#yes adrian get that spooky lighting!!!!

[dontmixpaintinyourcoffee]

I love how down he is to do what Tabitha wants, it's so good.

Tabitha: The wails of my grief will forever echo through your bones. My vengeance knows no bounds, my hatred knows not of mercy. If blood be the price of my daughter's safety, it shall be paid by my own hands if not by my veins.

Adrian: Mood tbh, wanna stab something about it?

Tabitha: :D

Adrian Edwards the ghost-magnet that you are, how I adore you so.

[drawing-way-outside-the-lines]

💯 🐷 💘🍔 😊  for Andy,  💭 🍃 ❤️ 🤔 for Caspian, 🎮💤🎄🐉 🍦 for Willow and 🎻.🎶🍎💛🍸 for Raven please? <3

Ohhhh *rubs hands* thank you so much weasel <3 Surprised to find Raven instead of Adrian *wiggles eyebrows*

💯 HUNDRED POINTS SYMBOL — share three random facts about your oc that others may not know. Hahaha what don't you guys know by now? I'm a slut for talking about my boi! Aaaalright now... let's see what I can shake out of the Andy bag... 1. He prefers white wine over red, though he likes both, I mean, they are alcohol, right? 2. He used to write a diary, but he got tired of his own whining. 3. He secretly enjoys old Danish movies from the 40's-70's, but is for some reason embarrassed to commit to it in front of others???? 🐷 (previously answered) 💘 HEART WITH ARROW — what and/or who do(es) your oc consider the most important to them? His partners and kids are the absolute most important to him, equally. After all those people, there's a lot... comes his parents, uncle and then his friends/other family members. If I have to handpick just 5 people that would be the absolute most important, from my perspective, as in 5 he "couldn't live without", it would be: 1. Evan. 2. Congo. 3. Adrian. 4. Willow. 5. Raven. 6. Sam. But that's my opinion.

🍔 HAMBURGER — is your oc good at cooking? are they good at baking? which one do they prefer? Andy is very good at cooking and pretty good at baking as well. He 100% prefers cooking though, but his baking skills improved massively after he got Oscar, since he only live of sugary sweet things, Andy had to get skilled when it comes to making food for the little one. 😊 SMILING FACE WITH SMILING EYES — what are your oc’s career/general life desires? what do they want to get the most out of life? Andy is still a musician, he's just not as active as he used to back in the band days where they toured the world for years. He has been wanting to get back on stage, alas he hasn't had the balls to actually do it yet. What he most want in life is love and simply having the best time he can possibly have. Just being happy being alive, having fun, exploring, seeing, feeling, tasting.

💭 THOUGHT BALLOON — what is your oc’s MBTI, enneagram, and/or other personality aspects (if known/interested in)?

Well... yeah XD *snorts into my wine* and yes I took the test for him, enjoy! XD

🍃 LEAVES FLUTTERING IN WIND — what is/was your oc’s favorite subject in school? He absolutely hated school, not a single subject he liked, and he barely passed the exams.

❤️ RED HEART — what are three of your oc’s positive traits? Hm.. he's a pretty quick thinker, he's creative and he's not a quitter.

🤔 THINKING FACE — what are some of your oc’s quirks/mannerisms? He bites the skin of his thumb when he gets stressed/anxious. Just the very corners around the nail. And he always cracks eggs into a glass before throwing them on a pan, cause he absolutely can't stand eggshells in his food. It drives him up the wall!

🎮 VIDEO GAME CONTROLLER — what are three of your oc’s favorite hobbies? 1. Messing with her dad (Andy) 2. Shopping. 3. Drinking alcohol/getting drunk. 4. Talking shit. 💤 SLEEPING SIGN — is your oc a light sleeper or a heavy sleeper? how are their sleeping habits? She's definitely a heavy sleeper, and she always sleep naked unless it's with family or friends, then she'll wear panties and a tshirt. She sleeps in a big king sized bed with huge pillows and comforter blankets, with some sort of bright black/neon colored sheets, 'to make her dreams pop'. 🎄 CHRISTMAS TREE — what is your oc’s favorite holiday? Surprisingly perhaps it's Christmas and not Halloween. However, the spooky bitch has Halloween as a close 2nd. She just finds Christmas absolutely enchanting and magical. 🐉 DRAGON — what is your oc’s favorite mythical creature? Hands down unicorns. They remind her of her dad. But she also really likes mermaids/sirens (the real creepy kind, not the Disney version) Oh, and El Chubacabra. 🍦 SOFT ICE CREAM — what is/are your oc’s favorite ice cream flavor(s)? Willow is very into the brand Ben & Jerry's. Her top 3 favorite of those are: 1. Cherry Garcia. 2. Phish Food. 3. Red White & Blueberry.

🎻 VIOLIN — does your oc play any instruments? what is their skill level (beginner/intermediate/advanced/virtuoso/etc)? Technically he can play both Violin and Piano excellently. As a matter of fact he could do it professionally and with expertise, but he likes to overlook that he plays instruments, cause it's connected to something dark from his past. He also plays guitar really well. And he's perhaps more casual about that and doesn't hide it as well.

🎶 MUSICAL NOTES — what type of music does your oc like? do they listen to music very often? Raven has a very wide music taste, and can listen to pretty much anything. He perhaps surprisingly enough, is most into 60-70's Rock. He listens to music fairly often, mostly when he's home alone, where he tends to listen to classical music. 🍎 RED APPLE — where was your oc born? do they still live in/around their place of birth or do they live somewhere else? how do they feel about their birthplace? Raven was born in Ireland, about 1898 years ago, give or take. Possibly closer to 2000+ years ago, but if you ask him, you're going to get just as vague an answer as I am giving you now. Thing is, the McKinney clan is so old, they have stopped counting birthdays. However, his Grandfather has been alive since the dawn of time. Long before humans ever walked the Earth. Raven currently live away from the castle where he was born/grew up. But he still has a room there, and quite often visit. He's very attached to the place and it's still very much home to him.

💛 YELLOW HEART — how many languages does your oc speak? what language(s) are they learning, if any? He fluently speaks Irish, Scottish, English, Welch, French, Italian, Japanese, Spanish and German. And he speaks Norwegian, Icelandic, Russian and Dutch pretty well. 🍸 COCKTAIL GLASS — what is your oc’s favorite alcoholic drink, if they can drink? Most people would probably guess red wine, or Whiskey and he does like both very much. However cold beer, straight from the bottle is his favorite.

[symphonyofthewrite]

If These Walls Could Talk 

Freaking GORGEOUS cover art by Junki Sakuraba on Instagram and Deviantart!! Definitely go check him out!! His art is incredible, and from what I can tell he’s really nice dude. He absolutely went above and beyond with this prompt. 10/10 would commission again. (And probably will once I save up enough money XD)

The wonderful art later in the chaper is by niuan_ on instagram!!

It wasn’t made/commissioned for this fic--(though I’ve since commissioned her to make cover art for me, so stay tuned for those!)--but when I saw it I couldn’t believe it!! That’s one of my favorite images in this chapter, and I couldn’t believe another artist made a piece for the same idea independently!!

I'll put the links to their profiles either in the replies or a reblog (since tumblr is dumb about links)!!

Also, FYI, I'll be using this post as my "reblog post" meaning I'll reblog this post with the later chapters of this fic, so they're all in one place. So if you want to read more of this fic, check the reblogs on this post, chances are more chapters will be there!!

Comments and reblogs are MORE than appreciated!! If you have a spare minute you will really make my week, and motivate me to keep writing!!

