One Villainous Scene - "You Must Be The Belmont"
Vložit
- čas přidán 3. 08. 2021
- There's nothing a real Villain loves more than facing a real Hero. Today, Dracula is in for a treat.
We thiiiink we've figure out how to use media material without summoning the wrath of CZcams's DMCA-Night-Creature armies. One trade-off is using slowed-down footage. Pro-Tip: watch this video at 1.5x speed for the show's clips to play at approximately the right speed.
See the rest of ONE VILLAINOUS SCENE here: • One Villainous Scene
Our content is intended for teenage audiences and up.
PATREON: / osp
PODCAST: overlysarcasticpodcast.transi...
DISCORD: / discord
MERCH LINKS: rdbl.co/osp
OUR WEBSITE: www.OverlySarcasticProduction...
Find us on Twitter / ospyoutube
Find us on Reddit / osp
Want this video in another language? Check out our guide to contributing translated captions: www.overlysarcasticproduction...
With an Amara account, you can translate this very video by following this link:
amara.org/en/videos/znpU7yKqL...
The best part of this scene is that Dracula doesn’t flinch at the first punch, and only after the second recognizes Trevor as a Belmont. It’s not the punch that identifies him, it’s the fact that after throwing a punch and seeing it have exactly zero effect, Trevor thought “no I’ll keep doing it, it’ll work this time”
Only one blood line of humans would have this mindset... My favourite... The Belmonts...
- Dracula probably
"Bash it till I crush it"😂
I think it was more like "this human, not a hybrid, not a magician, punched me in the nose both times to stagger me, not afraid, that crest, a Belmont, now I get to have some fun."
Worked for Simon😅
"Why does he keep punching ? He probably has broken bon-ohhhhhh BELMONT !"
*Trevor:* Finally finds his family heirloom and the greatest vampire slaying weapon ever.
*Also Trevor:* Decides to punch the greatest vampire ever in the face.
*Dracula:* "Yep, it's a Belmont."
Someone once summed up Dracula's thought process at that moment as 'There's only one group of mad bastards crazy enough to throw a haymaker at the Prince of Darkness! Belmont! How're you doing? How's the family?'
@@KurganMacLeod
“My family is extinct”
“Good to hear!”
@@goroakechi6126 "Good to hear!!"
Lmaooo that's exactly how dracula would react
Dracula's like "You look about as stupid as my buddy Leon."
Alucard and Sypha are like "Goddamnit Trevor now we've got to save your dumb ass."
Fighting your son over the death of your wife: emotionally draining
Fighting a Belmont: that’s just FUN
The whole "Resurrecting every hundred years" is really just Dracula having a wild ass bender before taking a really nice nap
@@rustyshackle8000 he has a mad final boss complex.
Some things money can't buy. For everything else, there's Master Vamp.
Idk why, but I hear that in Takahata101's Perfect Cell voice
@@DMKleinArts It’s because Dracula did it MYYYYYYYY WAAAAAYYYY
Rewatching the series, I really like that the vampires all refer to "the Belmont" as an "it." Not a "he" or "she" or "them," but rather a force or organization that targets vampires. Thus Dracula's line "the Belmont" isn't so much saying "you're a member of the Belmont family" but rather an acknowledgment of "oh, so you're it this time, huh? Okay."
The Vampire Court sees all humans as barely sentient animals. That includes the Belmonts, but they refer to them as apex predators. It's like humans talking about a leopard.
When the vampires learn about the Belmonts, Carmilla says "I thought they were extinct". Not gone or dead, "extinct", which is such a perfect word for this because they really do see them as kind of a different species.
"the latest iteration" of the Belmonts
Exactly I love it bc it's a whole other level. But i guess that's the entire thing of the game and has been since day one: Belmont fight dracula
Right like the Belmont is just a thing that happens
"Dracula's only weakness is that he's not as big of a monster as he thinks he is." Holy DAMN. I actually clapped.
Ironic since, if this follows the game lore to any degree (I mean, they already screwed it by not having Grant as part of the team initially (Greta does not count) but go with it), he already threw away his humanity and teamed up with Death as one giant middle finger against God.
So really, it's more like he regained his humanity for a time.
@@LordTyph I don't think it really follows the game lore because SPOILERS: Trevor fights Death in season 4, but it's implied by Death (who was disguised for most of the season) that Dracula wasn't aware of his true identity.
"...not as big a monster..."
Ummm...did they miss the opening scene, with the forest of impaled corpses in front of his castle? Or when he's FONDLY remembering that time he butchered an entire village for "slighting" him? Or how about lying to Hector REPEATEDLY? Or when he CONSCIOUSLY tries beating his son to death?
Being heartbroken because his wife is dead doesn't make Dracula any less of a monster. Considering at no point did it dawn on him that THOUSANDS of husbands had to endure the same pain because of HIM, I'd say he's an even BIGGER monster, because now he's also a hypocrite.
@@jmhaugen4757 I think they’re saying that because Dracula still obviously cares about Alucard and his wife. If he was the monster he thought he was, then he would’ve killed his son outright, twisting his rationale to justify the act. He wouldn’t have just given up and let Alucard kill him.
@@jmhaugen4757 fair though the Bishop easily is the biggest monster in the whole show.
The most heroic music was playing inside Trevor’s head when he punched Dracula.
Meanwhile in Dracula’s head: *Mii channel music plays*
Now I have the image that Dracula heard Dog toy squeaks from the bare knuckle tickles that Trvor gave him
@@camblycreeper7999 I think I've seen an edit of that somewhere
And thus the meme began
@@nickgrout2502 have you seen the GameCube noise edit
Link to video if someone made it please!
XD
I don't know why, but the way Dracula says "we painted this room, we made these toys" just gets me to tear up every time.
Same. The whole scene is brilliant but the lamentation over the painting of the room and crafting of toys just says so much. It wasn't just a room his son stayed in, it was a room full of things that he made with his wife to bring their son joy. The difference between paying for nice things and making nice things.
@@pred6 He conveys so much with so little. As someone who does voice act, albeit not too often, I can only dream of getting to that level of awesome
Which is even further credit to Dracula's fucking *voice actor*!!! Mans absolutely *sells* the mask of Dracula and the man behind the mask that is Vlad Tepes. I feel you. I've yet to see that scene without feeling the same drop in my heart. The way he says "It's your home. [...] I'm killing our boy. [...] It's our boy. My boy. I'm killing my boy." You can *hear* him falling apart; realising exactly what he's doing. Who he's hurting.
Continuing off of what Red was saying, this isn't just the child of his beloved Lisa. This is *his* boy. His sweet boy whom he *lavished* with love for a good eighteen years. His dear boy that he left not only to mourn alone, but to inevitably clean up his mess. The way he goes from Mother Fucking Dracula, the Lord of Darkness, to Vlad Tepes, flawed but loving father and grieving widower.
It's interesting to note that draculas castle is full of mechanical and magical wonders that could revolutionize the world and how they mean nothing to him compared to the simple toys and furniture found in that bedroom
@@sugar-high_kitsune I truly love that, because Dracula could so easily have been written as just "Man who loses his wife and becomes abusive father" But somehow, despite him LITERALLY attempting to murder him, he's never abusive in it? Or at least it doesn't feel that way?
I think it speaks volumes that Dracula says "I'm killing our boy". Alucard isn't just Lisa's son, he didn't just mean something to Dracula cause Lisa did. He was his son. He raised him and loved him just as much as he loved Lisa. And you know that he would have done the exact same thing if it was Alucard instead of Lisa.
This whole scene made me sob the first time I saw it. SO HEAVY
He would absolutely not do the same if it was Alucard that burned. Sure he would be absolutely devestated but the big difference is that LISA would be there to stop him, and he would never go agains her.
@@JokkazArt Probably not. When he attacked Alucard, he knew his son would survive his attacks, Lisa wouldn't.
Red: “Unless you want my 50 minute rant as to why I think Trevor and Dracula’s foil relationship is really interesting…”
YES PLEASE!!!!!
This.
ABSOLUTELY
DEFINATLY
I CRAVE MORE CONTENT LIKE THIS! PLEASE RED DO IT!
Preach
A comment i've seen on the internet about the 'you must be the belmont' line is the scene around it. Trevor punches him twice to no effect and Dracula immediately knows who he must be, some have argued he recognized the family crest on Trevor but its far more entertaining to imagine that he's like, 'only one clan of humans would be crazy enough to try and just punch me'.
Or the classic thing of "Yup, that bony knuckle tickling is definatly a Belmont punch"
Or just deduction. He already knew how the trio was made up and after Sypha was all ice and fire only the Belmont was left.
But I enjoy Belmont being crazy enough to punch him more.
Spoiler ahead
If you seen the fight with death, he also punches death in the form of the grim reaper
Trevor punching Dracula who's just thinking "Damn it Leon, do you see your idiot dependents?"
I like the second reasoning more. And yes it is more entertaining.
