#peak zelda fan content

[genericpuff]

I FUCKING LOVE MISERABLE JERKASS MALE CHARACTERS WHO TURN THEIR LIVES AND SITUATIONS AROUND AND BECOME MORE THAN WHAT THEY EVER THOUGHT THEY COULD BE AND WHAT SOCIETY MADE THEM INTO THROUGH THE SOFTENING OF THEIR TOXIC MASCULINITY AND EMBRACING THE SUPPORT OF THEIR FRIENDS AND FAMILY AS A STRENGTH RATHER THAN A WEAKNESS

GOTTA BE ONE OF MY FAVORITE GENDERS FR FR

[cryiling]

Hi, crow! How are you doing? 😁

for the ship ask game: revalink (hehe), botw/totk zelink, and miphlink (i think that’s the correct ship name??)

(ask game from here)

omg hi iri!!! I'm doing well hru? imyy thank you for the ask 🥺🫶

revalink - ship

what made you ship it?

last february i was going through my zelda phase again and i was looking for fics to read. previously i had read a lot of sidlink fics so I was looking for something new, and I decided to check out revalink fics and. oh em gee. i got hooked 😭

I remember insisting I only liked it ironically but 💀 look where I am now. #1 revalink shipper oopsies 🤭 their dynamic really stood out to me, I've shipped a lot of rivals to lovers before so I guess once I started to consider it revalink just made sense to me. also revalink fics are devastatingly good, like there's a couple that I reread religiously 😫

what are your favorite things about the ship?

omg I LOVE THIS QUESTIONNN. saurr many things like. I mentioned it already but I love their dynamic, especially when you start to analyze it beyond the surface level. I love headcanons about why revali lashes out at link in the first place, especially in relation to the champion's ballad dlc and how revali's diary reveals that he's just really insecure about himself. I think they're such good character foils to each other and that makes their interactions, both as rivals and as lovers, so much richer than some of the other ships in the game. their relationship is so open to interpretation and that makes it one of the most satisfying ships to make content for SHFJDBF

is there an unpopular opinion you have on your ship?

hmm not that I can think of! i post a lot of headcanons and stuff but I don't think they've ever been unpopular, maybe just unique. like my all the president's men au 💀 i still think abt that sometimes LOL

botw/totk zelink - don't ship

why don't you ship it?

aghhh ok ok hear me out. i don't ship them romantically BUT i do think they are peak queerplatonic vibes. it's just, the idea of knight x princess already feels like a weird dynamic to me, like I'm not a huge fan idk? ughh idk how to explain it. to me I've always preferred them to have more of a sibling dynamic. urgh I know I said hear me out but I'm not explaining it well. the voices told me not to ship it idk

what would have made you like it?

ok tbh I think zelink is cute in like every other game! just not these two 😭 so I guess if you put the two characters in literally any other game I would like them? aghhhh idk what it is about this one that makes me not want to ship it!! maybe in this game if they had a different backstory I would have shipped it. but tee bee ache link was so unhappy as a knight that I'm rooting for him to leave the whole royalty system behind and go live in the woods with his bird boyfriend idk 😭

despite not shipping it, do you have anything positive to say about it?

I literally think zelink makes the most sense as a ship, they're soulmates and they would go to the ends of the earth for each other, I'm sorry I feel so bad for not shipping them 😭 BUT on the other hand, I think all that can be true without having to be romantic yk? that's why I think they're a really good queerplatonic couple, they understand each other like no one else could, they always look out for each other and they can't imagine not being in the other's life. it's just not romantic. aughh I think they have such a good relationship but just not romantically 😣 maybe it's bc I'm also aspec

miphlink - don't ship

why don't you ship it?

I feel really bad but like mipha's crush was so clearly one-sided 😭 it's weird bc my absolute favorite trope is childhood friends to lovers, and they check the childhood friends box, but the ship just feels too vanilla/basic to me. I do think they're besties tho, because since they grew up together they'll be super close and know each other very well. but imo link doesn't see her like that and mipha eventually moves on

what would have made you like it?

I think a.) mipha's character should have been fleshed out more because she felt so one-dimensional and it kind of bothered me, her character had so much more potential and I love seeing fanon version of her where she actually has a personality. and b.) if there was a little more pining on both link's and mipha's parts. the best part of childhood friends to lovers is the pining!!

despite not shipping it, do you have anything positive to say about it?

I love mipha and I love link and I think they'll always look out for each other and be besties forever!! the end 😽

[unknownhyperial]

¿¡Welcome To The Theatre¡¿

Hey! The names UnknownHyperial, but you can call me Hyper (or Unknown, that also works). My pronouns are It/He/They and I am a American (BOO 👎). I am in fact an adult (albeit a very young one) and may make sex jokes or slightly suggestive artwork for my own or my friends amusement (This is just a disclaimer and not a guarantee, I'm just gonna post what I want). Those will be tagged with #suggestive so block that tag if that stuff makes you uncomfortable.

MASTERPOSTS: (Massive WIP)

The Amazing Survival Isles

The Digital Company

TADC Fan Artworks

The Moons Remedy

OC/Sona Related Content

SOCIAL LINKS < [ Click for Linktree ]

Just talking tag: #hypers 2 am thoughts

Reblogged Art tag: #amazing stuff made by sillies

Art tag: I don't have one yet so just look up #art for now

Silly Q&A V

"Do you take requests?"

Depends on the request. If it peaks my interest I may, but even then its not a guarantee.

"Can I make fanart/models/whatever of something you've made?"

Yes!! Oh my god yes you absolutely can! Please if you make anything involving any of my funky AUs or characters I beg you to tag me! I would be absolutely thrilled to see that stuff you don't have to ask!

"Can I use your artwork for my profile picture?"

You can use my artwork for profiles, edits, collages, etc. as long as you credit me. I find it quite the honor if someone sees my artwork as good enough to use for something, I just ask you credit me for my work.

(DISCLAIMER: Please do not blatantly repost my artwork even with credit. Thats kinda rude. Collages and edits are fine because you are making it into something new.)

"What do you use?"

My art program of choice is Clip Studio Paint for drawing and animation and I use a screenless medium sized Huion tablet to actually create the artwork.

"What media do you like?"

I'll make a list based on most fixated to "casually" enjoying

The Amazing Digital Circus

Rise of the Teenage Mutant Ninja Turtles

Minecraft

Criminal Minds

Cult of The Lamb

The Owl House

Hazbin Hotel

Legend of Zelda BOTW/TOTK

Five Nights at Freddy's

My Little Pony

[agent-7-at-your-service]

My Ode to Splatoon 1

Nintendo peaked for me during the WiiU.

Gameboy, Gameboy SP, the Gamecube, the DS, the Wii. All those consoles left me as a fan of Nintendo for years. And over the years, I enjoyed the history of how the company got to where it is. My favorites were Super Mario World, Super Smash Bros Melee, Starfox (Up until Assault) Pokemon (Up until Heart Gold and Soul Silver), and Legend of Zelda (Up until Twilight Princess).

Then there's the WiiU...

When the WiiU came out, it was a mixed reaction for me. And my status as a fan waned along with my interest. I couldn't really catch up with anything and I heard of the flaws that the WiiU had. I moved onto Playstation and then PC and indie games (with Undertale being the gateway). I struggled to thrive in Patapon and Homestuck. I was also going through a philosophy stage with the Bioshock games.

This was also during a time that I was developing my Multiverse stories that would become my series, "In the Stargazer's Garden." I needed new content and I didn't expect the WiiU to give me that push.

Aside from Smash sort of saving the WiiU, Splatoon was a new IP that came into my life.

I didn't think much of the game until I kept seeing more art for it.

So, I gave it a try and delved into the story and art; I even went as far as making an RP account even before getting the game.

Then I finally got WiiU and the game that came with it. I got me to love third person shooters as shooting games all over again (Last game was Uncharted: Drake's Fortune and Killzone 3 on the PS3.)

I loved the Squid Sisters, I loved the faint lore of a post apocalyptic Earth, and I loved the storyline of the Great Turf War and it's aftermath.

Here on tumblr, I made new friends and enjoyed the lore of other's Splatoon OCs. I loved the art and stories. (But there were some hiccups and embarrassing moments with some drama along the way. I can only blame my teenage self's childish behavior.)

But it's also here that I've faced a reality that shattered me.

Cancel culture, witchhunts, drama, and social justice forced me to make a lot of difficult decisions. It felt like battle lines were drawn and friendships were shattered. People showed true colors while other broke up over things I just couldn't understand at the time. Today I know better

Splatoon community felt like a wasteland because of all this. But in the end, I just wanted to enjoy what is supposed to be a game. Now that I'm in my late 20s, I can't help but take those things as a learning lesson and thank Splatoon and it's community be more better than wall that happened.

I had stories to tell, art to draw and express, and turf wars to play with friends.

Today, I can't imagine what I can do without Splatoon 1.

Agent 7 and his Splatoon, and the Splatoon that I depicted in my stories (along with the Future Story Arc and the famous Project Titanomachy) wouldn't have existed without this game. And the same can be said with the Splatoon OCs you guys made; they were welcomed into my Splatoon stories and I fit them well like actors in a Hollywood set.

And even though some have cut ties with me for one reason or another, and there are those who I failed to keep in touch, I still consider friend after that.

So, thank you Splatoon, thank you Splatoon Community, and thank you Nintendo for this game.

-Agent 7 Mun.

[iloveabunchofgames]

#JakeReviewsItch

A Short Hike

by adamgryu

Genre: Adventure, Platformer

Pitch: The real hike up the mountain is the friends you made along the way. A cozy, relaxed adventure of traversal challenges and running errands.