Fandom: Castlevania Netflix

Summary: Vampires do not have reflections, and castles do not have hearts. But Dracula is no ordinary vampire, and Castlevania is no ordinary castle. If castles can fight, maybe they can think too.

The series, and Adrian’s childhood, told from the perspective of the castle.

Chapter Summary:

“My mother’s name was Lisa, and she was mortal…She actually showed up at his front door. She found the castle and banged the door with the pommel of her knife…She was remarkable. She beat on the door until my father let her in, and then demanded he teach her how to be a doctor.”

Chapter 1: "Lisa”

“Is this how the castle felt to you before my mother first arrived at your door?”

The castle doesn’t like children.

Well, maybe that’s too strong to say. It simply isn’t the place for them. Its existence is a signpost: leave me alone. It is not used to having company—much less a family—inside it, nor is it ready to welcome for a crying, puking, giggling thing into the world. It does not intend to be a cozy place to coddle him into adulthood.

The castle itself pierces the sky, its turrets and towers the dripping stain of the sun’s blood across the moon.

The bare walls hold no colorful tapestries for a child to enjoy, no paintings of its many inhabitants to tell of—for there was only ever one (and maybe that ought not change. It is safe to say the castle doesn’t like change). The royal red and gold carpets are more suited to kings; not designed for spit-up, mud, and scuffing. ‘Don’t play with that’ would be a motto around here; so many contraptions either easy to break, or which could break the child. The fireplaces, while almost always lit, only ever coughed warmth onto the floor before them—they provided no snug space to curl up on a winter’s day. Even the mirrors here are empty, holding nothing but a reflection of the bare walls they sit upon.

There are certain people who were seemingly born as they are; they never owned toys, never crawled on the floor, never walked with clumsy steps—their footfalls were always this calculated count—never burped on their mother’s nice shirts, and surely never had anything so dull as a childhood. They were always just…here, on the world. There was no innocence, and no losing it. So it was with Dracula.

The very thought of Dracula ever owning toys, even in some nice cottage far away from here, with a doting mother and an absent father, with a funny last name like Cronqvist, defied sense to the castle. So no, no toys here, nor any simple charts for learning; the books divulged their secrets to more mature minds. Just blood and books, gold and gears, forgotten magic means, mirrors that reflect nothing, and a pile of prayers to a good God they used to justify their ungood, and ungodly deeds.

All these things—or their absence—do not make for the picture of a baby-proof home.

The castle has grown accustomed to being cold and dark, and listening to one master alone. It’s not a quaint place lovers look on and think we’ll raise our kids here someday.

Its master isn’t the ideal father either—after all, the castle only reflected its king. Its master knows only of blood and nails, fangs and wails, words too big for a child’s mouth, and worlds too dark for a child’s heart.

Can he be soft? Can he be gentle? Can he keep those claws, which have ripped out better men’s hearts, from piercing a child’s—his child’s…how could one who killed so many have a child?—skin? He knows many spells, but is there one that can turn those screams into laughter?

He has been soft before. Once. And that is with this woman.

Many women have walked the castle’s halls: shivering, shrieking damsels at his feet; cold and calculating queens; fragile bodies on the floor, that he broke with the same regard a child does a vase that matters to someone else.

Those ordinary people who do come often have pitchforks in their mouths, and fiery words in their closed fists. Curses stacked on the end of stakes, banging like the castle is the church bell signifying their own funerals.

It is for this reason that the castle does not like outsiders, does not open its doors easily. But it cannot deny anyone entry. Unlike the humans’ doors, which find his master guilty until proven innocent.

They always came at night. At night, when the loudest sound is your own breathing. At night, when their fires echoed loudest, and their shouts burned brightest.

They came when the flowers were closed, when only the most eerie and vicious of animals played with the skins of their prey, and the moon waxed the world in cold, drunk shine. The sun could not watch them, could not show their blood-struck hands in their full glory.

She came at sunset. When the sun still glazed her deeds in sanguine auburn, but was just deciding to turn its gaze and let the kids have their fun. Not quite day, when the sun would kill things like Dracula, but not quite night, when the hours are named after witches, and lust is strongest—be it for the body, or the blood within it. Somewhere in between death and life, violence and peace.

This woman came with a knife in her hand, yes. But a knife, at least, was not a sword. It was not a pitchfork, a spear, a whip, or a stake; all weapons that signify, if the fight wasn’t there, you were bringing it with you. Not a war-starved weapon, pointing with mal-in—and -con—tent towards the castle doors and all the things inside it. Not a thirsty thing. Something that by default faced the other direction. Something that can start a fight if it wants to, but doesn’t crave it.

The golden woman came at sunset, with a knife in her hand, and looked upon this thing, this castle that others called ‘ugly’, and ‘monstrous,’ and ‘grotesque,’ looked upon it with awe, and gasped in wonder.

She knocked. She didn’t bang her fists upon the stone, didn’t ram pitchforks and assorted insults against the innocent doors, like how-dare-they protect their master.

She knocked, and the doors opened before she could raise her fist a second time. Maybe, just this once, not because they didn’t have any other choice.

The doors—foreboding, menacing, and all the other spooky -ings one can think of—opened to a world strewn in light; the demon’s castle looked brighter, more beautiful, more alive, than half the churches she’d been to.

Her footsteps were gentle against the castle’s floors. Not a slow, forced gentleness, but also not a piercing, purposeful march. There was no apprehension to her footsteps; her feet carried her as if anxious to take her to as many rooms as they could.

At first her steps were the only sound, enough to fool some into thinking they’re alone.

And it became clear both that she was not alone, and not a fool.

But when she saw the demon, she put the knife away, and used her words.

She used her words to repeat those she herself had heard: stories. But not the kind that make monstrous men run at the doors with naughts and crosses, the kind pious people buried along with all evidence that the world wasn’t made of black and white.

Not all the stories told that this place was cold and dark and full of death.

Amongst all the stories about death, there were others that said Vlad Tepes brought this castle to life with science, forbidden knowledge, and a little bit of lightning. Stories that say there is life here.

And, in exchange for proof that these life-stories true, Dracula asked for a trade, a trade that would prove the other stories true too. He gave up the killing a while ago—(the castle has been in one place a very long time)—but he was still not used to giving for free, and definitely not used to getting for free. Vampires trade in blood and names, not diamonds and declarations. Vampires trade in things they can swallow. This castle, too, had been a gaping hole set to swallow the world and everything that entered. Never once had it given.

And she dared to say, that this place, its master, should learn to give, when the humans have done nothing but take from them—or try their best to. He ought to be the one to invite her in, to ask what she would like, to dispense pleasant words and kind actions, when the humans forgot they invented hospitality, and showed no invitation for him to even enter their homes.

But she didn’t come with a mouth full of garlic, and hands full of superstition. Her feet did not drill holes in the floor with their sharp toll, they wandered the scenic route.

She was used to being cheated. Dracula and his castle were too. But that was not why she was there. She was not there for cheap tricks, or death. She wanted something real. A little bit of the life the castle has to offer.

Her defiance wasn’t that of a terrified citizen, or angry queen, either; rather the calm resolve of someone who is asking for something they know in their heart is good, and knows they will get it. The kind of person who believes there is good in everyone, and that this good will ultimately always win, and who won’t leave until they convince this good to show its face.

The castle has watched countless men and women cower at the foot of count Dracula. Some, do have a measure of god-sanctioned defiance; they come with whips and scourges to defeat him. The castle and the king are bound together in their resolve against them.

Except one. Except this woman. One human whom both master and castle found themselves reluctant to deny, cast away, or kill, maybe even…taken with.