The fact that Dracula is wearing his wedding ring all this time really is just the perfect little chef's kiss for his characterization.
Bro wore his wedding ring for an entire year after the death of his wife, and Carmilla called her a pet in front of his entire council. The fact she survived that encounter shows how much restraint the man has.
*Dracula's son:* "Let's go find that one guy that did this crime."
*Dracula:* "That guy only exists because the others want to believe in what he says."
I mean, looking at it. This is true. Sure, you can get rid of the one who committed the crime. But the point is to punish those responsible for his existence that lead him to commit the crime. To get rid of those responsible for giving the killer the weapon and power to do what he did. Only then, can you properly ensure something like this doesn't happen again so easily.
It's curing the symptom vs eliminating the cause.
@Jace which is why Dracula is a little bit understandable and why Trevor is p much against him as a job
@@djktsjytej ok but Drac didn't cure a symptom, he chose to amputate the patient's head to stop an infection.
Yeah technically it solves the problem, but it's not like the humanity gets to enjoy the benefits being "treated".
@@djktsjytej And to accomplish this you commit genocide? That’s a ridiculous rationalization and you know it.
@@d.n5287 This is exactly what the Boat Captain said to Isaac.
“I’m killing our boy, Lisa I’m killing your greatest gift to me… I must already be dead.”
Made me bawl my eyes out. Helluva way to end a Big Bad Boss Fight.
that fight was so amazing, i was crying the moment they started fighting in alucard’s childhood room ;-;
As the captain says in s3. His last 2 decisions are to save the life of a friend and to spare the life of his son. Doesn’t sound like someone who truly wants all humans to die. Definitely one of the best sympathetic villains ever.
Ugh, that scene made me so sad
ngl, that was the first point I had to pause the show because I couldn't see what was happening through the sudden waterfall coming from my tear ducts. T_T It's so beautifully done it hurts.
@@justinadler4695 Agreed.
And I especially love that The Captain, a pirate/mercenary of all people is not only the one to make the case for humanity’s continued existence, but that it actually works.
It goes from “Final Boss Battle” to “Violent Domestic Dispute” and it’s done so amazingly
Underrated comment
And I, just as quickly, went from "Hell yeah!" to "Oh god, no..." in the same time span. Funny how that works. :'D
Shadowpeach in one sentence
Dracula bringing out the metaphorical belt, and then feeling terrible about it afterwards just hits so hard.
trevor and sypha were literally "the friends you have over at your house to hang out but you end up getting into a fight with your dad in front of them and they don't know what to do" 💀
I think I speak for everyone here when I say "Yes, we absolutely wish to hear Red's 50 minute rant about Dracula and Trevor's foil relationship".
100%
Yup
Yessssss
Yes we need to make this happen
Abso-fuckin-lutely. 😂❤
Lisa took one look at Dracula and went “I can fix him”, and you know what? She really did it.
her mind 😍 she pegged him to redemption
I like how the women in the show (the one's that we actually care about and have more than like 30 seconds of screentime) do not put up with the men's bullshit
@@gruffen4 The first scene in Dracula's castle really sold me on the show, honestly. Lisa coming in and just not taking Dracula's "Prince of Darkness" act had me like, "Where is this story going, the characters are amazing!"
@@dovalayn
Ouch.
@@salvadortoscano2534 I want an entire series just about them it’s some of the best chemistry I’ve ever seen in anything
"This entire catastrophe has been nothing but the world's longest suicide note." is the best quote of the series.
My favourite quote is that little speech that Alucard gives around the fire to Trevor and Sypha before they're attacked on the road. It's a great scene for so many reasons, but I'll explain why it speaks to me personally. Trevor and Sypha are talking about the "end of the world", and Alucard, amused at this choice of words and the sapiocentric thinking it betrays, clarifies that the world will still be here, but humans won't be. Life will go on, the world will persist, but without the layers of meaning imposed upon it by the humans who experience it. He goes on to very eloquently explain his father's point of view, losing himself in his musings, half forgetting that he has an audience. I can't remember the exact wording off the top of my head, but it ends with something like "...until all that's left is to look out over a world without art or memory or laughter, and know that he did his work well. That he did it all for love."
I go back to rewatch this show every few months, because I just love it that much, and this scene *still* gives me shivers. It's not just this scene, either, but all kinds of subtle things all throughout the show. Another one I like is his moment to himself when he's drawing his parents' faces in the sand. I love how artfully and organically this all serves to illustrate Alucard's conflicted nature. He shares his father's pain and rage, justifiably so, but knows that his father's actions are wrong. He knows his mother would agree that Dracula needs to be destroyed, and he knows that it would thoroughly break her heart. He also knows that she would somehow find the strength to do what is necessary, and so with tears in his eyes, he resolves to do what he must.
@@SauceMeGud That writers did an amazing job making the characters feel like more than that and the VAs nailed it with their performances.
It's close. The best is: "The Morningstar Whip?! Well played Belmont. But I am not some petty vampire to be killed by your human magic. I am Count Vlad Dracula Tepes! AND I HAVE HAD ENOUGH!"
That shit get me hyped every time!
@@Darkman1025 That scene was the definition of, "Ooh, shit."
"This is how they get us, Hector... They convince us that there is no future."
This line from Isaac is the one that sticked with me since I watched it. It actualy bring a conclusion to the theme of the whole show, bringing the final ideological response to Dracula suicide-by-genocide attempt.
The despair caused by loss, fear, pain, depression and isolation, even overwhelming, isn't insurmontable. Healing and growth is possible. And the fact that this conclusion is delivered by Isaac, arguably the most hatefull character in the cast, make his statement even stronger.
There was a very clever detail I only noticed on rewatching it: throughout the fight with Alucard, and ONLY when fighting Alucard, Dracula is always holding back. The flashback to their fight goes to pains to show Dracula raising his hand, claws out, to his son, reminds us of this with focus on the claws, and asserts the harm every time we see Alucard’s wounded chest - an injury the second or third most powerful vampire in that world hasn’t recovered from after a year. When he fights Trevor the camera lingers a moment longer on every blow, showing not just the tremendous power but lingering on the pain, the blood coughing up, that these are absolutely not blows o just shake off. With Sypha he claws her in a way that is highly framed, and we see not just the blood but her struggling to recover from it, the first time she has been really seriously wounded on camera. He is swinging claws out, full force, every time. And yet with Alucard, he hits him with a closed fist, or a palm stroke, or a wild telegraphed swing to make him move back, but he never touches his son with his claws. You aren’t looking for it the first time, but knowing his breakdown is coming, you see the first threads of it here. Even here, in a seemingly-blind rage, fighting for his war and his life, he can’t let himself strike his son with his claws, can’t repeat the wound he dealt him a year ago. Even if he doesn’t feel it consciously, he is ashamed, even angry with himself for hurting his child a year later. And at the last moment when he realises what he’s doing, it’s after he made to strike his son full force, claws out, just like a year ago. He can fight him, fight him very hard - but he can’t bring himself to hurt him. The seeds for what happens at the end of the fight are set from the start.
Skallagrim actually did a video covering that very topic.
Damn, this is really cool!
31:32 You can actually see as Dracula enters the room, he bears his claws to strike Alucard, but then balls his hand up into a fist instead right before swinging.
the man essentially gave himself trauma over having traumatized his own child.
@@erinshipinski7332
As I imagine any decent parents would, honestly. If I were to have a child and then proceed to harm them like that, I’d never forgive myself.
Definitely adds that one more layer to Dracula, because on some level he clearly wants to be a good and empathetic father, at least to the extent where he’s not carving up his son.
Lisa’s plea on the burning stake is taken straight from Symphony of the Night, however it’s shown in the game that she’s talking to Alucard who was present at her burning.
That bit of context changes Alucard’s entire story
@@lucarvee he was there during her death in the show as well, at least near enough to hear her. She was probably saying it for both of them, But Alucard heard her and tried to tell Dracula that she wouldn't want this.
It's also basically Christ's plea to God on the cross, in fact Lisa is a Christ figure in the story.
If Alucard was there, what the f*** was he doing just standing there?!
@@wargriz8213 being in shock
"You must be the Belmont." Fun.
"I'm killing our boy." Heart completely broken.
Only a great writer can balance that on the VILLAIN.
Amen
Warren Ellis is a fantastic writer. He's got many kickass comic books.
Empathy is amazingly flexible narrative trait
Way to make me sob!
I wish the guy himself was a bit more empathetic, but he sure knows how to make ppl empathize with his characters lol
"Alucard will be talking about this in therapy when it's invented in 400 years."
Yep- poor kid
The War of 99 season can't come soon enough.
And then even more after the thing with the twins in season three
@@weldonwin They weren't actually related. He'll still have to talk about it though
He changed his name to Arikado after that 400 year, and have his hair dyed in black
As sad as it is, I love how Alucard just breaks down sobbing at the very end of S2. It is heart wrenching, as it should, since that is Alucard‘s perspective. Damn I cried so badly for this young man who did not even get a hug after killing his own father.
