up the TV and play video games.  So nyeh!”  I’ve lived with him long enough to know that he’s not someone who would give up the TV without a fight.

(...gee... that kind of reminds me of someone now that I think about it...)

Tulpa then asks, “M-mind if... I watch?”

Dad gives her this big, goofy smile and responds with a, “Sure thing!” since despite him never admitting to it, he always liked having an audience around when he played games (or almost anything really) in hopes of “schooling” them. (Why he didn’t go into teaching, I will never understand.)

As soon as Dad turns back to his game and un-pauses it, Tulpa smiled, sat back, and looked content (Although it was a little weird seeing her smile with a nose to go along with it.) This snaps me out of my stupor long enough to scootch over to Tulpa and chat with her.

“You actually want to watch him play?” I ask her once more because the mere thought that she’d be interested in something outside of cartoons still hadn’t registered in my head, yet.

“Yeah...” she says as she starts to stare at the screen like she usually does during her cartoon time. “...sounded... familiar,” she said before looking up slightly while lost in thought, “...Simon... Belmont... Mega... Man... Kid... Icarus...” she said again as though that meant something. To me it just sounded almost like some kind of madness mantra, but...

“Oh! You mean Captain N: The Game Master!” my Dad chimed in out of seemingly nowhere.

“YES!” Tulpa said with excitement (worth noting that she doesn’t look excited very often, but when she does, she practically glows). “I remember...” she said before pausing to collect her thoughts and form the words she wanted to say. If I could have, I would have warned her about my Dad’s tendency to pounce on any hesitation in a conversation to take it over.

“Man, I haven’t seen Captain N in decades,” he said wistfully, “Surprised someone young as you remembers it.   I was in High School when that show came on!   When did you see it?”

“Ummm...” she hesitated, “...reruns... when I was... a kid.”

(As I’m writing this down now, I realize she was trying to hide her actual age from Dad. She looked to be in her early twenty’s like I was, but if she said she saw it when it came on the air originally, that’d make her over thirty years old at least.)

“Ahhhh! I see you have good taste in reruns!” Dad complimented.

“Th-thank you,” she stuttered back. As I listened to the awkward conversation of father-roommate bonding, I found my eyes constantly turning towards Tulpa. Not out of adoration or anything, but more like... studying her.

————————————-

On the one hand, she looked like the Tulpa that I had known ever since she became my roommate months ago.  But on the other hand, they somehow weren’t.   It’s kind of like when someone changes their looks a bit for maybe, I dunno, a night on the town, a job interview, a wedding, or something else along those lines.  Only in her case, “dressing up” meant adding additional body parts she didn’t normally have.

(To be honest, I’m still not entirely sure what to think about that...)

I’ve always been a firm believer of people being themselves, and being allowed to be themselves.  I can’t stand situations where people are unable to truly express themselves or feel comfortable.  Way I see it, life is too short to be spent worrying over stupid stuff that makes people miserable just so they can come off as normal.

Sometimes it’s because of social norms and expectations; those unspoken rules of life that people are supposed to just magically “know”.  Like if someone was going to a church or temple service, social norms say they need to wear their “Sunday Best” with stiff, itchy clothes that are dry clean only.  If I was able to go to a sermon wearing a baggy college sweatshirt, sweatpants, and slippers, and NOT be judged like I’m some kind of crazy hobo, it would have definitely made something like that more appealing to me.

Now I have nothing against anyone that likes to dress up in fancy clothes and wear them out and about; I mean, everyone likes different things, right? The point is that if I’m going to do something that makes me uncomfortable, it should be because I wanted to do it for myself.   I don’t think I should bend over backwards making myself feel bad (physically or mentally) for someone else’s sake.  Sure, call me selfish if you must, but I just can’t advocate for doing something that makes you feel bad because you wanted someone else to feel good.

I’m just thankful no one in my family has ever tried to push anything on me.  Sure, they’ve suggested things to me before, and of course made sure I didn’t do something stupid that would injure me or worse when I was too young to know better.  But overall, my family has given me a lot of freedom to do what I want, dress how I want, and be who I want to be.  Now that I think about it, I’m kind of lucky that way.

(I hope I’m making sense on this. Re-reading this, I’m not entirely sure if I do.)

————————————-

Anyway, I’m looking at Tulpa and watching them carefully, trying to figure out if they were comfortable looking like that or not.  She’s just sitting there watching my Dad play Castlevania III, and he was now on the haunted pirate ship with Trevor and Sypha.  He was breezing through at a pretty good pace and sharing an anecdote about how Warren Ellis figuratively gave him the “Turd Cape of Shame” on this old message board back when the Castlevania series on Netflix was just an idea back in 2007.  (I still am not entirely sure if that story is true or not.)

“Hey Lily,” Dad asks suddenly out of the blue, “got anything to drink?”  I offer him some lemonade, he accepts, and I go to the kitchen to pour him a glass.  As I’m doing this, I hear Dad ask Tulpa, “By the way, I don’t think I caught your name.  What was it again?”

“...Tulpa...” she says back to him.

My body freezes up for a moment as I realized that “Tulpa” is not an ordinary name.  I mean the first time she told me her name, it sounded like some kind of Pokémon.  Once again, that irrational fear of my Dad being weirded out or something enters my head, but is dispelled almost immediately.

“Tulpa?” my Dad says aloud to himself, “That’s a very interesting name.”

“T-Thank you...” she says back.

I walk in with a glass of pink lemonade and set it down on a little, folding TV dinner stand that was given to me when I first moved out for college.  I slowly sit back down again as I keep an eye on Dad.  His facial expression is the same as usual: relaxed.  You could call it a poker face, but I’ve seen him play poker and he is BAD at poker.

“Anyone in your family Buddhist?” my Dad asks casually.

I step in, “Dad!  What kind of a question is that!?”  And I meant what I said too. Who even asks something like that!?

“I was just wondering,” he says before once again shutting up and focusing on his game.

This is one of the things about my Dad that bugs me to no end: he likes to be cagey sometimes.  He’ll say something vague with the sole purpose of making the other person curious, confused, or both.  It leaves, like, questions in the back of your head that just start gnawing at your brain and won’t stop chewing away at your gray matter until you finally ask him to explain what the heck he was talking about.    He does this on purpose to “bait” people into asking him questions or to continue with what he’s saying.  So annoying!

I sigh, “Why’s that, Dad?”

He gives a little smile and continues, “Oh it’s just that this isn’t the first time I’ve heard the name “Tulpa” before, that’s all.”

NOW he has my total undivided attention and Tulpa’s too as we both unconsciously lean forward.  Practically in sync, we both say, “It’s not!?”

He’s still smiling as he says, “Nope.  First time I heard that name was when I was doing some monster research for a Castlevania Wiki I had been working on a while back.”

Tulpa practically gulps, “M-M-Monster...?”

“Well not really a monster,” he says back, “more like... a supernaturally, artificially created person.” 

(There are some times when my Dad can be down right spooky and creepy.  This was one of those times.)

Full Metal Alchemist immediately pops into my head, and without even hesitating, I ask, “Like a Homunculus?”

“Nah, more like...” he says before pausing his game and turning to Tulpa and I, “...an imaginary friend.”  Tulpa and I both tilt our heads in confusion.  Dad picks up on this and by now, he is practically glowing at this opportunity to share some weird thing he just happens to know something about.

He explains, “So there’s this word in Tibetan called “Sprul-Pa” which means “Manifestation”, okay?  And in early Buddhism, this is used as the explanation for how Gautama Buddha could travel to heavenly realms and come back again.  You could say he created a clone of himself in the other realm and then transmitted his consciousness to it from his body on Earth.  Kind of like a-”

By now, Tulpa and I were clearly on the same wavelength as she asks, “a Shadow Clone!?” at the exact same time I was thinking of it. Believe it!

Dad’s silent for a moment as he thinks to himself before finally going, “...uhhh... I guess... you could say that. I was thinking “Dream Body” but I suppose a shadow clone could work too.”  My Dad used to watch Naruto with me on Toonami years ago, so he knew full well what a shadow clone was.

He turns to face us as he continues talking, “The thing with a Tulpa is that it’s something made from nothing. A Homunculus, using your example, Lily, requires having the materials necessary to make an artificial being on hand before you can create them. But a Tulpa is willed into existence out of nothingness. It is created from the thoughts of the creator; known as a “Thoughtform” in some cases.”

(WHEN did my Dad even learn this stuff!?)

“The difference between a Tulpa and an imaginary friend,” my Dad continued to say, “is that while an imaginary friend is just that, someone that exists in your imagination, a Tulpa is made when someone’s thoughts are so strong that they will their imaginary friend into existence.”

I look over at Tulpa, and she is totally absorbed in what my Dad’s saying.

“Now from what I’ve read...” Oh my God, Dad! What have you even been reading!? “...it’s very difficult for one person alone to have enough psychic power to will a sentient being into creation. But if you had enough people thinking the same thing, and thinking about it hard enough, then, hypothetically, a Tulpa could be created.”

“So what you’re saying is if enough people think Bigfoot is real, then they can actually make it real just by believing in them?” I snark.

“Yeah, pretty much,” my Dad replies without detecting my snark at all.

“Or like...” Tulpa chimes in, “...how Tinkerbell is saved... by believing in fairies and... clapping hands?” I was a bit surprised Tulpa knew that since I couldn’t recall Disney’s Peter Pan having that scene in it.

Dad thinks about it for a moment, and then goes, “Hmmmmm... yeah! That too, I suppose.”

Right about then, Dad gets a notification on his phone. He pulls it out, looks at it, gets a somewhat serious look on his face, and then stands up and says, “Hey, I gotta make a phone call real quick. Mind if I...” he trails off.

“Yeah, sure thing, Dad,” I say back. He heads down the hallway to the guest bedroom and closes the door as he makes his call. It’s now just Tulpa and me in the living room, and we were both feeling super awkward. I turn to Tulpa and say, “So... did you know anything about all that?”

Tulpa shook her head, “N-n-no. First time I... I ever heard of... of it.” I could tell she was feeling nervous. She had started stuttering pretty badly.

All this time, I knew Tulpa was an apparition, but I never thought about what kind of apparition she was. It never really dawned on me that an apparition could have an origin story. With Tulpa, she was just... kind of there for me, and I never really questioned it. Her being her somehow felt, I dunno... “natural”, I guess.

I never thought I really needed to learn more about Tulpa, anyway. I mean, outside of the occasional mischief, Tulpa was perfectly harmless. Worst thing she ever did was the Pinkening (still don’t know how she did that), but that was partly on me because I was being a big dummy. Overall, she’s always been friendly, kind, and fun to be around, and that‘s always been good enough for me.

“You, uh...” I start to say, “...want to talk about it later?” Tulpa looks ahead of her kind of blankly, and I immediately add, “It’s okay if you don’t want to, Tulpa, I just-“

“Talk about what?” She asks, now looking at me kind of confused.

“About...” I trail off as I try to find the right words, “...about what my Dad just said and about... I dunno... where you came from?”

Tulpa clearly hadn’t thought about it before. She leaned back against the couch and audibly sighed (I think that was the first time I ever heard them sigh!), before saying, “I... don’t know... Lily...”

“Don’t know where you came from, or don’t know if you want to talk about it?” I asked her.

She thought for a moment before saying, “Both...”

I wanted to say something more to her, maybe give them some kind of reassurance, but I just couldn’t as long as my Dad was here! The frustration of wanting to talk about something with someone, but not being able to because of other people being around, is just AGONIZING!  If only Dad would hurry up and leave, but when he says he’s going to beat a video game, he’s going to beat a video game.  Problem was he hadn’t even made it to Dracula’s Castle yet, so who knew how much longer it would be?

Then Dad comes back in and says, “Hey, sorry about this, but I need to get going.”

HAAAAAALLEJUAH!!!

“Oh sweet merciful powers that be, THANK YOU! “  I thought to myself.  I was worried things were going to get all cringy like a bad self-insert fanfic.   “Aww, that’s too bad,” I fibbed out of politeness.  I mean, he’s my Dad and I love him and all, but... y’know...

“Yeah, I got a call from work and they need me to help out with something. ‘Fraid I have to cut my visit short, Lily.” My Dad powered off the Nintendo system and began packing it up. But then he suddenly stopped, looked up, then looked back at me and said, “Hey, you want to borrow my NES for a bit!?”

Dad suddenly leaving to take care of something for work happens every now and then, so that was no big surprise. But Dad suddenly saying he has to leave to take care of something and leave his NES in MY care!? THAT scared the pants off me!

“Oh my God, Dad... you’re not dying are you!?” I ask with a half-serious tone.

“What!? No! What gave you that idea!?” He shoots back.

“Because that’s the NES you’ve had ever since you were a kid! You have NEVER let anyone else look after it! EVER!” I remind him because it is one-hundred percent true.

His lame-sauce excuse was: “Hey, both of your uncles used to look after it!”

And then I remind him, “That’s because you all lived in the same house with grandma and grandpa!  Y’know, because you were all kids and everything!”

“They still took care of it,” he pouts.

“Only after they sneaked into your room, de-hooked it, and snuck it over to their room!  You know I’ve heard the stories at the family gatherings!, right?” This is all completely true.

————————————-

My Dad is the oldest of three, and at family gatherings, like around Thanksgiving, he and my uncles used to tell as many embarrassing stories about each other as possible like they were trying to one-up each other. Like, “Hey, remember that time you stuck a LEGO tire up your nose and had to go to the Emergency Room?”

And my uncle’s all like, ��I WAS FOUR!”

Good times....

...now where was I?

Oh right!  Why leaving the Nintendo was a big deal!

————————————-

“C’mon, Dad,” I plead, “The only way I can see you willingly giving away your Nintendo, even if just for a little while, would be if you were on your death bed and filling out your last will and testament. So go on, spill it, what’s up with that?”

My Dad just had this look of offense on his face like I had seriously wounded him with my words. “I am NOT that overprotective of it!”

“Yes you are.”

“Okay, I am,” he admits way too quickly, “but I just thought that you having it might be a good idea in case you finally get some free time coming up. Best way to enjoy it is to play it, after all.”

I chuckle, “Dad, the only way work is going to give me enough time off to sit on my butt and play video games is if some horrible catastrophe caused the art store to shut down. Like, I dunno, a deadly virus or something.”

[EDIT, APRIL 12th, 2020: ME AND MY BIG FAT MOUTH!

AAARRRRGGGHHHH!!!]

Dad chuckles and say, “Yeah... you got a point there. Still, I think between you and your roommate, you’re both responsible adults now who can get some enjoyment out of it. I’m sure I can trust you two to take good care of it,” he says before raising an eyebrow, “or is there some reason I shouldn’t leave it here!?”

“Relax! We can look after it, Dad. Nothing’s going to happen to it,” I say as I whip my head back so fast it could have made a sonic boom. Just as I suspected, there was Tulpa sitting down in front of the Nintendo about ready to poke it with her finger. “Isn’t that right, Tulpa?” I say while looking straight at her.

“Y-yes...” she mutters.

Dad smiles at the two of us and then suddenly, out of the blue, he gives me this big ole bear hug and pats me on the back!  It’s the same kind of hug he gave me on my first day at school, when I was leaving for summer camp, and when I moved into my freshman dorm for college.  It was the kind of reassuring hug that says everything is going to be fine.  “Ohhhhhhh, look at you growing up and being all responsible! I’m so proud of you, Lily!”

“Dad!  Can’t breath, Dad!” I say before he finally lets go.

“Oh yeah, tomorrow, when you get a chance, make sure to pick up a couple packages of toilet paper,” he says casually, “your bathroom’s running low and now would be a good time to stock up.”

[EDIT April 12th, 2020: HE FREAKING KNEW! 

HOW!?!?!?]

“Thanks for the tip, Dad,” I respond before saying the thing that led to my Dad saying the other thing that would make my brain do somersaults for the next few hours and ultimately come to you, dear diary, “What brought up that little nugget of wisdom? Dad-ly Intuition?”  (Yes, that pun was intentional.)

“Well I’ve always considered myself to be a little psychic here and there,” he says about twenty-three seconds before the door closes and forty-five seconds before my face faults, “and you’ve always been a little psychic too, haven’t yah?”

“Sure Dad, I’ll catch you later,” I say waving goodbye.

“Take care, Lily!  Keep in touch!  Love you, sweetie!” he calls back as he’s walking into the hallway heading out,

“Love you too, Dad” I say as I close the door and lock the deadbolt. With that family obligation out of the way, I was feeling much better not having to worry about next weekend, not having to worry about Tulpa and Dad, and could just chill and relax and-

It was right about then that my eyes shot wide open as I stared ahead of me at nothing in particular.  The gears in my head started turning faster and faster as the past few months living here started to tie together.  Tulpa looks at me, slightly concerned.  She’s still in her “disguise”, but looks genuinely concerned.  She waves her hand it front of me and my mind is working at warp speed, so it doesn’t even register.

“Are you... okay... Lily?” she asks.

I slowly turn to look her in the eye, and then ask her flat out:

“Am I Psychic!?”

#my roommate is an apparition #reddpenn

[aquilaofarkham]

Much like his infamous father, the aesthetic of Alucard has changed tremendously since Castlevania’s start in the 1980s—yet certain things about him never change at all. He began as the mirror image of Dracula; a hark back to the days of masculine Hammer Horror films, Christopher Lee, and Bela Lugosi. Then his image changed dramatically into the androgynous gothic aristocrat most people know him as today. This essay will examine Alucard’s design, the certain artistic and social trends which might have influenced it, and how it has evolved into what it is now.