She may be human, but she was not like the rest; she did not light the night on fire with her thirst for blood.

So maybe, just maybe, they could let one ray of sunlight slip through the cracks.

She was also not devoid of life, and maybe that was the key.

‘Devoid of life’ was an accurate portrayal of the castle. Bats flying out of blackness is a good description of a cave, and caves don’t usually come with the brochure ‘teeming with life’, or ‘great place to take your kids!’. The castle had a soul-sucking quality to it; those who entered often found themselves leaving less alive than they arrived. It took after its vampire master. Those who didn’t actually lose their lives within its walls, often remarked upon leaving that the flowers bloomed brighter, the birds sang louder, the grass was greener, and that they missed the sunlight.

Sunlight. Such a base thing; vampires don’t need the light or warmth to be happy.

Sunlight. Such a base way to die; wanting to get out of the cold and the dark.

“Is this how the castle felt to you before my mother first arrived at your door?”

Castlevania was alive once. Once Dracula set the pumps, and its heart began to beat. He turned the gears, and its lungs inhaled. He forged the lightning, and it began to think. Once the books, full of unknown knowledge, jumped off the shelves to get the vampire king’s attention. He filled the bottles and beakers, and they bubbled, as if laughing at a joke only they shared.

They were both alive, once.

That waned, with time. The gears got arthritis, the books caught pneumonia, the experiments atrophied. The castle ached before she came.

And Dracula, alone in the halls, picking up books and putting them down again without so much as a polite glance through them, because he read them all before. Dracula looking into fractured mirrors that could take him anywhere, but deciding there wasn’t anywhere he wanted to go. Dracula, looking into old mirrors that don’t reflect him—like there was never anything to reflect, nothing alive here to begin with, and there isn’t a master for this castle after all. Nothing but a grave. Dracula sitting alone in his study, staring into the fire. No one to talk to. No sound but flipping pages and crackling fires—nothing alive. Alive but dead. This castle. Its master. Undead is the proper term.

The other women who came through here reflected the castle, or else the castle took the life out of them the moment they entered. Queens with malice-stained past, and cracked, icy future in their eyes. Just as cold as the walls. Subjects, humans throwing gruesome insults, silky flattery, or fluttering pleas at his feet. Just as empty as the mirrors.

Only one refused the castle’s bite. Only one walked in looking for life, rather than death. Looking for a thing no one thought existed here. Already presumed dead. Put six feet beneath the ground. But maybe it was here all along; maybe the light hid in the castle’s corners while the dark came out to play, and she just had to coax it out of its hiding places. Maybe the bell was ringing all this time, she was the only one who came close enough to hear it; the only one who came to put flowers on the grave.

Maybe when she felt the machinery pumping she knew the rhythm was a heartbeat. Maybe when she heard the gears clanking she knew it was the sound of inhaling and exhaling. Maybe when she saw the lightning, she wondered what it was thinking. Maybe she looked at these books, these instruments, and saw what the vampire king saw once; something alive. They weren’t dead yet—un- or otherwise. Just sick, and in need of proper treatment. She was a doctor after all. Maybe her first subject was the very books she learned from.

Lisa, who looked at this blotch on the sky, with Death in its towers, and darkness splattered on its walls, and thought that’s where I’ll learn to heal people. Lisa, who gaped in amazement at the beast of a building. Lisa, who didn’t shudder upon entering. Lisa, who didn’t scream when its master touched her, but turned to him with calm resolve, and told him she’d teach him to be more human. Lisa, who’s life eclipsed the undeath in this place.

And there was a trade that occurred that day. For Dracula’s immortal knowledge, Lisa would teach him how to live a mortal life. To travel the world as a man, to walks as a man, to eat and drink, laugh and cry, as a man. Immortality for mortality. They gave each other the world, as so many lovers promise to do. Vlad would make her immortal, and Lisa would make him mortal, with no exchange blood.

(Except to create a thing with both their blood running through it.)

So maybe, after all this talk of life, it is fitting that she wants to create life inside this castle.

Fitting, maybe. Fitting for her. But the castle is not mortal yet, and wishes it could protest that it isn’t the right size, refuse to try on the idea.

Dracula is apprehensive as well, for the castle and he are used to each other, they take after each other, because the cold, and the dark, and the death, and the alone does something to you after a while; you start talking to the walls. After the cold queens and quaking colleens leave, or leave their bloodstains the floor. After the beasts and their silver-stained bullets turn back into righteous men in the sun. After he simply outlives everyone else. When all the living things hate, fear, or else betray you, when all the living things can die, and you, who are undead, cannot, it’s the lifeless things that stand firm by your side. When the day ends and the shadows come out to play, when you’re the only one left, in the end you still have the walls. And then…the walls are all you have. And if you talk to them long enough you make a sort of pact, spoken or silent, with those speechless stones: ‘you’re the only one I can trust.’

Dracula speaks to them one day, says he wonders if he can do this, be a father at all, not to mention a good one. The castle cannot reply. But something deep inside the walls wonders if it might be nice to hear Dracula laugh. It might be nice to put on some different clothes. It might be nice for someone new to listen to from time to time. It might be nice to live again.

The castle is concerned. Used to doing things one way, being one way, and only hearing one voice. But that doesn’t mean it is unwilling, that it intends to kill the child.

It never kills anything—Dracula does that. It cannot do anything on its own, and that includes change.

The castle doesn’t like change.

…But that doesn’t mean it won’t.

And if its going to change, its master must change first. They must change together.

Vampires do not have reflections. But Dracula has a castle, and that castle will be damned if it isn’t his mirror.

Reflections are simple to change; put on some makeup, some war paint, a new change of clothes, get a piercing somewhere. Simple, yes, but not easy, to change completely, because that doesn’t mean anything’s changed inside.

The castle did not come equipped for child-rearing; there are no rooms full of toys and cradles and school supplies.

So if this is to be, they must build their son’s world themselves.

Together they set aside a room for the child’s arrival. Just one, single room. And the castle too knows, from the start, this room will be different from all the rest. They will put paintings on the walls, and banners in the halls; things to interest him, to tell him of his parents, at least, even if there are few other relatives to spend Christmas with. The carpets will be darker, instead of the stringent red, and they will make their words smaller, the books easier to understand. The rest of the castle is warm in color, but cool in atmosphere. This room will be cool in color, but warm in atmosphere. The fire will always be set in its place, and they will try their best to make sure the warmth reaches him; if the fire fails, they will knit blankets; if the blankets fail they will make him tea, or warm milk with honey; and when everything else fails they will hold him. If there are tears here, scornful stares will not greet them, instead, kisses and lullabies will be behind door number three. If this room lives, it will be because of something much softer than pounding metal and lighting.

If a child is to live here, they must change that reflection. Everything Dracula’s castle appears to be, this room will be the reverse. Separate. Something… other than the castle.

This room will bottle all the laughter had in this castle. This room will be made of and for living, not the death the rest of the place is steeped in. So much so that this room will not stand for bloodshed.

Lisa brings in supplies from her town; color and cloth, boards and brushes, needle, and thread, and paper; all the things one needs to build a universe.

It is Dracula who takes the paint, who changes the color to something other than the blacks and reds of the rest of the Vampire’s world, cementing on the walls themselves You will not be dark here, my castle. You will be kind to him, Castlevania. The castle doesn’t know its master to work with his hands like a human, but Vlad is not the same within this room either—this room is part of the trade. He doesn’t use magic, or science, as if he is telling himself with every hammer that they are going to change together, the way one does when talking to the mirror.