Right? This is a *teenager* here! A *child* that has just had to *MURDER* the last familiar tie he has! But he did it because it was the right thing to do, and his mother's dying wish; to be *better* than the humans that took her away. He legally isn't considered physically mature enough to even *drink* in the some countries, but he's in charge of killing his own father: Motherf*cking DRACULA. The fact that he holds himself together for *so long* is astounding.
I am honestly horrified at the thought of killing a random stranger I've never met before. I couldn't even begin to fathom how it must've felt for Alucard having to come to bare with the idea that he must kill his father, A GOOD FATHER, because he had lost himself to his grief and rage.
Something that Red and Blue did really well in highlighting the tragedy of it. Alucard isn't prepared at all to kill his father beyond knowing it is the only thing that will finally make Dracula stop.
Kinda makes watching Trevor get thrown around like a toy feel a little good
Same 😭
"A squad of protagonists appeared to have assembled" is one of the most freightening messages any person in power can receive.
"...on WHOSE SIDE?"
[Ours] ...that's great news.
[AGAINST] It's all F@(ked now, isn't it?
"I'm going to be talking about *this* in therapy when it's invented in 400 years" sums up a lot of fiction set in the Middle Ages.
This reminds me of Critical Role, where this problem came up at least three times by now
Its good Soma Cruz had such a good teacher and mentor in Alucard... after the therapy...
I heard it in Alucards voice!
@@ProperDaveXD001 Ohh wow, that really works...
Now hear it in the PS1 Symphony of the Night Alucard voice
250 in Alucard case.
Maria Renard discovered it sooner
They mentioned how earlier, when Dracula goes full Vampire King, both his eyes and the moon go blood red, which gives some really good, menacing lighting. But when Dracula and Alucard end up in Alucard's childhood room, and Dracula starts breaking down, the red fades away from his eyes and moon, making the scene incredibly more somber
I always loved that detail. Like his humanity/sanity is finally breaking through.
Even within the king of monsters, who appointed himself as the hunter of humans, persists the meekest shred of humanity.
Funny how in many humans such a trace is absent.
@@clayxros576 Well yeah, they're a miserable pile of secrets after all!
@@clayxros576 o
It also shows how powerful he is. He was so strong that he had to power down for The crew to kill him. It makes his character even better IMO
I feel like a lot of people forget that Dracula did spare someone at first. He spared the woman who was leaving flowers Lisa’s home, who he originally leaned what was happening from.
And her and her family are the last of the humans he will spare. There’s also the fact that he’s going to kill them anyway if he went through with his plan.
It IS also really subtil that He tells her to leave, Take her Family und flee. She learns that while Lisa was Not a witch she meddled with forces beyond human knowledge
One of my favourite bits of characterisation ever is in this show/scene - Sypha is hitting Dracula square in the face with a stream of fire, and it is actually hurting him for once. But then Dracula rotates his head, and Alucard starts to get hit by the fire as well. And then Sypha, who is so kind she would give up their seemingly best chance of winning to spare her friend some pain, lets up on the fire, which results in Dracula recovering and smacking her into a wall.
Also Dracula just ate that fire. Any other vampire would have died and bro just ate it.
@@Karhall Right? Throughout the entire season we see how devastating Sypha's fire is. Literally not ten minutes ago we see her incinerate a vampire general in about two seconds. But now with Dracula, the fire does basically nothing. It doesn't even singe his hair.
I love that scene.
He could tell that only Leon Belmont's descendants would be brave/stupid enough to punch him in his face.
Dracula: Must be a Belmont. He hits just like their women.
@@Karlos1234ify dude, I guarantee you Belmont women would def be crazier than the men. they'd be scarier than the monsters they fight
*Sees the literal avatar of evil*
How bout I throw some haymakers.
@@kaelang12 ikr?
@@b-listjester8204 Trevor's life was a series of disappointing travesties that his best efforts weren't good enough to prevent. Trevor finding it in himself to face unspeakable evils to protect the undeserving world that tormented him was a victory siezed from the jaws of despair.
Someone pointed this out about Dracula's chair: Dracula has the chair turned away from the door the entire time. At the end of the season, Alucard turns out back and he has a flashback to his childhood. The reason Dracula had the chair turned around is because he knew he would never see Lisa and Alucard enter that room again.
Ow
Im upset you made this scene even more sad for me, but also appreciate it.
my heart
I noticed it, and started crying along with Alucard there. I've loved Castlevania for over a decade, and that shit hit hard.
That's awesome but so incredibly sad too. Great reveal too! ❤ Thank you!!!
"Your greatest gift to me, and I'm killing him. I must already be dead"
Dracula loved Adrian so much, he referred to him as Lisa's greatest gift. Such a beautiful line, stabbed me right in the guts and twisted the knife right round.
It's also worth mentioning that the OVERWHELMING MAJORITY of the vampires killed in the 1st 2 seasons (maybe even the entire series) were killed by Camilla's attempted betrayal by other villain characters. The castle teleporting around helped a lot too, but even that wouldn't have killed so many if Camilla hadn't been doing what she was doing.
Thanks to her, the heroes only had to deal with around 6 to 8 vampires standing between them and Dracula instead of the entire army they would have encountered otherwise.
Which is why Isaac focuses his revenge on Carmilla instead of trying to go after the heroes.
You gotta love how Camilla's betrayal coincided exactly with Sypha teleporting the castle despite neither of them having any contact or even knowledge of what the other is up to.
Camilla is like "What the fuck just happened to the castle???" and Trevor, Alucard and Sypha see a bunch different vampires fighting each other and probably also though "Are we interrupiting something???"
I love how, during this entire thing, Dracula's character is *never* undermined. He's still unequivocally the strongest character in the show and basically invincible, still menacing, and still charismatic, all while also being so in love with his wife and son.
Also all that depression and subsequent starvation just means he's still the most powerful being on the planet.
Yup. The only thing that stopped him was his love for his family and his crippling depression
Ya. A lot of villeins start off weak so you wonder why anyone is afraid of them, or they start off strong and get nerfed out of nowhere because the plot needs them to lose.
the way that the only way that they could beat Dracula was because he stopped fighting out of shame, that they wouldn't be able to beat him otherwise and would have been slaughtered
and it works because we already know that he's doing this out of suicidal grief for his wife and how he's going against what she stood for, and how this hits the climax when he ends up in Adrian's room and realizes that he's killing their son
amazing
This man is a charismainiac 100%
"I'm killing our boy" is something that no parent should ever have to say. That was one of the best lines and scenes in the entire series of Castlevania.
I teared up when I saw that in the synopsis and I teared up again when I saw it in the actual show.
I was in TEARS, TEARS
man that hit hard it was so good but also so sad
@@krislanc1239 Ditto, I swear I heard my heart shattering like glass. The delivery was devastating.
The voice acting nailed it.
To me, Dracula's arc is defined by the line that gave me the chills:
"No more do I walk as a man."
Another thing to consider is that in the game lore, Dracula and the first Belmont were friends until Dracula betrayed him to become a vampire. That's why the Belmonts hunt Dracula. When Dracula says, "You must be the Belmont", there's a hint of, "hello again old friend".
it wasn't just a shallow betrayal either, his betrayal ended up getting belmonts fiancee killed, and in said first belmonts game you are given a magic whip that harms creatures of the night, well once he meets her she tells him he has to finish her before she fully turns into an evil vampire, alchemist turned said whip into *THE* vampire killer after her sacrifice and tepes was also a man who rejected god and stole a magic artifact to become the owner of evil and chaos.
I think that lore has changed in the TV show.
@@HelloHuman1The do mention Leon as the first Belmont when Trevor finds the hold though
What is ironic is that Renaldo (the name of the alchemist) made the whip using the research of the Mephiles family, more precisely Mathias' (who will become Dracula), who was trying to revive Elisabeth (his first fiancée). By trying to defy god, Mathias not only created powerful enemies (the Belmont clan) but also unknowingly created the weapon that will destroy him, the alchemist whip, who will become the vampire killer (and then transformed into the morning star).
One thing you missed bringing up at the point where Dracula rains hellfire on Targoviste is that he was initially going to contain his revenge to just that city. After a year of stewing it over and taking some time to calm down a bit, he backtracked a bit on the "kill all humans" idea.
And then he found out that the Church in Targoviste was _planning a celebration to commemorate Lisa's death._ They were making light of his grief and thumbing their nose at him. At that point, Dracula flipped his metaphorical shit.
Oh god that makes it even more saddening. He probably lamented and decided that Lisa wouldn’t want this he shouldn’t do that, there are good people out there. Then he finds out the crushing reality that they are planning to celebrate a woman who dedicated her life to love, loving him and loving people, she wanted to save people and now they are celebrating her death, that is just crushing. I’m sorry for my grammar, but that just squeezes the heart more. After they’ve gotten their warning and heard her begging that they decided to celebrate her death completely pushed him over the edge.