☽ Read the full piece here or click the read more for the text only version ☽

INTRODUCTION

Published in 2017, Carol Dyhouse’s Heartthrobs: A History of Women and Desire examines how certain cultural trends can influence what women may find attractive or stimulating in a male character. By using popular archetypes such as the Prince Charming, the bad boy, and the tall dark handsome stranger, Dyhouse seeks to explain why these particular men appeal to the largest demographic beyond mere superfluous infatuation. In one chapter titled “Dark Princes, Foreign Powers: Desert Lovers, Outsiders, and Vampires”, she touches upon the fascination most audiences have with moody and darkly seductive vampires. Dyhouse exposits that the reason for this fascination is the inherent dangerous allure of taming someone—or something—so dominating and masculine, perhaps even evil, yet hides their supposed sensitivity behind a Byronic demeanour.

This is simply one example of how the general depiction of vampires in mainstream media has evolved over time. Because the concept itself is as old as the folklore and superstitions it originates from, thus varying from culture to culture, there is no right or wrong way to represent a vampire, desirable or not. The Caribbean Soucouyant is described as a beautiful woman who sheds her skin at night and enters her victims’ bedrooms disguised as an aura of light before consuming their blood. In Ancient Roman mythology there are tales of the Strix, an owl-like creature that comes out at night to drink human blood until it can take no more. Even the Chupacabra, a popular cryptid supposedly first spotted in Puerto Rico, has been referred to as being vampiric because of the way it sucks blood out of goats, leaving behind a dried up corpse.

However, it is a rare thing to find any of these vampires in popular media. Instead, most modern audiences are shown Dyhouse’s vampire: the brooding, masculine alpha male in both appearance and personality. A viewer may wish to be with that character, or they might wish to become just like that character. 

This sort of shift in regards to creating the “ideal” vampire is most evident in how the image of Dracula has been adapted, interpreted, and revamped in order to keep up with changing trends. In Bram Stoker’s original 1897 novel of the same name, Dracula is presented as the ultimate evil; an ancient, almost grotesque devil that ensnares the most unsuspecting victims and slowly corrupts their innocence until they are either subservient to him (Renfield, the three brides) or lost to their own bloodlust (Lucy Westenra). In the end, he can only be defeated through the joined actions of a steadfast if not ragtag group of self-proclaimed vampire hunters that includes a professor, a nobleman, a doctor, and a cowboy. His monstrousness in following adaptations remains, but it is often undercut by attempts to give his character far more pathos than the original source material presents him with. Dracula has become everything: a monster, a lover, a warrior, a lonely soul searching for companionship, a conquerer, a comedian, and of course, the final boss of a thirty-year-old video game franchise.

Which brings us to the topic of this essay; not Dracula per say, but his son. Even if someone has never played a single instalment of Castlevania or watched the ongoing animated Netflix series, it is still most likely that they have heard of or seen the character of Alucard through cultural osmosis thanks to social media sites such as Twitter, Instagram, Reddit, and the like. Over the thirty-plus years in which Castlevania has remained within the public’s consciousness, Alucard has become one of the most popular characters of the franchise, if not the most popular. Since his debut as a leading man in the hit game Castlevania: Symphony of the Night, he has taken his place beside other protagonists like Simon Belmont, a character who was arguably the face of Castlevania before 1997, the year in which Symphony of the Night was released. Alucard is an iconic component of the series and thanks in part to the mainstream online streaming service Netflix, he is now more present in the public eye than ever before whether through official marketing strategies or fanworks.

It is easy to see why. Alucard’s backstory and current struggles are quite similar to the defining characteristics of the Byronic hero. Being the son of the human doctor Lisa Țepeș, a symbol of goodness and martyrdom in all adaptations, and the lord of all vampires Dracula, Alucard (also referred to by his birth name Adrian Fahrenheit Țepeș) feels constantly torn between the two halves of himself. He maintains his moralistic values towards protecting humanity, despite being forced to make hard decisions, and despite parts of humanity not being kind to him in turn, yet is always tempted by his more monstrous inheritance. The idea of a hero who carries a dark burden while aspiring towards nobility is something that appeals to many audiences. We relate to their struggles, cheer for them when they triumph, and share their pain when they fail. Alucard (as most casual viewers see him) is the very personification of the Carol Dyhouse vampire: mysterious, melancholic, dominating, yet sensitive and striving for compassion. Perceived as a supposed “bad boy” on the surface by people who take him at face value, yet in reality is anything but.

Then there is Alucard’s appearance, an element that is intrinsically tied to how he has been portrayed over the decades and the focus of this essay. Much like his infamous father, the aesthetic of Alucard has changed tremendously since Castlevania’s start in the 1980s—yet certain things about him never change at all. He began as the mirror image of Dracula; a hark back to the days of masculine Hammer Horror films, Christopher Lee, and Bela Lugosi. Then his image changed dramatically into the androgynous gothic aristocrat most people know him as today. This essay will examine Alucard’s design, the certain artistic and social trends which might have influenced it, and how it has evolved into what it is now. Parts will include theoretical, analytical, and hypothetical stances, but it’s overall purpose is to be merely observational.

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What is Castlevania?

We start this examination at the most obvious place, with the most obvious question. Like all franchises, Castlevania has had its peaks, low points, and dry spells. Developed by Konami and directed by Hitoshi Akamatsu, the first instalment was released in 1986 then distributed in North America for the Nintendo Entertainment System the following year. Its pixelated gameplay consists of jumping from platform to platform and fighting enemies across eighteen stages all to reach the final boss, Dracula himself. Much like the gameplay, the story of Castlevania is simple. You play as Simon Belmont; a legendary vampire hunter and the only one who can defeat Dracula. His arsenal includes holy water, axes, and throwing daggers among many others, but his most important weapon is a consecrated whip known as the vampire killer, another iconic staple of the Castlevania image.

Due to positive reception from critics and the public alike, Castlevania joined other titles including Super Mario Bros., The Legend of Zelda, and Mega Man as one of the most defining video games of the 1980s. As for the series itself, Castlevania started the first era known by many fans and aficionados as the “Classicvania” phase, which continued until the late 1990s. It was then followed by the “Metroidvania” era, the “3-D Vania” era during the early to mid 2000s, an reboot phase during the early 2010s, and finally a renaissance or “revival” age where a sudden boom in new or re-released Castlevania content helped boost interest and popularity in the franchise. Each of these eras detail how the games changed in terms of gameplay, design, and storytelling. The following timeline gives a general overview of the different phases along with their corresponding dates and instalments.

Classicvania refers to Castlevania games that maintain the original’s simplicity in gameplay, basic storytelling, and pixelated design. In other words, working within the console limitations of the time. They are usually side-scrolling platformers with an emphasis on finding hidden objects and defeating a variety of smaller enemies until the player faces off against the penultimate boss. Following games like Castlevania 2: Simon’s Quest and Castlevania 3: Dracula’s Curse were more ambitious than their predecessor as they both introduced new story elements that offered multiple endings and branching pathways. In Dracula’s Curse, there are four playable characters each with their own unique gameplay. However, the most basic plot of the first game is present within both of these titles . Namely, find Dracula and kill Dracula. Like with The Legend of Zelda’s Link facing off against Ganon or Mario fighting Bowser, the quest to destroy Dracula is the most fundamental aspect to Castlevania. Nearly every game had to end with his defeat. In terms of gameplay, it was all about the journey to Dracula’s castle. 

As video games grew more and more complex leading into the 1990s, Castlevania’s tried and true formula began to mature as well. The series took a drastic turn with the 1997 release of Castlevania: Symphony of the Night, a game which started the Metroidvania phase. This not only refers to the stylistic and gameplay changes of the franchise itself, but also refers to an entire subgenre of video games. Combining key components from Castlevania and Nintendo’s popular science fiction action series Metroid, Metroidvania games emphasize non-linear exploration and more traditional RPG elements including a massive array of collectable weapons, power-ups, character statistics, and armor. Symphony of the Night pioneered this trend while later titles like Castlevania: Circle of the Moon, Castlevania: Harmony of Dissonance and Castlevania: Aria of Sorrow solidified it. Nowadays, Metroidvanias are common amongst independent developers while garnering critical praise. Hollow Knight, Blasphemous, and Bloodstained: Ritual of the Night are just a few examples of modern Metroidvanias that use the formula to create familiar yet still distinct gaming experiences. 

Then came the early to mid 2000s and many video games were perfecting the use of 3-D modelling, free control over the camera, and detailed environments. Similar to what other long-running video game franchises were doing at the time, Castlevania began experimenting with 3-D in 1999 with Castlevania 64 and Castlevania: Legacy of Darkness, both developed for the Nintendo 64 console. 64 received moderately positive reviews while the reception for its companion was far more mixed, though with Nintendo 64’s discontinuation in 2002, both games have unfortunately fallen into obscurity. 

A year later, Castlevania returned to 3-D with Castlevania: Lament of Innocence for the Playstation 2. This marked Koji Igarashi’s first foray into 3-D as well as the series’ first ever M-rated instalment. While not the most sophisticated or complex 3-D Vania (or one that manages to hold up over time in terms of graphics), Lament of Innocence was a considerable improvement over 64 and Legacy of Darkness. Other 3-D Vania titles include Castlevania: Curse of Darkness, Castlevania: Judgment, and Castlevania: The Dracula X Chronicles for the PSP, a remake of the Classicvania game Castlevania: Rondo of Blood which merged 3-D models, environments, and traditional platforming mechanics emblematic of early Castlevania. It is important to note that during this particular era, there were outliers to the changing formula that included Castlevania: Portrait of Ruin and Castlevania: Order of Ecclesia, both games which added to the Metroidvania genre. 

Despite many of the aforementioned games becoming cult classics and fan favourites, this was an era in which Castlevania struggled to maintain its relevance, confused by its own identity according to most critics. Attempts to try something original usually fell flat or failed to resonate with audiences and certain callbacks to what worked in the past were met with indifference. 

By the 2010s, the Castlevania brand changed yet again and stirred even more division amongst critics, fans, and casual players. This was not necessarily a dark age for the franchise but it was a strange age; the black sheep of Castlevania. In 2010, Konami released Castlevania: Lords of Shadow, a complete reboot of the series with new gameplay, new characters, and new lore unrelated to previous instalments. The few elements tying it to classic Castlevania games were recurring enemies, platforming, and the return of the iconic whip used as both a weapon and another means of getting from one area to another. Other gameplay features included puzzle-solving, exploration, and hack-and-slash combat. But what makes Lords of Shadow so divisive amongst fans is its story. The player follows Gabriel Belmont, a holy warrior on a quest to save his deceased wife’s soul from Limbo. From that basic plot point, the storyline diverges immensely from previous Castlevania titles, becoming more and more complicated until Gabriel makes the ultimate sacrifice and turns into the very monster that haunted other Belmont heroes for centuries: Dracula. While a dark plot twist and a far cry from the hopeful endings of past games, the concept of a more tortured and reluctant Dracula who was once the hero had already been introduced in older Dracula adaptations (the Francis Ford Coppola directed Dracula being a major example of this trend in media).

Despite strong opinions on how much the story of Lords of Shadow diverged from the original timeline, it was positively received by critics, garnering an overall score of 85 on Metacritic. This prompted Konami to continue with the release of Castlevania: Lords of Shadow—Mirror of Fate and Castlevania: Lords of Shadow 2. Mirror of Fate returned to the series’ platforming and side-scrolling roots with stylized 3-D models and cutscenes. It received mixed reviews, as did its successor Lords of Shadow 2. While Mirror of Fate felt more like a classic stand-alone Castlevania with Dracula back as its main antagonist, the return of Simon Belmont, and the inclusion of Alucard, Lords of Shadow 2 carried over plot elements from its two predecessors along with new additions, turning an already complicated story into something more contrived. 

Finally, there came a much needed revival phase for the franchise. Netflix’s adaptation of Castlevania animated by Powerhouse Animation Studios based in Austen, Texas and directed by Samuel Deats and co-directed by Adam Deats aired its first season during July 2017 with four episodes. Season two aired in October 2018 with eight episodes followed by a ten episode third season in March 2020. Season four was announced by Netflix three weeks after the release of season three. The show combines traditional western 2-D animation with elements from Japanese anime and is a loose adaptation of Castlevania 3: Dracula’s Curse combined with plot details from Castlevania: Curse of Darkness, Castlevania: Symphony of the Night, and original story concepts. But the influx of new Castlevania content did not stop with the show. Before the release of season two, Nintendo announced that classic protagonists Simon Belmont and Richter Belmont would join the ever-growing roster of playable characters in their hit fighting game Super Smash Bros. Ultimate. With their addition also came the inclusion of iconic Castlevania environments, music, weapons, and supporting characters like Dracula and Alucard. 

During the year-long gap between seasons two and three of the Netflix show, Konami released Castlevania: Grimoire of Souls, a side-scrolling platformer and gacha game for mobile devices. The appeal of Grimoire of Souls is the combination of popular Castlevania characters each from a different game in the series interacting with one another along with a near endless supply of collectable weapons, outfits, power-ups, and armor accompanied by new art. Another ongoing endeavor by Konami in partnership with Sony to bring collective awareness back to one of their flagship titles is the re-releasing of past Castlevania games. This began with Castlevania: Requiem, in which buyers received both Symphony of the Night and Rondo of Blood for the Playstation 4 in 2018. This was followed the next year with the Castlevania Anniversary Collection, a bundle that included a number of Classicvania titles for the Playstation 4, Xbox One, Steam, and Nintendo Switch.

Like Dracula, the Belmonts, and the vampire killer, one other element tying these five eras together is the presence of Alucard and his various forms in each one.

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Masculinity in 1980s Media

When it comes to media and various forms of the liberal arts be it entertainment, fashion, music, etc., we are currently in the middle of a phenomenon known as the thirty year cycle. Patrick Metzgar of The Patterning describes this trend as a pop cultural pattern that is, in his words, “forever obsessed with a nostalgia pendulum that regularly resurfaces things from 30 years ago”. Nowadays, media seems to be fixated with a romanticized view of the 1980s from bold and flashy fashion trends, to current music that relies on the use of synthesizers, to of course visual mass media that capitalizes on pop culture icons of the 80s. This can refer to remakes, reboots, and sequels; the first cinematic chapter of Stephen King’s IT, The Dark Crystal: Age of Resistance, and both Ghostbusters remakes are prime examples—but the thirty year cycle can also include original media that is heavily influenced or oversaturated with nostalgia. Netflix’s blockbuster series Stranger Things is this pattern’s biggest and most overt product. 

To further explain how the thirty year cycle works with another example, Star Wars began as a nostalgia trip and emulation of vintage science fiction serials from the 1950s and 60s, the most prominent influence being Flash Gordon. This comparison is partially due to George Lucas’ original attempts to license the Flash Gordon brand before using it as prime inspiration for Star Wars: A New Hope and subsequent sequels. After Lucas sold his production company Lucasfilms to Disney, three more Star Wars films were released, borrowing many aesthetic and story elements from Lucas’ original trilogy while becoming emulations of nostalgia themselves. 

The current influx of Castlevania content could be emblematic of this very same pattern in visual media, being an 80s property itself, but what do we actually remember from the 1980s? Thanks to the thirty year cycle, the general public definitely acknowledges and enjoys all the fun things about the decade. Movie theatres were dominated by the teen flicks of John Hughes, the fantasy genre found a comeback due to the resurgence of J.R.R. Tolkien’s classic works along with the tabletop role-playing game Dungeons & Dragons, and people were dancing their worries away to the songs of Michael Jackson, Whitney Houston, and Madonna. Then there were the things that most properties taking part in the thirty year cycle choose to ignore or gloss over, with some exceptions. The rise of child disappearances, prompting the term “stranger danger”, the continuation of satanic panic from the 70s which caused the shutdown and incarceration of hundreds of innocent caretakers, and the deaths of thousands due to President Reagan’s homophobia, conservatism, and inability to act upon the AIDS crisis. 

The 1980s also saw a shift in masculinity and how it was represented towards the public whether through advertising, television, cinema, or music. In M.D. Kibby’s essay Real Men: Representations of Masculinity in 80s Cinema, he reveals that “television columns in the popular press argued that viewers were tired of liberated heroes and longed for the return of the macho leading man” (Kibby, 21). Yet there seemed to be a certain “splitness” to the masculine traits found within fictional characters and public personas; something that tried to deconstruct hyper-masculinity while also reviling in it, particularly when it came to white, cisgendered men. Wendy Somerson further describes this dichotomy: “The white male subject is split. On one hand, he takes up the feminized personality of the victim, but on the other hand, he enacts fantasies of hypermasculinized heroism” (Somerson, 143). Somerson explains how the media played up this juxtaposition of “soft masculinity”, where men are portrayed as victimized, helpless, and childlike. In other words, “soft men who represent a reaction against the traditional sexist ‘Fifties man’ and lack a strong male role model” (Somerson, 143). A sort of self-flagellation or masochism in response to the toxic and patriarchal gender roles of three decades previous. Yet this softening of male representation was automatically seen as traditionally “feminine” and femininity almost always equated to childlike weakness. Then in western media, there came the advent of male madness and the fetishization of violent men. Films like Scarface, Die Hard, and any of Arnold Schwarzenegger’s filmography helped to solidify the wide appeal of these hyper-masculine and “men out of control” tropes which were preceded by Martin Scorcese’s critical and cult favourite Taxi Driver.

There were exceptions to this rule; or at the very least attempted exceptions that only managed to do more harm to the concept of a feminized man while also doubling down on the standard tropes of the decade. One shallow example of this balancing act between femininity and masculinity in 80s western media was the hit crime show Miami Vice and Sonny, a character who is entirely defined by his image. In Kibby’s words, “he is a beautiful consumer image, a position usually reserved for women; and he is in continual conflict with work, that which fundamentally defines him as a man” (Kibby, 21). Therein lies the problematic elements of this characterization. Sonny’s hyper-masculine traits of violence and emotionlessness serve as a reaffirmation of his manufactured maleness towards the audience.