My expectations: I played this game almost three years ago. I finished it, I liked it, I never understood the passionate adoration for it.

Review:

A Short Walk defaults (left) to "chunky pixels," with options for higher resolutions (right).

You know what games people like? Animal Crossing and Zelda’s Wild Breath.

A Short Hike takes place on a cute, little island populated by cute, little animals with cute, little errands they can’t be bothered to do themselves. Fishing, digging up clearly marked spots, watering plants, buying hats, knocking money out of rocks with a shovel… Animal Crossing was more than an influence or inspiration. The look is copied. The music is copied. The only things that aren’t stolen from Animal Crossing come from Zelda.

All the aforementioned activities lead, after a fashion, to collecting gold feathers, which function as stamina. Increased stamina is vital for climbing taller cliffs. The primary goal is to reach a mountain peak, which means a whole lotta climbing and gliding and falling. And in case you’re thinking, “Lots of games have climbing and stamina,” there are a few unmarked digging spots with a striking resemblance to Korok seed puzzles.

It’s a fusion that works, though. This is a breezy, harmless romp (an hour to reach credits; several more for 100% completion) that’s packed with charm. Charm copied from other, better games, but as fan art goes, A Short Hike reaches impressive heights.

+ Animal Crossing and Wild Breath, innit? Two great tastes that taste great together. + Loads of side quests and hidden treasures for those who care; the freedom to ignore most of that for those who don't. + Nails just about everything it set out to do. Indie games often reach beyond their means, and that's not the case here. Nothing's sloppy or unfinished. + As someone who plays PC games with a third-party Switch controller that games natively mistake for an Xbox controller, I can't tell you how nice it is when a game lets me redefine a button and chose how that's button prompts will look in game. No need for Steam Big Picture workarounds! It says "A" and I press the A Button!

– The whole time I was playing, I was thinking about how much more fun I would have with the real Zelda and Animal Crossing. Of course, those games are a significantly bigger time investment, and they carry hefty price tags, so maybe A Short Walk is a better choice for you. – I love simple controls! We don't need all those buttons! But maybe a game where the primary actions are talking, jumping, and climbing shouldn't use the same button for all three. – One active item at a time, with no shortcuts. The item menu places every item in a straight line, not a circle or a grid, adding needless steps when switching items. Picking up a new item automatically makes it active. Minor but irritating. – SPOILER/CONTENT WARNING: There's some sick mom stuff that comes out of nowhere. I'm going to assume the writer is injecting something real and personal with this story beat. That emotional challenge could be the reason he made this game. Whatever the case, it is tonally disorienting. There are hints of darkness here and there—grumbling about college debt, bones popping out of the graves for us sickos who can't resist using a shovel everywhere—but this is the only moment that I thought truly broke the cheery, escapist tone. Maybe that contrast is supposed to make it hit harder, but it didn't work for me at all, and it seems like a potentially nasty surprise for those who really need a few hours of cheery escapism.

🧡🧡🧡🧡🤍

Bottom Line: Couldn't be more derivative, but that won't stop the dopamine from flowing as you scale rocks and compulsively gather shells. Not a full meal, but a very tasty snack. Just watch out for that story twist if you have any sensitivities.

#JakeReviewsTwitch is a series of daily game reviews. You can learn more here. You can also browse past reviews...

• By name • By rating • By genre

[average-axolotl]

Banana Fish | Taking the Plunge - A Personal Exploration of Referenced Literature

Recently, I made the bold decision to binge Banana Fish (anime) over my fall break from university. Least be said, not only did it captivate me with its unique and profound story but truly set my literature-loving soul aflame.

There's no doubt Akimi Yoshida was influenced by authors J.D. Salinger and Ernest Hemingway; before I even completed the series I was set on reading both "A Perfect Day for Banana Fish" and "Islands in the Stream" because of their references in the show. I wanted to see how these works resonated with Yoshida enough to incorporate them into her own storytelling, thus shaping the lives of her characters and the trajectory of the plot. So it was a pleasant surprise when I arrived at notorious episode 24 and noticed its title: "Catcher in the Rye." Another work by Salinger... which I have actually already read, albeit in high school. I wasn't ever a big fan and I never fell in line with giving it critical acclaim or felt justified labeling it something of a "phenomenon." Although, this simple reference convinced me to give the novel another chance. Mostly because I'm dying to find a deeper meaning/relationship between the two works--possibly involving the development of our two protagonists Ash and Holden? Is there a reason the series begins and ends with a Salinger reference?

Knowing myself I just couldn't be satisfied after I had caught sight of Banana Fish's deeper relationship with classic literature, so I kept digging, and again to my surprise, I found that every single episode shared a title with a piece of literature--novel, short story, etc.--written by a renown American author.

1. "A Perfect Day For Bananafish," J.D. Salinger

2. "In Another Country," Ernest Hemingway

3. "Across the River and Into the Trees," Ernest Hemingway

4. "This Side of Paradise," F. Scott Fitzgerald

5. "From Death to Morning," Thomas Wolfe

6. "My Lost City," F. Scott Fitzgerald

7. "The Rich Boy," F. Scott Fitzgerald

8. "Banal Story," Ernest Hemingway

9. "Save Me the Waltz," Zelda Fitzgerald

10. "Babylon Revisited," F. Scott Fitzgerald

11. "The Beautiful and Damned," F. Scott Fitzgerald

12. "To Have and Have Not," Ernest Hemingway

13. "The Snows of Kilimanjaro," Ernest Hemingway

14. "Tender is the Night," F. Scott Fitzgerald

15. "The Garden of Eden," Ernest Hemingway

16. "Lo, the Poor Peacock," F. Scott Fitzgerald

17. "The Killers," Ernest Hemingway

18. "Islands in the Stream," Ernest Hemingway

19. "The Ice Palace," F. Scott Fitzgerald

20. "The Unvanquished," William Faulkner

21. "The Undefeated," Ernest Hemingway

22. "As I Lay Dying," William Faulkner

23. "For Whom the Bell Tolls," Ernest Hemingway

24. "Catcher in the Rye," J.D. Salinger

At this point, I'm completely entranced by how extensive this list of references became. I've reached a point of no return, my interest has been peaked beyond belief. SO I'm taking the plunge! I'm going to read every single work referenced and compare it to the content of its respective episode. In addition, I will be thoroughly examining the content of the manga as I hope this will offer an alternative perspective and provide more clues as to why and/or if at all these titles have any significance to Yoshida's Banana Fish. It is in the realm of possibility they have nothing to do with the original manga and were an ad-lib by the anime's production team.

[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.

--

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).

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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.

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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.

[dragonpatronus88]

The Avengers vs. Proust

The Avengers vs. Proust 

I’m trying to wake my muse the hell up so I’ve forced my self to write something, anything and this is what came out.

Warnings: None really, some language

Genre: Humor, Vignette

Word Count: 4k

Summary: In this collection based on the famous Proust Questionnaire; Earth’s mightiest heroes wax philosophic about virtue, ponder politics and wonder whether watching the last season of Game of Thrones is truly the lowest depth of misery.

Do not copy, rewrite, translate or post my work anywhere. No permission given to copy, translate, rewrite or post my work.

Reblogging is always welcomed.

Thor

What is your greatest Achievement?

Being worthy of wielding Mjolnir and Stormbreaker.

What is your greatest fear?

While it does not do to dwell on things beyond one's control, I have been guilty of wondering after worst case scenarios.

What is your current state of mind?

Largely contented, but ever vigilant.

What is your greatest regret?

Hawkeye introducing me to the dining establishment called Chipotle.

What is your idea of perfect happiness?

Basking in the peace across The Nine Realms whilst feasting upon my favourite boxed toaster pastries that exist solely in Midgard.

What do you consider the most overrated virtue?

My official answer is a quote from your Realm's preeminent Bard:

"Virtue itself turns vice being misapplied; and vice sometimes by action dignified."

My unofficial answer, however is temperance.

What is it that you most dislike?

Deception. Particularly when it leads to the exploitation of or violence against the most vulnerable of us.

What is your greatest extravagance?

The vast stockpiles of mead and other such libation from across The Realms that Asgard's Royal cellars play host to.

Who is your hero of fiction?

I have been made privy to many a heroic tale in my time, but I've recently come across two characters of Midgarian literature who have left a lasting impression. The first being the hero Link and his many undertakings in your legend of Zelda. The second- Samwise Gamgee, who through neither wit nor brawn, but brotherly love and devotion saved the realm of Middle Earth; perhaps even more so than his friend, Frodo.

Who are your heroes of real life?

The Valkyrie. Alas, I do not meet the base requirements to join these elite warriors. Perhaps I should note that as my greatest regret.

What is your most marked characteristic?

My vanity would mark my stature, but in truth my volume and diction have been remarked on with some frequency. Usually in hushed tones.

If you could change one thing about yourself what would it be?

It would be an odd instance indeed that I would find myself wanting, in character or build.

What do you most dislike about your appearance?

Am I not a worthy specimen? Has someone expressed displeasure at my countenance?

Which quality do you most like in a man?

A true and stout heart is all one could ask of any.

Which quality do you most like in a woman?

Verily, I hold the fairer sex to the same standard.

What do you regard as the lowest depth of misery?

A rapturous tale ended poorly and in haste. To this very day, I still commiserate with my shield brothers on the fate of The Mother of Dragons. The outrage for that televised play reached as far as Anaheim at its peak. I doubt anyone there will trust my recommendations on entertainment again.

