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mysteryanimator · 17 days ago

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Castlevania: Aria of Sorrow adaptation

(Mystery's edition because why not)

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55k words btw be warned

(note this board isn't fully representative of how I would go about an actual adaptation of the games, however consider it as a taste test of what could be since this was me just exploring ideas and such)

This came to be for this silly board because I’m Mystery, if you’re new here I tend to go overboard, building out whole mini hypothetical reimagined world for a two, turned ALMOST FIVE minute, sketch animatic.

Here I’ve come to the point of an Aria of Sorrow adaption aka a really really elaborate AU that takes into consideration the 2017 Castlevania and Nocturne series and goes "hey what if there was a future adaptation"

Please don’t eat me, game people (or even just show people. People in general LMAO). This is for me and for my enjoyment. You do not need to interact with this if you do not like how I’ve engaged with pre-established work of fiction. This is purely for my own entertainment.

At this point, it wouldn't be called Castlevania: Aria of Sorrow. It would be something along the lines of

Castlevania: Collection of Remnant

Castlevania: Remnant

Castlevania: Dramaturgy

Aria of the Castle

Castlevania: Natsukashii (an ode to how Castlevania used Nocturne to reference not only location but also a plot thing that occurs)

I still like Aria of Sorrow better but you know, working with the punches because this is far from the original Aria of Sorrow. The board is called Dramaturgy simply because half of the characters are dramatised versions of other characters (more on that below). Also the song Dramaturgy by Eve has been one of my major influences for my art/storytelling since it’s release.

With that, let’s get actually get to mystery’s adaptation version of Aria of Sorrow! Apologises for the long wordy text and any grammatical errors! If y'all have any questions I'm happy to clarify!

General Synopsis:

Soma Cruz, an exchange student from America comes to study in Japan, Nagano University in 2035. There he has come face with a deep history and comes to terms with who he is as now he has a target on his back by a all powerful family.

Is what they say he is? Is he truly Dracula reincarnated?

(I had been mentally pronouncing him as Filipino simply because i know too many Filipinos with that last name. Though him being Mexican works. I feel it may be important since it would be an interesting touchpoint with Olrox interacting with a person from a place that has been deeply colonised by Spain/catholicism, and see the trickle-down effects from it. Also, these two cultures have a lot to do with identity and pride/shame with who you are as a person, and your own family lineage/history in a modern-day context.)

Also other stuff that would occur:

Mizrak and Olrox are currently tracking down a corrupt family known as the Jōnzus (the readapted version of the Graham cult which I'll expand later on). For the interim, they have settled there for the time being. (If I was doing this more realistically, Mizrak and Olrox would have a minor role, but this is for me so they get to have larger impact to the plot). This is in reference to how in the original games, the Graham cult follow Olrox after the fall of Graham, though here I've turned it on it's head to fit with the 2017 and nocturne series.

Alucard is a professor at Nagano University under the alias Genya Arkiado (Olrox and Mizrak think it's stupid in a loving way, and Alucard gets caught out by the antagonists because of his name, oh my god). As he jumps from job to job. Travel like a man, as they say, though curiosity gets to him with Soma Cruz. BTW, when Alucard is introduced, we don't know it's him, he'll have straight black hair and everything. Then he says his name in front of the class and thats ep 1. The only reason I drew him with his nocturne hair was that I didn't want him and Olrox to have the same silhouette, as I'm almost certain this will be going into my portfolio until i outdo this one.

Julius Belmont and his cousin Yoko Belandes are on a trip to Japan to get him out of the house due to an 'accident' causing immense brain damage and amnesia. He’s finally feeling better and trying to reinvoke memories, Yoko's friend, Mina Habuka invites them to stay at her home.

Mina is a university student at Nagano University and is studying the same course as Soma. She genuinely wants to change the world and recognizes the government's current position to undermine the weak and how capitalism makes the poor even poorer. She also knows a lot more then she lets on. The first half is very Maria Renard core, but this isn't finalised and I want to flesh her out later when I can as her own character.

Graham Jone's (reimagined as Graham Jonzu/Ryūichi Jōnzu) whole spiel, which I get more specific down later

At the end of it- is Dracula still alive, and these people are fucking going crazy over being a dark lord candidate only to realise they’ve done this for nothing to really fuck up Graham mentally? Haven’t decided but to toy with a concept like this would be interesting in terms of themes and messages.

2035 Nagano, Japan

I honestly dont have too much for this BUT, it is specifically set in Nagano, Japan because that’s where the original game is set. I even scouted locations on Google Maps for it for where it could realistically be.