I already sympoth7zed with Dracula because obvious reasons... yeah that makes me just agree with Dracula saying fuck it and trying to kill all humans. Like it's one thing to kill her because of a religious d8sagreement ad a "its a tragedy but it must be done" thing but to make a festival out of it
honestly i really cannot blame dracula at that point frankly everyone who could have and didnt immediately dip after his threat kinda deserved it : /
"Surely a career highlight for both" really cracked me up, I immediately imagined both Dracula and Trevor putting this in their Resume and then also putting each other as people that could recommend their work
Like under achievements:
Fucked a wizard
Punched Dracula
Stabbed death
“AND I LIVED”
Same
and swapping autographs at the next VillainCon
At job interview: "And how do you know this person?" "I killed him, cut off his head" "he killed me, right as I was gonna hug my son."
- Any experience on the job?
- Well, there was this time we managed to survive a Dracula phase 1 final boss battle. We kick ass.
“Anyone of them could have stood up and said, no we won’t behave like animals anymore.” -Dracula
“Evil only exists because the good are too afraid to stand up and speak against it.” -Trevor Belmont
The similarity of these two lines (probably a bit off on the quotes) really speaks to me about how similar their two views are until they decide to progress their stories further in which Trevor and Alucard see that there is a good and bad in humanity and sometimes the bad just rears its head higher while Dracula can only see the evil that persists because of it.
If you've played Castlevania: Symphony of the Night, Richter and Alucard says something similar at the end, but it's a direct quote from Edmund Burke:
The only way for evil to triumph is for good men to do nothing.
In all fairness, the lifespan of a creature like Dracula is so long that they have a completely different perspective. And in time, perhaps even Alucard would come to see things as his father did. As creatures, like us humans, who have such limited lifespans it is impossible for most, and difficult for ALL, to even comprehend anything but our tiny and very short existences. A creature that can live for thousands of years has had that thousands of years to work on themselves. They say to us "Why can't you just be better?!" Our response would be "We're trying, but it is hard!" But they wouldn't understand that anymore than we can understand them.
Dr. Manhattan had the same problem. His perception was so different than everyone else's that finding any ground to negotiate with him was just impossible.
At any rate, we humans are not capable of enacting the correct judgments on such beings. It would be like the squirrel in my backyard being angry at me for cutting my grass; the squirrel doesn't know that I own the property. The backyard is MINE; the squirrel doesn't know or understand that. Where in this case, the squirrel would be humans.
The biggest difference between Dracula and Trevor in these moments is the placement of blame. Dracula blames the innocents for not having courage, while Trevor blames the guilty for choking it out of the innocent.
"-after they chewed through Dracula's first health bar" is my favorite quote of this video full of great quotes.
"You have your Spinning Whip of Doom, my magical Whirling Dervish of a son, and a literally tucking wizard. Meanwhile, I haven't eaten in weeks, have literal clinical depression, and am being hung together by an emotional shoestring. Clearly, _I_ have the advantage."
How are you literally everywhere?!?
think it was years actually like him traveling he might’ve feed but after lissa died he stoped
I read this in the voice of Alucard from hellsing abridged
@@Peagaporto man i can relate cause dracula with guns is definetly better
So not only are you everywhere, but you're there at roughly the same time as me. Dude, at this point I am just dying to know what your life looks like. Who _are_ you?
“Alucard will be talking about this in therapy when it’s invented in about 400 years.”
Now I’m imagining a Japanese therapist talking to Genya Arikado on the reclining chair.
"So, my dad showed up again, only his hair is white, he doesn't remember anything, and he's trashing his old home. Also he's a teenager for some reason. He's also dating someone new, and I know that my mother died centuries ago, that I should move on, but I can't help but feel conflicted. I mean, she's several centuries younger than him, he's practically robbing the cradle! Anyway, thanks for listening doc, but I have to go, there's this Belmont guy who's trying to murder him and I need to explain that my dad's not evil this time around. I think."
@@ObsidianKnight90 thanks for this!
XD
@@ObsidianKnight90 nice
I like to think this therapist has the same outlook as that therapist from the Lucifer TV series, where they know it's actually Alucard but just go with it after the initial suprise.
"...and don't get me started on Trevor. To this day people think we were the same person, but I was THERE WITH HIM when we had to MURDER my FATHER!"
"Mhm, I can sense a bit of an identity crisis going on here..."
@@HyperfixationWizard I'd LOVE to see Linda just build up a supernatural therapy practice and then she gets surprised when a Normal human comes in. Plus I'd love to read Linda and Alucard together in a Therapy session.
One of the few stories that I feel did the "humans are the real monsters" trope believably. But I love that it makes it clear that the best characters (like Lisa) insist that they should not be hated and there's hope for better. For such a dark world, there is very little true nihilism present in the subtext (even if it's in the text at times). They even included the fact that there are still true believers that have real holy power, even if 99% of the priesthood are corrupt.
Yeah the bishop couldn't keep demons out of a literal church but one random priest turned buckets of water into actual holy water that burned the demons when they touched the ice made from it.
It's like "Its not the faith that is evil its guys doing dumb messed up stuff with it"
For me it was the scene in the first season when Trevor and the Speakers argue over the angry mob that is about to come to their house and the Speakers are like "Look, we may loose, but we rather stand our grounf for what we believe then run. Shouldn't you Belmont's do the same?"
I want to say it was your video "Sins of the Father" where I remember the line "Vengeance is motivated by anger, and anger is an amoral emotion. It doesnt actually matter to the anger if the person its taken out on deserves it. Anger just desires an *outlet.* " The bishop who ordered the murdering and even the citizens who let it happen perished in the first few episodes, but it just kept going.
This leads to my favorite scene with the bishop that killed Lisa being confronted by a demon in God's house. Ending with the demon proclaiming their love for the bishop. It was such an excellent scene, I had goosebumps watching the demon's sardonic conversation with him. It was so satisfying, poetic and powerful that I didn't even care if the Bishop died in the end.
The same bishop who was used to sanctify the river too
@@cloroxusthestainlessone4324 which I always found weird...
@@valdimer11 oh I loved it, the amount of destruction done by his hands, alive or dead, is world building. That one match that starts a raging inferno
(To clarify, the first 3 seasons of events are all his doing weather intention or not)
@@valdimer11 I LOVE that scene. It was an incredibly chilling interaction. The bishop thinks he's safe from the monsters because he's in a sanctified, holy building, but then a giant demon proceeds to waltz in and tell him "GOD IS NOT HERE. THIS IS AN EMPTY BOX". That has stuck with me to this day.
I love the fact Alucard brings up just how much is lost with Dracula's death. No matter how terrifying, how bloodthirsty, Dracula was old and wise, and his death wiped away so much knowledge that could have saved so many.
Not just that; Liza dragged out the wonderful person he could've been. Dracula did everything he did in this show because he wanted vengeance for Liza. Dracula saw Liza as everything good and beautiful about humanity; humans killed her and to him that proved humans were beyond redemption.
It's like destroying an evil tome that contained countless cures for ailments but decided to also be a nuclear warhead.
That one line stuck with me "He could've changed the world, I think he might have if not for my mothers death.", it gives the whole situation a grander sense of tragedy for the world at large. That feeling from Alucard of just "He was so close, he could've been a hero, my dad could've been a hero, he was so close."
@@zigzaghyena just one push...
*Flashbacks to the Library of Alexandria*
I'm surprised no one mentioned that Dracula really did pull his punches with Alucard in the final fight, consciously or unconsciously, it's hard to tell. Because the whole reason Alucard was recovering for a year, was because Dracula used his claws on him. In the final battle Dracula never does. He tears up Sypha's shoulder, but when he's dealing with Alucard it's all closed fist. There is one point where the shot is just of his hand, clawed, hesitating before it becomes a fist.
I took that as foreshadowing that Dracula would never be able to actually kill his son.
Holy shit. you're right!
Excellent analysis!
The only time he uses his claws in that fight, as I recall, is that single skin-deep slice to Sypha's arm. This not only shows, to my mind, that he's pulling his punches against Alucard, but also reinforces the point that Red makes about Dracula really, truly enjoying his little scrap with Sypha and, in particular, Trevor. He's absolutely relishing the long forgotten drama of playing his role as the villain and is in no way willing to end that in the many and varied abrupt and violent ways he absolutely could have - especially given the powers and abilities he does whip out during said fight. He's giving them the fight they want. The grandeur, the drama, the tension. Slowly ratcheting up the powers he unleashes as if he's both testing them and showing off. Which, in and of itself, plays back into the idea that he's in this whole mess in the first place because he not only feels emotion, but does so to a depth and power that mere mortals would find incomprehensible while reinforcing core character traits only hinted at previously, such as his love of drama and meticulous attention to detail.