Returning to the subject of Schwarzenegger, his influence on 80s media that continued well into the 90s ties directly to how fantasy evolved during this decade while also drawing upon inspirations from earlier trends. The most notable example is his portrayal of Robert E. Howard’s Conan the Barbarian in the 1982 film directed by John Milius. Already a classic character from 1930s serials and later comic strips, the movie (while polarizing amongst critics who described it as a “psychopathic Star Wars, stupid and stupefying”) brought the iconic image of a muscle-bound warrior wielding a sword as half-naked women fawn at his feet back into the collective consciousness of many fantasy fans. The character and world of Conan romanticizes the use of violence, strength, and pure might in order to achieve victory. This aesthetic of hyper-masculinity, violence, and sexuality in fantasy art was arguably perfected by the works of Frank Frazetta, a frequent artist for Conan properties. The early Castlevania games drew inspiration from this exact aesthetic for its leading hero Simon Belmont and directly appropriated one of Frazetta’s pieces for the cover of the first game.

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Hammer Horror & Gender

Conan the Barbarian, Frank Frazetta, and similar fantasy icons were just a few influences on the overall feel of 80s Castlevania. Its other major influence harks back to a much earlier and far more gothic trend in media. Castlevania director Hitoshi Akamatsu stated that while the first game was in development, they were inspired by earlier cinematic horror trends and “wanted players to feel like they were in a classic horror movie”. This specific influence forms the very backbone of the Castlevania image. Namely: gothic castles, an atmosphere of constant uncanny dread, and a range of colourful enemies from Frankenstein’s Monster, the Mummy, to of course Dracula. The massive popularity and recognizability of these three characters can be credited to the classic Universal Pictures’ monster movies of the 1930s, but there was another film studio that put its own spin on Dracula and served as another source of inspiration for future Castlevania properties.

The London-based film company Hammer Film Productions was established in 1934 then quickly filed bankruptcy a mere three years later after their films failed to earn back their budget through ticket sales. What saved them was the horror genre itself as their first official title under the ‘Hammer Horror’ brand The Curse of Frankenstein starring Hammer regular Peter Cushing was released in 1957 to enormous profit in both Britain and overseas. With one successful adaptation of a horror legend under their belt, Hammer’s next venture seemed obvious. Dracula (also known by its retitle Horror of Dracula) followed hot off the heels of Frankenstein and once again starred Peter Cushing as Professor Abraham Van Helsing, a much younger and more dashing version of his literary counterpart. Helsing faces off against the titular fanged villain, played by Christopher Lee, whose portrayal of Dracula became the face of Hammer Horror for decades to come. 

Horror of Dracula spawned eight sequels spanning across the 60s and 70s, each dealing with the resurrection or convoluted return of the Prince of Darkness (sound familiar?) Yet these were not the same gothic films pioneered by Universal Studios with fog machines, high melodrama, and disturbingly quiet atmosphere. Christopher Lee’s Dracula and Bela Lugosi’s Dracula are two entirely separate beasts. While nearly identical in design (slicked back hair, long flowing black cape, and a dignified, regal demeanor), Lugosi is subtle, using only his piercing stare as a means of intimidation and power—in the 1930s, smaller details meant bigger scares. For Hammer Horror, when it comes time to show Dracula’s true nature, Lee bares his blood-covered fangs and acts like an animal coveting their prey. Hammer’s overall approach to horror involved bigger production sets, low-cut nightgowns, and bright red blood that contrasted against the muted, desaturated look of each film. And much like the media of 1980, when it came to their characters, the Dracula films fell back on what was expected by society to be ‘masculine’ and ‘feminine’ while also making slight commentary on those very preconceived traits.

The main theme surrounding each male cast in these films is endangered male authority. Dracula and Van Helsing are without a doubt the most powerful, domineering characters in the story, particularly Helsing. As author Peter Hutchings describes in his book Hammer & Beyond: The British Horror Film, “the figure of the (male) vampire hunter is always one of authority, certainty, and stability (...) he is the only one with enough logical sense to know how to defeat the ultimate evil, thus saving the female characters and weaker male characters from being further victimized” (Hutchings, 124). The key definition here is ‘weaker male characters’. Hammer’s Dracula explores the absolute power of male authority in, yet it also reveals how easily this authority can be weakened. This is shown through the characters of Jonathan Harker and Arthur Holmwood, who differ slightly from how they are portrayed in Stoker’s novel. While Dracula does weaken them both, they manage to join Helsing and defeat the monster through cooperation and teamwork. In fact, it is Harker who lands one of the final killing strikes against Dracula. However, the Jonathan Harker of Hammer’s Dracula is transformed into a vampire against his will and disposed of before the finale. His death, in the words of Hutchings, “underlines the way in which throughout the film masculinity is seen (...) as arrested, in a permanently weakened state” (Hutchings, 117).

This theme of weakened authority extends to Holmwood in a more obvious and unsettling manner. In another deviation from the source material, Lucy Westenra, best friend to Mina Murray and fiancé to Arthur Holmwood, is now Holmwood’s sister and Harker’s fiancé. Lucy’s story still plays out more or less the same way it did in the novel; Dracula routinely drains her of blood until she becomes a vampire, asserting his dominance both physically and mentally. This according to Hutchings is the entirety of Dracula’s plan; a project “to restore male authority over women by taking the latter away from the weak men, establishing himself as the immortal, sole patriarch” (Hutchings, 119). Meanwhile, it is Helsing’s mission to protect men like Arthur Holmwood, yet seems only concerned with establishing his own dominance and does nothing to reestablish Holmwood’s masculinity or authority. Due to the damage done by Dracula and the failings of Helsing, Holmwood never regains this authority, even towards the end when he is forced to murder his own sister. His reaction goes as follows: “as she is staked he clutches his chest, his identification with her at this moment, when she is restored to a passivity which is conventionally feminine, suggesting a femininity within him which the film equates with weakness” (Hutchings, 117).

So Van Helsing succeeds in his mission to defeat his ultimate rival, but Dracula is victorious in his own right. With Jonathan Harker gone, Lucy Holmwood dead, and Arthur Holmwood further emasculated, he succeeds in breaking down previous male power structures while putting himself in their place as the all-powerful, all-dominant male presence. This is the very formula in which early Hammer Dracula films were built upon; “with vampire and vampire hunter mutually defining an endangered male authority, and the woman functioning in part as the site of their struggle (...) forged within and responded to British social reality of the middle and late 1950s” (Hutchings, 123).

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Alucard c. 1989

As for Castlevania’s Dracula, his earliest design takes more from Christopher Lee’s portrayal than from Bela Lugosi or Bram Stoker’s original vision. His appearance on the first ever box art bears a striking resemblance to one of the most famous stills from Horror of Dracula. Even in pixelated form, Dracula’s imposing model is more characteristic of Christopher Lee than Bela Lugosi.

Being his son, it would make logical sense for the first appearance of Alucard in Castlevania 3: Dracula’s Curse to resemble his father. His 1989 design carries over everything from the slick dark hair, sharp claws, and shapeless long cloak but adds a certain juvenile element—or rather, a more human element. This makes sense in the context of the game’s plot. Despite being the third title, Dracula’s Curse acts as the starting point to the Castlevania timeline (before it was replaced by Castlevania: Legends in 1997, which was then retconned and also replaced by Castlevania: Lament of Innocence in 2003 as the definitive prequel of the series). Set nearly two centuries before Simon Belmont’s time, Dracula’s Curse follows Simon’s ancestor Trevor Belmont as he is called to action by the church to defeat Dracula once he begins a reign of terror across Wallachia, now known as modern day Romania. It is a reluctant decision by the church, since the Belmont family has been exiled due to fear and superstition surrounding their supposed inhuman powers. 

This is one example of how despite the current technological limitations, later Castlevania games were able to add more in-depth story elements little by little beyond “find Dracula, kill Dracula”. This began as early as Castlevania 2: Simon’s Quest by giving Simon a much stronger motivation in his mission and the inclusion of multiple endings. The improvements made throughout the Classicvania era were relatively small while further character and story complexities remained either limited or unexplored, but they were improvements nonetheless.

Another example of this slight progress in storytelling was Castlevania 3’s introduction of multiple playable characters each with a unique backstory of their own. The supporting cast includes Sypha Belnades, a powerful sorceress disguised as a humble monk who meets Trevor after he saves her from being frozen in stone by a cyclops, and Grant Danasty, a pirate who fell under Dracula’s influence before Trevor helped him break free from his curse. Then there is of course Adrian Fahrenheit Țepeș who changed his name to Alucard, the opposite of Dracula, as a symbol of rebellion against his tyrannical father. Yet Castlevania was not the first to conceptualize the very character of Alucard; someone who is the son of Dracula and whose name is quite literally the backwards spelling of his fathers’. That idea started with Universal’s 1943 venture Son of Dracula, a sequel to the 1931 classic that unfortunately failed to match the original’s effective atmosphere, scares, and story. In it, Alucard is undoubtedly the villain whereas in Dracula’s Curse, he is one of the heroes. Moral and noble, able to sway Trevor Belmont’s preconceptions of vampiric creatures, and with an odd sympathy for the monster that is his father. Alucard even goes as far as to force himself into an eternal slumber after the defeat of Dracula in order to “purge the world of his own cursed bloodline” (the reason given by Castlevania: Symphony of the Night’s opening narration).

When it comes to design, Castlevania’s Alucard does the curious job of fitting in with the franchises’ established aesthetic yet at the same time, he manages to stand out the most—in fact, all the main characters do. Everyone from Trevor, Sypha, to Grant all look as though they belong in different stories from different genres. Grant’s design is more typical of the classic pirate image one would find in old illustrated editions of Robinson Crusoe’s Treasure Island or in a classic swashbuckler like 1935’s Captain Blood starring Errol Flynn. Sypha might look more at home in a Dungeons & Dragons campaign or an early Legend of Zelda title with a large hood obscuring her facial features, oversized blue robes, and a magical staff all of which are commonplace for a fantasy mage of the 1980s. Trevor’s design is nearly identical to Simon’s right down to the whip, long hair, and barbarian-esque attire which, as mentioned previously, was taken directly from Conan the Barbarian. 

Judging Alucard solely from official character art ranging from posters to other promotional materials, he seems to be the only one who belongs in the gothic horror atmosphere of Dracula’s Curse. As the physically largest and most supernaturally natured of the main cast, he is in almost every way a copy of his father—a young Christopher Lee’s Dracula complete with fangs and cape. Yet his path as a hero within the game’s narrative along with smaller, near missable details in his design (his ingame magenta cape, the styling of his hair in certain official art, and the loose-fitting cravat around his neck) further separates him from the absolute evil and domination that is Dracula. Alucard is a rebel and an outsider, just like Trevor, Sypha, and Grant. In a way, they mirror the same vampire killing troupe from Bram Stoker’s novel; a group of people all from different facets of life who come together to defeat a common foe. 

The son of Dracula also shares similar traits with Hammer’s Van Helsing. Same as the Belmonts (who as vampire hunters are exactly like Helsing in everything except name), Alucard is portrayed as one of the few remaining beacons of masculinity with enough strength, skill, and logical sense who can defeat Dracula, another symbol of patriarchal power. With Castlevania 3: Dracula’s Curse, we begin to see Alucard’s dual nature in aesthetics that is automatically tied to his characterization; a balance that many Byronic heroes try to strike between masculine domination and moralistic sensitivity and goodness that is often misconstrued as weakly feminine. For now though, especially in appearance, Alucard’s persona takes more from the trends that influenced his allies (namely Trevor and Simon Belmont) and his enemy (Dracula). This of course would change drastically alongside the Castlevania franchise itself come the 1990s.

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Gender Expression & The 1990s Goth Scene

When a person sees or hears the word “gothic”, it conjures up a very specific mental image—dark and stormy nights spent inside an extravagant castle that is host to either a dashing vampire with a thirst for blood, vengeful ghosts of the past come to haunt some unfortunate living soul, or a mad scientist determined to cheat death and bring life to a corpse sewn from various body parts. In other words, a scenario that would be the focus of some Halloween television special or a daring novel from the mid to late Victorian era. Gothicism has had its place in artistic and cultural circles long before the likes of Mary Shelley, Edgar Allan Poe, Bram Stoker, and even before Horace Walpole’s The Castle of Otranto, a late 18th century novel that arguably started the gothic horror subgenre. 

The term itself originated in 17th century Sweden as a descriptor of the national romanticism concerning the North Germanic Goths, a tribe which occupied much of Medieval Götaland. It was a period of historical revisionism in which the Goths and other Viking tribes were depicted as heroic and heavily romanticised. Yet more than ever before, gothicism is now associated with a highly specific (and in many ways personal) form of artistic and gender expression. It started with the golden age of gothic Medieval architecture that had its revival multiple centuries later during the Victorian era, then morphed into one of the darkest if not melodramatic literary movements, and finally grew a new identity throughout the 1990s. For this portion, we will focus on the gothic aesthetic as it pertains to fashion and music.

Arguably, the advent of the modern goth subculture as it is known nowadays began with the 1979 song “Bela Lugosi’s Dead” from Northampton’s own rock troupe Bauhaus. The overall aesthetic of the song, accompanying live performances, and the band itself helped shaped the main themes of current gothicism including, but not limited to, “macabre funeral musical tone and tempo, to lyrical references to the undead, to deep voiced eerie vocals, to a dark twisted form of androgyny in the appearance of the band and most of its following” (Hodkinson, 35-64). This emphasis on physical androgyny in a genre that was predominantly focused on depictions of undeniable masculinity was especially important to the 80s and 90s goth scene. Bauhaus opened the gates in which other goth and post-punk bands gained popularity outside of underground venues, including The Cure, Siouxsie and the Banshees, and Southern Death Cult. Much like Bauhaus’ “twisted form of androgyny”, these other bands pioneered a romantic yet darkly feminine aesthetic which was then embraced by their fans. It wasn’t until the producer of Joy Division Tony Wilson along with members from Southern Death Cult and U.K. Decay mentioned the word “goth” in passing that this growing musical and aesthetic subculture finally had a name for itself. 

The goth movement of the 1990s became an interesting mesh of nonconformity and individual expression while also emphasising the need for a mutual connection through shared interests and similar aesthetics. Unique social outsiders looking for a sense of community and belonging—not unlike Stoker’s vampire hunting troupe or the main cast of Castlevania 3: Dracula’s Curse. Paul Hodkinson author of Goth: Identity, Style and Subculture describes the ways in which goths were able to expand their social networking while making the subculture their own. In order to gain further respect and recognition within the community, “they usually sought to select their own individual concoction from the range of acceptable artefacts and themes and also to make subtle additions and adaptations from beyond the established stylistic boundaries” (Hodkinson, 35-64). This was one of the ways in which the goth subculture was able to grow and evolve while maintaining some typical aesthetics. Those aesthetics that had already become gothic staples as far back as classic Victorian horror included crucifixes, bats, and vampires; all of which were presented by young modern goths, as Hodkinson puts it, “sometimes in a tongue-in-cheek self-conscious manner, sometimes not” (Hodkinson, 35-64).

The vampire, as it appeared in visual mass media of the time, was also instrumental to the 90s gothic scene, reinforcing certain physical identifiers such as long dark hair, pale make-up, and sometimes blackened sunglasses. This was especially popular amongst male goths who embodied traditional gothic traits like dark femininity and androgyny, which had already been long established within the subculture. 

As always, television and film did more to reinforce these subcultural trends as recognizable stereotypes, usually in a negative manner, than it did to help people embrace them. In media aimed towards a primarily teenage and young adult demographic, if a character did not possess the traditional traits of a hyper-masculine man, they instead fit into two different molds; either the neurotic geek or the melodramatic, moody goth. However, there were forms of media during the 90s that did manage to embrace and even relish with no sense of irony in the gothic aesthetic. 

Two films which helped to build upon the enthusiasm for the vampire were Francis Ford Coppola’s lavish adaptation of Stoker’s novel titled Bram Stoker’s Dracula starring Gary Oldman in the titular role of Dracula and another adaptation of a more recent gothic favourite among goths, Anne Rice’s Interview with the Vampire with Brad Pitt and Tom Cruise. The majority of the male goth scene especially emulated Oldman’s portrayal of Dracula when in the film he transforms into a much younger, more seductive version of himself in order to blend in with society, everything down to the shaded Victorian sunglasses and the long flowing hair; a vision of classic, sleek androgyny combined with an intimidating demeanor without being overly hyper-masculine. 

Primarily taking place during the 18th and 19th century, Interview with the Vampire (the film and the original novel) also encouraged this very same trend, helping to establish European aristocratic elements into the gothic aesthetic; elements such as lace frills, finely tailored petticoats, corsets, and a general aura of delicacy. 

Going back to Hodkinson’s findings, he states that “without actually rendering such categories insignificant, goth had from its very beginnings been characterized by the predominance, for both males and females, of particular kinds of style which would normally be associated with femininity” (Hodkinson, 35-64). However, it is important to acknowledge that the western goth subculture as described in this section, while a haven for various forms of gender expression, placed heavy emphasis on thin, white bodies. Over the years, diversity within the community has been promoted and encouraged, but rarely do we see it as the forefront face of gothicism.