The University of Nagano would be a promenent place (as in the literal public university of Nagano. Half the storyboard takes place on the Miwa Campus, but with the interior changed because im using 3d models)

There would be a moment where we do see Soma's original home, either in America (his current home), or in either specifically in Philippines or Mexico depending on the ethinic background chosen for him.

There’s also a large vintage car scene in Japan that would be a major location in this made-up series. This would further the themes of past and future, I'll expand upon below. Events like classic cars and coffee exist there because it's where you'd find villains and antagonists congregating in an open space. Protagnists and the like will also find themselves here, and it won't be off for them to have happened to stumble upon because it is neutral grounds, like the university, however, this place ANYONE can be there with without any plausible deniability. Though I vaguely only know about the Tokyo scene, so not entirely sure about the vintage car scene in Nagano but , every single place on earth there will be small communities that come together for these things if you really look.

Also this is a made up sceanrio, so i can do whatever i want LOL

Themes

It’s a Mystery trademark thing, I need my themes and meanings. It’s also just more meaningful to me to connect/create anything. Also much easier to plot out how to create meaningful events and cohesively strong narrative. While I do not have the beat for beat episodic stuff (i need to be productive y’all), these are good jumping off point.

Identity:

Every single character’s identity comes into play. Graham and Soma being the most obvious since their ties are related to the Dracula, and then every single dark lord candidate that would pop up in the series. Soma questioning who he is according the identity slapped onto him, but also his identity that has been shaped by his own growing up experience. Think of Superman.

However characters like Alucard being brought to question about their own identity, who HE is as a individual outside of his bloodline but also within it. This would go for Olrox, Mizrak, Mina, Julius and literally every single character within this show who has a speaking role. Identity is important and it is powerful.

Family, bloodline and relations

Of course since this follows the footprints left behind by the Tepes family, I also ended up somewhat fleshing out the Graham’s family which I’ll get to talking in-depth later! I thought they would be a interesting parallel!

Also since this is set within Japan itself, it would be fun to explore Mina Hakuba’s family and traditions. The Belmonts in a modern context, Soma’s whole deal, and then the new family with Mizrak and Olrox. What family can mean in a modern context anyways since this is a queer couple which stands outside traditional norms from the get go <3

This is also a thing in both Nocturne and the 2017 series, but also you gotta rehash your themes for each decade !!

Past & future

Since this is set in the modern day, it is important to have the past inform the present day and what could come of the future.

Not only is this talking about historical world events like the defeat of Dracula, but the history all these characters intend to make of themselves. Their own legacies. The past is the context for the actions every single character makes.

This would also cover the inaccuracies of historical events and how history has rewritten it. The lives of Dracula, Alucard, Olrox, and Mizrak in modern-day perception amongst historians. Perception is another theme here, which overlaps both identity and past & future.

There will also be a point where these immortals will acknowledge the existence of the Dracula and Nosferatu films, along with any other vampire media like Interview with a Vampire. I think that would be really funny. Also, Soma will be found playing a game called The Castle's Vanity to directly poke at Castlevania.

I also think this would be really funny in the context of Olrox and Mizrak, then those two witnessing their inaccurate portrayal and going "yk sure."

Also, I very much intend (I'm talking as if this would get serialised, it isn't, I'm speaking in hypothetical), having the vintage cars be a driving home point on history as it will come to point out geniune connection/interest to its history or flaunting it like an accessory.

Of course, there are many others themes are at play (like love and idol culture), with further nuances depending on each hypothetical episode down to each hypothetical scene and what they intend to convey. Furthermore, the themes would be wholly be influenced by a group of people and specific ideas would be more at the forefront to hone down on, while others may be on the back burner. Again, speaking hypothetically, I'm playing scenarios in my head as if I'm in a dollhouse, except if the dollhouse was a mini made up studio and im sitting in the corner drawing boards and asking there for a window in the setting somewhere. Really obscure joke, but the ones who get it know my obession with windows/boxes in media since who knows how fucking long LOL

Graham Jones & Cult

For this I ended up heavily readapting and expanding upon the existing source material of Graham Jones with consideration of the current world since the games/storyboards are set in 2035. While none of this really showcases itself in the board, it’s something I really wanted to flesh out.