He's a really, *really* good villain.
Also know that Dracula was starving himself
@@Robert-rw5lm Another LITTLE detail I friggen forgot
A thing I always missed until someone pointed it out to me:
Dracula has CLAWS!
Yet he punches his son repeatedly, instead of slicing him in half, like he almost did once.
He is protecting his son from himself all the time already, but he cannot stop himself completely until he is in said room with Alucard.
Yeah, at 31:32 , the camera focuses just on dracula's hand as he starts to attack with his claws but then stops and balls his hand into a fist. It's such a great little detail!
I find the most interesting thing in this series is that the “big bad” dies *less than halfway through* and then it just… keeps going? And it’s good! There’s so much build-up, but then they all have to go on living afterwards and it’s really striking.
Castlevania manages to feel like a classical Greek epic in it's tone and dialogue featuring beautifully complex and intricate characters and relations, but also has lines like "What the fuck is toilet paper?" and still manages to sound cohesive.
I love it.
"What the f*ck is toilet paper?" also came out right at the start of Covid, so meta gallows humor there.
One of the things I appreciated a lot about Castlevania is how it often feels like a 90s direct-to-sleazy-video-stores OVA with overly-crude dubbing, except it actually has rather deep characters arcs to it.
Two of my favorite lines:
"See, God hates me!"
and
"God is not here... this is an empty box..."
so it's shakespeare
@@camblycreeper7999 "God shits in my dinner once again"
I love the “You must be the Belmont” line because it’s the simple fact, that this normal human’s first reaction is to not run, or grab a weapon. It is to charge up, and start throwing haymakers. Ineffectual haymakers, yes. But haymakers nonetheless.
Yeah there was no doubt in Dracula’s mind who Trevor was. Yes he knew his son and a Belmont was on the way but to Dracula a Belmont would look like any other human. He knows the only person who has the balls to just try and punch him in the face, multiple times, could be a Belmont.
Yeah, nailed it. Who but a pedigree vampire slayer walks up and decks the Lord of F*cking Darkness? I also assume Trevor’s reputation as a brawler precedes him.
Dracula has to have a certain amount of respect for that.
Total Chad move. Definitely a Belmont.
"So you're of Leon's line. Belmonte."
The voice actors in general killed it with the series but damn, Graham McTavish as Dracula was just impeccable. When they are fighting and burst into Alucard's room the emotion is his voice is insane, teared up when he first said "my boy".
Dracula: A human just ran up and started to punch me in the face. Yep, definitely the Belmont.
NvM: “So the idea is to pick a scene from a movie or show that highlights a villain and analyze why it’s effective.”
OSP: “EVERY scene the villain is in during the WHOLE show you say 👀”
Half the video is about one scene the one the rest is just background
@@keysliceace5015 half this video is still double the length of almost all the other villainous scene videos I've seen :D
The show is so compact, there's nothing that's not necessary to appreciate the full extent of the whole, especially in the first two seasons before the plot splits.
OSP sure loves their preamble, but that's why we love them.
The context is the spice! You can't have a good scene without a hefty pinch of context!
Ah yes, the series that gave us
*”IM DEATH, you gobbin little shit”*
We should’ve known Varney was Death, he was voiced by Malcom McDowell.
“I’m going to eat you your soul, shit you out, then use you to smother your girlfriend”
“Why is it that only human hands can reach into hell? Don’t you think that’s weirdly fucked up?”
Instantly became the best villain in the entire show.
@@theless-than-goodhunter7019 Best villain line ever even more so than it was just Tuesday
That’s not the quote, but okay.
My favorite scene in that whole series was when the demons crawled inside the church. The priest said that they can't enter House of God and the demons replied that God isn't there, but they love him because he's the one who killed Dracula's wife. Without him they wouldn't be there. That felt just to me. I would imagine that any truly good God would abandon someone like that priest to his fate.
What I didn't like however was seeing Lisa in hell. That just didn't make sense to me. If a soul so pure and good that it could change a devil into a man and whose final words we're out forgiveness of the very people who were killing her deserves eternal torment, well, in that case no one could be deserving of a heaven. And if there's any good argument for the eradication of humanity it would be that right there. Then again, maybe part of Dracula's suffering wasn't just the knowledge that she died, it was the knowledge of her afterlife and that she did not deserve such a fate. Why should the human priests enjoy a heaven after condemning a saint to hell? Those are the questions that I would be having where I in his place and I'm not sure if I would have acted any differently.
The scene I thought most hilarious was when Sylpha explained her interpretation of the Tower of Babel incident and why God divided people into different languages.
Sykpha: "... To prevent human cooperation"
Alucard : "Is that how you understand that story?"
Sypha:" Oh yes. The speakers are the enemy of God. We live in cooperation and hide our stories inside ourselves so he cannot strike them down in jealousy. "
- building shakes from above -
Sylpha: "See? God hates me. "
It reminds me of a discussion I had a few weeks ago in which I asked, in all seriousness, why evil triumphs over good in this world and then I walked into the kitchen to check on something I was cooking only to see a miniature Sun forming inside the oven because a wire snapped. I was like, "see?"
My view on the hole God damn people to hell is that. Rather, we damn ourself to hell. To Liza, heaven would been hell without Dracula, a vampire gained power by make a deal with the devil when God failed him, and without her son, Alucard, who mostly will end up in hell for the same reasons Lisa, to be with family. Liza herself placed knowledge over God. We can only serve one master. The thing about Vlad the Impaler first wife in the real world, she died by suicide, she killed herself because she believed Vald died in battle against the Ottomans, the battle that made the Ottomans believe Vald was a demon of some sort. The church at the time denied Vald's wife a Proper bliarly beacuse they believe people who did suicide were damn to hell. Vald distance himself for the church after that and Damning God and the church. This is the reason why he considered a Vampire or demon. Even though he should be labeled as a hero, so one who would give everything to protect his people and his wife
Lisa goes to hell? What?! I only just finished season 2.
About lisa in hell, in christianity its sometimes said that you can kind of choose at the end, so she might have choosen hell to meet dracula there. Just an interpretation of mine.
In this series, god is depicted as unfair and with the church so it makes sense that Lisa would be sent there despite not deserving it
we saw her in hell. but not in torment, i have no doubt that she was there merely for Dracula. who would have refused heaven even if offered,
I love how this show draws from the entire Castlevania canon to inform character’s actions and who they are. I love Lament of Innocence. It’s the origin for Dracula and the Belmonts. So much of why Dracula reacts the way he does to Lisa’s death makes perfect sense in context of that game’s narrative.
LoI most likely isn't canon for the show. Otherwise Dracula would definitely react differently to seeing Trevor, a Belmont try to attack him.
Other than Hector they did my boy dirty
@@nilan3294 I don’t know about that. There’s the so you’re the Belmont line which to me sounds like Dracula was expecting a Belmont and got Leon’s message loud and clear. Also Leon’s portrait is shown at one point which makes that game seem pretty canon to me.
Dracula chose both Hector & Issac because it validated his grief...
"You two are human...and you UNDERSTAND why humanity has to die...so that must mean I'm right in killing them."
The subtext here is:
"I chose to believe in Lisa...I WANTED to believe in Lisa...and she was taken from me. Therefore, I was a FOOL to believe in Lisa. There wasn't ever going to be anything better."
Then the resolution, when facing Alucard, is:
"Lisa did not see me as a monster...she actually believed in me, loved me, and I loved her, and believed in her...we made things better! We had a son together!"
"And now I'm ruining everything by becoming the monster she never thought I was."
"And now I'm ruining everything by becoming the monster she never thought I was."
Except that Dracula was ALWAYS the monster he thought he was. He DELIGHTED in slaughter and the destruction of humans. Think about that scene were he's reminiscing about killing all the men in that one village, all for a "slight." Or when he recalls how he met Isaac for the first time; he had no idea who Isaac was or why those men were chasing him, but he still killed them all and THEN had a chat with the forgemaster.
And look how quickly he turned to "kill all the humans" because his wife was killed. Not just "kill the priest responsible" or "raze the town that took her"...nope. ALL the humans. Millions of people who have no idea who Lisa even was, or had anything to do with her murder. Everyone has to go because his favorite person is dead. That's the sort of thinking a bratty child has. The sort of thinking a MONSTER would have.
And here's a hot take; if humans deserve to die, then what about vampires, who are even WORSE than humans? Wouldn't humanity deserving genocide be an equal condemnation of vampires, who do the EXACT SAME THINGS humans do (and worse), yet rack up a higher body count since they have centuries to do them?
@@jmhaugen4757 On that last point, yeah. Dracula knows and is perfectly okay with the fact that once all the humans are dead, all the vampires will die from starvation shortly after. That's what his confrontation with Godbrand was all about
@@screamingcactus1753 vampires wouldn’t die from not drinking blood, they would just eternally starve. They could also drink pig blood.