Lisa sits in a chair and stiches together cloth and fur to make little creatures, toys for the boy to play with. Soft things, not sharp. They are reflections too, littler, simpler ones, of the creatures howling and prowling outside the castle’s walls, or scurrying within them.

But it is the ceiling that is the crowning jewel of the room. Something they paint together—splashing it onto each other’s clothes and noses.

His parents love the stars. They often walk outside the castle walls, fingers knit into each other’s, to gaze at them. They are scholars at soul, and have charted the constellations. They want their child to be able to do the same, to watch the stars, even if he’s not outside. At the end of every day they want him to be sung to sleep by the symphony of the night.

For them, maybe, but to the castle, one of the most interesting things about this room, is the mirror. This is strange, as, while there are other mirrors in this house, they are nothing more than a silver decoration; they have no purpose here, unless they float in shards and possibility. This is an ordinary mirror. It does hold something now, however, and that’s Lisa—only giving more credence to the idea that she is the only living thing in this castle. The castle wonders if they think it will reflect the child, as if they are hoping he will take after his mother and the room.

The mirror, and the windows. In the rest of the castle, the windows are always closed, curtained, or too small to let any real light in. But here they are big, and inviting to all the wiles of the day. Dracula protested—fearing he would burn. Lisa insisted—hoping he would shine.

The mirror, the room, are empty now. The windows closed. The books and charts dormant as the rest. It is not dead, but it’s not alive either. Not even undead. Just a question. An almost.

The room lays on Frankenstein’s table; just one lightning strike—(or one child’s laugh)—away from breathing.

[antihero-writings]

If These Walls Could Talk Chapter 1: “Lisa”—Castlevania (Netflix) Fic (Full chapter!!)

Fic Title: If These Walls Could Talk 

Synopsis: Vampires do not have reflections, and castles do not have hearts. But Dracula is no ordinary vampire, and Castlevania is no ordinary castle. If castles can fight, maybe they can think too. 

The series, and Adrian’s childhood, told from the perspective of the castle.

Notes: I was writing a different Castlevania fic when I started describing things as if from the castle’s perspective...and I thought that was a very interesting idea, so this happened. The idea was also inspired by Sypha’s “it’s fighting me!" I thought that was really interesting because she was speaking almost as if the castle were a living thing. And, well, I love personifying things.

Also, ever since reading @izabellwit's a loyal heart  fic I’ve wanted to try writing something from a non-human perspective. And boy was it worth it. This has got to be one of my favorite fics I’ve written, honestly! 

Plus I really wanted to write about Alucard's childhood, and I thought this was a great way to do so somewhat comprehensively, but also concisely. I thought it was just an interesting idea, and that Sypha’s was kind of an offhand comment, but when I rewatched a few scenes for research, I realized…I think this idea is actually supposed to exist within the canon. There are subtler references to the castle having an alive-ness, Sypha’s is just the easiest to catch. I’m curious if anyone agrees, especially after reading.

 I have a very limited knowledge of the games, but I'm trying to learn more about them, and really like working in little references to them here and there! 

I was originally planning on posting this as one long thing (and I may still do so after I finish), because the sections are very much connected and meant to flow into each other, and I think it’ll be easy to miss things if they’re separate. But I realized it would be easier, both for me to post, and for people to read, in bite size-pieces. Plus it has very clear-cut sections that are easy to split into chapters. So here you go!!

Chapter 1 (of 8), She Came at Sunset: 

“Is this how the castle felt to you before my mother first arrived at your door?”

  The castle doesn’t like children.

Well, maybe that’s too strong to say. It simply isn’t the place for them. Its existence is a signpost: leave me alone. It is not used to having company—much less a family—inside it, nor is it ready to welcome for a crying, puking, giggling thing into the world. It does not intend to be a cozy place to coddle him into adulthood.

The castle itself pierces the sky, its turrets and towers the dripping stain of the sun’s blood across the moon.

The bare walls hold no colorful tapestries for a child to enjoy, no paintings of its many inhabitants to tell of—for there was only ever one (and maybe that ought not change. It is safe to say the castle doesn’t like change). The royal red and gold carpets are more suited to kings; not designed for spit-up, mud, and scuffing. ‘Don’t play with that’ would be a motto around here; so many contraptions either easy to break, or which could break the child. The fireplaces, while almost always lit, only ever coughed warmth onto the floor before them—no snug space to curl up in, on a winter’s day. Even the mirrors here are empty, holding nothing but a reflection of the bare walls they sit upon.

There are certain people who were seemingly born as they are; they never owned toys, never crawled on the floor, never walked with clumsy steps—their footfalls were always this calculated count—never burped on their mother’s nice shirts, and surely never had anything so dull as a childhood. They were always just…here, on the world. There was no innocence, and no losing it. So it was with Dracula.

The very thought of Dracula ever owning toys, even in some nice cottage far away from here, with a doting mother and an absent father, with a funny last name like Cronqvist, defied sense to the castle. So no, no toys here, nor any simple charts for learning; the books divulged their secrets to more mature minds. Just blood and books, gold and gears, forgotten magic means, mirrors that reflect nothing, and a pile of prayers to a good God they used to justify their ungood, and ungodly deeds.

All these things—or their absence—do not make for the picture of a baby-proof home.

The castle has grown accustomed to being cold and dark, and listening to one master alone. It’s not a quaint place lovers look on and think we’ll raise our kids here someday.

Its master isn’t the ideal father either—after all, the castle only reflected its king. Its master knows only of blood and nails, fangs and wails, words too big for a child’s mouth, and worlds too dark for a child’s heart.

Can he be soft? Can he be gentle? Can he keep those claws, which have ripped out better men’s hearts, from piercing a child’s—his child’s…how could one who killed so many have a child?—skin? He knows many spells, but is there one that can turn those screams into laughter?

He has been soft before. Once. And that is with this woman.

Many women have walked the castle’s halls: shivering, shrieking damsels at his feet; cold and calculating queens; fragile bodies on the floor, that he broke with the same regard a child does a vase that matters to someone else.

Those ordinary people who do come often have pitchforks in their mouths, and fiery words in their closed fists. Curses stacked on the end of stakes, banging like the castle is the church bell signifying their own funerals.

It is for this reason that the castle does not like outsiders, does not open its doors easily. But it cannot deny anyone entry. Unlike the humans’ doors, which find his master guilty until proven innocent.

They always came at night. At night, when the loudest sound is your own breathing. At night, when their fires echoed loudest, and their shouts burned brightest.

They came when the flowers were closed, when only the most eerie and vicious of animals played with the skins of their prey, and the moon waxed the world in cold, drunk shine. The sun could not watch them, could not show their blood-struck hands in their full glory.

She came at sunset. When the sun still glazed her deeds in sanguine auburn, but was just deciding to turn its gaze and let the kids have their fun. Not quite day, when the sun would kill things like Dracula, but not quite night, when the hours are named after witches, and lust is strongest—be it for the body, or the blood within it. Somewhere in between death and life, violence and peace.

This woman came with a knife in her hand, yes. But a knife, at least, was not a sword. It was not a pitchfork, a spear, a whip, or a stake; all weapons that signify, if the fight wasn’t there, you were bringing it with you. Not a war-starved weapon, pointing with mal-in—and -con—tent towards the castle doors and all the things inside it. Not a thirsty thing. Something that by default faced the other direction. Something that can start a fight if it wants to, but doesn’t crave it.