I recognize he is most likely based on Jim Jones and Billy Graham, the point to reason of why I'm deviating away from organised catholic religions (trust me I love to discuss the horror of catholicism) is to focus on the corrupt power of prominent leadership positions in the world, which still ties to Jim Jones and Billy Graham's leadership roles but on a much more larger scale, like the government, the law system and education. While it is isn't going to be exactly catholicism, since we're set in Japan, it will touch base on conservative ideals, which does go hand in hand with catholicism, supressing the rights of minorities. This is a major thing that occurs in both the 2017 series and Nocturne.

Graham Jones

Here he’s readapted as Graham Jōnzu/Ryūichi Jōnzu. A 32-year-old, half-Japanese professor at Nagano University. At night he’s a crazed sorcerer following the footsteps of his family has built him to become. THE new dark lord.

The Jōnzu part is in reference to his Japanese name in the game. Ryūichi roughly translates to first dragon, directly a homage to how Dracula’s name stems from son of a dragon. From birth alone, he has massive shoes to fill and his world crumbles if he doesn’t fit the mould. Going to absurd lengths like killing others to ensure his place. The moles have significance to their placements too! The most obvious is the moles on his neck looking like a vampire bite, the rest were inspired by actors like Luca Marinelli (death stranding 2 chokehold, also Graham has a almost playful personality like Higgs), then the obvious, Marilyn Monroe. Also I noticed in a lot of character designs as of late, there's become an associationwith beauty marks to an innate high status of wealth and/or beauty. His redesign outside of the other characters that appear here is more solidified, because he is suppose to have that million dollar handsome nepobaby air to him, akin to Bruce Wayne.

Moving on from design to personality, Graham has a massive obsession with wanting to be the dark lord in the games, I thought it would be interesting if it ended being almost theatrical because he ends up playing a charicture of Dracula. Being something he’s not to achieve a specific likeness while Soma himself stays true to being Dracula by being himself. Also the game this is taking from is called Aria of Sorrow. Aria. Opera. Performance :>

He will happen to just personality wise appear differently to every single character when he initally introduces himself that it makes even the audience question Graham intentions. He acts entirely different to the lovers (Mizrak and Olrox), to Alucard/Genya, to Soma, to Mina, to everyone. He even dresses slightly different, his voice is pitched differently, the way he holds himself. However after a few introductions its suppose to settle in that this man is more terrifying then we realise because he keeps jumping around personality wise you can't pin point his next actions until he drops the act. It's rather the waiting game because from the get-go, everyone knows something is off and Graham knowingly lets that air of danger hang over them because he enjoys that thrill.

Graham’s themes to be explored are in contrast to Soma in that he explores identity and the choice of what you decide to give meaning.

Another side tangent. He would own a VW Beetle because he’s a rich asshole and nepobaby. I’m making him overlap with Mizrak and Olrox at a cars and coffee event. Probably him and his family used to win all the comp awards until Mizrak and Olrox pull up with their fucking genuinely pristine VW Beetle. This man is going to get so petty so fast.

JONZU FAMILY (readapting the Graham cult)

The Jōnzu family is made up of strong and powerful sorcerers. Able to weave and manipulate inanimate objects at will, tying into the idea of weaving and writing their own fate (and demise). There are many cousins, siblings, aunts, uncles, and the like. Most of them are government officials or in greater positions of power/leadership roles (Graham being a professor for one), though people like grandparents and others are traditional shamans (also still in major positions of power, mind you). Not all of the family is called Jōnzu because his family tree is MASSIVE, which is why it will take a while for the audience and characters to realise Graham Jones/Jōnzu is one of the main villains. It would also take a moment for people to realise how awful he is, or even what he actually is like because with every single character he’s a completely different person. Going from “is he just a pretentious asshole- holy shit he’s eating a body???”

In this hypothetical series, the Jōnzu family is suppose to contrast Mina Hakuba’s family who would also comprise of shrine maidens, spirit mediums, and other practitioners who uphold traditions in a much more healthier manner. The Hakuba family works in harmony with traditions and the current world peacefully.

This by far will be coloured by a POC lens, or just a ‘universal’ asian lens. Though this can be perceived by family with stricter upstandings and expectations. That’s what the Jōnzu family. It is supposed to criticise this notion, but give the insight of why they exist still in modern-day society, despite how some of these types of families are run, can still be quite traditional at times.

They desire— no, they demand-perfection. Every is by design. Everything has order and structure for a reason. There’s a reason why certain things work that get people to bend to other people’s will. Specifically, Graham's parents work within the justice/law area as reference to how game-Graham often talks about punishing Soma for crimes and giving judgment over him. Also Graham would either be a law, criminology, or a history professor. Still undecided.