What trait do you most deplore in others?

Cruelty and indifference.

What trait do you most deplore in yourself?

I am not always proud of my sudden bouts of rashness.

Which living person do you most despise?

I do not tend to harbor ill will for any very long.

Which living person do you most admire?

Dr. Jane Foster.

What is your most treasured possession?

The trust and respect of those I fight alongside.

What is your favorite journey?

The familiar splendor and awe of my travels across the Bifrost.

When and where were you happiest?

After any battle well fought and won.

Which talent would you most like to have?

The idea of wielding any axe proficiently, musical or otherwise, is always appealing.

On what occasion do you lie?

Deceitfulness is usually not to be bourne, but sometimes, when used without malice it can lessen the blow of hard truths.

If you were to die and come back as any person or thing, what do you think it would it be?

I do not know of any who have returned to the land of the living from Valhalla, and I do not believe I would like to be the first.

Who are your favorite writers?

Contrary to my brother's prevailing beliefs about my intellectual prowess, I am quite fond of varied genres of literature. Mainly mythology. The caveat being that before these tales are put to parchment, the content usually begins as oral tradition- meaning the names of original 'authors' are lost to time. This is as true in Asgard as it is anywhere on Yggdrasil.

I find Midgardian accounts of my exploits in their myths exceedingly amusing!

Which historical figure do you most identify with?

Bor Burison.

Who or what is the greatest love of your life?

My People. Asgard.

What are your favorite names?

Sif, Fandral, Hogun, Volstagg

Which words or phrases do you most overuse?

Verily. Only because I am quite often certain.

Where would you most like to live?

Amongst friends.

Which trait do you most value in friends?

Generosity of spirit and mirth.

How would you like to die?

Gloriously.

What is your motto?

I Am Mighty!

Author’s Note:  Even with my love of mythology, out of all of the Avengers, I was the most prepared to write Thor off. He just seemed a tad much, but he grew on me. That seems to be somewhat of a pattern with me. I come around to characters I don't instantly appreciate when I see them through the eyes of my mutuals. It's through fan art and fics that I started to 'get' Thor. Or rather there are so many versions varying in nuance that I could find a version I enjoyed and was compelled by. I got a kick out of writing for Thor in this piece. The natural cadence of his speech lends itself to comedy, so I couldn't help but lean into his natural absurdity. I hope I distilled his essence in this piece to all of you guys' approval.

To read the rest of the Avengers’ Questionnaires click HERE

[owostims]

♥️!!!

at first i saw this and i was like awww heart <3!! then i realized it was probably for the ask game KJFDHGFG but now im like. well it’s a different heart emoji so im not sure actually? anyways im going to assume it is, and the worst thing that will happen is i talk about stuff that wasnt asked which i think i can live with

❤️ – what are your special interests?  i have quite a lot!! but...my biggest one is professor layton! it’s a mystery/puzzle game series for the DS (and 3ds) and it’s super good and emotional and i love it the aesthetic is so nice and the ost is and the characters and the...everything. it’s why i made a tumblr, actually! so i could find professor layton content! my original tumblr was lukeowotriton. for some reason i thought owo uwu jokes were like..the PEAK of comedy then, like 2 or 3 years ago. hence how i now have the URL owostims. it’s not really my sense of humor anymore, and it can embarrass me a little sometimes but owostims is now my brand and dear to me and i refuse to change it. hmm but other than that, let’s see! i tend to consider my hyperfixations special interests, but it’s hard to sometimes figure out...i also love archaeology, zoology, pokemon, kirby, the legend of zelda (specifically the toon link time line and botw), lego batman...lots of nintendo games! i love science in general :-)! two special interests i have that are hyperfixations are bug fables and smile for me. i loooove paper mario so bug fables resonates with me and is even better than paper mario...and smile for me is just fun and cute!! i love puzzle games and things that have a story. im not a big fan of games w/o stories! most of my special interests are media that are video games, or media in general. my past special interest that i can think of is hedgehogs!! i actually own a pet hedgie, his name is harlequin and he is a sweetheart darling of a grumpypuss! 

[whatsarasaid]

general: sara • she/her • adult

overview:  → things i make: essays, meta analyses, fan fiction, and other abominations → content warnings: periodical disturbing imagery, violence, and language. let me know if i can tag anything for you!

ao3: → film/tv: solitaryrefinement → video games: whatsarasays → comics: invertedimplosion

fic tag: writing: mine

meta tag: meta

drabble prompts: currently closed | rules, filled prompts

character playlists: spotify

media interests: → tv: severance, twin peaks, fleabag, succession, silicon valley, russian doll, mind hunter, the leftovers, mad men, andor → film: moon, gattaca, ladybird, blade runner (original / 2049), arrival, eternal sunshine of the spotless mind, thelma & louise, the fantastic mr. fox, the social network, the diving bell and the butterfly  → music: the national, david bowie, the mountain goats, talking heads, phoebe bridgers, mitski, emperor x

→ games: legend of zelda, soma,��resident evil, control, death stranding, disco elysium, the last of us, mostly horror / indie

[valhallanrose]

Hey, nobody asked for it, but I did the entire NSFW alphabet for Zelda because I could and here it is on your dash. 

Under 18 don’t interact I’ll die

Anyway horny under the cut 

[A] Aftercare

So here’s the thing about Zelda: she’s got the stamina of someone twice her size. No matter what role her partner takes/she takes, unless she has been completely worn out, she’ll take care of the cleanup/

Her favorite way to relax with her partner afterwards (or between rounds, if they have the energy) is with their head on her chest, so she can wrap her arms around them and run her fingers through their hair. Especially so if their hair is longer - she’ll play with it until she passes out, hand still half woven into the hair at the nape of their neck.

Sometimes, if she’s really into her partner, she’ll weave illusions for them. The ceiling of her room is enchanted, done just so to mirror the stars outside, but she’ll add her own magic to the enchantment so she can pull the stars down to her level. The constellations coalesce, tiny strands of light dancing between her fingers and down her arms, letting her manipulate them into creatures from everywhere between the depths of the sea and the highest mountain’s peak. 

[B] Body Part (their favorite of theirs & their partner)

On herself - she likes her hips. Some of it is utility - balancing a basket is easy between her hand and hip and it’s convenient - and it’s the natural place her hands fall when she’s thinking or talking. But they’re also a good place to squeeze, with just enough softness to her to make it comfortable no matter why you’re clutching her hips.

On her partner - Zelda enjoys people’s hands. Not only for the pleasure they can provide, but also for the stories a person’s hands tell. She’ll take in the scars, the curves, the lines, whether your nails are manicured and well cared for or rough with ages of physical labor. No matter what, she’ll bring their hands to her lips, press a kiss to their knuckles and smile as she gives them a squeeze.

Also, if she’s bottoming and her partner (equipped with a strap or nature’s strap) holds her hand as they’re lining up? Oh my god, she fuckin’ dead

[C] Cum (anything to do with it)

She’s kinda neutral on this one? She doesn’t go wild for it but she doesn’t hate it

Please don’t cum on her face, that will have her nope out of the situation so fast (unless you’re afab in which the answer is please do she’ll feel like she did good)

Amab, just warn her and she’ll swallow instead

And if you want to cum on her, ask, because that’s not always something she’s into anyway. That has weird marking connotations for her. 

She’s more pleased to know that she’s the one who made you feel that good rather than seeing the cum itself

As for her, she eats a lot of fruit, so hers ends up tasting sweet above all else, so if you’re not a fan tough shit because she won’t stop eating her fruit

[D] Dirty Secret

Really wishes someone would just drag her into a private space, pin her up against the wall, and take her right there. Clothing removed beyond the necessary is optional. 

Like...full legs thrown over her partner’s arms, hips slapping together, having to bite down on her hand to keep from alerting anyone that she’s being absolutely railed in the shop’s backroom while loving every second of it. 

She’s normally a ‘soft and slow’ person but that’s been one of her fantasies for a long time and she’s never felt comfortable enough with a partner to ask them to do that

Zelda, you’re drooling, get it together this is only the fourth letter

[E] Experience

Not wildly experienced. I’d say, in any timeline, she’s only had maybe two partners that got to a point of sexual encounter. It’s not that she’s opposed to casual flings (she’s had one or two), she just doesn’t always click with people, and she needs that connection to feel attracted enough to engage in a sexual relationship of any kind.

[F] Favorite Position

Lotus, for sure

She likes riding/being on top but she really generally enjoys the connection of being able to see her partner, kiss them as much as she wants, press her forehead against theirs

But also she’s up for smothering someone in kisses while giggling if they squeeze her sides in a weird way that makes her feel ticklish and that’s easiest to do when you can face your partner

[G] Goofy (are they serious or humorous in bed)

Definitely goofy. She’ll laugh it off when bodies make a weird noise, crack jokes, and bonus points if you dish it back. 

Sex for her is about having a good time, and not just the pleasure aspect of it.

If you’re serious in bed go away her four-poster is for lighthearted sex only

[H] Hair

Definitely keeps things trimmed neatly, because she can’t stand the feeling of it getting long, nor can she even begin to tolerate the feeling of hair growing back after shaving it all off. She’s done that, she regretted it deeply. 