The golden woman came at sunset, with a knife in her hand, and looked upon this thing, this castle that others called ‘ugly’, and ‘monstrous,’ and ‘grotesque,’ looked upon it with awe, and gasped in wonder.

She knocked. She didn’t bang her fists upon the stone, didn’t ram pitchforks and assorted insults against the innocent doors, like how-dare-they protect their master.

She knocked, and the doors opened before she could raise her fist a second time. Maybe, just this once, not because they didn’t have any other choice.

The doors—foreboding, menacing, and all the other spooky -ings one can think of—opened to a world strewn in light; the demon’s castle looked brighter, more beautiful, more alive, than half the churches she’d been to.

Her footsteps were gentle against the castle’s floors. Not a slow, forced gentleness, but also not a piercing, purposeful march. There was no apprehension to her footsteps; her feet carried her as if anxious to take her to as many rooms as they could.

At first her steps were the only sound, enough to fool some into thinking they’re alone.

And it became clear both that she was not alone, and not a fool.

But when she saw the demon, she put the knife away, and used her words.

She used her words to repeat those she herself had heard; stories, but not the kind that make monstrous men run at the doors with naughts and crosses; the kind pious people buried along with all evidence that the world wasn’t made of black and white.

Not all the stories told that this place was cold and dark and full of death. Not all the stories make humans want to run at the doors with garlic and arrows, or else stay far away.

Amongst all the stories about death, there were others; stories that said Vlad Tepes brought this castle to life with science, forbidden knowledge, and a little bit of lightning. Stories that say there is life here.

And, in exchange for proof that these life-stories true, Dracula asked for a trade, a trade that would prove the other stories true too. He gave up the killing a while ago—(the castle has been in one place a very long time)—but he was still not used to giving for free, and definitely not used to getting for free. Vampires trade in blood and names, not diamonds and declarations. Vampires trade in things they can swallow. This castle, too, had been a gaping hole set to swallow the world and everything that entered. Never once had it given.

And she dared to say, that this place, its master, should learn to give, when the humans have done nothing but take from them—or try their best to. He ought to be the one to invite her in, to ask what she would like, to dispense pleasant words and kind actions, when the humans forgot they invented hospitality, and showed no invitation for him to even enter their homes. But she didn’t come with a mouth full of garlic, and hands full of superstition. Her feet did not drill holes in the floor with their sharp toll, they wandered the scenic route.

She was used to being cheated. Dracula and his castle were too. But that was not why she was there. She was not there for cheap tricks, or death. She wanted something real. A little bit of the life the castle has to offer.

Her defiance wasn’t that of a terrified citizen, or angry queen, either; rather the calm resolve of someone who is asking for something they know in their heart is good, and knows they will get it. The kind of person who believes there is good in everyone, and that this good will ultimately always win, and who won’t leave until they convince this good to show its face.

The castle has watched countless men and women cower at foot of count Dracula. Some, do have a measure of god-sanctioned defiance; they come with whips and scourges to defeat him. The castle and the king are bound together in their resolve against them.

Except one. Except this woman, with her mouth full of healing salve and her hands full of curiosity. One human whom both master and castle found themselves reluctant to deny, cast away, or kill, maybe even…taken with.

She may be human, but she was not like the rest; she did not light the night on fire with her thirst for blood.

So maybe, just maybe, they could let one ray of sunlight slip through the cracks.

She was also not devoid of life, and maybe that was the key.

‘Devoid of life’ was an accurate portrayal of the castle. Bats flying out of blackness is a good description of a cave, and caves don’t usually come with the brochure ‘teeming with life’, or ‘great place to take your kids!’. The castle had a soul-sucking quality to it; those who entered often found themselves leaving less alive than they arrived. It took after its vampire master. Those who didn’t actually lose their lives within its walls, often remarked upon leaving that the flowers bloomed brighter, the birds sang louder, the grass was greener, and that they missed the sunlight.

Sunlight. Such a base thing; vampires don’t need the light or warmth to be happy.

Sunlight. Such a base way to die; wanting to get out of the cold and the dark.

  “Is this how the castle felt to you before my mother first arrived at your door?”

  Castlevania was alive once. Once Dracula set the pumps, and its heart began to beat. He turned the gears, and its lungs inhaled. He forged the lightning, and it began to think. Once the books, full of unknown knowledge, jumped off the shelves to get the vampire king’s attention. He filled the bottles and beakers, and they bubbled, as if laughing at a joke only they shared.

They were both alive, once.

That waned, with time; the gears got arthritis, the books caught pneumonia, the experiments atrophied. The castle ached before she came.

And Dracula, alone in the halls, picking up books and putting them down again without so much as a polite glance through them, because he read them all before. Dracula looking into fractured mirrors that could take him anywhere, but deciding there wasn’t anywhere he wanted to go. Dracula, looking into old mirrors that don’t reflect him—like there was never anything to reflect, nothing alive here to begin with, and there isn’t a master for this castle after all. Nothing but a grave. Dracula sitting alone in his study, staring into the fire. No one to talk to. No sound but flipping pages and crackling fires—nothing alive. Alive but dead. This castle. Its master. Undead is the proper term.

The other women who came through here reflected the castle, or else the castle took the life out of them the moment they entered. Queens with malice-stained past, and cracked, icy future in their eyes. Just as cold as the walls. Subjects, humans throwing gruesome insults, silky flattery, or fluttering pleas at his feet. Just as empty as the mirrors.

Only one refused the castle’s bite. Only one walked in looking for life, rather than death. Looking for a thing no one thought existed here. Already presumed dead. Put six feet beneath the ground. But maybe it was here all along; maybe the light hid in the castle’s corners while the dark came out to play, and she just had to coax it out of its hiding places. Maybe the bell was ringing all this time, she was the only one who came close enough to hear it; the only one who came to put flowers on the grave.

Maybe when she felt the machinery pumping she knew the rhythm was a heartbeat. Maybe when she heard the gears clanking she knew it was the sound of inhaling and exhaling. Maybe when she saw the lightning, she wondered what it was thinking. Maybe she looked at these books, these instruments, and saw what the vampire king saw once; something alive. They weren’t dead yet—un- or otherwise. Just sick, and in need of proper treatment. She was a doctor after all. Maybe her first subject was the very books she learned from.

Lisa, who looked at this blotch on the sky, with Death in its towers, and darkness splattered on its walls, and thought that’s where I’ll learn to heal people. Lisa, who gaped in amazement at the beast of a building. Lisa, who didn’t shudder upon entering. Lisa, who didn’t scream when its master touched her, but turned to him with calm resolve, and told him she’d teach him to be more human. Lisa, who’s life eclipsed the undeath in this place.

And there was a trade that occurred that day. For Dracula’s immortal knowledge, Lisa would teach him how to live a mortal life. To travel the world as a man, to walks as a man, to eat and drink, laugh and cry, as a man. Immortality for mortality. They gave each other the world, as so many lovers promise to do. Vlad would make her immortal, and Lisa would make him mortal, with no exchange blood.

(Except to create a thing with both their blood running through it.)

So maybe, after all this talk of life, it is fitting that she wants to create life inside this castle.

Fitting, maybe. Fitting for her. But the castle is not mortal yet, and wishes it could protest that it isn’t the right size, refuse to try on the idea.

Dracula is apprehensive as well, for the castle and he are used to each other, they take after each other, because the cold, and the dark, and the death, and the alone does something to you after a while; you start talking to the walls. After the cold queens and quaking colleens leave, or leave their bloodstains the floor. After the beasts and their silver-stained bullets turn back into righteous men in the sun. After he simply outlives everyone else. When all the living things hate, fear, or else betray you, when all the living things can die, and you, who are undead, cannot, it’s the lifeless things that stand firm by your side. When the day ends and the shadows come out to play, when you’re the only one left, in the end you still have the walls. And then…the walls are all you have. And if you talk to them long enough you make a sort of pact, spoken or silent, with those speechless stones: ‘you’re the only one I can trust.’