Graham has to walk in the literal coffin his family has made for him. Born on a particular day in a particular year. Everything is calculated and precise. His life is planned out for him, what he should or shouldn’t do. Anything outside of the particular perfected numbers is a massive failure. His identity was made for him.

To be a dark lord candidate. He is his family's successor and saviour.

Graham does not condemn these actions of his family to restrict his life. He actually doubles down, which just makes everything worse. Graham’s life is kind of playing off of Greek tragedy. Doomed from the start and doomed the end, also tying into his whole dramatic theatrical side to him. He leans into it all.

A very important note, Graham's inner family circle (so his mother, father, and any siblings he has) are cannibals. The surface level is that they all very badly want to be likened to vampires; however, peeling the layers to this speaks of their all-consuming obsession over needing to be someone else and their need for control/domination over others. This ends up resulting in them being more like zombies because by this point, they've become a hive mind. They are cannibals by choice and for the thrill of it.

Vampires such as Mizrak and Olrox drink blood out of necessity. They do not have a choice; however, the Jōnzu family does. The way Mizrak and Olrox consume is very different from the Jōnzu's, and while they may look similar, tonally, they feel so wildly off. Like you know, something is definitely off. They're both selective on whose life ends; they have neat fancy dinners, but they're not the same. This is not only a commentary on the superficial v genuine connections, but also both sides of the coin how cannibalism as visual metaphors are used to depict different things (well more so the spectrum now I think about it).

FIGHTING STYLE

One main aspect is that despite having the ability to probably do insane, lethal damage from afar due to his abilities to warp materials and make him deadly, he just never goes for far-away killing blows. In fact, the majority of ALL his far away attacks are absurdly performative/dancey like and lead to only restricting/pinning/suffocating people. Only once he's in closer range, he'll switch up to actually do proper lethal damage. He's still an insecure man in battle, so he wants to see people vying for their lives up close because it feeds his ego. Of course, that is such an ass way to go about attacking people, but for him, it doesn't matter because he's pretty powerful and nothing has stopped him, which further eggs him on to be way more performative in battle, making it his own little stage. He's also a massive science guy (one thing about Dracula is that he has major knowledge in medicine, science and such, showcased in ep1, so that's like the only good trait he's gotten from him), so he knows what parts to avoid, what parts to target and the like. In summary, he likes playing with his food. Ergo, why he licks the sword HAHA.

Besides this, I thought about his visual performance of his fights for the board because that was the most important to convey his personality in a manner of seconds. This consisted of a lot of arm movements, thinking about conductors for orchestras for tighter spaces. Also, this scarf thing floats in the game, so I dialled that up to 100 and made it a main feature. It is also connected to Graham, which means harming it in its default form (scarf) WILL harm him. It also connects to what you consider to be important, and depending on your obsession with it, it will hurt you because you've attached yourself to it and chose to give it meaning. To the audience, it's just a scarf, to Graham, it's far more personal and one of the very very very few things that identify him as Graham and not Dracula reincarnated.

The scarf funnyily enough can turn into anything and imitate ANYTHING (similar to the concept of how you can wear a scarf in anyway shape or form). There was a really hard balance because Graham is both very creative AND not at the same time. He limits himself to the box of being Dracula or other people (aka remaking Alucard's sword and almost DOING WORSE because it's not his forte). Yet you can see him literally choking out Alucard, making A SYCTHE, etc. He's a hypocrite by design.

Teleporting, an ability in his game boss fight, is used minimally because this readapted Graham HATES LOSING/RUNNING FROM A FIGHT. He will never admit defeat, so having him forced to teleport is so wounding to his ego. Any other abilities, like the meteor balls or Dracula-like abilities, will be showcased in a final fight between Soma and Graham (or gradually be showcase one by one in each fight before the major final showdown). By that point, the scarf is gone by his own choice, which sucks because it's such a cool concept, but Graham's character calls for not utilising his own identity to the fullest; he's not living up to his actual potential. There is so much more the scarf can do, he just is hyper-focused on BEING DRACULA. This guy has a lot of potential and doesn’t actually use it well, for a guy who keeps talking about his own great potential of being Dracula he forgets his own individual potential.