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The Japanese Goth Scene & Ayami Kojima

Modern gothicism was not limited to North America or Europe. In Japan, the subculture had evolved into its own form of self-expression through clothing and music that took inspiration from a variety of 18th and 19th century themes (mostly originating from European countries). Yet despite the numerous western influences, the eastern goth community during the 1990s and early 2000s embraced itself as something unique and wholly Japanese; in other words, different from what was happening within the North American movement at the same time. To refresh the memory, western goth culture focused primarily on the macabre that included completely black, moody wardrobes with an air of dark femininity. Japanese goth culture maintained those feminine traits, but included elements that were far more decadent, frivolous, and played further into the already established aristocratic motifs of gothicism. This created a new fashion subculture known as Gothic Lolita or Goth-Loli (no reference to the Vladimir Nabokov novel Lolita or the themes presented within the text itself). 

In Style Deficit Disorder: Harajuku street fashion, a retrospective on the history of modern Japanese street fashion, the Goth-Loli image is described as “an amalgam of Phantom of the Opera, Alice in Wonderland, and Edgar Allan Poe” (Godoy; Hirakawa, 160). It was an aesthetic that took the western notion of “gothic” to higher levels with a heavier emphasis on opulence and an excessive decorative style—think Gothic meets Baroque meets Rococo. Teresa Younker, author of Lolita: Dreaming, Despairing, Defying, suggests that during the early years of the Gothic Lolita movement, it acted as a form of escapism for many young Japanese individuals searching for a way out of conformity. She states that “rather than dealing with the difficult reality of rapid commercialization, destabilization of society, a rigid social system, and an increasingly body-focused fashion norm, a select group of youth chose to find comfort in the over-the-top imaginary world of lace, frills, bows, tulle, and ribbons”. One pioneer that helped to bring the Goth-Loli image at the forefront of Japanese underground and street fashion the likes of Harajuku was the fashion magazine Gothic & Lolita Bible. Launched in 2001 by Index Communication and Mariko Suzuki, each issue acted as a sort of catalogue book for popular gothic and lolita trends that expanded to art, music, manga, and more. 

According to Style Deficit Disorder, during this time when Gothic & Lolita Bible had helped bring the subculture into a larger collective awareness, the Goth-Loli image became “inspired by a yearning for something romantic overseas (...) and after taking on the “Harajuku Fashion,” ended up travelling overseas, while remaining a slightly strange fashion indigenous to Japan” (Godoy; Hirakawa, 137). Then came KERA Maniac, another magazine launched in 2003 that had “even darker clothing and international style points and references, such as features on the life and art of Lewis Carroll, Japanese ball-jointed dolls, or interviews with icons like Courtney Love” (Godoy; Hirakawa, 140). The fashion trends that both Gothic & Lolita Bible and KERA Maniac focused on also found popularity amongst visual kei bands which were usually all male performers who began sporting the very same ultra-feminine, ultra-aristocratic Goth-Loli brands that were always featured in these magazines. 

Similar to traditional Kabuki theatre, “this visual-kei placed great importance on the gorgeous spectacle created onstage” (Godoy; Hirakawa, 135). One particular visual kei performer of the early 2000s that became Gothic & Lolita Bible’s biggest and most frequent collaborator was Mana. Best known for his musical and fashion career, Mana describes his onstage persona, merging aristocratic goth with elegant gothic lolita, as “either male or female but it is also neither male nor female. It is both devil and angel. The pursuit of a middle ground” (Godoy; Hirakawa, 159).

Opulence, decadence, and femininity with a dark undertone are all apt terms to describe the image of Japanese gothicism during the 90s and early aughts. They are also perfect descriptors of how artist Ayami Kojima changed the face of Castlevania from a franchise inspired by classic horror and fantasy to something more distinct. As a self-taught artist mainly working with acrylics, India ink, and finger smudging among other methods, 1997’s Castlevania: Symphony of the Night was Kojima’s first major title as the lead character designer. Over the years she worked on a number of separate video games including Samurai Warriors and Dynasty Warriors, along with other Castlevania titles. Before then, she made a name for herself as a freelance artist mainly working on novel covers and even collaborated with Vampire Hunter D creator Kikuchi Hideyuki for a prequel to his series. Kojima has been dubbed by fans as “the queen of Castlevania” due to her iconic contributions to the franchise. 

Kojima’s influences cover a wide array of themes from the seemingly obvious (classic horror, shounen manga, and East Asian history) to disturbingly eclectic (surgery, body modification, and body horror). It is safe to assume that her resume for Castlevania involves some of her tamer works when compared to what else is featured in her 2010 artbook Santa Lilio Sangre. Yet even when her more personal art pieces rear into the grotesquely unsettling, they always maintain an air of softness and femininity. Kojima is never afraid to show how the surreal, the intense, or the horrifying can also be beautiful. Many of her pieces include details emblematic of gothicism; skulls, bloodied flowers, the abundance of religious motifs, and lavish backgrounds are all commonplace, especially in her Castlevania art. Her models themselves—most often androgynous men with sharp cheekbones, flowing hair, and piercing gazes—look as though they would fit right into a gothic visual kei band or the pages of Gothic & Lolita Bible.

Castlevania: Harmony of Despair was the final Castlevania game Kojima worked on, as well as her last game overall. It wasn’t until 2019 when she reappeared with new pieces including promotional artwork for former Castlevania co-worker Koji Igarashi’s Bloodstained: Ritual of the Night and a collaboration with Japanese musician Kamijo on his newest album. Her work has also appeared in the February 2020 issue of TezuComi, depicting a much lighter and softer side of her aesthetic. Ayami Kojima may have moved onto other projects, but the way in which she forever influenced the Castlevania image is still being drawn upon and emulated to this day.

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Alucard c. 1997

There were actually three versions of Alucard during the 1990s, each of which were products of their time for different reasons. The first example is not only the most well known amongst fans and casual onlookers alike, but it is also the one design of Alucard that manages to stand the test of time. Ayami Kojima redesigned a number of classic Castlevania characters, giving them the gothic androgynous demeanour her art was known for. Most fans will say with some degree of jest that once Kojima joined Konami, Castlevania grew to look less like the masculine power fantasy it started as and more like a bishounen manga. No matter the differing opinions on the overall stylistic change of the series, Kojima’s reimagining of Alucard for Castlevania: Symphony of the Night is undoubtedly iconic. His backstory has more or less remained the same, carried over from Castlevania 3: Dracula’s Curse. After killing his father Dracula, Alucard, unable to fully process his actions or his bloodline, decides to force himself into a centuries long slumber in order to rid the world of his dark powers. Symphony of the Night begins with the Byronic dhampir prince waking up after nearly 300 years have passed once Dracula’s castle mysteriously reappears in close proximity to his resting place. The only difference this time is there seems to be no Belmont to take care of it, unlike previous years when Dracula is resurrected. Determined to finish what was started during the 15th century, the player takes Alucard on a journey throughout the castle, which has now become larger and more challenging than past incarnations.

Despite being somewhat of a direct sequel to Dracula’s Curse, Symphony’s Alucard is not the same dhampir as his 80s counterpart. Gone are any similarities to Bela Lugosi or Christopher Lee; now Alucard bears more of a resemblance to Anne Rice’s own literary muse Lestat de Lioncourt from her ongoing Vampire Chronicles. Instead of slicked back dark hair, thick golden locks (which were originally black to match his father) cascade down Alucard’s figure, swaying with his every pixelated movement. Heeled leather boots, a black coat with gold embellishments along with an abnormally large collar underneath a flowing cape, and a high-collared cravat replace the simplistic wardrobe of 80s Alucard—from a traditional, minimalist goth mirroring his father’s masculinity to an extravagant, aristocratic goth with his own intense, almost macabre femininity.

With the early Metroidvanias came the inclusion of detailed character portraits designed by Ayami Kojima which would appear alongside a dialogue box to further establish the illusion of the characters speaking to each other. Symphony of the Night was one of the first titles where players got to see Alucard’s ingame expression and it looked exactly as it did on every piece of promotional poster and artwork. The same piercing glare, furrowed brow, and unshakeable inhuman determination, the sort that is also reflected in his limited mannerisms and character—all of which are displayed upon an immaculate face that rarely if ever smiles. Just by looking at his facial design nearly hidden behind locks of hair that always seems meticulously styled, it is clear that Alucard cannot and will not diverge from his mission. The only moment in the game when his stoic facade breaks completely is when he faces off against the Succubus, who tempts Alucard to give into his vampiric nature by disguising herself as his deceased mother Lisa. Yet even then he sees through her charade and, depending on the player’s ability, quickly disposes of her. 

Despite his delicate feminine features, emotional softness is not one of Alucard’s strongest suits in Symphony. Though for someone in his position, someone who must remain steadfast and succeed in his goal or else fail the rest of humanity, where little else matters, Alucard’s occasional coldness (a trait that would return in recent Castlevania instalments) makes sense. There is a scene near at the climax of the game where he exposits to the other main protagonists Richter Belmont and Maria Renard about how painful it felt to destroy his father a second time, but he reframes it as a lesson about the importance of standing up against evil rather than an admission of his own vulnerability. However, he does choose to stay in the world of mortal humans instead of returning to his coffin (depending on which ending the player achieves).

The second 90s version of Alucard is a curious case of emulation, drawing inspiration from both Kojima’s redesign and other Japanese art styles of the 1990s. Castlevania Legends was released for the Game Boy the exact same year as Symphony of the Night and acted as a prequel to Dracula’s Curse, following its protagonist Sonia Belmont as she traverses through Dracula’s castle alongside Alucard and becomes the first Belmont in history to defeat him. It was then retconned after the release of Castlevania: Lament of Innocence in 2003 due to how its story conflicted with the overall timeline of the series. As with most of the earliest Game Boy titles, the ingame graphics of Legends are held back by the technological limitations, but the box art and subsequent character concepts reveal the game’s aesthetic which seems to take the most inspiration from other Japanese franchises of the decade. The biggest example would be Slayers, a popular comedic fantasy series that included light novels, manga, and anime. Legends Alucard is portrayed in this particular animated style, yet his design itself is very similar to how he looks in Symphony of the Night with only minor exceptions. 

The third and arguably most obscure 90s Alucard comes from the animated children’s show Captain N: The Game Master, a crossover that brought together popular Nintendo characters like Mega Man, Kid Icarus, and Simon Belmont. The episodes were presented as traditional monsters of the week, meaning each one focused on a brand new story or environment usually taken from Nintendo games. One episode that aired in 1993 centered on Castlevania and featured a comedic and parodied version of Alucard. Although the episode took elements from Dracula’s Curse, Alucard was meant to be a stereotypical representation of rebellious 90s youth, i.e. an overemphasis on skateboarding and “radical” culture. A colorful, kid-friendly version of the character that was never meant to be taken seriously; much like the rest of the show.

Out of the three variations, Ayami Kojima’s Alucard is the one that made the biggest and longest lasting impact on Castlevania. Redesigning an iconic franchise or character always comes with its own risks and gambles. In the case of Symphony of Night, the gamble made by Kojima—and by extension Konami and director Koji Igarashi—paid off. Unfortunately, the same cannot be said regarding Alucard’s next major change as a character and an image. 

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Lords of Shadow

“What motivates a man to confront the challenges that most of us would run from?” This is a question put forth by Castlevania: Lords of Shadow, the first attempt by Konami to reinvigorate and inject new life into the Castlevania brand name by completing rebooting the universe. Starting from scratch as it were. Originally, Lords of Shadow seemed to have no connection to the Castlevania franchise. Announced by Konami during a games convention in 2008, this was meant to give more attention and not distract from the upcoming Castlevania: Judgment. However, merely a year later at Electronic Entertainment Expo, it was revealed that Lords of Shadow was in fact the next major step that Konami was taking with Castlevania. From its announcement and early trailers, the game was already generating a healthy amount of media buzz due to its updated graphics, design, and gameplay. Having Konami alumni, video game auteur, and creator of the critically acclaimed Metal Gear series Hideo Kojima attached to the project also helped to generate initial hype for this new phase of Castlevania (though it should be noted that Kojima was only credited as a consultant and advisor for the Lords of Shadow development team). After nearly a decade of near hits, substantial misses, and a lack of focus for the franchise, Castlevania had once again become one of the most highly anticipated upcoming games. To quote gaming news and reviews website GamesRadar+ at the time, “this could be a megaton release”.

And it was—so to speak. As mentioned in previous sections, the first Lords of Shadow did relatively well, garnering critical and commercial success. By November of 2010, nearly one million copies had sold in North America and Europe alone. While not a monumental achievement or a record breaker, Lords of Shadow soon became the highest selling Castlevania game of all time. But enough time has passed since its release and nowadays, fans look back upon this reinvented Castlevania timeline pushed by Konami with mixed feelings, some more negative than others. 

The main criticism is that when it comes to gameplay, environment, and story, Lords of Shadow changed too much from its original source material. Change is not always a terrible thing especially in regards to long-running franchises and Castlevania had already gone through one massive upheaval with Symphony of the Night. Although the difference is how well that dramatic change was executed and how players reacted to it. For many, Lords of Shadow felt less like the game it was supposed to be emulating and more like other action hack-and-slashers of the time. The gameplay didn’t feel like Castlevania, it felt like Devil May Cry. Elements of the story didn’t feel like Castlevania, they felt like God of War. Each boss fight didn’t feel like Castlevania, they felt like Shadow of the Colossus (a frequent comment made by fans). Despite the familiar elements from past games that made their way into this new instalment, for many, Lords of Shadow was too little of Castlevania and too much of everything else that surrounded its development. Meanwhile, the afformented familiar elements seemed like attempts at fanservice in order to make sure that longtime fans felt more at home.

Does the game and its following sequels still hold any merit in terms of aesthetic and story? They do, especially when it comes to its style. Lords of Shadow, its midquel Mirror of Fate, and the sequel Lords of Shadow 2 are not unappealing games to look at. When examining the concept art of characters, enemies, and environments, one could argue that the Lords of Shadow series has some of the most visually striking Castlevania art in the series. The monster designs in particular take on a much grander, ambitious, and menacing presence that take inspiration from various mythological and biblical sources, the best example being Leviathan from Lords of Shadow 2. 

By the 2010s, AAA video games in general were going through a sort of golden age with titles such as Assassin’s Creed 2, Batman: Arkham Asylum, and Red Dead Redemption among many others. Not only were the stories and gameplay mechanics improving by ten folds, so too were the graphical capacities that each game could uphold. Due to technological advancements, Castlevania had the chance to become more detailed and fleshed out than before. The locations of Lords of Shadow and its sequels, which ranged from gothic castles, to modern decrepit cities, to fantastical forests, grew lusher and more opulent while the monsters evolved past the traditional skeletons of the series into far more imposing nightmarish creatures.

The first game along with Mirror of Fate kept themselves fairly grounded in their respective environments. Nearly every character looks as though they firmly belong in the gothic fantasy world they inhabit. Gabriel Belmont and the rest of the Brotherhood of Light are dressed in robes reminiscent of medieval knights (with a few non-historical embellishments) while the vampiric characters of Carmilla and Laura dress in the same manner that typical vampires would. However, a new location known as Castlevania City was introduced in Lords of Shadow 2, modelled after a 21st century metropolitan cityscape. Characters with designs more suited to God of War or Soul Calibur intermingle with NPCs dressed in modern clothing, further highlighting the clash of aesthetics. While this is not the first time Castlevania has featured environments populated with humans, the constant shifting between a dark urban landscape with more science fiction elements than fantasy and the traditional gothic setting of Dracula’s castle can feel like whiplash. 

The Lords of Shadow timeline was an ambitious attempt by Konami to try and give fans a Castlevania experience they had not seen before. New concepts that were previously unexplored or only alluded to in past games were now at the forefront. Yet the liberties that each game took with established Castlevania lore, both in terms of story and design, were perhaps too ambitious. The biggest example is the choice to have the Belmont protagonist turn into Dracula through a combined act of despair and selflessness, but Alucard went through a number of changes as well. Transforming him from the golden-haired aristocrat of the 90s and 2000s into an amalgamation of dark fantasy tropes. 

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Alucard c. 2014

After the success of Castlevania: Symphony of the Night, Alucard reappeared in a number of following titles, most of which depicted him in his typical black and gold wardrobe. There were exceptions, including Castlevania: Aria of Sorrow and its direct sequel Castlevania: Dawn of Sorrow where he adopts the alias of Genya Arikado, an agent for a futuristic Japanese organization dedicated to stopping any probable resurrections of Dracula. Because of this need to appear more human and hide his true heritage, Genya’s appearance is simple and possibly one of Ayami Kojima’s most minimalistic character designs; a black suit, shoulder length black hair, and the job is done. In Dawn of Sorrow, Alucard briefly appears as himself, drawn in a less detailed anime style that softens his once intensely stoic expression first seen in Symphony. The next exception is Castlevania: Judgment, a fighting game where characters from separate games and time periods are brought together to face off against one another. Konami brought on Takeshi Obata (who by then was famously known for his work on Death Note) as the lead character designer and in many regards had a similar aesthetic to Ayami Kojima, creating lavish gothic pieces that were heavily detailed and thematic. 

Like Kojima, Obata was given free range to reconceptualize all of the characters appearing in Judgment with little to no remaining motifs from previous designs. This included Alucard, who dons a suit of silver armor and long white hair to match it. Judgment’s Alucard marked a turning point for the character in terms of appearance; a gradual change that was solidified by Lords of Shadow.

This is where things get complicated. While Castlevania could be considered a horror series solely based on its references, aesthetic, and monsters, nearly every iteration whether it comes down to the games or other forms of media tends to veer more towards the dark fantasy genre. Edward James and Farah Mendleson’s Cambridge Companion to Fantasy Literature describe the distinction between traditional horror and dark fantasy as a genre “whose protagonists believe themselves to inhabit the world of consensual mundane reality and learn otherwise, not by walking through a portal into some other world, or by being devoured or destroyed irrevocably, but by learning to live with new knowledge and sometimes with new flesh” (James; Mendleson, 218). While horror is a genre of despair, directly confronting audience members with the worst of humanity and the supernatural, “the protagonist of dark fantasy comes through that jeopardy to a kind of chastened wisdom” (James; Mendleson, 217). 