Dracula speaks to them one day, says he wonders if he can do this, be a father at all, not to mention a good one. The castle cannot reply. But something deep inside the walls wonders if it might be nice to hear Dracula laugh. It might be nice to put on some different clothes. It might be nice be nice for someone new to listen to from time to time. It might be nice to live again.

The castle is concerned. Used to doing things one way, being one way, and only hearing one voice. But that doesn’t mean it is unwilling, that it intends to kill the child.

It never kills anything—Dracula does that. It cannot do anything on its own, and that includes change.

The castle doesn’t like change.

…But that doesn’t mean it won’t.

And if its going to change, its master must change first. They must change together.

Vampires do not have reflections. But Dracula has a castle, and that castle will be damned if it isn’t his mirror.

Reflections are simple to change; put on some makeup, some war paint, a new change of clothes, get a piercing somewhere. Simple, yes, but not easy, to change completely, because that doesn’t mean anything’s changed inside.

The castle did not come equipped for child-rearing; there are no rooms full of toys and cradles and school supplies.

So if this is to be, they must build their son’s world themselves.

Together they set aside a room for the child’s arrival. Just one, single room. And the castle too knows, from the start, this room will be different from all the rest. They will put paintings on the walls, and banners in the halls; things to interest him, to tell him of his parents, at least, even if there are few other relatives to spend Christmas with. The carpets will be darker, instead of the stringent red, and they will make their words smaller, the books easier to understand. The rest of the castle is warm in color, but cool in atmosphere. This room will be cool in color, but warm in atmosphere. The fire will always be set in its place, and they will try their best to make sure the warmth reaches him; if the fire fails, they will knit blankets; if the blankets fail they will make him tea, or warm milk with honey; and when everything else fails they will hold him. If there are tears here, scornful stares will not greet them, instead, kisses and lullabies will be behind door number three. If this room lives, it will be because of something much softer than pounding metal and lighting.

If a child is to live here, they must change that reflection. Everything Dracula’s castle appears to be, this room will be the reverse. Separate. Something… other than the castle.

This room will bottle all the laughter had in this castle. This room will be made of and for living, not the death the rest of the place is steeped in. So much so that this room will not stand for bloodshed.

Lisa brings in supplies from her town; color and cloth, boards and brushes, needle, and thread, and paper; all the things one needs to build a universe.

It is Dracula who takes the paint, who changes the color to something other than the blacks and reds of the rest of the Vampire’s world, cementing on the walls themselves You will not be dark here, my castle. You will be kind to him, Castlevania. The castle doesn’t know its master to work with his hands like a human, but Vlad is not the same within this room either—this room is part of the trade. He doesn’t use magic, or science, as if he is telling himself with every hammer that they are going to change together, the way one does when talking to the mirror.

Lisa sits in a chair and stiches together cloth and fur to make little creatures, toys for the boy to play with. Soft things, not sharp. They are reflections too, littler, simpler ones, of the creatures howling and prowling outside the castle’s walls, or scurrying within them.

But it is the ceiling that is the crowning jewel of the room. Something they paint together—splashing it onto each other’s clothes and noses.

His parents love the stars. They are scholars at soul, and have charted the constellations, walked outside, fingers knit into each other’s, to gaze at them, and they want their child to be able to do the same, even if he’s not outside. At the end of every day they want him to be sung to sleep by the symphony of the night.

For them, maybe, but to the castle, one of the most interesting things about this room, is the mirror. This is strange, as, while there are other mirrors in this house, they are nothing more than a silver decoration; they have no purpose here, unless they float in shards and possibility. This is an ordinary mirror. It does hold something now, however, and that’s Lisa—only giving more credence to the idea that she is the only living thing in this castle. The castle wonders if they think it will reflect the child, as if they are hoping he will take after his mother and the room.

The mirror, and the windows. In the rest of the castle, the windows are always closed, curtained, or too small to let any real light in. But here they are big, and inviting to all the wiles of the day. Dracula protested—fearing he would burn. Lisa insisted—hoping he would shine.

The mirror, the room, are empty now. The windows closed. The books and charts dormant as the rest. It is not dead, but it’s not alive either. Not even undead. Just a question. An almost.

The room lays on Frankenstein’s table; just one lightning strike—(or one child’s laugh)—away from breathing.

[symphonyofthewrite]

If These Walls Could Talk (Ch1)

Fandom: Castlevania Netflix

Summary: Vampires do not have reflections, and castles do not have hearts. But Dracula is no ordinary vampire, and Castlevania is no ordinary castle. If castles can fight, maybe they can think too.

The series, and Adrian’s childhood, told from the perspective of the castle.

Chapter Summary: “My mother’s name was Lisa, and she was mortal…She actually showed up at his front door. She found the castle and banged the door with the pommel of her knife…She was remarkable. She beat on the door until my father let her in, and then demanded he teach her how to be a doctor.”

Notes: 

This is a fic I’ve had up for a while, that people seem to really like!! Not sure why I took this long to post it over here XD I’ll post the next chapters I have over the next few days or so, but if you can’t wait they’re over on my fanfiction blog @antihero-writings, as well as in my fic masterlist over there!! (And technically in my masterlist here, but it's messed up right now XD)

I was writing a different Castlevania fic--(”Such Fragile Things”, if you’re curious)--when I started describing things as if from the castle’s perspective...and I thought that was a very interesting idea, so this happened. The idea was also inspired by Sypha’s “it’s fighting me!" I thought that was really interesting because she was speaking almost as if the castle were a living thing. I was originally planning on posting this as one long thing (and I may still do so after I finish), because the sections are very much connected and meant to flow into each other, and I think it’ll be easy to miss things if they’re separate. But I realized it would be easier, both for me to post, and for people to read, in bite size-pieces. Plus it has very clear-cut sections that are easy to split into chapters. So... here you go!!

If you enjoyed this, I’d really appreciate if you could leave me a comment and/or reblog!!

If you are a fan artist who is interested in making cover art for this fic PLEASE don’t hesitate to message me!! I have a very specific idea for cover art for the chapters but it would cost too much to commission so many pieces...So yeah, if you’re interested, I’d love it if you could reach out!!

Chapter 1: "Lisa"

“Is this how the castle felt to you before my mother first arrived at your door?”

The castle doesn’t like children.

Well, maybe that’s too strong to say. It simply isn’t the place for them. Its existence is a signpost: leave me alone. It is not used to having company—much less a family—inside it, nor is it ready to welcome for a crying, puking, giggling thing into the world. It does not intend to be a cozy place to coddle him into adulthood.

The castle itself pierces the sky, its turrets and towers the dripping stain of the sun’s blood across the moon.

The bare walls hold no colorful tapestries for a child to enjoy, no paintings of its many inhabitants to tell of—for there was only ever one (and maybe that ought not change. It is safe to say the castle doesn’t like change). The royal red and gold carpets are more suited to kings; not designed for spit-up, mud, and scuffing. ‘Don’t play with that’ would be a motto around here; so many contraptions either easy to break, or which could break the child. The fireplaces, while almost always lit, only ever coughed warmth onto the floor before them—they provided no snug space to curl up on a winter’s day. Even the mirrors here are empty, holding nothing but a reflection of the bare walls they sit upon.