Also, Graham will end up fucking up his body so badly in order to obtain Dracula status, he will turn into his final form in the game (pictured below). It's such a fucking sick design, and I need to see it on a screen. Which, not gonna lie, is very reminiscent of that Frankenstein body that had Dracula and Lisa's soul in the show, so basically think of that but somehow ten times worse because Graham so badly wants to play God. At this point in time, he probably is going to try to frakenstein himself to the other dark lord candidates that are showcased throughout the series. At this point, he's hit the trifecta of vampire, zombie and frakenstein.

Personally, I can very much see him dying at the end of the series or after two seasons, simply because he refuses to live as himself. Time and time again there will be those glimmers of the there being an out to choose to be himself, but he rejects the notion time and time again, and as a result, it becomes his demise.

As I thought deeper into Graham and fleshing out the board at the same time, having a motorbike chase scene as a must, I realised Graham would want two forgemasters to indulge into his power fantasy.

Enter Issac and Julia Laforeze. Cousins of Graham. They actually originate Castlevania: Curse of Darkness, though actually have no ties to anyone but each other, though thought narratively these siblings worked out.

(btw if you want to know, no, these forgemasters are not cannibals, they respect life and understand their place in the world.)

Before we actually get further in, a quick note on the Seal of Haagenti, which associated with both the Jōnzus and Laforezes. Haagenti is the great president of hell and is the 48th demon in the Ars Goetia. They are known to transmute all metals into gold and turn water into wine.

Graham is actually more associated with Valac, another demon in the Ars Goetia and a monster found in Bloodstained. In a previous iteration of the board, Bloodstained and Aria of Sorrows were going to be more closely tied together; however, I opted out since the Haagenti seal better suited the narrative as a whole as I included the forgemasters. Another note, any religion or mythology is showcased in neutral light; however, there is a definite showcase of people twisting it to suit their personal needs and backfiring because why the fuck are humans messing with supernatural affairs without any careful consideration (the Laforezes do that's the key difference, they know their place, Graham doesn't).

Now let's actually talk about Issac and Julia.

The Forgemasters

Issac Laforeze

Issac is a more direct imitation from the Curse of Darkness game and would definitely fit personality-wise with this new ‘Dracula’. He’s dramatic. He’s theatrical. Performance and drama. His name stays as Issac because Graham would probably be really picky about it. Series show Issac vibes wise felt very in line with the series show Dracula felt. Mirroring that with game Isaac felt right to match here.

Also COME ON, game Issac in motorbike gear chasing down Mizrak and Olrox. He would be absolutely ruthless on the road and you know he’d get up after a nasty crash. It also helps that the ‘Hector’ is not only a forgemaster, but a healer/medic for the magically attuned.

Also both Issac and Graham probably have like a different outfit per ep- mostly just Graham, since his whole spiel is wearing identities, and therefore has an outfit to suit his persona. Issac, however, I’ll be honest, there’s so many cool outfits he can wear that limiting him to just one seems absurdly impossible with out spoken about his self expression would be. So it would contrast Graham’s need to conform to identity, while Issac’s is used for his expression of identity. Theyre cut from the same cloth but they go about life very differently per say.

This is also to say, I had no idea how to dress Issac for the board because I kept mentally jumping between multiple ideas.

FIGHTING STYLE

He is also dramatic and theatrical as Graham, maybe even more, simply because he's way more comfortable in who he is and doesn't feel pressured to a single identity (he's honestly very enby coded).

He ascribes to different dances for fighting, such as wacking, vouging, and tutting, which are 'mostly' arm-based. Also, Qiang Shu would suit him well because here he also has his spear. Though truly I believe limiting his fight style to JUST those is limiting, it’s more like a baseline because he has that choice to do whatever he wants.

By the way, whenever you see his or Julia's insane weapons (they indeed have multiple), those are solely and purely hand-built, no magic. So when you see Issac's weapons shrink or grow, that's simply because they built mechanics like that. They enjoy the craft of it and are also talented enough to not rely on magic.

Julia Laforeze

This one was a tad harder because I had the choice of either adapting pre-existing characters or just construct a entirely new one, even though really for the short storyboard, it doesn't matter.

For this iteration, I decided to give Isaac a trans younger sibling named Julia (she/they) who used to go by Hector. She’s a forgemaster like her brother, but also magically inclined to heal. She does the same with her own night creatures and runs a small store that is both a mechanic bike shop, having parts to sell and whatnot, and selling *other stuff*. They genuinely just have a forge.