@@mr.walkie8845 Is that from the show? Because that's not what I got from the video
@@screamingcactus1753 yes, Dracula makes a point that godbrand can just drink pig blood. And I don’t know whether or not for certain the fist thing I said is necessarily cannon to the show, That’s how vampires realistically work. It’s not a need for them to drink blood, just a want.
A neat detail is how Dracula fights Alucard. When Alucard confronted Dracula alone, Dracula used his claws and nearly killed him. When Trevor, Alucard, and Sypha face off with Dracula, Dracula doesn’t use his claws towards Alucard but does against Trevor and Sypha. Dracula only makes contact blows against Alucard with fists or open palm strikes. He was trying not to almost kill his son accidentally again.
Wow good catch!
I wonder now... Alucard had DISAPPEARED for an entire year to recuperate after his fight with his father.
An entire year where Dracula had no idea what happened to his son. I wonder if Dracula thought he... killed Alucard. And when he heard his Son was running around with a Belmont, that was the first time in a YEAR that he heard his son had survived the fight with him.
I didn't notice that until you mentioned it! Just... ouch...
@@cussundriakneal9904 I didn't realize that...fuck I absolutely *love* this show
As absolutely HILARIOUS as that scene is, I find it interesting that he immediately goes for the kill on Trevor. It's almost a sign of respect that he consideres killing the wielder of that whip and someone with the balls to truly fight him before the magician. He could have thrown him to the other end of the castle and killed Sipha, but he didnt.
As someone who grew up with loving but abusive parents, especially my father, the fight in the end, the monologue, where Dracula realizes he's killing his own son, is so, SO hard to watch. I can't really put it in words but it's this weird, twisted, sympathy, this pity, this mixture of love and hatred and this weirdly almost nostalgic feeling...
"He gets a good many traits from his father, and apparently clinical depression is one of them"
-Blue, 2021
Literally in the first episode, everyone watching is thinking "Drac, my guy. If you just wanted to burn, raze, salt, and blaspheme this one city entirely for the shit they pulled, noone would accuse you of wrong-doing or unjust cruelty."
Even the main trio shared that thought.
Hell I probably would've volunteered to assist him in this endeavour
@Mikołaj Dujka
you are correct. revenge is a baby's concept of justice. it is for toddlers.
@@Liliputian07 Nobody is saying that it would have been the correct thing to do. What they are saying is that it was the sensiblr thing to *desire.*
@@bodaciouschad
> no one would accuse you of wrongdoing
dont fucking lie to me. i can read
I think the thing that strikes me about this version of Dracula is that while I know, logically, that what he’s doing is wrong, he’s doing almost EXACTLY what I would do in his place.
Kind of reminds me of a very certain character from Live A Live and Count Bleck from Super Paper Mario: we know what they're doing is wrong, but it's also what almost EVERYONE would do in their situations
If you would commit *indiscriminate* mass murder if your significant other died, you need to seriously reevaluate your beliefs.
@@Multienderguy37 Lisa didn't just die, she was *burned alive by other people*
@@benjaminhartsock3281 So kill the people who killed her if you have to. Why kill random people who have nothing to do with it?
Not necessarily what anyone would do - but given his history and abilities and beliefs it makes sense, and the fact that you can't really convince him otherwise is the obvious tragedy.
It kills me that Alucard, Sypha, and Trevor are all exactly 20 years old, but both Alucard and Trevor are very depressed for similar reasons and meanwhile Sypha's all "I'm a hero."
Trevor: *Punches the lord of all vampires in the face to no effect*
Dracula: Yeah you're definitely Leon's great-grandson
Probably an ancestor of the Redfields.
@@thekinginyellow7777 No wonder Chris needed Leon to carry on the redfield name. Dracula was coming back.
Nando: “pick one scene”
OSP: “Two✍️Seasons✍️”
Context, I guess?
One scene in the castle, two seasons of build up that made it so good
What I also noticed on a second watch:
When Dracula sits fornlorn by the fire, the fire light warms his skin.
His face when lit by the fire looks human.
See for me the moment Dracula realizes this is his *son* he's fighting, is not when Dracula enters the room. It's when he recognizes the bed.
This is Dracula's castle, he has either completely lost all sense of direction through pure rage or he knows what this room is and doesn't care. Dracula still punches Alucard through that door. Hard enough to break the bed that his son slept in as a child. There is a beat as he step inside, and only then, half a step into what could be the final blow, does Dracula realize what he's done.
That same bed Alucard uses to kill him.
Dracula died because he loved something, enough to create for it. He died because he did something human for his son.
I love how the "It's our boy, Lisa" turns into "My boy", going from love of Lisa to love of Alucard. That is _fucking heart wrenching._
"I'm killing our son..."
Lisa wasnt even the first wife he lost. :(
And that final line
"I must Already Be Dead"
And then he just lets Alcuard kill him? Then the hug? THEN TREVOR CUTTING OFF HIS HEAD? It's like watching a Greek Tragedy.
I bawled
I was about to cry just watching it on here. So good!
Let’s not pretend that the whole “One Villainous Scene” thing was anything but an excuse for Red and Blue to gush over this masterpiece of a show.
so we all just skipped the unneeded bullshit the writers threw for the ending of season 3, i dont mind because i hate it too
@@monke9386 meh, it's not bad
@@monke9386 Okay, but many of us loved season 3, both for the many references to the lesser known Castlevania games but also because you can't have the story arc of season 4 without the set-up from season 3.
@Ryan Stewart You bring up a really good point. I really enjoyed season 3 and I never played the games. Season 4 definitely would not have packed the punch it did without season 3.
@@nighton3 I can understand why some people weren't so hot on it. It follows on from the stunning peak that was the finale of season 2, and you're going to be hard pressed to up the ante after fighting fuckmothering Dracula.
Season 3 represents a sort of resetting of the stakes, a trough after a peak, and the writers used it to set the stage and introduce the characters they'd need for the amazing season 4.
It was good writing.
I'm the elder son of a family that went through a messy, mean-spirited divorce instigated by my father (a man I admired before this) when I was 15 and with repercussions that are only now starting to clear up.
I don't tend to get emotional at fiction, but the “The Room” scene just hits me so hard... It mirrors both what I want to happen and also what HAS already happened to a degree now.
@Alexander I hope you are doing better now.
@@LuminousKugelblitz I am, thanks
Edit: man, this post was only 8 months ago? COVID time is a bitch
"I'm killing my boy"
This right here NEVER fails to make me emotional. It's just such a well done scene.
Another good Dracula moment:
"Little Godbrand. Little vampire. Little parasite. Little boat weevil who delights in making noise and thinking he is important and dangerous. *Are you going to continue questioning me? Are you going to **_fight me,_** little Godbrand?*
God, Netflix Castlevania went so fucking hard.
Yeah, I'm really going to miss this show. Just look at the impact it's had on the industry: everyone's trying to copy it, including the people who made it. Every other new fantasy series is trying to rediscover the formula. Short-term financial motivations aside, I'm looking forward to seeing what an impact such a show has on future projects. This show is the kind of thing that inspires the next great writer.
I believe that Dracula called Godbrand a "little boll weevil," an insect known for sticking its beak into plants and sucking all the sap out of them...which was a pretty good way to belittle another vampire, come to that.
Agreed; that was a great scene for watching Dracula flex. :)
Yep.. that's not just 'good' writing, it's fucking art.
"The Room" scene will always and forever be one of my favorite scenes from anything ever. Dracula realizing what he's doing to his son and just...giving up is so powerful.
"My boy... I... I'm... killing my boy. Lisa, I'm killing our boy. We painted these walls... we made these toys... It's our boy, Lisa. Your greatest gift to me... and I'm... killing him. I must already be dead."
😭😭😭
The combination of "The Room" and Lisa in your comment has made a permanent link in my mind of Castlevania and 'The Room' by Tommy Wiseau.
"You are tearing me apart Lisa!" -Dracula
@@Tenems941 LOL
It's been almost a *year* since I watched this scene. But I can *HEAR* the heartbreak and the *DESPAIR* that finally breaks through the anger and twinkling embers of vengeful hunger that he spoke those words with. And the written words alone are enough to make me tear up.
I’m killing our boy…
Oh hi Mark
I really loved the followup scene where Trevor bequeaths the Belmont Estate to Alucard. As above, so below. It's easily the nicest thing he's done to this point and really shows the hero under the snark. I think back to the line from Sypha "Listen to what I'm *really* saying, Trevor."
Dracula from the castlevania anime is how you write a character, especially a sympathetic antagonist. His death scene will always make me cry it’s so well composed. He went from “Vampire hitler” to a grieving father and husband realized how far he had fallen in .2 seconds and it hits a person like a freight liner going at Mach 10. Dracula is my favourite antagonist in anime and tv. And is tied with the Arkham series joker for best and favourite antagonist across all media.