A little lighter than the hair on her head, and let’s be real she probably oils it because she likes being generally soft and also prepared for a hypothetical encounter

[I] Intimacy

Intimacy comes easier to her if you reciprocate, obviously

Spread across the act, from foreplay to aftercare

Lots of gentle touches and soft words of praise 

Feels most connected to someone during sex the more intertwined with them she is - hence why she likes the Lotus position. It’s easy to see them, watch their pleasure, press gentle kisses to their lips and face and smooth back their hair

In a relationship, it’s the most intense way she can show her care for her partner, given that she’s already quite physical

Please cuddle her after she just has so much love in her body for her partner and needs to express it

[J] Jack - off (masturbation hc)

Zelda usually has trouble getting off on her own, so this isn’t something she tries often, but her most successful effort involved a rather potent aphrodisiac and a dildo

With those + her fingers for clitoral stimulation? That’s probably the only time she successfully reached orgasm on her own

Which ties into her biggest kink/preference...

[K] Kink

Overstimulation. 

Since she can’t often climax on her own, and if her partner is willing, she’ll go until she drops

Especially with the combo of g-spot and clitoral stimulation, she’d die and go to heaven

Prefers to be 

Laid out beside her partner so she can kiss them with their hand between her thighs

Straddling their face and grabbing something, be it the headboard or some fixture on the wall

Or laying back on the bed, hands buried in her partner’s hair and her thighs hitched over their shoulder

Do not recommend a sixty-nine if you’re overstimulating her because she will get so into pushing her hips into your face she’ll kinda forget to reciprocate

[L] Location

Prefers to be somewhere private and comfortable, which usually means her home. Otherwise, she is content to have sex involving any surface in her house. 

Except for the shop display case, please don’t make her polish that thing more than she has to she’ll be so salty afterwards

[M] Motivation (turn ons etc)

Intelligence (big brain sexy)

Seeing someone blush

A hand on the small of her back or on her knee

Idle fingers tracing patterns on her thighs, innocently or not so

Someone she’s already attracted to smelling absolutely delectable

Kisses on the inside of her wrist will really get her

So will kissing her freckles

[N] NO (turn offs, deal breakers, things they wont do ever etc) 

Zelda’s only hard no is public sex, because she’s too noisy, but she’s willing to try almost anything at least once

She’s not into receiving pain (save for like, a smack on the ass/a bite/a hickey/etc) and not really into choking (also receiving) but just about anything else is fair game

[O] Orgasm Denial (how do they do it, do they like it done to them)

100% willing to give

Prefers oral as her tool of choice, but will alternate between mouth and hands to offer kisses as her partner settles down

Never cruel about it, always willing to relent if you use your safe word or ask her to let you cum

Really, really doesn’t like receiving

She doesn’t get to get off on her own and she’s not gonna deny herself guaranteed pleasure if she can help it

Will be a no unless she’s been with you long enough to know you won’t leave her high and dry

[P] Pace

Usually prefers softer and slower sex, mostly because she likes taking her time. However, if you’ve been teasing her all day? She will have you pinned to the door of your place or hers before it really has time to shut. 

[Q] Quickie (where, how often, do they like them)

Likes them, but has to be in the mood for them

She doesn’t really like feeling rushed when trying to enjoy herself and make sure her partner is too

However, a promise of a more thorough round later usually is enough to placate her

[R] Risk (experiments, do they like pushing themselves/their s/o)

She’ll try anything once, but don’t spring it on her in the middle of the act. She’d rather sit down with her partner and talk about it, maybe do some research, give her time to understand the best way to go about it and what they need to do it properly. She’s not really spur of the moment. 

However, positions? That she’ll try in a heartbeat. If Zelda could be described by one word, it would be curious.

[S] Stamina

Lots of stamina. Faster sex wears her out more, so her preferred slower pace is part of it, but she just generally has a lot of energy. Could go multiple rounds, and her partner’s recovery time just extends her stamina a bit more. 

Really shouldn’t have this much stamina but part of it comes from a lot of time doing physical work in the shop/her garden so whoops

Cold showers have been a useful tool when she just can’t settle down

[T] Toys (do they own any, do they use them, how often, where)

She has a few different styles of dildos and vibrators that she’s tried to see if she could find something for her that works, but nothing really does, so they’re all shoved in a box under her bed. 

Are aphrodisiacs applicable? Because she absolutely has and will experiment on her own with them, otherwise their involvement is up to her partner

[U] Unfair (how do they tease)

Really dependent on her partner and what she knows gets them going

Generally lots of subtle, under the table touches that could possibly be construed as a mishap

At least until she squeezes your thigh or skims her fingers far too high up for it to possibly be a mistake at all 

[V] Volume (how loud, what do they sound like, what sounds they make)

Very pretty sounds. She won’t get vocal unless her partner explicitly tells her it’s okay, and until then she’ll bite her hand or her lip to keep quiet. 

Not vulgar when she speaks during it - kinda polite, actually, paired with sighs of delight if you oblige any requests she makes (see below for examples if you desire)

“May I touch you here?”

“What are you doing? I can’t kiss you properly if - oh. Oh. No, please, keep going, I -” (cue some mild incoherent babble)

“Please, please, more”

“Yes, hah, right there - oh!”

[W] Wild Card (random NSFW hc)

She broke a headboard one time while riding someone’s face (grabbing onto it) and she’s never been able to look at one the same since

Sometimes in her post-overstimulated orgasm headspace she’ll thank her partner a couple times in this dreamy little voice and kiss the closest part of them she can reach without moving

If you’re overstimulating her, especially if you’ve been at it for a little bit, she’ll start to speak in her native dialect (Neviv/Nevivonic/whatever you hc Julian and Portia to speak. I believe it’s Russian sue me) \If you happen to speak it, she might just cum then and there 

[X] X - ray (what do they have going on under their clothes)

Usually doesn’t end up with matching undergarments but if she does you know she wants to get laid

Lots of lacy underthings and thin bralettes because full bras are The Devil, typically bright colors for fun

If she’s feeling really saucy, she’ll go with a full bralette/panties/garter belt/stockings combo just to really show off for her partner once the outer layers come off

Usually she just ends up laying around her house in nothing but her panties and knee socks that match in no other way but height and texture

She has a near perfect heart shaped birthmark, right where her inner left thigh meets her pelvis. She likes it, but teasing her about it or kissing it will make her both melt and go cherry red.

Fun fact: if you leave a hickey anywhere near it, that’ll get her going like nobody’s business

[Y] Yearning (how often to they think of sex, how long can they go without it etc)

She can go without it for a while, but she’s got a high sex drive, so she doesn’t want to

Sex really only comes to Zelda’s mind when her partner does something that really gets to her (see Motivations)

Willing to Yearn if she’s not sure the sexual feelings are reciprocated

[Z] Zzz (how quickly do they fall asleep, do they snuggle, etc) 

Very affectionate and very cuddly. Catch her with her forehead pressed to her partner’s, giggling a little as she rubs her nose against theirs, smiling into kisses and burying her face in their hair as she lets her hands wander idly. 

However, unless you’ve totally worn her out, don’t expect her to fall asleep right away. 

One time she cleaned the whole shop after masturbating at like four AM and she’s never gotten it that clean again

[danwhobrowses]

Pokémon Direct 26th Feb 21 Thoughts (Happy Pokémon Day)

Happy Pokémon Day everyone! 25 Years since Red and Green hit stores and would change gaming for so many people.

Yesterday though, Pokémon dropped a special Direct revealing new info and titles, which compared to the Nintendo Direct and Playstation State of Play had a lot more hype towards it, at least for me. So I’m gonna run down the contents - a combination of stuff learned from the video and the website

Spoilers for the Direct below if you haven’t watched it yet

Part 1: Pokémon New Snap - New Information

More information about the New Snap game came up first, revealing that it’ll be releasing on 30th April and available for Pre-Order.

On top of throwing apples to encourage new behaviour, there is also the possibility to play tunes. Most unique though is the ‘Illumina Orb’, this item when thrown at Pokémon will cause a glowing aesthetic either on the Pokémon or any elements they may summon, the Illumina phenomenon seems to be a core part of the game’s story alongside getting the Photodex (each Pokémon having 1-4 Star photo slots).

You can also upload your photos via Switch Online, though that’s not really for me so I’ll probably just use an SD to transfer pics or something.

The characters include Professor Mirror (missed chance to use an adult Todd Snap), Phil - you seems to be your rival and Rita - who seems to be the tutorial guide character. The environment of some expeditions will vary by level as well so there will be cause for repeatability.

The New Snap is more of a ‘does what it says on the tin’ kinda game, you’re there to take photos. But the new stuff does look to entice players to play around with it all and see how good they can get out of the photos, it is definitely something that will live to expectations.

Part 2: Pokémon Day Commemorative Events

Afterwards we got some info on the events happening around today. Pokémon Café Mix is having a login promotion for Golden Acorns, Pokémon GO is doing Kanto Legendary raids and in Masters EX Leon is in the game with Charizard

For SwSh G-Max Pikachu is back until the 28th, there are chances for a Shiny. If 1 million are beaten you’ll also get 100 of Dynite and Armorite ore.

These Pikachu are not that easy though in Solo raiding, AI is usually awful but this Pikachu will know a combination of Surf, Disarming Voice, Volt Tackle (and a special G-Max variation that paralyzes Neighboring Pokémon), Discharge, Brick Break, Iron Tail and its usual spamming of either Nasty Plot or Double Team. So be careful of accuracy issues or your AI failing you...a lot

On top of this if you use  P25MUS1C as a code you’ll get a Pikachu that knows Sing.

Part 3: DP Remake

Years of People demanding and you got this. Perhaps a lesson to be constructive in criticism since the remakes have already drawn its own controversy for being different to the other games fans criticized and even boycotted for a short while.