Dark fantasy is ultimately a genre of acceptance (i.e. characters accepting a horrible change or embracing the world they have been forcibly thrown into), but it also represents a rejection of traditional tropes implemented by the works of Tolkien or the Brothers Grimm, thus defining itself by that very same act of rejection. An example of this is the theme of failure, which is common in many dark fantasy stories. There are far more unhappy or bittersweet endings than happy ones while the construction of the classic hero’s journey hinges more on all the possible ways in which the protagonist could fail in their quest. 

Going off from this definition, the Lords of Shadow timeline fits squarely into the dark fantasy genre, especially concerning its two leading men. We already know that Gabriel Belmont sacrifices his humanity in order to become Dracula, but what happens to his son borders on a Greek tragedy. Before the “deaths” of Gabriel and Maria, they had a son named Trevor who was immediately taken into the care of the Brotherhood of Light and kept away from his father in order to protect him. Years later when Trevor is an adult with a family of his own, he vows to defeat Dracula for bringing shame and dishonor upon the Belmont bloodline. Yet when their eventual confrontation happens, Dracula easily beats Trevor who, on the verge of death, reveals the truth about his connection to the lord of vampires. In a desperate act of regret, Dracula forces Trevor to drink his blood and places him into a coffin labeled “Alucard” where he will seemingly rest for eternity.

Time passes and Trevor Belmont—now transformed into the vampire Alucard—awakens, just as he did at the beginning of Dracula’s Curse and Symphony of the Night. During his disappearance, his wife Sypha Belnades was killed by Dracula’s creatures, orphaning their son Simon Belmont. The two eventually meet and work together to stop Dracula, but Alucard cannot bring himself to tell Simon the truth.

Despite a well-deserved happy ending in Lords of Shadow 2 (he and his father reconcile before going off to presumably live a peaceful life), the character of Trevor/Alucard is built upon the same themes of failure and learning to accept terrible change found within dark fantasy. His design is especially reminiscent of one of the darkest and most tortured protagonists in the genre, Michael Moorcock’s Elric from his Elric of Melniboné series. First appearing in the June 1961 issue of Science Fantasy, he stands out amongst most sword and sorcery heroes, different from the hypermasculinity of Conan the Barbarian for his embittered personality, philosophical motifs, and memorable design. Elric is constantly described as looking deathly pale with skin “the color of a bleached skull; and the long hair which flows below his shoulders is milk-white” (Moorcock, 3) and a body that needs a steady stream of potions in order to function properly or else he will gradually grow weaker, nearer towards the edge of death—more a corpse than a human being. 

Lords of Shadow Alucard is very much like a walking corpse as well. His long hair is the same milk-white tone as Elrics’, his skin is deprived of any real color, and his open chest outfit reveals a body that is both robust yet emaciated. Moorcock’s Elric was the prototype for many other white haired, pale faced, otherworldly antiheroes in fantasy that came afterwards and the darkly ethereal aesthetic that reflected his constant state of self-loathing and tragedy was the most ideal fit for this new version of Alucard. Both fail as traditional fantasy heroes, both abhor their physical states, yet both learn to embrace it at the same time.

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A Brief History of Modern Animation

Before we move onto the final iteration of Dracula’s son, let us first acquaint ourselves with an artistic medium that has not been fully discussed yet. This essay has gone into detail concerning the aesthetics of video games, fashion, filmmaking, and music, but where does animation fit in? Since 1891’s Pauvre Pierrot, the only surviving short film predating the silent era with 500 individually painted frames, animation has evolved into one of the most expressive, diverse, and groundbreaking art forms of the modern age. There were earlier methods that fit into the animation mold before Pauvre Pierrot including but not limited to shadow play, magic lantern shows, and the phenakistoscope, one of the first devices to use rapid succession in order to make still images look as though they were moving. Throughout the 20th century, with the help of mainstream studios like Warner Bros. and of course Walt Disney, the medium quickly began to encompass a variety of techniques and styles beyond a series of drawings on paper. Some of the more recognizable and unique styles are as followed:

Digital 2-D animation

Digital 3-D animation

Stop-motion

Puppetry

Claymation

Rotoscoping

Motion capture

Cut-out animation

Paint-on-glass

The most common forms used in film and television are traditional hand drawn and digital 3-D, sometimes merged together in the same product. There has been much debate over which animation technique has more artistic merit and is more “authentic” to the medium, but the reality is that there is no singular true form of animation. Each style brings its own advantages, challenges, and all depends on how it is being used to tell a specific story or evoke a feeling within the audience. For example, the 2017 semi-biographical movie Loving Vincent is animated in a nontraditional style with oil paints in order to create the illusion of a Vincent Van Gogh painting that has come to life. As Loving Vincent is about the influential painter himself and his tragic life, this animation technique works to the film’s advantage. If the story had used a more traditional form like 2-D or 3-D, it might not have had the same impact. Another example like the film A Scanner Darkly starring Keanu Reeves uses a somewhat controversial technique known as rotoscoping, which entails tracing over live action scenes in order to give it a realistic yet still animated feel. A Scanner Darkly is a futuristic crime thriller meant to evoke a sense of surrealism and discomfort, making the uncanniness of rotoscoping the perfect fit for its artificial atmosphere. 

Throughout its history, animation has gone through a number of phases corresponding to political, artistic, and historical events such as propaganda shorts from Walt Disney during World War II and the rise of adult-oriented animators who rode the wave of countercultural movements during the late 1960s and early 70s. Animation meant for older audiences was especially coming into its own as most audiences had become more comfortable associating the medium with the family friendly formula perfected by the Disney company. The only other western mainstream animation studio that could stand toe to toe with Disney while also dabbling in mature subject matter at the time was Warner Bros. and its juggernaut Looney Tunes, which even then was mostly relegated to smoking, slapstick violence, and mild suggestive material. Meanwhile, the works of Ralph Bakshi, arguably the father of elevated adult animated features, dealt with everything from dark humor, sexuality, profanity, and complex themes most of which delved into pure shock value and were highly offensive in order to make a statement. There were later exceptions to this approach including Bakshi’s own adaptation of Tolkien’s Lord of the Rings, Wizards, and Fire and Ice, a high profile collaboration with Frank Frazetta, in which both films utilized rotoscope animation to create unique, fantasy-based experiences for mature viewers.

With the right amount of funds and creativity, other countries began developing their own animated features with distinct styles that reflected the culture, social norms, and history in which they originated from. The 1960s are referred to as “the rise of Japanese animation”, or as it came to be known worldwide as anime, thanks to iconic characters of the decade like Astro Boy, Kimba the White Lion, and Speed Racer. The longest running anime with over 7,700 episodes to date is Sazae-san, based on the popular 1940s comic strip of the same name. Western audiences commonly associate modern anime with over the top scenarios, animation, and facial movements while having little to no basis in reality when it comes to either story or character design. 

While the Walt Disney company was steadily losing its monopoly on the animation industry with financial and critical disappointments (making room for other animators like Don Bluth) until it's renaissance during the 1990s, the 1980s turned into a golden age for ambitious, groundbreaking anime projects. Not only were films like Akira, Grave of the Fireflies, Barefoot Gen, and Nausicaä of the Valley of the Wind among many others, appealing to a wide variety of audiences, they were also bold enough to tackle mature, complex subject matter with a certain degree of nuance that complimented each film’s unique but often times bizarre or surreal styles. Akira watches like a violent cyberpunk splatterfest with extreme body horror and juvenile delinquency, yet its borderline exploitative methods serve a larger purpose. Akira takes place in a bleak, dystopian Japan where Tokyo has been rebuilt after its destruction in 1988, setting up an allegorical story that directly confronts government experimentation and the fallout of nuclear warfare.

Artists of all mediums have always influenced one another and the impact that anime has had on western animation continues to this day whether through passing tongue-in-cheek references, taking inspiration from common anime tropes while also depicting them through a western lens, or shows that feature a heavily emulated anime style like Avatar: The Last Airbender and its successor The Legend of Korra. Then there are shows that completely blur the lines between western animation and anime, with the ultimate distinction usually coming down to where it was originally developed (i.e. North America or Japan).

--

Alucard c. 2017

The overall aesthetic and image of Netflix’s Castlevania is built upon a number of different influences, the majority of which come from Japanese animation. Executive producer and long time Castlevania fan Adi Shankar has gone on record saying that the show is partially “an homage to those OVAs that I would watch on TV (...) and I was like, “This is beautiful, and it’s an art form”. He has also directly compared the show to those golden age-era ultra violent anime features of the 80s and 90s, including titles such as Akira, Ghost in the Shell, and Ninja Scroll. Director Samuel Deats, another avid Castlevania fan, has mentioned the long-running manga series Berserk along with its 1997 anime adaptation as one of the animation team’s primary inspirations numerous times, explaining in further detail in a 2017 interview with io9: “I pulled out my ‘I love the Berserk manga, Blade the Immortal’ and all that. That dark fantasy style of storytelling, character design, how gorey it gets… I put together a bunch of drawings and sketches, and a few color images that channeled all of that”.

Watching Castlevania, the aesthetic references to Berserk are obvious. Both series merge together medieval fantasy elements with gruesome horror but they are also similar in their particular animation styles. One director from Korean studio MOI Animation who partnered with Powerhouse Animation collaborated on the feature length film Berserk: The Golden Age—The Egg of the King along with its two sequels. But the biggest inspiration for the design of Castlevania, especially when it comes to its characters, is Ayami Kojima herself. 

From the pre-production phase, the team at Powerhouse knew they wanted Kojima’s art to be the main basis of how the finished product would look and feel. According to Samuel Deats, “In the back of everyone’s heads, we knew that we wanted to heavily reference the style Ayami Kojima used in the Castlevania games. We wanted to bring the same shade-before-image sort of thing”. However, due to the sheer amount of details and embroidered style of Kojima’s aesthetic, many of her original designs had to be simplified into 2-D animated forms (just as they had to be reduced into pixelated form for Symphony of the Night).

Alucard’s animated design is the best example of this simplification process, but it took some trial and error in order to arrive at the finished product. When Castlevania was originally planned as a movie, his design veered closer to the otherworldliness and corpse-like aesthetic of Lords of Shadow Alucard—something that looked as far from a human being let alone a dhampir as possible. Following the years of stifled development until Netflix picked up the project, Powerhouse opted to fall back on Kojima’s artwork for sheer iconography and recognizability. 

On the one hand, animated Alucard’s facial expressions are identical to his game counterpart with the exception of a few liberties taken; same determined scowl, same intensely golden eyes, and same lush eyelashes (there’s even a note from his character sheet specifically stating that they must cast shadows for close-ups). Most of all, the same feminine androgyny of Kojima’s work. But there are just as many omitted details from Alucard’s updated model as there are those that were carried over from the original design. When compared to Symphony of the Night, his wardrobe seems to be severely lacking in excessive ornaments, instead opting for a sleek black coat with simple gold embellishments, knee high boots with a slight heel, and a white shirt with an open v-neckline. Despite these supposedly easy changes and evocation of Kojima’s art style, Alucard is still one of the more difficult characters to animate as stated by Deats: “I mean, Alucard has to be just right. You can’t miss an eyelash on him without it looking weird”. 

For the most part, it shows in the final product. There are moments when the animation goes off model (as is the case with most 2-D animated shows for time and budgetary reasons), but rarely is Alucard drawn from an unflattering angle. The other reason for his change in design is the fact that Castlevania takes place three centuries before the events of Symphony of the Night. Because of the story constraints and console limitations, players were not given an in-depth look at Alucard’s character beyond his quest to defeat Dracula and the guilt he felt afterwards. It would make sense that his demeanor differs from the stoic nature of how he reacts to certain situations three hundred years later. As a result, Alucard is given a toned-down design to reflect what he might have been like as a younger, brasher, and more immature version of himself.

This immaturity and juvenile nature of his visual image comes through in his portrayal. While the show is in its third season, we will primarily focus on season two as when compared to the others, it revolves around Alucard’s personal journey towards an important aspect of his long established character the most; namely, the reason for his rebellion against Dracula and his eventual act of patricide. Because Alucard only appears as a silhouette in episode one then makes his full introduction during the last fifteen minutes of the final episode, season one gives the audience a very limited idea of his character. What we do get from Alucard is the same impression that Symphony of the Night left fans with: someone who is determined, intensely fixated on his goal, and is willing to use any means to accomplish it—even if it involves striking a tentative truce between a vampire hunter and a scholar of magic. Season two expands upon this, showing an Alucard who is soft-spoken, careful in his mannerisms, more feminine than masculine, yet always rises to the occasion whenever he needs to match Trevor Belmont’s own crassness. For all of his grace, Alucard’s high emotions coupled with an unchecked immaturity (especially in the presence of Trevor) show how ill-equipped he is when dealing with human interactions.

One other piece of evidence that adds to this chink in Alucard’s carefully crafted metaphorical armor is the goal of stopping his father. Throughout small interactions and moments of dialogue, the truce struck between him, Trevor, and Sypha eventually develops into more of a friendship, yet Alucard continues to suffer from extreme tunnel vision, going as far as to chastise his two companionships whenever they get too distracted or unfocused from their mission. This character flaw is also touched upon in Castlevania: Grimoire of Souls when characters remark upon Alucard’s (otherwise referred in the game as Arikado) overly serious nature. A flaw that does more to unintentionally push others away rather than any attempt to bring them closer to him.

When Alucard finally achieves his goal of killing Dracula, it leaves him feeling hollow. He doesn’t quite know how to fully process this ultimate decision, maintaining a delicate sense of composure on the outside while in the presence of others. It’s only when Alucard is left alone does he allow the emotions of everything that has just happened to overwhelm him in a moment of genuine vulnerability that was only alluded to in previous scenes.

--

Conclusion

Despite the show being renewed for a fourth season, the future of the Castlevania franchise in general remains uncertain. There’s been no talk of any other past games being set for rerelease, Grimoire of Souls continues to make sporadic updates to its gacha system rather than its story mode, and Konami has since chosen to take a step back from developing video games in favour of manufacturing pachislot machines. Symphony of the Night and Bloodstained: Ritual of the Night creator Koji Igarashi has mentioned in past interviews that should Konami somehow make a return to Castlevania, he would be willing to direct a new instalment. But at the present time, rumors have remained rumors and there are no signs of a new official Castlevania game in the near future whether developed by Konami or an outside company.

No matter what direction Castlevania takes in the years to come, it seems as though Alucard will always follow it, just as Dracula and the Belmonts will as well. This is his franchise as much as it is theirs thanks to continued fan popularity. He’s taken many forms in the past thirty years and become the visual representation of certain trends, yet one thing about him never changes: he is still Dracula’s son, the opposite of his father. He can be cruel, powerful, cold, and everything else a Byronic hero should be yet he can also reject his masculine inheritance in both character and aesthetic. 

Above all else, the human side of Alucard is greater than the monstrous side.

--

References

Bannister, Matthew. White Boys, White Noise: Masculinities and 1980s Indie Guitar Rock. Burlington: Taylor & Francis, 2017.

Castlevania Wiki | Fandom. https://castlevania.fandom.com/wiki/Castlevania_Wiki

Dyhouse, Carol. Heartthrobs: A History of Women and Desire. Oxford: Oxford University Press, 2017.

Godoy, Tiffany; Hirakawa, Takeji. Style Deficit Disorder: Harajuku Street Fashion, Tokyo. San Francisco: Chronicles Books, 2007.

Hodkinson, Paul. Goth: Identity, Style and Subculture. Bloomsbury Fashion Central, 2002.

Hutchings, Peter. Hammer and Beyond: The British Horror Film. Manchester: Manchester University Press, 1993.

James, Edward; Mendlesohn, Farah. The Cambridge Companion to Fantasy Literature. New York: Cambridge University Press, 2012.

Kibby, M.D. Real Men: Representations of Masculinity in the Eighties Cinema. Sydney: Western Sydney University Thesis Collection, 1997.

Kojima, Ayami. Santa Lilio Sangre. ToÌ"kyoÌ" : Asukashinsha, 2010.

Metzger, Patrick. “The Nostalgia Pendulum: A Rolling 30-Year Cycle of Pop Culture Trends.” The Patterning. WordPress.com, 2017. https://thepatterning.com/2017/02/13/the-nostalgia-pendulum-a-rolling-30-year-cycle-of-pop-culture-trends/

Moorcock, Michael. Elric of Melniboné. New York: Ace Fantasy, 1987.

Narcisse, Evan. “The Animation Studio That Made Castlevania Explains Why It Was A Dream Project.” io9. Gizmodo, 2017. https://io9.gizmodo.com/the-animation-studio-that-made-castlevania-explains-why-1797476526

Younker, Terasa. “Japanese Lolita: Dreaming, Despairing, Defying.” Standford Journal of East Asian Affairs, 2012, 97-110.

#castlevania #alucard #alucard castlevania #adrian fahrenheit tepes #castlevania netflix #castlevania symphony of the night #ayami kojima #konami #my writing #i'm sending my baby out into the world...... be gentle

[blackhakumen]

Mini Fanfic #569: The Return of Death (Super Smash Bros Ultimate)

8:45 p.m. at an Castlevania.......

Death: Ah The Belmonts. Fancy seeing you here again, after all this time.

Simon: (Glares at Death Intense) Death.....What reason do you have for reanimating Castlevania from it's ruins this time?

Death: I am simply making up for old times, of course. (Noticed Something that Peaked his Interest From a Feet Away) I see that you have bring the plumber here as well. (Smirks a bit Evilly) The one I'd killed not too long ago, as a matter of fact.