I love how he gets hit by the Morning Star Whip and goes "well-played, Belmont!" as if using kryponite on Superman is a distinctly big-brained move.
Its not about usimg kryptonits ita about managing to hit superman.
@@ineednochannelyoutube5384 He said "The Morning Star Whip. Well-played, Belmont." not "You managed to land a hit on me after I was rooted to the floor. Well-played Belmont."
I think it was that he brought the Morningstar to the fight that was "well played"
Well you could just use a dog whistle and superman's ears would explode so he's not really that hard to beat
@@marshallparks382 its the fact that he managed to smack dracula with the whip alone thats "well played" itself
It wasn't just mental exhaustion that took its toll on Dracula. He also got so sad he stopped feeding on blood, so he was both depressed and starving. And still horrifically powerful.
I love "one character ragdolls another, then it's revealed that the guy with the tennis racket wasn't even at their best" fights. It's even better if they come back later in the story with their handicap removed.
Not only is it hard to fault Dracula for his rage, multiple characters in this show have suffered from the same ignorance that lead to Lisa's death. Hell, its why Carmella wants to conquer the world in the next season despite the monumental task. Everyone is trying to escape the pain of being hurt.
I actually like the detail that Trevor hit Dracula as he attempted a hug: for me it is a metaphor on how lonely Dracula has been after Lisa died, as no one can connect with him on an emotional wavelength.
Season 3:
"It must have been an Epic battle"
Alucard: "No, mostly desperate... and sad"
That line was heartbreaking. Poor Alucard.
@@Kat-gp6gj That whole season was poor Alucard
@@benjdelphi It really was. I've never felt so bad for a fictional character before. He deserved that happy ending!
That line hits when you remember that Dracula was best friends with the first Belmont hunter and the last
Isaac and Hector were more than just friends to Dracula I think, Isaac especially. They're also Dracula's replacement goldfish for the son he drove away, in addition to being useful to his cause. I think this is very notable since they both appear about Alucard's age and they both have painful upbringings with really crappy families that make them easy to adopt and care for. A big part of Dracula's fundamental character as I saw it was that he's a husband, yes, but he's also a DAD. He's an adjusted father trying to divorce himself from his feelings and his love for his family therefore out of grief, but he's still accidentally bonding on that level with people, especially people who he sees as vulnerable youngsters in need of guidance and encouragement (ie symapthetic humans).
Whenever he's talking with Hector and Isaac he's treating them much different than everyone else. He's calm, encouraging, open to suggestions that he'd otherwise not be keen on, truthful, and even educational. Isaac pedastals Dracula the way a young son would his father - blindly and with pure devotion. Carmilla uses this explicitely by snagging Hector and having him manipulate Isaac so they can bring the fight to her arena. I would say her attitude lends toward that too - she's basically acting like a spoiled daughter who is watching her senile father lead her inheritance to ruin and is NOT FOR THAT.
I think that's part of how they frame that to us as that he's not all the way gone and foreshadows that final fight with Alucard, how he comes back to his senses when they find themselves in the bedroom he and Lisa made for their child. Dracula wants revenge yes but he also wants to die now. He's driving everyone away so he can do so, and do so very dramatically. He initially struck out in a grief induced rage but later I think it does shift once he settles into that depression. Alucard by that point is essentially euthanizing his dad, I guess because therapy doesn't exist because the church burned all the therapists for being witches. That's what makes it hit so hard because without that foreshadowing, confirmed when Dracula sends Isaac away to protect him (another parallel to Alucard, albeit with different methods likely due to the lack of ideological opposition getting Drac all triggered), it would be way more out of nowhere. I really think it wouldn't have been as poignant and uncomfortable without Isaac and Hector.
Good video!! Really enjoyed the break down and how you guys discussed the framing and ideological nuances of how each character is used to help us sympathize with Mr. Bad Guy.
That fight took place after a year of Dracula starving himself. And he basically wiped the floor with our protagonists. That's how you do a villain, capable and yet vulnerable. When he realizes what he is doing, that moment broke me. This show is so good! Big shoes to fill for the spinoffs.
That's also how you perfectly write an Overpowered antagonist/ character in general. So well executed, showing how strong he is in comparison but making the end feel so believable and devastating. (Instead of the many cheap ways to end a fight with similarly strong "bosses")
@@kazorikumo9765 Yes exactly! When I was watching the fight I was worried they'd pull some BS "power of friendship" teamwork or something because there was no way they were winning that fight against Dracula. But the vulnerability and his downfall felt natural since he allowed himself to be killed because he realized... he was already dead. He was killing his beloved baby boy and there's no way he could do that.
The part that killed me was when Dracula realised he was in Alucard's room, and began to break down; he lost his wife, but still had his son, but in his attempts for genocide, he tried to kill his son, his own flesh and blood, the last of his family. As he was talking to Lisa, I cried like hell...
the way he realizes it is just tragic...
"I'm killing our son."
It's like he's talking to both himself and Lisa over what he's doing
It was a masterful scene, it started in suspense with Dracula kicking our heroes asses. they got some hits in yes but it had the feeling of, 'How the hell are they going to win' and then the realization of what Dracula was about to do. the voice actor sold it so god damn well, how broken he sounded when he said 'Your greatest gift to me...and I'm killing him. I must already be dead.'
just chills.
I literally started screaming at my screen, in about as near to tears as media can get me:
"He's just a sad old man!"
I also like that they don't shy away from reminding you that Dracula's plan was insane. Like when Isaac was talking to the shop captain who describes working for Dracula as "suicide the long way round" and for the first time Isaac has this look like "Oh shit, he really was losing it"
Castlevania might genuinely be a masterpiece.
The animation is flawless, the character work is exemplary, when it’s funny it hits when it’s sad it’s crushing. I’d love these guys to do more and more work.
Not might. Castlevania IS AND WILL ALWAYS BE a masterpiece.
The scene where the cardinal gets his come up-ins. “She was a witch!” “Lies??? In your house of god???” “No wonder he’s abandon you.” Such a good scene. And crazy creepy. Awesome show. One of my favorite on Netflix’s.
*comeuppance
Yeah, Blue Teeth was such a fantastic minor villain
Oh man, the one exchange I loved most from that was "My life's wooork is in his name!!"
Followed by "Your life's work. *Makes. Him. Puke* ".
When a freakin' demon verbally slaps you in the face that hard, you know you're the real villain all along.
Plus the implication that his raised zombie corpse was more holy in the eyes of God than he ever was in life due to its ability to bless an entire river of water.
"But you kill people all the time!?"
"Yes and I'm a MONSTER!"
Something I appreciate about Dracula is he is not the "teleport around and throw fireballs" Dracula of things like SOTN, he is the "WALK TOWARDS YOU and Kick You In The Face" Dracula of OoE.
My brain is hardwired for Zelda and read that as ocarina of evil before it read it correctly
@@HorrorFan0117 *doots threateningly*
@@HorrorFan0117 I mean, every Castlevania title that I know of has some sort of musical reference in it, so that's not as bad of a guess as you make it seem
@@stephenfong1144 What's the reference in Circle of the Moon?
@@a.j.9727 Learned a new Castlevania title today
For some reason just seeing Lisa and Dracula laying there peacefully TOGETHER again makes me SOB HORRIBLY
one way to get me to instantly cry is the "oh god what have i done" villain moment and castlevania absolutely broke my heart with it
_"I am Vlad Dracula Tepes,_ *AND I HAVE HAD ENOUGH!!!"*
That scene sells Dracula more for me. He lost his temper and wounded Alucard, but that was offscreen. But when he summons a fucking meteor out of thin air and sends it hurtling down the hall, the level of power is demonstrated. Even starved, horrifically depressed and suicidal, without his armies or whatever tricks he might have tucked away in his castle, Dracula is still a force of nature, and it takes three fucking MCs giving it their all just to push him back. And they've pissed him off. He beats Alucard up and down the castle, until finally he sees something that snaps him out of his rage and leaves him vulnerable. Not because he's weakened, not because he's been beaten down like every other monster in the series, and not because he's been faced with his one infallible weakness. Dracula, the opposite of God Himself, dies because he allows himself to be killed. By a piece of wood from a child's bedframe, a cheap shot from behind with an oversized sword, and even with his heart pierced and head severed, Sypha burns his body just to be sure. And even then Dracula exudes power, as his body screams in protest and the smoke and ash of his corpse rage in their final moments.
Peepeepoopoo
Yeah
this is my exact thought process as well!
Let's not kid ourselves, the only damage dracula we as taking was self inflicted mental damage from fighting his son.
@@eternalkingdom8
*Asian voice *
EMOTIONAL DAMAGE
I was actually writing a comment about the “Little Godbrand” scene as they brought it up. It’s such a good scene. It really illustrates just how much Dracula believes his “every creature on Earth is just cruel and insignificant” worldview. Godbrand, this bold, brazen, badass, hot-headed viking vampire who is certainly a danger to any human that still contains blood, is little to Dracula. Little Godbrand.