Brilliant Diamond and Shining Pearl brings the old DS games to a new form with the same top-down camera from the games of old, blending an old-Final Fantasy and Animal Crossing-esque chibi type overworld character that has received mixed reviews and, along with the next part, comparisons with the Legend of Zelda series, particularly for this one Link’s Awakening.

Other than the new graphics, the trailers haven’t revealed any new content that is genuinely new to the series, but the website suggests ‘player-friendly conveniences’ which may help in reducing the grind. Of course, this is only the first taste, there still can be plenty more.

I must confess, but DP was always a bit of a Red-Headed Stepchild for me in terms of the series, I certainly didn’t hate it, I just felt like the main story lacked a bit. It could simply be because Cyrus’ story only really peaks for Platinum but most of it is due to the fact that I was able to get through the whole game within 24 hours of play. I am also in the party that’s not too thrilled about the chibi design, I had always feared that Pokémon Player and NPC models would fall into Mii territory and this does feel like a step in that direction, I also love customization (though male characters do not get as much choice) so it always feels a bit of a let down when we remove that. Also I think that the shaders could’ve been upped because you look at these 3D artworks and they are magnificent.

Also the names are a bit, uninspired. I mean we usually get dichotomy in the new names too: Fire and Leaf, Heart and Soul, Alpha and Omega, so going to Brilliant and Shining seems weird. What about Hope Diamond and Faith Pearl? Stone Diamond and Sea Pearl? Time Diamond and Space Pearl? I felt like there were more options.

On the positive side though, Underground is back with will be fun, maybe they’ll update bases too. They might add the Platinum stuff in there too, revamped Distortion World sounds cool, and I hope the Pokétch comes back, it was a handy tool especially the Day Care app

Part 4: Pokémon Legends - Arceus

Now this, is more like it.

Sticking with Sinnoh comes a prequel story of ancient times, where humans are only slowly settling into the region and the landscape is vast with free roaming Pokémon. The series takes its RPG-style deeper with the open world as players go on to complete the first ever Sinnoh Pokédex.

Battle or sneak up on Pokémon by using ancient steampunk-esque Pokéballs, this becomes a pure capturing adventure light but not completely devoid of being a ‘trainer’. No Elite 4 or Pokémon League, this is all about exploration leading all the way to Arceus.

Coming in 2022, the art and landscape is beautiful drawing parallels to Breath of the Wild, the UI is clean and simplistic and we get a new shift in our starters being different to the generation’s 3, instead you pick between Oshawott, Rowlet and Cyndaquil, but with sightings of Piplup in game you can be sure that the Sinnoh starters will be catchable.

The idea of going into the past is fresh for Pokémon fans, it’s something that looks very promising as a new recurring title for the series, the character design of old clan robes is also a nice touch. I do hope that future main series titles adopts this more open world environment and art style, the piano music is also very Ghibli esque which is a huge plus for me. I am keen to see how the journey develops as we go up to face god itself.

Part 5: Conclusion

The direct was good, even though there was stuff I’m not thrilled about it continues to reiterate my love for this series, which has been a core part of my life ever since getting a Game Boy Color & Pokémon Blue bundle for Christmas as a kid. I may still hold out on getting the DP remakes just yet but Snap and Legends will definitely be something I intend on buying, Pokémon continues to develop and evolve which has kept it going for 2 and a half decades, and I look forward to more evolutions to come.

[youngboy-oldmind]

DISCOGRAPHY REVIEW: 1) THE INCREDIBLE TRUE STORY ft. My Girlfriend

“Tell me what I wouldn't wanna give for a life like this, arm and a leg quite like this/ Fuck around wanna fight like this, take a hike like this/ I might just, might just, I don't know/ Reinvention, that's my intention/ Want so much more than this third-dimension/ That's not to mention my true ascension is a bigger picture/ No metaphor, I’m being real with ya”

Overall Thoughts

After the success and impressive display Under Pressure, Logic follows up with his sophomore album The Incredible True Story: A perfect embodiment of Logic as a person, rapper, and artist. Here, he is at his most creative, telling an entire story through the lens of a futuristic fictional sci-fi story. Filled with narratives, skits that give insight to the crew’s personalities, and an overall message that resonates even after the album concludes, The Incredible True Story is the perfect reflection of Logic as an artist.

If someone asked me to introduce them to Logic, I’d start with this album. If you start with a deeper, more experimental album like Everybody or a project not quite as unique like Under Pressure, they may be left unsatisfied or unimpressed. But it’s near impossible to dislike his most rounded and well-constructed project.

I’ve said this with every project of his, but the production was excellent. The techy, spacey instrumentals perfectly parallel the theme and tone of the project. The vocal inflections on “Fade Away”, “Young Jesus”, “Run It” and the choir in the first half of “City of Stars” were all brilliantly executed. Also, Logic allowed collaborations on some tracks and they were some of the highlights on the album: Big Lenbo on “Young Jesus”, Lucy Rose on “Innermission”, and Jesse Boykins III on “Paradise”. Overall, the construction of each song on this album was near perfect. It can’t be overstated.

Logic branched out stylistically on this project. On Under Pressure, each song had a relatively similar tone, which made that project very consistent yet unspectacular. The fixed tone was good for the purpose of that project but restricted him from reaching a high peak. Here, his delivery, instrumentals, and lyrical style varied and was less consistent, allowing him to reach highs like “Fade Away” and “City of Stars” while also allowing him to reach lows like “I Am The Greatest”. Despite that flaw, the unique style of the album improves its overall ranking and separates him from the issue of his last project; the issue of being indistinct and being a carbon copy of his influences. 

That’s one of the biggest strengths of this album. While I can think of other artists that could do Under Pressure or No Pressure, I don’t think anyone can do The Incredible True Story. Logic has a niche combination of lyrical talent, production skills, and geekiness that shines profusely. 

The main theme of this project is doing what you love and finding life. This theme paired the fictional nature of the album’s structure loosens the restraint on Logic. Before, he was limited by discussing his experiences and thoughts in an autobiographical way, whereas now he’s allowed to discuss things from an outside perspective and speak more prophetically.

Album Breakdown

Side Note: I will be adding comments and thoughts from my girlfriend who also loves this album. Her comments will be bolded.

1. Contact

This was extremely creative. I was instantly drawn into the music. Sounded like a soundtrack I'd hear in a movie. And the introductory conversation between the two men established a very interesting and compelling start to the album and makes it feel like I'm getting ready to start a story book. Solid start, can't wait to see what happens.

2. Fade Away

Off the rip, this track had me excited. As I mentioned earlier, the composition and instrumental is excellent. He also comes through with an intense flex of delivery and rhyming and syllable scheme construction. This is the first song I’ve ever heard from Logic and it still gets my hype every time I hear it.

The flow in this song just hit me like a truck. The lyrics were pretty good and not necessarily a brag, but more of a showcase of pride. The music was also very catchy and had my bobbing my head before he started rapping. But the flow! Absolutely loved it. Def a hype song for me.

3. Upgrade

This track transitions well from the previous song discussing kai upgrading his system. Logic discusses “upgrading” from his old life and mindset. The space background with a simple drum pattern is satisfying.

Loved how the intro music played off of the space theme established by the intro. The music was already banging, and the countdown had me anticipating what's to come. Liked how the lyrics also incorporated space elements. Somewhat simple song with somewhat basic lyrics, but overall still quite enjoyable.

4. White People (Scene)

This was super fun to listen to and I was laughing when the black guy made fun of the white-man-horror-movie stereotype. I was almost wishing for them to investigate. I am really liking this album so far. Who knew Logic was such a innovative storyteller.

5. Like Woah

Although this song doesn’t say much content wise, the vocals were pretty slick and the instrumental was constructed well. Verses were average and I found the chorus a little iffy. But overall, it’s one of the more mid tracks.

The others definitely fit the theme of the space, but this song felt more of a Top 100 hits song. The flow was not as stellar as the songs so far, definitely no Fade Away, but still steady and impressive nonetheless. Nerdy comment, but the music reminded me of something I'd hear in a video game with the female singing--maybe Zelda or Fire Emblem.

6. Young Jesus

Although this song isn’t in my top 3, it’s still one of my favorite on the album. The boom bap 90s throwback mixes well with the modern, techy sound of the album. Logic and Big Lenbo both flow perfectly; this some of the best chemistry Logic has had with another rapper, the only other contender being Big Sean. Instrumentally this song stands out the most because its composition derives so much from the rest of the track list.

This throwback to the 90s flow with a slight modern twist was fresh as hell and a very fun listen. I actually very much enjoyed Logic's flow in this song. "See I'm a self diagnosed hypochrondria/ Either at the crib, or on the tour bus, is where you'll find me at" was a fun, funky flow that had me smiling as I listened to it. Would have definitely enjoyed if he did this flow and slight drawl in words a bit more. Big Lenbo was perfect for this song. His voice has that 90s feel and his lyrics fit the bragging feel seen in old hip hop songs.

7. Innermission

Another top track on this project, “Innermission” features Logic discussing his life’s purpose and “inner mission”. Lucy Rose on the chorus is beautiful. The mellow beat allows Logic to truly dive into his thoughts without being overwhelmed by the instrumental. And I loved the skit at the end.

Not gonna lie, the music initially reminds me of elevator music, but the lyrics hit hard. Hearing his story of his home life and his friend in prison was...heartfelt? It made me introspective of my role in my friend's lives and my own background. This song has a nostalgia to it as Logic retrospects his life before reaching fame, yet an almost hopeful undertone as he contemplates why he wanted this lifestyle and how he managed to actually accomplish it. And, of course, ending the song with a child continuing the space them fully establishes the air of wistfulness as I hear the kid's innocent tone reminiscing about his home. Genius move.