There are certain people who were seemingly born as they are; they never owned toys, never crawled on the floor, never walked with clumsy steps—their footfalls were always this calculated count—never burped on their mother’s nice shirts, and surely never had anything so dull as a childhood. They were always just…here, on the world. There was no innocence, and no losing it. So it was with Dracula.

The very thought of Dracula ever owning toys, even in some nice cottage far away from here, with a doting mother and an absent father, with a funny last name like Cronqvist, defied sense to the castle. So no, no toys here, nor any simple charts for learning; the books divulged their secrets to more mature minds. Just blood and books, gold and gears, forgotten magic means, mirrors that reflect nothing, and a pile of prayers to a good God they used to justify their ungood, and ungodly deeds.

All these things—or their absence—do not make for the picture of a baby-proof home.

The castle has grown accustomed to being cold and dark, and listening to one master alone. It’s not a quaint place lovers look on and think we’ll raise our kids here someday.

Its master isn’t the ideal father either—after all, the castle only reflected its king. Its master knows only of blood and nails, fangs and wails, words too big for a child’s mouth, and worlds too dark for a child’s heart.

Can he be soft? Can he be gentle? Can he keep those claws, which have ripped out better men’s hearts, from piercing a child’s—his child’s…how could one who killed so many have a child?—skin? He knows many spells, but is there one that can turn those screams into laughter?

He has been soft before. Once. And that is with this woman.

Many women have walked the castle’s halls: shivering, shrieking damsels at his feet; cold and calculating queens; fragile bodies on the floor, that he broke with the same regard a child does a vase that matters to someone else.

Those ordinary people who do come often have pitchforks in their mouths, and fiery words in their closed fists. Curses stacked on the end of stakes, banging like the castle is the church bell signifying their own funerals.

It is for this reason that the castle does not like outsiders, does not open its doors easily. But it cannot deny anyone entry. Unlike the humans’ doors, which find his master guilty until proven innocent.

They always came at night. At night, when the loudest sound is your own breathing. At night, when their fires echoed loudest, and their shouts burned brightest.

They came when the flowers were closed, when only the most eerie and vicious of animals played with the skins of their prey, and the moon waxed the world in cold, drunk shine. The sun could not watch them, could not show their blood-struck hands in their full glory.

She came at sunset. When the sun still glazed her deeds in sanguine auburn, but was just deciding to turn its gaze and let the kids have their fun. Not quite day, when the sun would kill things like Dracula, but not quite night, when the hours are named after witches, and lust is strongest—be it for the body, or the blood within it. Somewhere in between death and life, violence and peace.

This woman came with a knife in her hand, yes. But a knife, at least, was not a sword. It was not a pitchfork, a spear, a whip, or a stake; all weapons that signify, if the fight wasn’t there, you were bringing it with you. Not a war-starved weapon, pointing with mal-in—and -con—tent towards the castle doors and all the things inside it. Not a thirsty thing. Something that by default faced the other direction. Something that can start a fight if it wants to, but doesn’t crave it.

The golden woman came at sunset, with a knife in her hand, and looked upon this thing, this castle that others called ‘ugly’, and ‘monstrous,’ and ‘grotesque,’ looked upon it with awe, and gasped in wonder.

She knocked. She didn’t bang her fists upon the stone, didn’t ram pitchforks and assorted insults against the innocent doors, like how-dare-they protect their master.

She knocked, and the doors opened before she could raise her fist a second time. Maybe, just this once, not because they didn’t have any other choice.

The doors—foreboding, menacing, and all the other spooky -ings one can think of—opened to a world strewn in light; the demon’s castle looked brighter, more beautiful, more alive, than half the churches she’d been to.

Her footsteps were gentle against the castle’s floors. Not a slow, forced gentleness, but also not a piercing, purposeful march. There was no apprehension to her footsteps; her feet carried her as if anxious to take her to as many rooms as they could.

At first her steps were the only sound, enough to fool some into thinking they’re alone.

And it became clear both that she was not alone, and not a fool.

But when she saw the demon, she put the knife away, and used her words.

She used her words to repeat those she herself had heard: stories. But not the kind that make monstrous men run at the doors with naughts and crosses, the kind pious people buried along with all evidence that the world wasn’t made of black and white.

Not all the stories told that this place was cold and dark and full of death.

Amongst all the stories about death, there were others that said Vlad Tepes brought this castle to life with science, forbidden knowledge, and a little bit of lightning. Stories that say there is life here.

And, in exchange for proof that these life-stories true, Dracula asked for a trade, a trade that would prove the other stories true too. He gave up the killing a while ago—(the castle has been in one place a very long time)—but he was still not used to giving for free, and definitely not used to getting for free. Vampires trade in blood and names, not diamonds and declarations. Vampires trade in things they can swallow. This castle, too, had been a gaping hole set to swallow the world and everything that entered. Never once had it given.

And she dared to say, that this place, its master, should learn to give, when the humans have done nothing but take from them—or try their best to. He ought to be the one to invite her in, to ask what she would like, to dispense pleasant words and kind actions, when the humans forgot they invented hospitality, and showed no invitation for him to even enter their homes.

But she didn’t come with a mouth full of garlic, and hands full of superstition. Her feet did not drill holes in the floor with their sharp toll, they wandered the scenic route.

She was used to being cheated. Dracula and his castle were too. But that was not why she was there. She was not there for cheap tricks, or death. She wanted something real. A little bit of the life the castle has to offer.

Her defiance wasn’t that of a terrified citizen, or angry queen, either; rather the calm resolve of someone who is asking for something they know in their heart is good, and knows they will get it. The kind of person who believes there is good in everyone, and that this good will ultimately always win, and who won’t leave until they convince this good to show its face.

The castle has watched countless men and women cower at foot of count Dracula. Some, do have a measure of god-sanctioned defiance; they come with whips and scourges to defeat him. The castle and the king are bound together in their resolve against them.

Except one. Except this woman. One human whom both master and castle found themselves reluctant to deny, cast away, or kill, maybe even…taken with.

She may be human, but she was not like the rest; she did not light the night on fire with her thirst for blood.

So maybe, just maybe, they could let one ray of sunlight slip through the cracks.

She was also not devoid of life, and maybe that was the key.

‘Devoid of life’ was an accurate portrayal of the castle. Bats flying out of blackness is a good description of a cave, and caves don’t usually come with the brochure ‘teeming with life’, or ‘great place to take your kids!’. The castle had a soul-sucking quality to it; those who entered often found themselves leaving less alive than they arrived. It took after its vampire master. Those who didn’t actually lose their lives within its walls, often remarked upon leaving that the flowers bloomed brighter, the birds sang louder, the grass was greener, and that they missed the sunlight.

Sunlight. Such a base thing; vampires don’t need the light or warmth to be happy.

Sunlight. Such a base way to die; wanting to get out of the cold and the dark.

“Is this how the castle felt to you before my mother first arrived at your door?”

Castlevania was alive once. Once Dracula set the pumps, and its heart began to beat. He turned the gears, and its lungs inhaled. He forged the lightning, and it began to think. Once the books, full of unknown knowledge, jumped off the shelves to get the vampire king’s attention. He filled the bottles and beakers, and they bubbled, as if laughing at a joke only they shared.

They were both alive, once.

That waned, with time. The gears got arthritis, the books caught pneumonia, the experiments atrophied. The castle ached before she came.