Godbrand was just a loud-mouthed psychopath and Dracula had zero respect for him. He was just a tool. All the vampire lords were just tools to Dracula. And Godbrand was the bluntest of them all. A big, boisterous club to batter at humanity. No skill or style. And no value beyond his military utility.
I wonder if Godbrand ever got it...
@@Bird_Dog00 Nope, he dies with his back to a loyal man that he has just finished confessing betrayal to. Godbrand has literally no foresight.
He was a simple vampire with simple tastes...which included boats.
@@AuspexAO I dunno, he did at least grasp that dracula's plan was suicide for him specifically and all other vampires collaterally, so he wasn't a complete idiot. He did misjudge Isaac very badly though.
Anybody forgot that Leon Belmont is Mathias' best friend who he screwed up because misery loves company.
"A show that, unambiguously, rules"
Except for that bullshit with Alucard at the end of season 3.
"Hm, we haven't really done anything with Alucard. Let's give him some more trauma to work through"
I think it's meant for a learning moment that it's naive of Alucard to expect teens enslaved and brainwashed by vampire would open up to him, the son of Dracula of all ppl. Nonetheless a bit tasteless and could be thematically tied in with main plot a lot better. It's felt like grimdark for grimdark's sake.
oh yeah with the 2 Japanese characters who just show up to die?
that felt like a really pointless arc.
I think it was a test of character, being alone for a month, starved from human contact he had a bit of a taste of what his father had to endure, the betrayal from those two further enforces that. A "holy shit is this what dad had to deal with all this time?" moment, i don't get why they had to conclude that with a sex scene, but it is a netflix show after all, it feels like those are mandatory, yuck
The "I'm killing our boy" scene genuinely made me cry a bit
Fun little note: you mentioned how Dracula thinks of Isaac as a friend, while Isaac can only think of him as his master, which puts strain on his relationship.
In season 3 or 4, Isaac, now on his own, raises a night creature for a lieutenant the subtitles call "Fly-Eyes" (take a guess why). Well, Isaac & Fly-Eyes have a relationship that mirrors Isaac & Dracula's!
Isaac is lonely & somewhat lacking purpose after Dracula died, & needs a friend to talk to, so he starts bonding with Fly-Eyes. Fly-Eyes, however, is a night creature -- an intelligent one, sure, but he knows night creatures are supposed to be minions, so he can't view Isaac as anything but his master.
This show is so good, & honesty Isaac is my favorite
Ooo that’s a really good point actually. That totally checks out, well done.
I know this is rather unlikely but anytime I see fly eyes on screen,I always get the vive that he's gonna attempt to betray Issac in some way shape or form
@@augmentedlinguist4674 Anytime I see Fly-Eyes on screen I get the feeling Isaac is gonna kill him
i especially like him as he kills Carmilla.
But yeah there are many paralels to dracula with him. When he goes to port town, he is given the mirror but also greeted with spears. That is very close to the merchants wronging dracula and his revenge. Also we can see how much Isaac is swaying on the scale of monsterousness. He kills people because he has to, because people proof he worst expectations. But the more friendly people he meet the more he changes and resembles Dracula, monster sleeping under human heart. And as him, he starts to feel lonely and creates a bond with his minion.
Similar to Fly-Eyes questioning Isaac for why the night creatures are being used to rebuilt a town, Isaac could not see himself beyond a servant, or worse, a tool. Dracula could not break through Isaac's shell and only in retrospect did Isaac understand what he was trying to do. So Isaac extends that same patience and openness to the night creatures to help them understand that they are more than their purpose. That berry conversation is definitely one of my favorites in the series.
I'm glad you mentioned Lisa calling out as she was burned at the stake, because there's a fun fact about it that the animators hinted at once the final season was over. She's obviously yelling at someone not to hurt everyone, that they don't understand and mustn't be killed for their ignorance, an obvious parallel to the famous "They know not what they do" line of Christ's crucifixion, with Dracula taking the place of God right? It's an ironic symbolism on account of who's burning her but here's the thing: We know Dracula clearly kills Targoviste's citizens anyway, but who stands in his way first? Who directly goes to him and tells him this isn't what she wanted? That should be the hint of who actually listened to her dying words: It was ALUCARD who recieved this message, not her husband. It was an explicit moment, hinted at in the opening showing Alucard kneeling in front of her mother's pyre, because at that moment, he heard and swore that he would stop his father from commiting genocide, as he says to Dracula near the end of their first confrontation. Its a more tragic story as Dracula came too late to hear his love's dying words, but not his son. He was always there.
As if the childhood room wasn't sad enough, you throw this gut punch at me?
This just made me wonder where Alucard was.
Lost a few days in the library?
Ahhhhh! That's so much MORE sad then I thought; why would you do this?!?
Yup. Just like in the game
@@Agent719 I wonder that too. But I also think Alucard was probably unable to do anything at the time because he would've been killed for being the spawn of Satan.
The scene where Dracula realizes he’s either going to have to kill his son or let him kill him is one of my favorite scenes ever in anime.
7:50-8:10 What's funny is that, even in the games, there are bits and pieces of story that characterize Dracula similarly. The story of "Dracula doesn't bother the humans until some idiot goes and murders his wife" is actually a core premise for his iterations early in the timeline, and his descent into the Lord of Darkness role, chucking wine glasses and "I am the evil that humans want in this world" speeches come from having continually been resurrected by psycho cults and villains who want to control or destroy the world. The penultimate bad guy who keeps coming back every so many decades is stuck in a torturous cycle of dealing with self-destructive humans who think he's evil for evil's sake, and he just grew into the role after dying and resurrecting so many times.
Until 1999, when they finally kill Dracula *and* seal his castle away on the moon so he can't be resurrected and his power is later inherited by some college student. I love Castlevania
The “I’m killing our boy” scene legit was the best scene I’d seen in a while, I honestly felt bad for Dracula and alucard by the end. Not to mention the end with alucard crying in the remains of Dracula’s study
AGREED! Also Graham McTavish's acting was *chef's kiss* PERFECT in that scene! It just rips your heart and soul out!
@@alexielshadowangel his portrayal of Dracula actually made him my favourite Dracula interpretation
(Series Spoilers ahead) The other thing that makes the "You must be the Belmont" line so great is that if the series follows the lore of the games, at this point in Draculas's life, aside from Alucard, the Belmonts are the ONLY link to his past thats left. Leon Belmont was pretty much his best friend in the world, and he went through the same loss Dracula did, buy rejected his offer of immortality and preying on humanity, and instead devoted his life and bloodline to oppose Dracula: also, if we are following the lore of the series, Trevor is pretty much the first Belmont in centuries to face Dracula since Leon, which would amuse Dracula to no end, hence the amusement in his voice at recognizing his old friend's descendant.
Also, the Vampire Killer/Morningstar Whip is the sole thing aside from Alucard's sword, staking or decapitation that could actually hurt and kill Dracula (not in one hit, as it does to normal vampires), so his amusement also comes from a place of being in risk and threatened.
The whole "You must be the Belmont" line is so loaded with meaning and significance
The series does not follow the lore of the games; it's its own entity loosely based on the games, maybe 'inspired by' is a better word. There's nothing in the series to even imply that it does. To date, basically no serious 21st century media project with a significant budget to it has voluntarily shackled itself to decades of video game writing, and none are about to start. Video game writing has really only very recently begun to approach the quality (or at least effort-invested) expected of every other medium in the last few years and everyone vaguely involved with professional writing knows it, so tying a project with serious Prestige Television levels of effort put into its writing to shit written for low-effort pre-6th gen games would be suicidal. It would be like making a superhero movie that actually has to take eighty years of comic continuity into account. *Konami* barely cares about staying within the boundaries of their own canon within the games.
There is literally no way in hell they would have been able to secure Warren Ellis if sticking to the video game canon was a requirement, and if it wasn't in the contract and the head writer has never played any of the games, it should be really obvious that they aren't relying on the games as their source of canon. Everything related to the games likely comes from a series bible supplied by Konami, from which names, weapons, and certain characters known to be iconic to fans of the games are used when appropriate.
@@iusethisnameformygoogleacc1013 but...... wasn't there a Portrait of Leon Belmont in the Belmont hold?
@@2495781 Yes there was. As far as I'm concerned, lament of innocence did happen in one form as far as I'm concerned.
@@Neobelmont1 i like to think that was the one game that is canon to the Netflix show. Since Dracula was kinda how they described him in the games just living to spite God and only really went on the war path when wronged.
@@iusethisnameformygoogleacc1013
Wow, way to sound like a pretentious douche. "herp derp old videogame stories bad and shit"
Do you seriously call the likes of Ultima, Fallout 1+2, Metal Gear and Soul Reaver shitty in their writing?
Not to mention you specifically said "pre 6th generation is shitty", when Lament of Innocence (which is the game that op referred to) is from the 6th generation.