8. I Am The Greatest

There are few songs that make me rush to the skip button. “I Am The Greatest” is one of them. I hate this song. The different voice clips have no rhythm or syncopation, seemingly haphazardly tossed together. The beat is underwhelming and the yelling is obnoxious. And logics lyrics and delivery are really bad. I strongly believe this should’ve been cut or put on a project like Bobby Tarantino.

9. The Cube (Scene)

As someone who can rap and solve a Rubiks cube, I found this very funny. But also ironic, since I pulled exactly 0 girls from solving it. But, Logic is a nerd and this skit fits his personality well.

So this didn't make much sense until I looked up "logic the cube" and saw some videos of him solving a Rubik’s cube. Cute that he inserted a past time into this.

10. Lord Willin’

Logic has a very distinct flow throughout this album. It's very similar in each song with similar rhythm--I find myself bobbing my head at the same speed as his other songs. Not a bad thing, but just an interesting note. I actually quite like it, though. It makes the songs in this album more harmonious and makes it feel like one long story, rather than several songs thrown together onto one album. The lyrics themselves were actually quite inspirational. I felt a sense of pride in myself swell as I listened to him overcoming and living a full life and encouraging me to do the same. 

11. City of Stars

Arguably one of the best on the album, “City of Stars” features Logic discusses his negative/toxic relationship with the hip hop industry. The spacey beat and echoey chorus vocals area AWESOME. The echo on the snare paints a visual of singing in a wide open space. Logic’s singing is above average, his use of auto-tune isn’t bad either. The beat switch to an intense boom bap and going in sent shivers down my spine. Although this has been done before, its definitely an excellently put together concept.

Also, only hip hop fans will notice but Logic incorporates patterns and lyrics from other songs: Drake’s “Forever”, Kanye West’s “Last Call” & “Two Words” of The College Dropout, and Talib Kewli’s “Get By”. Logic isn’t one to shy away from nodding to his influences, but here it feels like paying homage instead of stealing. Top 3 track.

12. Stainless

This song is 100% dope. From the vocals on the chorus, complex background in the instrumental, Logic’s intense flow and delivery, along with the content. Another top 3 on the album.

Bruuuh, this song slapped from the moment it started. The music had a flow different from the other songs, and his energy from the first few lyrics was solid as hell. I was hype and smiling not even 20 seconds in. This is a riding-with-the-windows-down-with-the-volume-blarring-on-the-highway-as-you-flaunt-your-youth-and-just-jam-hard kind of song. I would have def played this before a basketball game to get myself hype.

13. Babel (Scene)

“Babel” was the best skit by far. I think this plays well into the theme of the album: The concept of doing what you love and finding life. This skit mentions how “paradise” may not be something you find, but something you make and maintain. And on the flip side, you can also turn paradise into “purgatory”. So this journey is about creating the best and making your own incredible life instead of trying to find it. It also transitions well into the next song both musically and thematically.

14. Paradise

This was an interesting song. When he described Paradise initially, he spoke of it as a land of racial equality. I had not expected race to play a major role in this story, but it makes sense, given his background, why he would consider this Paradise. As a fellow biracial person born without a silver spoon, I can relate to his struggle. So hearing him describe this planet called Paradise, I can see why it earned that name. But the beat change. I find it interesting that he switched the message behind his lyrics up. It changed to perseverance and strength to overcome haters and obstacles and doubt. It gives me this feeling of self-worth as I push through the negativity to achieve Paradise. Interesting that he decided to include this message after describing what Paradise looks like. Did he do this to highlight the struggle it would take to get there? The challenge? Saying how "Of those around me that down and pray on my demise/But it only makes it that much better when I rise" definitely encapsulates his ability to attain Paradise. I'm not sure, maybe he did so as proof that he finally reached the top.

15. Never Been

Years ago, I used to be a hater of Logic. I used to despise when people complimented or praised him. So this song about remaining positive and persevering while blocking out negative hits even harder. He battles with fears of being inadequate while projecting a message of not letting those fears control your life and potential success. Amazing message. Musically, the track is very solid. The sped up, high pitched vocals on the chorus and outro remind me of Kanye’s style, and the simple beat isn’t distracting emphasizes the introspective nature of the song.

"Talk all you want about me homie, I'mma let it live/Hater this, hater that, say I sound repetitive/ Hatin' in your blood, you was born to be negative" now THAT is how you diss someone. If someone said this to me, I'd just walk away because what do you say to that? I appreciate that he is able to both dis and praise in a song, yet not come off as cocky and arrogant and braggy. Listening to him, it truly sounds like he worked his ass off to achieve his fame, so hearing him brush off haters and telling me I can do it too actually makes me feel like he's right. This songs has an introspective vibe as he recounts his insecurities of failing, yet how he can't afford to "let the devil in."

16. Run It

“Run It” is another very good track on the album. The flow and beat were dope and simple yet effective and pleasing. I think this song’s placement was strange. After hard hitters like “Stainless”, “Paradise”, and “Never Been”, “Run it” feels underwhelming by comparison. I could see this after between “Like Woah” and the White People Skit. But this late into the album, this song’s tone sit right. Ultimately a great song though.

17. Lucidity

“Lucidity” gives good insight on the theme of the album. Thomas describes taking for granted people on Earth having dreams and wants instead of living to find paradise. I like the concept of one’s life and story being defined by pursuing what you want. Mostly a set up for the final song, it’s still a solid scene.

18. The Incredible True Story

This track can be defined by one word: epic. From the first half with Logic’s vocals and singing, encapsulating the whole question in this album “Who Am I?”. The instrumentation is beautiful. Then the second half with the crew landing on Paradise is so powerful and well constructed. As a listener, I feel like I’m there with the crew. You can feel everyone’s fear, nervousness, excitement, anticipation, and hope.

What. An. Ending. I had no idea how Logic was going to end this and he did not disappoint. His lyrics in the beginning. The sub-sequential inspirational message of following your desires. The 2 men as they get ready to land on Paradise. All of that was flawless. My favorite part was the music change as the female finished her countdown of the landing and it changed to this soft, exploring sound full of hope. Hearing the 2 men talk in wonder as the sounds of nature slowly encompassed the music before hearing the woman say "Life" literally made me so fucking emotional, I'm tearing up thinking about it.

Final Thoughts

The Incredible True Story is the embodiment of Logic as an artist. It is strengthened by being unsafe. Under Pressure felt like bowling with the rails up. You’re definitely gonna score, and you may hit a strike on your own, but it’s just not as good as bowling without safety rails. And yes, you may hit gutters (”I Am The Greatest”), but putting everything on the table and living/creating unrestrictedly allows you to reach highs in life/art you wouldn’t otherwise reach. And I think by allowing himself to create riskily and unhindered, he fulfilled his own theme.

As an avid bibliophile, I will tell you that most sequels are shit. But damn, this album was fucking amazing. I have been sleeping on Logic. Honestly, 12/10 ending. Logic wanted to leave a statement that he could still be one of the best even after his debut album and, trust me, he proved it. This ending alone proved that he knows how to do this shit. I feel like I just finished reading a great book. Who knew rap could be like this?

Top 3 Tracks:

1) City of Stars                      1) Stainless

2) Paradise                            2) Paradise

3) Innermission                      3) Incredible True Story

Overall Grade: A+

Album Link:

https://open.spotify.com/album/5dOpbgAmJeyoakKQ0QLWkR?si=bAQ0FEA4RMupkUEspycH1Q

[sage-nebula]

I hope you dont mind my asking, but wouldn't GF have decided to remove the national dex long before LGPE released? I can see those games selling well confirming to GF that "pokemon sell well regardless of cut features" but it feels strange to blame it on LGPE when the development time on the games would suggest they made this choice awhile ago. (Not to defend lgpe lack of content) Sorry if this is a bother, I just feel like I'm missing something and would really like to understand your reasoning

For almost any other game I would agree, however for Pokémon in particular:

The National Dex (insofar as the ability to transfer old pokémon over) was never going to be a Day One feature. It’s never a Day One feature in the first games of the generation. Even if they wanted to make it one, in this case they couldn’t because Home isn’t releasing until 2020. As I’ve said in other posts, if they wanted to patch in the NatDex, they’d have the time to do it. Technically speaking, they’d have the time to do it, especially since the fanbase would be willing to wait (even if there’d be a few whiners here or there) the extra time.

Since it’s not a Day One feature, it’s something that can be worked on later in the development cycle (/can even continue to be worked on after the development cycle, or at least it could be if this series were treated with the respect of, say, The Legend of Zelda series). Again, I’m not talking about DLC that’s already on the game card that needs to be activated later, I’m talking about DLC that’s patched in, content created after that you download either to the harddrive or (though I don’t know if Switch DLC works this way specifically) onto the game card itself. Given the type of content they generally want to show early in the release cycle (the general theme / concept of the games, scenes of the various areas in the region, new ‘mon), and the fact that this would be a feature added post-release anyway, we can make a safe bet that the NatDex is something they’d work on much later in the development cycle, possibly even in the last year since, again . . . they’d have that time if they wanted to use it (and if this series was treated with genuine respect).