Luigi: (Stayed Behind Ritcher in Fear)

Ritcher: (Glares at Death Intense as Well) Leave him out of this, monster! We won't let you lay a single finger on his head!

Simon: We've taken you down once.....(Stretches his Whip in a Threatening Manner) Don't think for a second we won't do it again.

Death: As impeccable as your empty threats and courageous demeanor has gotten over the years, I wouldn't be so eager to claim victory, if I were you. Because I believe that this will be the year that Lord Dracula, myself, and the our forces will finally reign supreme-(Immediately Gets Hit with Holy Water Out of Nowhere) ('Glass Break') AHHHHHHHHHH!!!!! Not AGAINNNN!!!!... It BURNS!!!!!!!!

Luigi: Did any of you guys threw that Holy Water?

Simon: I can't say that I have, Luigi.

Ritcher: Neither did I.

Luigi: Do if it wasn't you guys, then-

?????: HEYYYYYY!!!!!

The trio turns around and see that the Culprit was none other than a very familiar princess.....with a golf club.

?????: Didn't expect that now, did ya?!

The Trio: Daisy?!

Luigi: W-W-What are you doing here?!

Daisy: (Making her Way to the Trio) Something that should've happened a long time ago, sweetie. Now stand aside, boys......(Glares Intense at Burning Death While Tapping her Golf Club on the Palm of her Hands) The bonehead is mine.....

Death: (Burning in Pain) W-W-Who.....in...the devil.....a-are you?

Daisy: (Spits out her Gum She was Chewing) The last person you wanna pissed off.

And just like that, Daisy begins to rush over to Death, with a victorious battle cry, knock him out to the ground with her trusty golf club, and begins to repeatedly beat him down to the ground, making each hit more brutal than the last.

Thirty-Two Hits Later.......

Daisy: (Finally Calming Herself Down While Taking Each Breaths) ('Pant') ('Pant') ('Pant') ('Pant')

Death: (Already on the Ground in Immense Pain) ('Groans in Utter Defeat')

Daisy: That's......for killing my man last year, you son of BITCH!! (Stomps on Death Really Hard Before Walking Away)

Death: GAHHHHHHHH! (Finally Begins to Disappears to the Afterlife)

Luigi: (Couldn't Believe What he Just Saw) Daisy...... (Holds Both of Daisy's Hands) T-That was amazing!

Ritcher: (Very Impressed) Yeah. How were you able to deal with Death so easily?

Daisy: (Simply Surprised) I've played the games and junk. (Smiles Brightly and Proudly) Just so I can learn how to beat his ass to a plup for my man!

Luigi: (Very Touch by Daisy's Motives) Daisy.......You didn't have to do all of this for.

Daisy: (Hugs Luigi Lovingly) I know I didn't, sweetie, but I wanted to do this just so I can get him and the whole wide world to know not to mess with you when I'm around. Because I love you so much~

Luigi: (Smiles Softly and Hugs Daisy Back as his Heart Begins to Melt) I love you too, dear~ Thank you so much.

Daisy: Anytime, 'hon~ (Immediately Picks Luigi Up and Carries him in a Bridal Styled Fashion) Now let's go home.

Luigi: Can we get some Ice Cream first?

Daisy: (Giggles Softly while Pulling her Phone out of her Pocket and Calls Someone) Sure thing, sweetie~ (Walks Away) Hello? Samus? Yeah, it's me. Get the blanket ready. You, me, and Weegie are having ourselves a Cuddle Party!

Ritcher: Well.......That was something.

Simon: (Genuinely Surprised at What has Happened Today) Indeed it was. Should we train the princess to become a full fledged Vampire Slayer?

Ritcher: Nah. (Smiles Softly as He Watches Daisy Kissing Luigi While Carrying Him in her Arms) I think she's already in a league of her own, you know?

@luigifan00001

@keyenuta

@cyber-wildcat

@26shann

@italian-love-cake

@ink-correctsmashbrosbloo

@chompycroc

@albion-93

@ma-lemons

@incorrectsmashbrosquotes

@drr040399

@caleb13frede

#super smash ultimate #daisy #luigi #richter belmont #simon belmont #death (castlevania) #say remember the time dearh killed luigi two years ago in the belmonts' trailer two years ago? #yeah....me to #and so does daisy #she hates him for that #daisy loves luigi #daisy is best girlfriend #halloween month

[scaredofheroin]

Captain N - Chapter 8:  Castle-Mania

The journey across the land took all day. Over hills and through valleys, Simon led the group on. Convinced he's the only one who could be trusted with the map, he diligently guided Captain N, Pit, Zelda and Falco closer and closer towards Dracula's castle. Out of everyone in the group, Captain N struggled with the hike the most. His exhausted state of mind did not mesh well with his less-than-peak physique. Of course, the other three didn't show nearly as much struggle in following Simon. Even Zelda, despite her title as Princess, still exuded grace and elegance in her every step. At least the others didn't have to carry the fruit basket that was so kindly gifted to the team like Captain N. He could feel his lungs start to protest such exertion more and more as the trek continued, barely managing to keep his feet under him and putting one foot in front of the other to walk. At least his exhaustion distracted from the pressure to perform. Little conversation was shared between team members as they continued on, primarily due to Simon remaining completely solemn and determined to get to Castlevania. Simon refused to take a break for lunch, so the contents of the fruit basket were eaten by the five while walking. It took all day, but after slashing their way through a thick, dark forest, the group found themselves at a massive clearing, with a large ominous lake before them. Beyond the lake, silhouetted against the bright moon in the night sky was an imposing, intimidating, Gothic castle. Captain N hasn't met the Dracula of this universe, or any universe for that matter, but this would be a place his universe's Dracula wouldn't look out of place in.

"Castlevania..." Simon muttered, indicating they've arrived. Falco stepped forward, closely examining the castle. "Sure seems like a humble guy." He joked. "So what's the plan?" Pit asked, turning to the group. "Well, since all we're here to do is get the weapon, I think we should try sneaking in from the back." Captain N suggested. Simon turned to him semi-aggressively. "Are you suggesting we allow Dracula to live?" Simon demanded. Captain N shrunk back slightly, crumbling under the pressure. "Well, I mean, I guess so..?" He meekly answered. "There are more present forces threatening Yamajiro. We cannot afford to be slowed by anything else. Defeating Bowser, King Dedede and King K. Rool is out biggest priority." Zelda stepped in, defending Captain N. "I'm afraid you don't understand the threat Dracula could pose. The longer he's alive, the stronger his army grows." Simon warns, standing firm in his claim. Captain N shifted slightly, knowing Simon has a point. "Okay, well, both can be done! Simon can take on Dracula while the rest of us search the castle!" Pit interjected, breaking up the argument. "Plus, the longer we spend arguing, the more likely it is that Dracula finds us." Falco added. "Unless you want one of us to join you?" Pit suggested, where Simon paced in place, thinking to himself. Eventually, Simon nodded in agreement, turning back to the group. "Alright, leave Dracula to me." He declared. "Are you sure? I could help you take him on." Pit offered. "No, Dracula is my battle. You have yours." Simon insisted. "Very well then, you draw attention from the front while we invade from the rear." Zelda declared, Captain N and Falco joining her. "I wish you all luck on your quest. I hope you grow to become the hero we need you to be." Simon bid farewell. "Thank you for your help, Simon. It's been an honor to fight with you." Captain N thanked. Simon gave a respectful nod to the group, and took off across the shore of the lake, headed for Castlevania.

Captain N stood for a moment, watching Simon march off with such bravery and confidence. Traits that he needs to have. Simon would have been a better hero than him. But he can't have these thoughts now. Not when action is needed. Turning back to the three, he straightened his posture. "Well, what are we waiting for? Let's get to breaking and entering." He joked. Pit was the only one to respond with some laughter. Zelda faced towards Castlevania with Falco beside her. "Yes, let's." Zelda responded, beginning to walk in the other direction to the castle. Falco, Captain N and Pit followed her carefully, almost tracing her exact steps. Zelda led them back into the forest surrounding the lake, staying out of any possible line of sight from the castle. Her steps were light and deliberate, stepping around any stray branches or anything that could alert someone nearby to their position. This proved to be the most difficult for Falco, whose metal legs don't help him remain quiet. Captain N could almost sense Falco's frustration in the air, silently cursing to himself with every snapped branch. As they drew closer, Captain N spotted Simon storming through the front entrance of Castlevania, boldly invading Dracula's home. Zelda carefully led the group further around the castle, still obscured by the trees. Pit was careful to fly beneath the trees, his wings occasionally getting caught in a stray branch. Fortunately, this didn't cause enough noise to give away their position. Eventually, the four found themselves directly behind the front entrance of Castlevania, facing three tall windows. "I'll go scope out the situation." Pit said, flying up to peek through the window after looking around to ensure there wasn't anyone who could see him. Peering through the window, Pit then swooped back down to the group and reported "There's no one in there. I'll try to open the window and I'll carry you guys inside!" He whispered, just to be certain. Captain N felt a chill run down his spine at the thought of being carried through the air again, but decided to go along with that plan. "Only if that's the only way." Falco said, his displeasure with the thought of being carried noticeable. "Fine, let's just make it quick." Zelda replied. Pit nodded, flying back up to carefully inspect the windows. Eventually he found a way to open it up, and almost surgically slid the grand window open. Getting back to the group, Pit lifted Captain N into the air first. Danging his legs helplessly, Captain N felt more brave being in the air compared to his first flight. Mostly because the flight was mercifully shorter, as he was soon dropped inside the grand castle. He scurried away from the light pouring from outside, sneaking off to the side and drawing his Zapper, prepared for anything. Falco was the next to be carried inside, and was much more careful to not cause too much noise. Zelda's entrance was much more graceful in comparison, and Pit touched down inside.

Taking in the surrounding area, Captain N deduced they were currently in Castlevania's mess hall. He was quickly joined by the three, huddling together and facing different directions. Falco drew his blaster and Pit produced his bow, Zelda peering around the grand mess hall. The room was as immense as it was oppressive, with dark, immaculate chairs surrounding the long, onyx dining table, which was decorated with candles and other table decorations. "It'd be really stupid to split up, so we're all gonna have to search for this weapon together." Falco noted. "We're gonna have to find a way to get to the underground levels. That's where the weapon will be stored." Captain N added. "Then we must hurry. Simon can distract Dracula but we can still get caught." Zelda informed the group. "Over there!" Pit whispered to the group, pointing to a pair of doors off to the side. The group shared a knowing look, and carefully moved over as a group. Captain N had his Zapper ready as he slowly pushed the door open, to find no one else present. Signaling to the three he continued sneaking down the halls. Captain N was incredibly impressed by how regal and luxurious the castle interior was, taking in every sight as he led the group. Polished, marble floors, incredibly detailed paintings, regal, red rugs, grand arches curling far above his head, he was partially awestruck. Zelda searched across the halls, tapping the shoulders of the other three to get their attention and motion them down another hallway. But this time there were two white skeletons standing down the hall, keeping watch for intruders. As soon as he spotted them, Captain N zipped back into cover, turning back to the group. "What do we do about them?" He whispered. "Well, how loud is the Zapper?" Pit asked. Captain N shrugged nervously before answering. "Uh... It's not too loud... I think." was Captain N's response. Falco searched around the hall they were in, seeing no one else present. "...It's worth a shot." Falco stated, aiming his blaster at one of the skeletons. Zelda quickly stopped him. "Are you out of your mind? You'll give away our position!" She scolded him. "Guys, leave it to me." Pit interrupted. Splitting his bow into two blades, he swooped over to the two skeletons and cut them down before the two could react. Pit quickly searched around the hall, and gave a thumbs-up to the three. "Perhaps we should let Pit lead the combative charge." Zelda suggested, making Falco roll his eyes. "Sounds like a good idea." Captain N replied. Making their way over to Pit, Zelda moved to the front of the group.

"I believe this is the way to the lower levels." She informed the group, making Falco step forward. "You BELIEVE that's the way?" He asked, wanting a clarification. "This castle's surrounded by a dark and mysterious magic, it's clouding my senses." Zelda answered defensively. "Unless you've got a better of where we should be going, we're following her." Captain N stepped in, shutting Falco down. "Fine, fine, let's just grab your tool and get out of here." Falco relented. Pit joined Zelda at the front, with Falco and Captain N keeping watch in the back. Soon enough, the group came across an animated set of black knight armor, who was quickly taken down with a single quick shot from Pit's bow. Captain N could feel his heart race faster than it ever has before in his life as his eyes scanned the massive corridors. If they're caught by Dracula now, it's over. A small group of zombies blocked their way, but before Pit could attack them, they got word from another zombie, and the small group shuffled towards the entrance of the castle. Simon must be hard at work, Captain N thought. "Come on, this way." Zelda led, motioning down a semi-hidden staircase leading down. Captain N carefully tip-toed down the stairs, aiming his Zapper downstairs while Falco pointed his blaster up the stairs. Descending the stairs, Zelda found that they've entered some sort of coliseum. The stands were empty, but the blood stains inside the sand pit were still fairly fresh. Captain N noticed this as well, and led the group around the edge of the stands. Zelda and Falco walked behind him as Pit quickly zipped through the air to get to the staircase on the other side of the coliseum. But as soon as the four reached the staircase, they heard footsteps above them descending. A flash of panic in Captain N's mind, he quickly scurried out of sight, freezing just beneath the doorway to not make any noise. Zelda went ahead a bit, trying to get a sense of where to go. Pit and Falco crouched behind Captain N. Two voices could be heard echoing through the halls to accompany the approaching footsteps.

"I understand Simon Belmont is here, I've deployed my forces to confront him." Rang a cold, authoritative voice. "But you don't understand, he's only a diversion!" Another, more high-pitched voiced responded. Peering around the corner, Captain N saw a tall, older man with white hair wearing a dark cloak and a small, turtle-like creature wearing a blue hat and robe with glasses, wearing glasses and riding on a broomstick. The tall man turned to the turtle creature, his eyebrow raised. "Is that so?" He asked.

"My superiors believe the prophesied hero has invaded your castle."

"Well Kamek, tell your superiors that I can handle managing my own estate." The tall man sneered, turning away.

"Dracula!" thought Captain N.

Kamek floated across Dracula's path, determined to get through to him. "But your excellency, it would be extremely unwise to take on this threat alone! The prophecy-" Kamek boldly declared, but was cut off by Dracula.

"SILENCE! I care not for some bedtime story told a century ago, tell your Koopa king that I reject his idea of 'assistance'." Dracula shouted, making Kamek back up. "Fine, we'll leave you to your domain." Kamek bid him farewell, waving his wand to open a portal he quickly vanished through. Once he believed he had privacy, Dracula groaned in annoyance, snapping his fingers. Another living suit of knight armor quickly ran to Dracula, hastily stopping just before impacting his master. "You know where Belmont currently is, correct?" Dracula asked, to which the armor responded with a hasty nod. "Good, rally two-thirds of your forces and strike him down. As for the other third... I want a search conducted for this so called 'prophesied hero', as well as any allies he may have come here with." Dracula instructed. The armor then bowed respectfully before running off to the other doorway in the coliseum. Dracula departed as well, heading back upstairs. Once he was certain he was out of earshot, Captain N let out the breath of air he's been holding. "We gotta move." Falco whispered to the three. Zelda quickly nodded, leading the way deeper down into Castlevania.

#captain n #nintendo #konami #crossover #the legend of zelda #princess zelda #star fox #falco lombardi #kid icarus #pit #kamek #castlevania #dracula #simon belmont #reboot #fanfic #writing

[nivekreyeb]

I recently watched the new season of Castlevania and oh boy I loved it, watching it got me in the mood for more Castlevania, thinking about the new season, the characters, the world everything about it brought me back to how I first met the series and to one of my favorite games of all time Super Castlevania 4. I was playing this game like crazy as a kid, the adventurer in me just couldn't resist it, going inside Dracula's castle all alone fighting against his army of monsters and himself was the perfect fantasy. I mean who didn't want to have adventures and be a hero as a kid? Of course, that's not the only reason I love this game, the art style, the unique stages, the boss fights, the music, man the music hearing Simon's theme, Bloody tears, and many more still gives me chills to this day. Combine all of that with the sweet childhood memories of playing it with my sister and beating Dracula for the first time it's clear to see why this game has such a special place in my heart.

#games #video games #castlevania #nintendo #super castlevania iv #simon #videogames

[mrauthor3ds]

Super Smash Bros. Ultimate - Which fighters are more anime?

You know, people often accuse certain fighters of being “too anime“. But does being Japanese-styled simply make a character “anime“, even if they’re not in any anime material? “Anime“ itself refers to the grand majority of Japanese cartoons, after all - it’s primarily in the animation. You wouldn’t call manga alone “anime“ because it’s not animated - it’s printed stills. In fact, why the H don’t people use the term “manga“ for these Japanese-styles?

Well, I say that’s not good enough. Plenty of “anime“-looking characters don’t even get their own anime stuff. So here’s what I’m gonna do. I’ll sort the fighters based on what anime material they’ve appeared in.

Higher-up tiers will take priority over lower tiers, so some fighters in the Anime (Series) tier may also be in anime movies, or anime-style commercials. I’ll give some mention to those if I can.