And Dracula, alone in the halls, picking up books and putting them down again without so much as a polite glance through them, because he read them all before. Dracula looking into fractured mirrors that could take him anywhere, but deciding there wasn’t anywhere he wanted to go. Dracula, looking into old mirrors that don’t reflect him—like there was never anything to reflect, nothing alive here to begin with, and there isn’t a master for this castle after all. Nothing but a grave. Dracula sitting alone in his study, staring into the fire. No one to talk to. No sound but flipping pages and crackling fires—nothing alive. Alive but dead. This castle. Its master. Undead is the proper term.

The other women who came through here reflected the castle, or else the castle took the life out of them the moment they entered. Queens with malice-stained past, and cracked, icy future in their eyes. Just as cold as the walls. Subjects, humans throwing gruesome insults, silky flattery, or fluttering pleas at his feet. Just as empty as the mirrors.

Only one refused the castle’s bite. Only one walked in looking for life, rather than death. Looking for a thing no one thought existed here. Already presumed dead. Put six feet beneath the ground. But maybe it was here all along; maybe the light hid in the castle’s corners while the dark came out to play, and she just had to coax it out of its hiding places. Maybe the bell was ringing all this time, she was the only one who came close enough to hear it; the only one who came to put flowers on the grave.

Maybe when she felt the machinery pumping she knew the rhythm was a heartbeat. Maybe when she heard the gears clanking she knew it was the sound of inhaling and exhaling. Maybe when she saw the lightning, she wondered what it was thinking. Maybe she looked at these books, these instruments, and saw what the vampire king saw once; something alive. They weren’t dead yet—un- or otherwise. Just sick, and in need of proper treatment. She was a doctor after all. Maybe her first subject was the very books she learned from.

Lisa, who looked at this blotch on the sky, with Death in its towers, and darkness splattered on its walls, and thought that’s where I’ll learn to heal people. Lisa, who gaped in amazement at the beast of a building. Lisa, who didn’t shudder upon entering. Lisa, who didn’t scream when its master touched her, but turned to him with calm resolve, and told him she’d teach him to be more human. Lisa, who’s life eclipsed the undeath in this place.

And there was a trade that occurred that day. For Dracula’s immortal knowledge, Lisa would teach him how to live a mortal life. To travel the world as a man, to walks as a man, to eat and drink, laugh and cry, as a man. Immortality for mortality. They gave each other the world, as so many lovers promise to do. Vlad would make her immortal, and Lisa would make him mortal, with no exchange blood.

(Except to create a thing with both their blood running through it.)

So maybe, after all this talk of life, it is fitting that she wants to create life inside this castle.

Fitting, maybe. Fitting for her. But the castle is not mortal yet, and wishes it could protest that it isn’t the right size, refuse to try on the idea.

Dracula is apprehensive as well, for the castle and he are used to each other, they take after each other, because the cold, and the dark, and the death, and the alone does something to you after a while; you start talking to the walls. After the cold queens and quaking colleens leave, or leave their bloodstains the floor. After the beasts and their silver-stained bullets turn back into righteous men in the sun. After he simply outlives everyone else. When all the living things hate, fear, or else betray you, when all the living things can die, and you, who are undead, cannot, it’s the lifeless things that stand firm by your side. When the day ends and the shadows come out to play, when you’re the only one left, in the end you still have the walls. And then…the walls are all you have. And if you talk to them long enough you make a sort of pact, spoken or silent, with those speechless stones: ‘you’re the only one I can trust.’

Dracula speaks to them one day, says he wonders if he can do this, be a father at all, not to mention a good one. The castle cannot reply. But something deep inside the walls wonders if it might be nice to hear Dracula laugh. It might be nice to put on some different clothes. It might be nice for someone new to listen to from time to time. It might be nice to live again.

The castle is concerned. Used to doing things one way, being one way, and only hearing one voice. But that doesn’t mean it is unwilling, that it intends to kill the child.

It never kills anything—Dracula does that. It cannot do anything on its own, and that includes change.

The castle doesn’t like change.

…But that doesn’t mean it won’t.

And if its going to change, its master must change first. They must change together.

Vampires do not have reflections. But Dracula has a castle, and that castle will be damned if it isn’t his mirror.

Reflections are simple to change; put on some makeup, some war paint, a new change of clothes, get a piercing somewhere. Simple, yes, but not easy, to change completely, because that doesn’t mean anything’s changed inside.

The castle did not come equipped for child-rearing; there are no rooms full of toys and cradles and school supplies.

So if this is to be, they must build their son’s world themselves.

Together they set aside a room for the child’s arrival. Just one, single room. And the castle too knows, from the start, this room will be different from all the rest. They will put paintings on the walls, and banners in the halls; things to interest him, to tell him of his parents, at least, even if there are few other relatives to spend Christmas with. The carpets will be darker, instead of the stringent red, and they will make their words smaller, the books easier to understand. The rest of the castle is warm in color, but cool in atmosphere. This room will be cool in color, but warm in atmosphere. The fire will always be set in its place, and they will try their best to make sure the warmth reaches him; if the fire fails, they will knit blankets; if the blankets fail they will make him tea, or warm milk with honey; and when everything else fails they will hold him. If there are tears here, scornful stares will not greet them, instead, kisses and lullabies will be behind door number three. If this room lives, it will be because of something much softer than pounding metal and lighting.

If a child is to live here, they must change that reflection. Everything Dracula’s castle appears to be, this room will be the reverse. Separate. Something… other than the castle.

This room will bottle all the laughter had in this castle. This room will be made of and for living, not the death the rest of the place is steeped in. So much so that this room will not stand for bloodshed.

Lisa brings in supplies from her town; color and cloth, boards and brushes, needle, and thread, and paper; all the things one needs to build a universe.

It is Dracula who takes the paint, who changes the color to something other than the blacks and reds of the rest of the Vampire’s world, cementing on the walls themselves You will not be dark here, my castle. You will be kind to him, Castlevania. The castle doesn’t know its master to work with his hands like a human, but Vlad is not the same within this room either—this room is part of the trade. He doesn’t use magic, or science, as if he is telling himself with every hammer that they are going to change together, the way one does when talking to the mirror.

Lisa sits in a chair and stiches together cloth and fur to make little creatures, toys for the boy to play with. Soft things, not sharp. They are reflections too, littler, simpler ones, of the creatures howling and prowling outside the castle’s walls, or scurrying within them.

But it is the ceiling that is the crowning jewel of the room. Something they paint together—splashing it onto each other’s clothes and noses.

His parents love the stars. They often walk outside the castle walls, fingers knit into each other’s, to gaze at them. They are scholars at soul, and have charted the constellations. They want their child to be able to do the same, to watch the stars, even if he’s not outside. At the end of every day they want him to be sung to sleep by the symphony of the night.

For them, maybe, but to the castle, one of the most interesting things about this room, is the mirror. This is strange, as, while there are other mirrors in this house, they are nothing more than a silver decoration; they have no purpose here, unless they float in shards and possibility. This is an ordinary mirror. It does hold something now, however, and that’s Lisa—only giving more credence to the idea that she is the only living thing in this castle. The castle wonders if they think it will reflect the child, as if they are hoping he will take after his mother and the room.

The mirror, and the windows. In the rest of the castle, the windows are always closed, curtained, or too small to let any real light in. But here they are big, and inviting to all the wiles of the day. Dracula protested—fearing he would burn. Lisa insisted—hoping he would shine.

The mirror, the room, are empty now. The windows closed. The books and charts dormant as the rest. It is not dead, but it’s not alive either. Not even undead. Just a question. An almost.

The room lays on Frankenstein’s table; just one lightning strike—(or one child’s laugh)—away from breathing.