The Let’s Go games were stated by Masuda to be the future of the franchise if they sold well. They featured a Pokédex that was limited to only the Kanto ‘Dex, plus Meltan and Melmetal. They released in November 2018, and indeed, they sold well. In early 2019 (February, IIRC) Sword & Shield were released. While of course I don’t work at Game Freak and thus can’t say for sure, I would place money on the idea that if they were even a bit on the fence about adding the National Dex, the fact that Let’s Go sold so well despite being limited to 153 ‘mon pushed them right over the edge to, “Cut the National Dex from Sword & Shield, there’s no point in working on it.” I mean, why should they expend the effort if people will buy the games anyway? Especially when President Ishihara went on record saying that long-time fans only cared about “new pokémon and features” around the time of Let’s Go’s release. Sure, they might have already been thinking about cutting the National Dex beforehand, but Let’s Go no doubt assured them that it was a safe and correct call to make.

So that’s what I mean when I say that Let’s Go’s positive sales figures sealed all of our fates. To be entirely honest, before the National Dex announcement, I was certain that we wouldn’t see the shockwaves from Let’s Go until Gen IX. But Sword & Shield having a limited ‘Dex just like Let’s Go, and having special feature ‘mon behind $60 paywalls like Let’s Go, and having core features stripped out like Let’s Go, and the fact that it’s starting to look frighteningly like the starters won’t be able to evolve like in Let’s Go . . . the effect is pretty apparent. Sure, some of this stuff was present even before Let’s Go (namely the whole “let’s ditch useful features in the name of simplifying things” tack that Masuda has been married to for years now), but in the wake of Let’s Go, it’s success, and what Masuda said would happen if it was successful, it’s really hard not to see the link.

(Note just in case anyone read too quickly: I’m not saying the starters WON’T evolve. I’m only saying that I’m starting to fear that’s the case since we’re less than a month away from release and we haven’t even seen second stage evolutions yet. Maybe they’re just trying to keep starter evolutions a surprise, that’s entirely possible, but it’s also highly suspect, and Game Freak destroyed any trust or good faith I had in them a while back.) 

As a final note, the reason why I say that the Pokémon games aren’t treated with respect is . . . well, there are a few reasons:

Game Freak stated themselves that they put their B Team on Sword & Shield while their A Team worked on Little Town Hero. They also said they wanted to create something, “as exciting, or perhaps even more exciting” than Pokémon. They’re tired of working on Pokémon, and it shows. Which, I mean, I get it, it’s been 20+ years, but in that case tell Nintendo so that they can shift the main games over to another studio. I get that Game Freak was created for the sole purpose of making Pokémon, and maybe Taijiri-san is pissed at how you’re disrespecting his baby (I would be), but for the good of the series, if you don’t want to work on it, give it to someone who does. Don’t just shift it onto your bare bones secondary dev team.

These games are in a hellish development cycle where a new one is popped out every year. Contrast this to The Legend of Zelda where, while we’ve had some anomalies where assets were able to be largely reused and so games came out only a couple years apart (see: Ocarina of Time to Majora’s Mask) --- even that had two or three years before releases, not one the very next year. Most mainline Zelda games spend five or six years in development. I’m fully aware that we will likely be waiting until something like 2022 for Breath of the Wild 2, and I am prepared to wait that time because I know the game we get will be incredible. Granted, I’m going to be dying every single time they announce a release date to push it back, but it’ll be a death I’m grateful for because I will know that the end product will be worth it. The Pokémon games used to have a similar luxury. While there were a grand total of five games released during that time (with “five games” being used loosely, given that one was a slight upgrade and the other four were really two games with slight differences between versions), Gen IV lasted for a grand total of four years. We had Diamond & Pearl in 2006, Platinum in 2008, HeartGold & SoulSilver in 2009, and then finally, Black & White in 2010. By contrast, Gen VII didn’t even last three years, technically. I mean, this November would be its third anniversary, but that’s when Gen VIII officially starts instead. To be fair, it could be argued that Gen IV didn’t have a full four years since it came out in September 2006, and Gen V came out in September 2010. But even if you make that argument, it still had a full year on Gen VII, and to be honest, that showed. The Sinnoh games are far and away not my faves, but they were still full of content. HeartGold & SoulSilver are often considered to be the best remakes in the entire franchise, and considering the content that was cut from OmegaRuby & AlphaSapphire and Masuda’s reasoning for why that content was cut, I can’t exactly argue with that even though I did genuinely enjoy ORAS. And the games that Gen IV ushered in? Controversial opinion, but I think that the Pokémon games peaked with Gen V. Black & White not only initially had a ‘dex that was nothing but new pokémon (and yet STILL included the Nat Dex later, because in Masuda’s own words he felt it cruel to keep people from playing with their faves forever!), but it also introduced a METRIC TON of new mechanics, some of which we no longer get to use (Rotation Battles? Game Freak doesn’t know her). Who knows what exactly Game Freak did with that extra year, but it was clearly a lot of work given how wonderful the games were in Gen IV and Gen V. The extra dev time showed.By contrast, Gen VII got 2.5 years (or 3 if you’re being generous). Every single game released during this gen had massive content cuts, even when comparing to Gen VI, which also had massive content cuts. Mechanics were stripped away, and Ultra Sun & Ultra Moon technically didn’t have a NatDex either, but at least you could still have all of your ‘mon in them at a later date if you wanted to. Now with Sword & Shield, we don’t even have that, despite the Switch being far more powerful than the 3DS. (We also don’t have Mega Evolution for whatever godforsaken reason, even though the Kanto Mega Evolutions at the very least were already used in Let’s Go, the fuck, Game Freak). Pokémon games print money and always have, and Game Freak has taken this and their lack of interest in the series to the depressing but I suppose logical extreme of “do whatever and they’ll buy it anyway.” There’s no love here, there’s no respect here. They just don’t care anymore, and as someone who does care an awful lot, it’s super upsetting to me.

And while people have tried to argue that the games can’t be delayed because of the anime or the card game or whatever else:

The games come first. They’ve always come first. I know some people mistakenly think that the anime came first and that the games were created later, but that is 100% false. Pokémon started as a game series and the anime was created to advertise the games, straight up.

Filler episodes exist, and the PokéAni is no stranger to them. The Orange Islands arc was an entire arc of filler created to pad time between Gens I and II. The Delacora Islands (or whatever they were called) was a filler arc meant to pad time between Gens V and VI. Arguably the majority of the Sun & Moon anime was filler, given its slice-of-life genre, meaning the anime was even less of an excuse not to delay Sword & Shield. You can’t tell me people wouldn’t have been happy with another year of the Alola crew running around getting into random adventures. People would have eaten that up and loved it. We could have had it all.

I’m not even going to dignify “but the card game” with a response lmao. This isn’t Yu-Gi-Oh!. Sure, the card game makes money, and probably a decent amount of it (merch sales probably make up the franchise’s greatest source of income, and as someone who easily spent several hundred dollars in two weeks at the PokéCenters in Japan---including over $100 in one trip to a PokéCenter while I was there, and we went multiple times---I am a big part of that), but they come up with bullshit new expansions all the time and could easily keep doing it. Again, not a reason to delay the games if the games need more time in development.

So all in all, at the end of the day, Game Freak is no longer treating these games with love and respect, which makes them an awful lot like the villains in the games they create. The Let’s Go games were harbingers of disaster for the games, and we were told this very plainly, and just about no one listened. In fact, I legitimately lost friendships with people who got mad at me for making Facebook statuses about how they should buy Let’s Go used if they absolutely had to have them because how DARE I believe Ishihara when he said that Let’s Go were considered core titles, and how DARE I believe Masuda when he said that Let’s Go would usher in the last twenty years of the franchise. Clearly, I was just being an ugly bitch. (I wish I was exaggerating, but this actually happened, I got blocked over it, it was ridiculous.) And now here we are as a result, with no hope of things getting better unless Nintendo forcibly rips Pokémon out of Game Freak’s hands, which I don’t even think they can legally do given that they only own 1/3rd of the IP. (The other 2/3rds belong to Game Freak and Creatures Inc., as I understand it.) 

TL;DR:

Pokémon is still my favorite fictional fantasy world, but as someone who has always loved the games first and foremost, the current state of it depresses me to no end.

[the-rainbow-mafia-blog]

Y don't u care abt UsUm?

// Short answer; because I feel Nintendo doesn’t either.

And now a long answer because I’ve been sitting on this rant for ages and I bothered the Discord server enough with it. I want to put foward first that the opinions expressed here are my own. I am a big fan of Nintendo and this is something that bothers me. This is no way shape or form an attack to people who love these games to bits. This is also not meant to hate on a franchise or a company. The purpose of this rant is to put some arguments behind my statements.

Sources are linked in the text. I used Nintendo but I always meant everyone involved in the making of these games.

The reason I feel comfortable sharing it now is because people have their, rightful, concerns about the upcoming games; Pokemon Sword and Pokemon Shield, releasing in a few short weeks for the Nintendo Switch. Nintendo’s newest and most succesful baby. 

Why doesn’t Nintendo care about Pokemon, according to you?

First we need to ask ourselves;

How much does Nintendo make on Pokemon?

While I do think they care in a sense the numbers won’t lie. Pokemon has made around $95 billion US dollars since the franchise came to life in 1996. To put it in a way bigger number; they make about 4130434782.61 US dollars PER YEAR on Pokemon. (This is my own math, I do not know the exact numbers per year. I divded their total by the amount of years Pokemon has been alive.) That’s a lot of money and it’s with right the most financially succesful franchise to date. 

Only a part is made by the video games $17.138 billion. It’s merchandise makes more; $64.1 billion.

I could not find a reliable source on how much it takes to make a Pokemon game in monetary value.  What I could find however is that Pokemon is making less and less per game they release. Without counting Ultra Sun and Ultra Moon, Sun and Moon made LESS than X and Y.  