-= ANIME (SERIES) =- - This tier is for series of anime episodes (at least 3) - each episode would of course need to be fairly long, like 15+ minutes. - Amada Anime Series: Super Mario Bros.: Mario, Luigi, Peach, Bowser, Koopalings - Kirby: Right Back At Ya!: Kirby, Meta Knight, King Dedede - Pokémon (anime): Pikachu, Jigglypuff, Pichu, Mewtwo, Squirtle, Ivysaur, Charizard, Lucario, Greninja, Incineroar - Pokémon Origins: Pokémon Trainer (plus Charizard, Mewtwo, and others) - F-Zero: GP Legend: Captain Falcon - Sonic X: Sonic

-= ANIME (MOVIES) =- - Next tier down is for fighters that appeared in anime-style movies or OVAs. I’ll mention some movies that above characters appeared in, of course. - Super Mario Bros. The Great Mission to Rescue Princess Peach: Piranha Plant (also Mario, Luigi, Peach, and Bowser) - Fire Emblem (OVA): Marth - Animal Crossing: The Movie: Villager (Girl) - Mega Man: Upon A Star: Mega Man - Street Fighter II: The Animated Movie: Ryu, Ken - Last Order: Final Fantasy VII: Cloud - Bayonetta: Bloody Fate: Bayonetta - Dragon Quest Biography: Emblem of Roto: Hero (Arusu) - Fatal Fury: The Motion Picture: Terry - (also) many Pokémon movies: Pikachu, Pichu, Mewtwo, Squirtle, Charizard, Lucario, Greninja, Incineroar - (also) Sonic The Hedgehog (OVA): Sonic

-= ANIME (PROMOTIONAL) =- - This is for fighters in promotional material that was too short to fit the requirements for Series and Movie. Some series mentioned didn’t have long enough episodes, for example. - Super Smash Bros. For: Goddess of Light: Link, Pit, Dark Pit, Palutena - Star Fox Zero: The Battle Begins: Fox, Falco - Palutena’s Revolting Dinner: Pit, Palutena - Medusa’s Revenge: Pit, Palutena - (also) Super Mario Traffic Safety: Mario, Luigi - (also) Super Mario’s Fire Brigade: Mario, Luigi - ...There’s also a LOT of Japanese commercials for Mario games - and other Mario products - but I’m not sure I have the fortitude to hunt them all down...Still, I think in light of those, I should’ve moved Donkey Kong and Yoshi (who were in the Mario Kart 64 commercial), as well as Wario and Zelda (Famicom commercial feat. Wario’s Woods and Legend of Zelda) up to this tier. - I was REALLY hesitant in putting Link here, since the justification I had at the time was for a Smash Bros. newcomer trailer. However, since he appeared in the aforementioned Famicom commercial, he’s probably safe. But then Dark Pit wouldn’t have any anime appearances if I went by that technicality...Though since I used it, maybe Byleth should be here, too?

-= ANIME (GAME CUTSCENES) =- - This is for fighters who were in games with anime-style cutscenes and whatnot. - Super Mario World: Mario & Yoshi’s Adventure Land: Yoshi - Fire Emblem: Three Houses: Byleth - Wario Land: Shake It: Wario - (also) Pokémon Channel: Pichu, Squirtle (in Pichu Brothers) - (also) Sonic Riders: Sonic - (also) Street Fighter 4 (all versions): Ryu, Ken - (also) Tatsunoko vs Capcom: Cross Generation of Heroes: Ryu - (also) Persona 5: Joker - ...Actually, Chrom was technically in anime-style game cutscenes in Tokyo Mirage Sessions # FE. Not the same as the general Chrom, but...

-= NOT ANIME =- - ...And now all the fighters that WEREN’T in any kind of anime. If I counted manga, then this would be pretty empty, but we’re focusing on anime here. So! Let’s see which fighters are NOT anime! - Daisy, Dr. Mario, Rosalina & Luma (forgot their avatar), Bowser Jr., Diddy Kong, King K. Rool, Sheik, Ganondorf, Young Link, Toon Link, Samus, Dark Samus, Zero Suit Samus, Ridley, Wolf, Ness, Lucas, Ice Climbers, Lucina, Roy, Robin, Corrin, Mr. Game & Watch, Snake, Olimar, Alph, R.O.B., Isabelle, Wii Fit Trainer, Little Mac, Mii Fighters, PAC-MAN, Shulk, Duck Hunt, Inkling, Simon, Richter, Hero (Eleven, Solo, Eight), Banjo & Kazooie - Ones that really are anime in hindsight: Donkey Kong, Zelda, Chrom - Castlevania does have an animated series, but it’s being done by Americans. While the style is anime-inspired, it’s not officially Japanese-drawn or -animated (much like Avatar: The Last Airbender) ...so it’s not anime. Besides, I don’t think Simon or Richter have appeared in it. It’s mainly focused on Trevor’s time. - The pseudo-3D anime style didn’t appear in Fire Emblem cutscenes until Fire Emblem Echoes: Shadows of Valentia, which was after the release of Fates. This trend would, however, continue in Fire Emblem: Three Houses.

Ahem...so there you have it! Iggy is more anime than Shulk. Wario is more anime than Lucina. And Piranha Plant is more anime than three of the playable Heroes!

...But if you REALLY don’t want any more “anime” in Smash, then you better kiss Dante, Viewtiful Joe, KOS-MOS, Lloyd Irving, and Heihachi (and probably others) goodbye.

#super smash bros ultimate #anime #tier list #theory

[luninosity]

Hello! Hope you and awesome husband are doing well in this trying time! What are you guys doing to pass the time? I was wondering how the professor end of college is going, is your work load okay? Hoping to hear more life, work, and writing updates from you in this time of uncertainty!

It’s been...interesting!

In some ways, not a lot has changed - Awesome Husband had been working from home three days a week anyway, and I only had to be on campus for teaching/office hours/Writing Center hours/department meetings, so it’s not like either of us had a massive schedule change, which is good. And he has a separate office, with a door that shuts (he needs it for video conferences), so we’re not constantly in the same shared space...

The part that’s taking some adjustment is that we’re both here all the time now - like, there’s never any time when one of us isn’t here! And I at least have always needed some space that’s *mine* - space to be weird, sit in weird positions, say lines out loud, get annoyed at student essays and get up and make tea, sleep in later (my preferred sleep schedule is, honestly, like 2am to 9 or 10am, and I always take a while to fall asleep) without feeling judged by someone who’s up at 7am...Awesome Husband also a) takes a real lunch break, and b) would be perfectly happy eating peanut butter sandwiches every day forever, whereas I tend to take mini-breaks after finishing tasks (and then wince whenever he walks by and it looks like I’m not doing work) but I just eat lunch while grading quizzes or something, and I also get bored after 3-4 days in a row of the same food! We usually compromise okay when our schedules intersect just a couple of days a week, that’s fine, but now it’s every day... *laughs*

Teaching...it’s so hard to judge. I feel like I’m not doing enough - but then again I imagine we all feel like that! We’ve moved all their reading questions, discussion posts, quizzes, etc, online, and most of my kids seem to be doing okay - we can’t do some of the projects I really love doing, like having them perform a scene from a play in class (it’s usually great; they mock-behead each other, stab “Vikings,” etc), but I’ve tried to give them creative options to post to the course website - like, make a piece of art to illustrate a scene, or write a journal entry from the POV of a character, or link us to a theme song/piece of music you’d choose for this character and explain why - and there’ve been some really cool responses, some wonderfully creative art and writing, from some of my students who’re actually quieter in person, so maybe this is good for them! The part I’m worried about is their research paper projects; we have massive online databases and academic journals, of course, but they won’t have access to the books of the campus library, for instance, and if some of them have limited internet/computer access (sharing a laptop with a sibling, or slow internet at home, or something else along those lines) then purely online research will be difficult. So we’ll see how that goes. Still thinking about ways to make this easier, without, y’know, losing the research element that is part of this class...

As far as passing the time, for me and Awesome Husband, we’ve been a) doing a lot of jigsaw puzzles, because we’re basically old people (and it’s fun!); b) some tabletop gaming (on Sunday we finished - and won, thank you! - the cooperative Harry Potter: Hogwarts Battle deckbuilder; we’ll do Forbidden Sky next, which we’ve actually had for a while but hadn’t opened); c) embarking on a Smallville sort-of rewatch - it turns out we both had stopped watching around seasons 7-8, the first time, so neither of us ever saw the last few seasons, but it’s been long enough that we figured we should just start from the beginning! We’re into season 5 now. I’d forgotten how purely weird this show could get. The medievalist in me wants to do something with the whole witches-and-possession story arc...

And then individually I write things, and he plays games - he was having a bout of Castlevania nostalgia after the latest Netflix season, so he went and found the old games - and we both read! He’s working on American Gods, and I read all the things, both for work and for fun. (Book rec, if you like m/m romance with glorious pining and the ultimate long-distance falling-in-love: Kay Simone’s One Giant Leap, featuring a cocky bisexual astronaut and his (new and inexperienced but shoved into the role by Plot Circumstances) ground controller, late-night chats, and a truly amazing amount of I-love-him-but-he-can’t-possibly-feel-the-same emotions. Spoiler alert: of course he feels the same!) And, speaking of romance and Awesome Husband, there’s the sex, of course. :D :D

Oh! And of course I have a book release, er, April 11! My merman story - Cadence and the Pearl! Though really it’s about a lot more - ocean magic, and 17th-century light opera, and the Northern Isles, and coming home, and an attractive local schoolteacher with a secret...so that’s happening!

I hope you’re staying safe, and everything’s okay for you! And for everyone. It’s a weird world, at the moment...

#anon #replies #the state of things #thank you for asking! #me #awesome husband is awesome #book recs #cadence and the pearl #my fic

[artyrogue]

Blind Date Gaming: Konami GB Collection Vol. 3

Boy, I am WIPED after my date last night. It all started out as it usually does -- a quick visit to PRANG for an introduction to my next potential video game suitor. Who could have guessed that I would served up 4 dates! They all came together at once under the guise of Konami GB Collection Vol. 3.

I was greeted at first by an anime schoolgirl with a huge hand and quite possibly a contender for the weirdest hairstyles I've seen in a while. What is that, a grass-inspired mohawk laid over top a normal haircut?

Is this what the cows that make cowlicks eat?

What happened next was an eventful set of speed dates. This onslaught left me with no down time, thus the exhaustion. However, I did end up meeting some nice games. I'll speed through them each quick-like to keep this from being overly long. Luckily each of the games are pretty short (as expected from Game Boy games)!

First up is Gradius II! Now, I've never actually played a Gradius game, so I can't say if this is a port, some reconfigured version of Gradius II, or what. What I CAN say is that it has tight controls, beautiful graphics, interesting bosses, and some fun gameplay.

Looks like a rocky magic 8 ball

You start off hangin' out with what I assume are your dad and mom starships. Aww, family time! Soon, however, someone decks your old man and blasts your momma fulla lasers. Obviously disturbed, you fly forward and get chased by the perpetrator through a buncha rocks until you escape.

Good thing this guy doesn't feel like firing at me for whatever reason

...Except you kind of don't? You end up going through a bunch of planetary landscapes, shootin' dudes and grabbin' powerups that let you fire lasers and stuff. Pew pew! You eventually get captured, break out, and summarily fly through a ship, an asteroid belt, and I think some alien's guts? I'm not sure; I never went to med school for interplanetary digestive systems. Bosses fight you at every turn, and they are so sweet. Like, I don't always know what I'm attacking, but it just looks so cool that I really don't care!

Ever want to fight a kneeling, fanged alien stuck in a wall with detachable mouthy-brains? Yeah, well now you do, obviously!

In the end you find the enemy ship that assassinated your nuclear family with nuclear weapons, commit your own brand of galactic revenge, and I assume go on with your day in a half-arsed way, never addressing the journey you just went through for fear of sparking up some majorly weird PTSD.

Next up is some Castlevania game! It claims to be Castlevania II, but don't think it's Simon's Quest since it doesn't have slow-scrolling text boxes telling me that night is a poor time to explore the world when suffering from a magical adversary's angry sentiments. Instead, you just go about whippin' junk. Alright, I can be a lion tamer for the undead.

Why do cultists always gotta wear hoods? Can't they wear like a polo and some comfy slacks?

So in this installment, you can apparently shoot fireballs from a fully-upgraded whip, so it's instantly MUCH easier than most Castelvania games. The list of enemies is kind of lacking, but it was enough to feel competent. The level design was pretty spot-on, which is par for the course, though for some reason this game has a love affair with ropes? They're EVERYWHERE, but there's enough variation in the levels to give them pass. For example, some areas have auto-directional-pulling ropes, some ropes are spider webs made by enemies, some require quick sliding to avoid obstacles, etc.

You gotta wonder, does the guy living here have to go through all these traps every day just to get his mail? And how does he carry groceries back to his (probably rope-decorated) kitchen?

The boss fights were definitely memorable. Some of their designs were flat-out brilliant, and they were all pretty fun! Your sub-weapons weren't really that useful here, but that's fine. The bosses, too, were made a little easier with the projectile whip, but the designers struck a good balance between fun and hard.

These guys shoot out vertebrae in an arc, transferring them from one head to the other. I don't have a quip here, it was just a stupidly awesome designed boss that I wanted to gush about for a bit!

Well, perhaps I spoke too soon. The bosses were all fun except for the last 3 in the game. Allow me to whine and complain about them for a bit, if you will! The first was a tunneling snake on a forced scrolling screen that made you take damage unless you memorized where he was going to surface next (I HATE memorization-by-death gameplay). The next was a fellow Belmont who would relentlessly whip the crap outta you, throw swords all over the screen, and would probably be nigh impossible if I didn't have Holy Water. The final was Dracula, who I suppose gets a pass for being hard since he was the final boss...but he, too, was pretty much a memorization-by-death fight, too. The dude has 6 orbs revolving around him that spread out, essentially making 85% of the screen unsafe. Unless you know the specific spot to crouch down for the given position he's in, you get hurt, and you get hurt pretty badly. Oh, and you can really only hit him once per attack, so you'd better learn the safe spots for all 8 of his attack spots and hope you can hurt him and get into your safe position before taking damage.

ouch ouch ouch OUCH

In the end, it was overall a pretty fun time. Konami definitely knows how to make a good sidescrolling action game, which is probably why they're half of the name of the 'Metroidvania' genre. Go team Belmont!

Next up: Yie Ar Kung~Fu! What is this? I've never heard of it. It's a simple fighting game where you face off against 5 fighters, each with their own weapons and special moves. You play as a normal weaponless guy who can only kick and punch, because that's fair? Regardless, you must persevere through 4 rounds of these 5 fights, each time with your foes getting slightly harder.

Mmyep, this is fair.

My trademark fighting game strategy of sweeping seems to work for the most part, though as the difficulty ramps up, the other fighters move with ridiculous speed between attacks. Eventually, the game just becomes 100% about approaching a foe with more range than you, which obviously is the main focus of fighting games. What's that? Combos? Pffft, those are lame, just have the enemies fly across the ring like a sugar-high Jack Russel Terrier.

So this guy's power is to propel himself like a missile and look like an absolute goon while doing so

There's also a mini-game where you hit things thrown at you, but like they show up so quickly and your animation speed is so slow that it's impossible to do very well. It was an okay game overall, though, but I can sort of see why it isn't as well-known as Gradius or Castlevania.

Last game: Antarctic Adventure! It's a penguin-based racing game! I think? Does this count as a racing game? Well, you race against the clock, so sure. You gotta move at top speed through an icy wasteland, avoiding sea lions and holes in the ice.

I like how this sea lion looks after getting plastered in the face by a penguin moving at ~120 km/hr. Is he in shock? Is he alive? Should I notify his next of kin?

The lore is actually pretty deep in this game. The world has fallen into ruin due to global warming, and the glacier sheets on Antarctica are slowly melting away. As a penguin trained in espionage and terrorism, you must travel to the different embassies that many countries have propped up in an attempt to stake a claim in possibly the only livable area in the near future.

The french are planning to build replicas of their famous landmarks here, like the Ice-full Tower and Arctic de Triomphe.

You're not exactly racing as much as you are keeping ahead of the authorities pursuing you for planting bombs in the embassies. If you successfully plant your payloads in all of the embassies across all of Antarctica, you destroy their chances of bringing cultural imperialism to the local wildlife. Your customs are at stake! You must cast your empathy aside for the greater good of penguin-kind!

Also, you can sometimes turn into a helicopter? Not sure what that was about.

Okay, okay, yeah, I may have embellished a bit there. No, it's not as cool as that. You just run from one place to the next and heck if I'll ever find out why miscellaneous countries happen to have little castles in a barren arctic wasteland. People's taxes at work, I guess!

Oh right, there's also a fifth option on the main menu. It's Ms. O.C. Anime Girl explaining things about the games to you. I can't read anything she's saying, though, so I can only imagine the shady koala statue in the back has some relevance to her dialogue.

So that ends an exhausting series of dates. Whew! Glad you toughed it out with me. As I've completed all of the games this time, I didn't think another date was warranted. However, Gradius and Castlevania were fun enough to say that sure, I guess, it's worth going on another date in the future. Maybe it'd be better to find the original games, though, instead of this particular port. I can only assume the extra screen real estate, better sound effects, and greater ROM size would only enhance their experiences. And speaking of experiences, grab a Sprite of Passage from the jar over there on your way out! It's mint-flavored and can double as a water purification tab if you're ever stuck somewhere in the wilderness!

Man, I would kill to watch a skeleton ballet

#blinddategaming #gameboy #gradius #castlevania #otherdumbstuff

[patandsimone]

@dyke-crossing didn’t tag me in this but I wanna do it anyways! 

introduce yourself! (name, age, pronouns if u like, etc.)

Hi I’m Nora! I’m 18 and i go by she/her pronouns.

where are you from (if you’re comfortable answering)?

Seattle born and raised! 

how did you get into polygon?

It must have been an unraveled video, though i was aware of mcelroy and polygon before because of other stuff.

who’s your fave group (cyberpunk crew, overboard regulars, gill & gilbert (as a general duo), etc.)