This ties into the Jōnzu's inherited ability to weave and mould physical material objects; however, the Laforeze can mould the living. They cannot bend metal. Graham thinks it's stupid that they mend motorbikes, cars, or any mechanical thing by hand since there is definitely someone in their family who could, but they love the craft of it genuinely and genuinely respect for life itself and the reason why they have the easiest time with creating nightcreatures. Something that gets really lost on Graham, but it's not too big of a deal since they're the only family who does healing really well, and the perfect candidates for his own power fantasy. However, he does explicitly question it multiple times, and Julia will keep repeating the same answer (Graham is being dramatic, if he doesn't get attention for a minute, he'll shrivel up and die or something /joking)

Julia Laforeze is in reference to Issac’s actual younger sister, called Julia in the original games, who acted as a merchant and had strong healing powers. She was also Hector’s presumed love interest. So here it's kind of a mix of being an original character and a readapted character like Graham. Basically, a child between game Julia and game Hector. Also, this is the only reason why her name is Julia, though I do think about changing it to something else, but it's the placeholder for now!

Her current redesign is not final, though I do believe she would be strongly tied to a lot more experimental non-genderconforming attire like Issac, and self-indulgent sake, she would be really into the Harajuku fashion scene. Especially from the early 2000s as a nod to the game's original release.

If we’re literally going with the Aria of Sorrow talking about identity, I personally think talking about trans-identity would be very important. If this was actually being pitched, I doubt this would fly for a show and there would be no way in hell there would be enough time to develop this (maybe), but also this is my little day dream scenario. Also really interesting conversation to have had with a trans character who pulls out souls from hell or other dimensions and gives them a body. It’s so on the nose but like, the material IS THERE.

How we go about Julia's deadname, I'm not entirely sure because everyone's personal relationship to it is very different, and I have made it a point that every single character's identity is pulled into questioning, which would include Julia. Outright refusing to say the name is a valid pathway (like in the game Tell Me Why), but also acknowledging the name to empower her chosen name is also just as valid. HOWEVER. We don’t need to explicitly tell the audience that Julia is a stand-in for the 2017 series' Hector, given Graham's general insanity and Isaac's more prominent role and name. Like you learn that just through general observation.

Also, Julia is just allowed to exist as Julia. She's firm in her own identity in comparison to Graham.

FIGHT STYLE

Julia's fighting style is also similar, being performance and proud of it like Issac. She does not shy away from who she is, even when she's actively transitioning in the show.

However, she's simply more Olympic ice-skater coded. There is still a massive performance-based air to her, but it's like she glides across the ground despite being absolutely human. She also knows when to pull her punches so that when she can show off the most/do the most damage, they COUNT. It's half the reason why she basically aura farms with these dramatic cameras and then disappears and reappears when she needs to.

The sole reason why these forgemasters are so dissimilar to the 2017 series (to even more closely tied to a whole new character) is simply because they are their own people. With their own identity. You can still be born with the blood of your mother and father, but you shape your own destiny. You are the sum of your own choices. Each person is unique, you cannot be replaced.

It's on the audience to realise that Issac and Julia are supposed to be those replacements, and you know from the get go from gut feeling (hopefully) that they simply can’t be those replacements. Not because they’re not good enough, it because this is a whole different Issac, and this is Julia. Let them exist as their own people rather then what they should be. Then they would be able to do some pretty cool things once they’re unbound from the story they are intended to rewrite. Looking at you Graham (who refuses to change).

By the way, Graham and the whole family are villains, but Issac and Julia (the Laforeze family) are antagonists. The difference is slight, but the difference is important despite them being connected.

Andddd I think that’s all I have for now! I’ll probably update this here and there if I actually do something with this since Soma, Mina, Yoko and Julius aren’t developed and hadn’t planned to develop them further then the surface base for storyboard sake! Though this was mostly just to have my thoughts out when boarding, and other people seemed to be intrigued for what I had in mind!

Again this was for fun! Please don’t eat me alive 🫶 Let me play dollhouse (in this case, dollhouse is a pretend building in which i sit in a room and talk to people on how we should go about vampires kissing or fighting for their lives)

If y'all have any questions or need me to clarify anything lemme know because I know I can definitely get wildly off topic or run into tangents without finishing up my previous thought!

since y'all read this far, have this wip where the graham fight was timed to descendants 2. Graham is very descendants coded if you think about it.

#mystery talks #castlevania nocturne #castlevania aria of sorrow #castlevania dramaturgy #artists on tumblr #olrox #mizrak #alucard #long post #sorry its a lot of text #peak hyperfixation moment #genya arikado #issac laforeze #julia laforeze #people really liked graham and im glad LOL ill draw this pathetic evil man more

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