The only main series game that made less than Sun and Moon (again not counting UsUm) was Black/White.

Nintendo knows people will buy their games anyway;

Dropping sales or no, Pokemon still manages to fatten the piggy bank over at Nintendo because people will buy it anyway. The Pokemon craze of the 90′s should tell you that. People would buy it if it had Pokemon on it. Those people are now in an age group that has money to spend, hell some even have kids. So Nintendo is smart and releases commercials like this one or this one.  This marketing is beautiful (and no, not only Nintendo knows how to do this) because they play on your feelings. Who didn’ make a friend because you both liked Pokemon? And if you grew up with Pokemon like the person in the second commercial the whole feeling and setting is famillair to you, hell they could’ve casted you and it would’ve make sense.  They compare the whole bleakness of adult life, having to work to pay the bills, having less time for video games, to that warm familliar feeling of coming home and playing Pokemon. They feed on your nostalgia; your desire to relive those moments or if you have kids, to share the feeling those games gave you with your off spring. Or your younger siblings or other family memmbers.  I catch myself doing it! When a young one comes up to me, or I see a kid play the game on the bus I get that familiar feeling of ‘Hey I used to do that!’ It’s smart and it’s a thing Disney is good at too. It zooms in on what was precious to you and now resells that feeling to you. 

“Hey buy our game to feel something again. The world sucks anyway but Bulbasaur is still cute!” This isn’t a bad thing! Nintendo is a company and at the end of the day they need to make money. That is fair and I am in no way bagging on them over that. But it’s my belief that Nintendo keeps making money on the Pokemon games this way. Which leads me to my next point;

The Pokemon games come across as lazy.

Again, opinion but it feels like that. Which is also why I don’t care for UsUm; it’s lazy.

I truly believe Pokemon has some decent writers who don’t get their chance to shine. The beginnings of great stories and characters are there but it feels unfinished. Like someone bought the ingredients to a delicious dish but forgot to make them. Over the years Pokemon has a colorful bunch of characters, and the ones that stand out the most are the baddies. They usually get the coolest designs, the sickest themes, one way or another they are present in the climax but again. It’s lazy. How many of them pretend to be good or have a high moral standing and then turn out to be absolute dickbags? Almost all of them. Then they have characters (Ghetsis, Lusamine and Faba come to mind first) do something horrible (abuse of minors and playing God) and they get away with it what is basically a slap on the wrist. 

And after you beat them… for me the story stops. Yes you can go and beat some very powerful trainers and claim your title as whatever the thing in this game is and yes often that unlocks some post credit content but it’s bare. The big threat is gone.

“But,” I hear you say “It’s a DS/3DS game. There is only so much you can do.” Disagree. Phoenix Wright, Ghost Trick, Professor Layton and The Legend of Zelda OoT 3DS and Majora’s Mask all released on the same consoles and have a much richer story and even more characters. All games keep their pacing and the story really feels like it ends when the credits role. 

Then there is the overal quality. The main characters in Sun/Moon looks like someone forgot to progamme their soul in: /Screenshot take from THIS video/

I, again, easily could compare this other games who have much more expressions but let’s take one of Nintendo’s own;

There is so much more emotion in the Legend of Zelda one.  It released a few years earlier than Pokemon Sun/Moon too.

Second the frame rate drops like a hat. While some framerate drop is expected this much is a little too glaring to ignore.  To compare it to BoTW or Red Dead Redemption on the PS4, who both also have some frame rate issues at times it only happens in certain locations, usually a spot with lots of effects of NPCs. In my opinion, Pokemon does not have the luxery of that excuse. It would random drop in almost every location i was in.

The story

Every Pokemon has a story and I get that it’s basic. It’s a game for all ages after all. I get it won’t have a deep story like other games have. The basic gist of the game is to still enjoy catching all these mon’s with occasional story woven into it. But here is the thing that irks me; The little sneak peaks of story that we do get.. it’s good. It’s just so unfinished. It’s like there is a constant battle in the developers room betweeing writing a deep and interesting story (I’m not counting Pokemon Lore, just the story given in a game) and focussing on just the gameplay. There are many examples of rich story games with little gameplay (Grim Fandango, The Walking Dead, Almost every Visual Novel ever, Detroit; Become Human, just to name a few.) There are games with lots of gameplay and little story (Mobile games for example) and there are games that mix story and gameplay perfectly (Red Dead Redemption, Left 4 Dead 2, Persona 5 to name just a FEW examples) 

I feel Pokeon TRIES to be all three of these styles of games but ends up failing at everything.

Storywise they lured peopel in with Team Rainbow Rocket, like mentioned before this is for most people the reason they get drawn in; seeing their old baddies return and getting to interact with them again. It’s the same reason for me. But it feels unpolished, same with The Ultra Recon Squad. They seem like GREAT characters but again, so little is done with them that I feel there could be so much more.

Don’t change a winning team. 

Pokemon has been selling the same game to us for years. Again, I don’t blame them. Why bother. People like it, why change it? They try new gimmicks now and again and I respect them for trying. I personally like the Let’s Go Eevee/Pikachu versions. While they were FAR from perfect I can at least applaud them for doing something new and interesting. While at the same time trying to lure people who only played the mobile app into the main series by remake the first game all over again. Again, I understand. I would too if I were them.

But with Sword and Shield they are taking something away; Pokemon. And with that the whole thing comes undone. This is supposed to be THE Pokemon game, the big one, the game that will release on The Switch; home of BoTw and Mario Odyessy but also the upcoming Witcher 3, Skyrim. Games that are all much bigger than Pokemon and yet they took a vital part out of it.

The video is deleted now and I won’t link to the Chinese Bootleg game as it does steal user data, but the whole issue was the animations.  The animations in the bootleg were GOOD. And if we remember the amount of Pokemon makes per year they can afford themselves a team of good animators. This isn’t some indie studio who employs 20 people and have to live of Kickstarter donations, this is GAME FREAK, this is NINTENDO. And it’s not like they can’t, please remember Pokemon Stadium.  Look at the animation on that. Now remember that Legend of Zelda, Ocarina of Time, ALSO came out for the Nintendo 64 and got a beautiful update on the 3DS. If they can do that, surely they can port the animations.

And yes, I’m hearing you. You say that there are a lot of Pokemon.. but they’re taking a lot of them out of Sword and Shield. So there is no excuse for the battles to look like this. And remember this is the same console that has BoTW, one of the most applauded games in recent gaming history. A game with tons of content, tons of NPCs, tons of Items and has almost none of the issues Pokemon has.

I don’t care about USUM because it’s a lazy cash grab that adds nothing new to the table except some side story that doesn’t do anything to the main story. Play UsuM, Play SuMo, you’re basically getting the same game. Nintendo is smart and tries to sell you the same game twice due to a Pokemon being unique to a game. Meaning that if you want them all, you’re going to have to fork over 120 US dollars and guess what? That version is almost sold out where I live. So it’s working. And I don’t blame them. I am impressed.

Because I get the feeling that, with absolutely minimum effort they are forking in insane amounts of money.  Nintendo is a company. They need money. I don’t blame them for doing the things they do. I am however, entitled to my opinion and despite everything said above I will see myself getting a copy of Sword or Shield in the future. Because that is how it always is. Because I too, want to relive the moments of my youth when the biggest concern I had was chosing my starter.

[animeboston]

7 Things You Possibly Didn’t Know about Mario

Let’s face it: Mario is just as synonymous with video games as Pikachu, Sonic, or ridiculously priced downloadable content. In his panel Plumber’s Log: Through the Years with Mario, Shadow Wolf Z took video game fans on a tour of the life of everyone’s favorite turtle-stomping plumber.

Here are some highlights--and low-lights--of Mario’s history that were covered in the panel.

The character debuted in 1981 as the protagonist in Donkey Kong. Back then, he wasn’t even Mario; he was just known as “Jumpman” (a name that would be more fitting for Luigi). It wasn’t until the original Mario Bros. game a few years later that he would be named...and given a brother.

So, where did “Mario” come from? Video game creators definitely didn’t need to look far for their inspiration: he was named after Mario Segale, who was the landlord--not a plumber, but the landlord--renting the Nintendo company a warehouse outside of Seattle in the early 1980s. 

Super Mario Bros. 3, one of the most beloved games in the entire series, also had the absolute best commercial to promote it (despite it showing absolutely nothing about the game).

Mario makes cameo appearances in other Nintendo games, perhaps the most well-known being his role as the boxing ring ref in Punch-Out!!! He has also popped up in NES sports games Golf and Pinball and, if you angle it correctly, in a painting in the Legend of Zelda: Ocarina of Time.

If you were a child of the 80s, you no doubt remember the cringe-worthy Super Mario Bros. Super Show, which combined cartoons based off of Super Mario Bros. and (the North American version of) Super Mario Bros. 2 with low-budget, live-action segments starring wrestling star Captain Lou Albano as Mario and Canadian actor Danny Wells as Luigi.

This show was Oscar material compared to its replacement series: Club Mario. The (thankfully) short-lived series kept the cartoons intact, but replaced live-action Mario and Luigi with “Tommy Treehugger” and “Co M.C.,” two hip-as-far-as-out-of-touch-TV-executives-are-concerned Mario fanatics who spent their days on a rooftop in some random city.

Mario had countless video games. He had several TV series. He even had a movie (which we will never talk about in public). But did you know that he even had his own line of products? At the peak of his popularity in the late 1980s and early 1990s, Nintendo licensed their mascot for everything, from a breakfast cereal to mac and cheese to even shampoo.

--Mike Fenn, AB staff blogger