I love the cyberpunk crew of course, though I do love them + karen, and I do have a soft spot for just Pat and Simone.

what polygon series have you been into recently?

I’ve been watching all the streams that Pat and Simone have done that are on Polygon Unlisted! Its nice to just listen to their chatter, their friendship is v special to me lol

fave cyberpunk overboard character?

I am a burger chainz stan until i die, i just love a good himbo.

fave unraveled?

Really, i don’t think I can pick between the first four. the zelda timeline, reading all 337 books in skyrim, ranking all the megaman bots, and finding castlevania’s hottest monster? they’re all so good.

favourite polygon moment/meme/in-joke?

I can’t even pick a favorite here either. I love the “then perish” but with brennan in coup, and the time pat said hewo to start a video and everyone was so astonished they were completely silent. We also love I said Piss!!! and There’s the Beans!

a random series of theirs that you just think is… neat?

game ogre is such a good idea for a series and i need it to come back (not just because i love pat and simone also bc it was a good series)

three fun facts about yourself (be they related or completely unrelated to polygon)

- spotify informed me the other day i’m in the top 1% of listeners for The Altogether. I’m kinda proud ngl

- i have a photo of simone taped up next to my wall for some reason 

- there is a frog outside my window rn who is screaming

tag some friends!

idk who’s done this so just take it if you wanna do it and tag me!!

#nora.txt

[dailycharacteroption]

Pop Culture Builds 7: Simon Belmont (Castlevania)

A recurring theme in fiction that goes on for a long time is the idea of the recurring destined hero. Be it by literal reincarnation, divine call, or an inherited destiny, people will rise to throw down recurring evils.

Today’s subject is the third of those two options, with Simon Belmont of the Castlevania series. The first protagonist of the series, Simon is actually the fourth known Belmont to face down against Dracula, doing so twice, the second time to rid himself of a corrupting curse Dracula laid on him.

While many of the Belmonts fight in a similar manner, Simon personally lacks many of the magical abilities associated with other Belmonts save for when he appears in crossover games. This is mostly due to the limitations of the original games in which he appeared, but he nevertheless proves his mettle in the battle against Dracula.

 Simon is human, but you could easily substitute your race of choice for this build.

His class, however, is best represented by the fighter class without any archetype. His first two weapon trainings should be with the flail group and then throwing weapons. Not many advanced weapon training fit for the character, but focused weapon might be good for improving either whip or flail damage, while those that improve throwing weapons might also be worth considering.

Feat-wise, if you choose to go with whips, the whip mastery line is a must, allowing your whips to deal lethal damage and be effective against armored foes, as will feats that improve thrown weaponry. The serpent lash line, as well as weapon finesse, are also good choices for whip users. However, if you choose to go with the flail instead, the smashing style line is also a good choice, as is chain-flail mastery. Also, don’t forget that Simon is from a platformer, so feats that improve his acrobatics are quite useful.

Simon really relies heavily on his equipment. You might choose hide armor or breastplate depending on which artistic rendition you wish to emulate, and he has a wide slew of thrown weapons, including handaxes, knives, a cross-boomerang thing which one could argue is a starknife (either enchant it with returning or take the Ricochet Shot Weapon Mastery Feat to make it come back), holy water, alchemist fire, and even a magic stop watch that stops time, though this would be obscenely broken and nigh-impossible to get until later levels, though a magic pocket watch that casts haste once a day might be a suitable substitute.

Of course, the biggest and most important piece of equipment is his primary weapon. You can go with either a whip or a weapon categorized as a flail, though honestly I recommend the whip since the whip mastery feat line not only makes it a viable weapon, but also adds a lot of utility to the weapon that reflects various uses that Simon has for it in later games, such as Super Castlevaina 4 (which is actually just a remake of 1). What’s more, you could potentially build the whip or flail as a relic item using the rules from the War for the Crown AP, creating a magic item that starts out fairly modest, but gains incredible powers later on.

 If you wanted to create a Belmont or other whip-wielding protagonist from the series, I’d recommend considering paladin, warpriest, or even inquisitor and cleric as potential candidates, as plenty of such characters in the franchise demonstrate divine magic beyond holy weaponry. Furthermore, Circle of the Moon protagonist Nathan Graves utilized a form of elemental magic involving combining various mystical symbols and cards, which might lend itself to a magus build.

 Iconic as the whip and subweapons are, it’s almost guaranteed that many gamers will get the reference when you build this character, but who they are personality wise still remains up to you.

#pathfinder #pop culture #pop culture builds #pop culture characters #castlevania #Simon Belmont #fighter

[eggoreviews]

Nintendo Direct Feb 2019 BREAKDOWN

So, that direct was pretty okay right? If you missed it or even if you didn’t, I’m gonna be taking a look at everything announced and giving it a vague excitement rating! Enjoy!

Super Mario Maker 2

This was a pretty great way to kick off this direct. With the promise of a host of new features coming in this entry to build upon the first, including the introduction of slopes (finally) and a new texture pack based on Mario 3D World, I reckon this is definitely one to mark in the calendar. Mario Maker 2 is slated for a, gratefully soon, June 2019 release.

Excitement Rating: YEEHAW

Marvel Ultimate Alliance 3: The Black Order

The long awaited third entry in the MUA series, to the surprise of many, is in fact a Switch exclusive. For those who don’t know, this is a hack-and-slash fighting game, of course tied heavily to Marvel comics. This entry seems to be riding in off the back of Infinity War, with Thanos and the Black Order showcased as central villains. Honestly, this game looks like it could be fun, especially with friends, though I don’t think it’ll turn out to be anything special.

ER: Sure, why not!

BOX BOY! + BOX GIRL!

This adorable little puzzle platformer is making its debut on Switch this spring, with the promise of local multiplayer and more levels than ever before. Looks to be a goodun for fans of cute, minimalist art design and box-based puzzles and the like.

ER: Cool! Those boxes can move!

Super Smash Bros. Ultimate - Ver. 3.0

Nintendo sort of slapped us in the face with a lovely, welcome announcement of a new Smash update! Oh boy! New features! And then they turn around and say they aren’t gonna tell us what they are.

Oh.

Kind of makes me question the point of putting this in the direct a little, but I’m sure whatever they’ll add will be cool! On top of that, a tentative release window for Joker was given (before the end of April this year) and we got a cheeky look at some of the new spicy amiibos, being Snake, Simon and the Pokemon Trainer lot.

ER: Yay?

Captain Toad Treasure Tracker Updates

Here’s one that definitely caught me offguard, but I’m more than happy with it considering I just picked up the game. Part of the new Captain Toad content is free, adding in proper 2 player co-op where you can both play as Toad. The paid ‘special episode’ stuff struck me as a little odd, considering this game was already a Wii U port that’s now getting even more paid DLC. Regardless, it’s not too pricey and you can even pick up the first DLC course now, with the rest coming March 14.

ER: That’s cool! 

Bloodstained: Ritual of the Night

This not-quite-Castlevania game could easily be mistaken for a knock off of that franchise, but seems to have some defining elements of its own. The art style is bold enough to make it unique and the game seems to have an interesting variety of puzzles and side quests to make this more than just a run of the mill 2D platformer. An obvious choice for those with a Castlevania shaped hole in their hearts.

ER: You go bouncy vampire lady

Dragon Quest Builders 2

What is basically just Dragon Quest Minecraft with a story mode apparently, this oddly charming sandbox game was seemingly popular enough to warrant a sequel. And I won’t lie to you, it got me a little excited. As a fan of Dragon Quest its art style and general building-ness, I think I might have to pick this one up. And it’s got a cool retro map!

ER: I’m not excited, you are

Dragon Quest XI S: Echoes of an Elusive Age: Definitive Edition

In case you hadn’t guessed, I literally adore Dragon Quest. The bright colours, the developed characters, the expansive world, awesome monster designs, great soundtrack and lame sense of humour, it all just gets me. It just sort of sucks I already own this on the PS4, where I can’t access all this new content. Oof. But yeah, pick this up if you can. You won’t regret it if you’re a JRPG fan.

ER: More like echoes of an exclusive age amirite

Disney Tsum Tsum Festival

Oh.

I won’t lie to you right now, nothing screams ‘soulless’ to me more than small Disney plushes with all the personality taken from them being stuck into totally random minigames. Don’t get me wrong, I love Disney (mostly through Kingdom Hearts but that’s besides the point) but I don’t think this elicited much excitement in anyone.

ER: I guess this exists, huh?

Starlink: Battle for Atlas - Spring Update

This was another one that surprised me. Considering how mind meltingly badly Starlink bombed, partly down to its odd reliance on the whole ‘toys to life’ craze that died out in 2013, I really didn’t think there’d be any further support for the game and they’d just sort of slip it under the rug. But nope, we’ve got some more Switch exclusive missions involving some more Star Fox characters, as well as the introduction of Wolf’s buddies. Honestly, I think Nintendo needs to do themselves a favour and just release a new Star Fox game.

ER: Great, if for some reason you bought this!

Rune Factory 4 Special & Rune Factory 5

Here’s a series I’d literally never heard of until last Wednesday, but the only way I can describe it from what I’ve seen is it looks to be a cross between Animal Crossing and kind of also Dragon Quest. You cook stuff, you farm stuff, you fight things and you can get married if you want, so definitely cool if you’re a fan of the series. But also cool if you’re someone who wished Animal Crossing was a bit more JRPG. Alongside the announcement of a remastered Rune Factory 4 later this year, as well as confirmation of Rune Factory 5 sometime in the future.

ER: Cool! Plants and stuff!

Oninaki

An action RPG with an intriguing premise and a rich, dark colour scheme, Oninaki seems very eager to set itself apart from other JRPGs on the market and still manages to stand out just a bit, even in a direct that’s basically been packed with JRPGs. Oninaki explores themes of reincarnation and grief, following the story of one grey-haired dude saving lost souls from a place called the Upside Down the Beyond to stop them from turning into monsters. Another one to add to the list if you like edgy RPGs!

ER: Edgy and cool

Yoshi’s Crafted World

Another update for this adorably cardboard entry into the long running Yoshi series, we’re finally getting close to actually being able to play it. Nintendo showcased some of the more interesting variants of gameplay, with the use of rafts, cars and planes definitely making this seem that there’s some substance here to go with the style. Alongside this, a demo released on the eshop so go play that if you haven’t already and decide if it’s for you!

ER: Wow, this game has a Labo costume! I’ll definitely grind for that!

Fire Emblem: Three Houses

Finally some more info about Nintendo’s latest instalment in their anime Game of Thrones series Fire Emblem, we got a big ol infodump about some of the stuff to do with the game. While the video itself will explain everything better than I can, this time players will be able to interact with three kingdoms and three main protagonists, all of this centralising around one academy the game is set within. Overall, this game certainly looks interesting to play, but one I’m not quite sure I’ll be picking up just yet. Basically, if you’re unfamiliar with the games but love a tactical RPG, this one is a no brainer.

ER: Edelgard’s design is pretty cool. If one of them has to get into Smash, I hope it’s her.

Tetris 99

The game many have been calling Tetris Battle Royale, this is the very first Nintendo Switch Online exclusive offering and it’s totally free if you’re a member. It’s Tetris and you have to win against 98 other people, also playing Tetris. Nice!

ER: Tetris block for Smash

Dead by Daylight

As a game I got for free through Playstation Plus, it should be fairly obvious that this port isn’t one that excites me greatly, especially after seeing the quality of the graphics in the trailer the direct showed us. While the concept of an online match with several survivors and one killer sounds good on paper, it seems as if the quality of this port may leave a lot to be desired. But still, this could still only be early development footage and we really have no idea how it’ll look by the end.

ER: Tentative

Deltarune

Undertale is one of my favourite games of all time, so of course it excited me to find out I’d finally be able to play the sort of sequel, Deltarune, which Toby Fox has taken in the interesting direction of splitting the game into chapters. The first of these chapters will be free (yay I like free) and it certainly seems like the same abstract sense of humour and charm present in Undertale has been carried over to this sequel. Definitely one to watch.

ER: Always excited about cartoon doggo

Daemon X Machina

This mech-fighter has been floating around in various Nintendo directs for a fair while now and it’s encouraging to see the game come close to release. In a commendable move, the producer of the game has offered a free demo of the game allowing you to pilot your own custom mech and experience a boss battle in the demo known as ‘Prototype Missions’. The aim of this to gain feedback from potential players in order to make the game as good as it can be, which is amazing! It’s honestly a bit of a dream world where every game developer and publisher is as open and transparent as these guys, so kudos to them. As well as this, the game looks pretty heckin’ fun so it’s definitely worth picking up the demo off the eshop and giving these guys your feedback!

ER: Big ol’ robots hell yeah

GRID Autosport

As of yet, the Switch has lacked a realistic racing game. Enter Grid Autosport, which seems to be packed with a variety of cars, tracks and game modes, including all DLC from the original release of the game. Not one for me, but I’m sure there’s plenty of Switch owners out there whose racing fix isn’t quite satisfied by Mario Kart.

ER: V big if ur a car person

Hellblade: Senua’s Sacrifice

This game was notably created in collaboration with neurologists and those who experience psychosis in order to properly portray the main character and her mental health struggles. Following the quest of Senua as she fights to save the soul of her dead lover, this game created a huge wave through the industry when it first launched and won major awards for its artistic design and performance. While this isn’t one I’ve had the chance to try yet, it certainly looks as if it provides a brilliant, emotional experience from beginning to end.

ER: A lot

Mortal Kombat 11

This was one everyone basically already knew about, but this direct gave us a reminder of the release date and various features such as custom characters. For fans of this long running, brutal fighting game, get April 23 in ur brains.

ER: Cool

Unravel Two

This adorable puzzle platformer sees you and, optionally, a friend take control of two little creatures made of yarn as they navigate a colourful world and help each other pass various obstacles. For those fans of platformers like the Yoshi series, Unravel is definitely one to consider.

ER: Cool

Assassin’s Creed III Remastered

This is the iconic stealth fighting series Assassin’s Creed’s first outing on Switch, but if this footage is anything to go by, it’s not looking brilliant. While this once again could be put down to unfinished development, the first look at a game is often the most important, and a slow frame rate shown during the direct could mean this game isn’t what fans want it to be.

ER: Tentative

Final Fantasy Release Dates

For fans of the legendary and slightly intimidating JRPG series, several games in the series both new and old will be coming to the Switch in 2019:

Final Fantasy VII on March 26th

Chocobo’s Mystery Dungeon EVERY BUDDY! on March 20th

Final Fantasy IX is out now!

ER: Cloud is my favourite twink

Astral Chain

Admittedly, at a first glance, this title in a brand new franchise didn’t particularly excite me. But after having another look, I can definitely see where all the hype is coming from. This looks to be a hack-and-slash sort of action RPG with all the edgy story elements and setpieces of that ever so popular steampunk genre that players seem to love these days. With all these mechs, explosions and edgy voiceovers, it makes me think that Xenoblade Chronicles and Deus Ex had some kind of torrid love affair. On top of this, with a dev team that has Bayonetta, The Wonderful 101 and NieR: Automata under their belt, this is a game that will almost certainly impress when it finally comes out on August 30. Platinum Games might just have another winner here.

ER: Big yes

The Legend of Zelda: Link’s Awakening

oKAY, let’s be real, this is the one that really knocked it out of the park. At least for me it did. As the final reveal, this made me scream a little tiny bit. I think we’d all heard the rumours of a 2D Zelda coming to Switch, but I was highly skeptical to say the least. But a wonderfully charming and artistically bloody P E R F EC T remake of Link’s Awakening?? HHHHHH. They even kept all the Mario enemies for some reason! Oh boy, whenever they release this in 2019 apparently really can’t come soon enough.

ER: AAAAAAAAAAAAA

That was all for this direct! I hope you enjoyed my silly, unplanned breakdown of all the cool things that happened. Til the next direct!

Oh and if you’ve got a craving for more game news, be sure to check back on my blog March 1st for the second ‘issue’ (lol) of my monthly viddy game mag!

Stay hydrated my dudes.

#nintendo #nintendo switch #Nintendo Direct #zelda #the legend of zelda #mario #super smash bros #super mario #astral chain #Final Fantasy #dragon quest #deltarune #eggoreviews #gaming

[plucky-belmondo]

how i fell for my beloved hunter 💠

(don’t mind me, it’s just gushing time lol)

when nintendo announced august 2018′s direct on the 8th of that month, i was like, super stoked to watch the livestream for it. sadly, it went live when i fell asleep, so i had to look for the official replay. to be honest, the only reason i had for watching said direct was: i saw on someone else’s post that the Rathalos (MH) was confirmed to appear, but i didn’t believe them (and when I DID see it for real, I was thinking, “CAN WE CUT OFF THE TAIL??”)

i ended up watching the entire direct, every single minute of it. throughout the castlevania part i was like “of course they’re gonna add simon, he’s been requested since the days of S/mash 4!” however, when luigi got killed by Death, i paused for a while to well...cry a bit for the green bean. ;w; why did everyone keep dying and stuff??

honestly, at the time, i had no idea who R/ichter was, so when HE showed up, I was like, “oh, who’s this now?” yeah, i was pretty neutral about him initially, but a few days after that, i found myself to be thinking about him more often than usual. did some research, watched a run of RoB, and soon after, he instantly became a romantic F/O, from the get-go. little did i know that i’d end up loving him so much, despite not knowing much about CV at first. and now he’s my husband ; 7 ;

i just...love him so much, like i can’ describe it in a few words, you know?? i wanna jump into SS/BU and tell him that i love him and that i’ll always be rooting for him~ 💖💖💖💖💖

#plucky rambles #Azure Hunter 💙