#but possibly also one of the ones who helped dracula flee at the end). bring back the innkeeper's wife too!

[vickyvicarious]

By this time I had searched all the tombs in the chapel, so far as I could tell; and as there had been only three of these Un-Dead phantoms around us in the night, I took it that there were no more of active Un-Dead existent.

I think this could be a great hook to a sequel/spinoff of Dracula, which doesn't negate the success of our heroes by contradicting the rules we're told/what we are shown.

So, Dracula is still dead. But Van Helsing missed a fourth vampire. Perhaps a new one, turned by the vampire ladies while Dracula was away, and who thus doesn't have a space in amongst the tombs in the chapel like the rest. Perhaps he missed a tomb along the way.

It could be mostly focused on the locals, who thought they were finally freed of the terror that has been ruling over them for so long. They begin to enjoy themselves once again, to relax their guards a little, to feel happy and safer than ever before, as the Count is gone and the wolves act like normal wild animals, and no one is dying anymore. And when some of the children are too pale/tired and start to tell stories of playing a game with a new friend in the woods, perhaps the adults refuse to hear them, fail to recognize the signs, because they aren't used anymore to victims surviving an attack. And they don't want it to be true, anyway, they desperately don't want to believe that it truly isn't over yet.

Until something happens to convince at least one of them that a vampire truly is still out there. A personal encounter, from which they're only saved by their loyal dog, maybe.

I kind of like the idea of the main character being the adult daughter of the mother who in canon was killed by wolves - perhaps she barely survived and was later turned by the vampire women to become one of their 'sisters'. The daughter will have to hunt her own mother. (This admittedly is still a 'didn't die after all' twist, but far less egregious since her death wasn't shown outright, we just heard her becoming silent and wolves leaving while licking their lips.)

Or, keeping the mother as a red herring by making her into a werewolf, who the daughter thinks is the vampire all along. Only to eventually find out that the vampire is actually her little brother who the mother 'died' for (in this verse probably a bit older, child rather than baby), and now they have to decide whether to kill him or protect him, and in so doing begin again the supernatural oppression that has suffocated their people for so long. Maybe at different points the daughter can be opposed to the mother before they end up coming to an understanding and working together (depending on your version of werewolf). Maybe the howl that saved her from the attack wasn't her dog after all but her mother in wolf form.

It could be a totally unrelated vampire as well, but I think that loses some of the emotional connection that these options have. Still, the decision to approach and even enter into the Castle alone would be huge, for these people who have lived in its shadow their whole lives. And I would hope for an explanation why the vampires let the child turn when normally they just kill their meals permanently, or why the fourth vampire didn't try to eat Jonathan/welcome Mina and menace Van Helsing. But still, if you want to build off the book it's a good starting point.

I think you could get a really heartwrenching and scary story out of this premise. Definitely better stuff than the 'actually, Dracula just pretended to die (and was the good guy all along)' stuff.

[duhragonball]

Hellsing Liveblog, Ch.11-13

This is the “Balance of Power” arc.

One of the things that frustrated me about the Hellsing TV anime (as opposed to the Hellsing Ultimate version) was that the TV series aired while the manga was still running, and it seemed to struggle between following the source material or just diverging into all new stories.    I think if Gonzo had made up their minds one way or the other, it would have ended up a better show.   Instead, there were all these filler scenes of Seras training with human soldiers, which seemed like an utter waste of the character’s time.    Worse, this meant the human soldiers featured much more prominently than they ever did in the manga, where they all get killed off by Chapter 9 or something.   And if you know that’s coming, like I did, it makes the human soldiers that much more insufferable, because you know dorks like Farguson aren’t going to matter, but they get tons of screen time anyway.    Farguson is like every episode of Dragon Ball GT condensed into a single character.  

Here, in the original manga, it’s pretty clear that the soldiers never mattered, because the only time you ever see them is when Jan Valentines’ ghoul army slaughters them all.    They only existed so Integra would have something to be in charge of, but the only ones who actually matter here are herself, Alucard, Seras, and Walter.    In this chapter, Walter practically admits as much, when he states that there were 96 staff members, and now we’re down to ten: Walter, Integra, and eight jabrones who weren’t at the base that day.    Well, maybe those eight guys will show up later and do something important?   Bullshit they will, they never get mentioned again.   The Gonzoverse might have been able to break some new ground by focusing on those human characters more, but what they actually did was half-assed, and it looks all the more futile when you know how unimportant they are to the original work.   Walter just hires a band of mercenaries to backfill all the vacant positions, and I’ll give you three guesses what happens to those guys.

Concerning “Millennium”, their mysterious new enemy, no one has any idea what they are.    A bunch of people try to research it, because we didn’t have Google in 1999, or at least not Google as we now know it, so if you wanted to know something cryptic you just had to rummage through a card catalog in a library or whatever.    But Integra just makes the logical leap that “Millennium” is a reference to the “Thousand Year Reich” dreamed of by Nazi Germany.   This seems like a stretch, but I think Integra’s reasoning is that this is the only “Millennium” reference that could possibly be worth Hellsing’s attention.

Later, Integra meets the Wild Geese, the merc group Walter hired, and explains their assignment even referencing the Bram Stoker novel.    So I guess Dracula is a real book in the Hellsing world, but it must be at least partially based on a true story, right?   The Geese don’t buy any of this, so Integra introduces them to Seras to prove that vampires are real.

They all laugh at Seras until she starts flicking their leader, Pip Bernadotte, with her fingers.    Then Alucard shows up, and that seems to be enough to convince them.

After this, Integra gets a letter from the Iscariot Organization, inviting her to a meeting with Enrico Maxwell at the Imperial War Museum.    The whole thing introduces Bishop Maxwell very effectively.   He tries to play this off as a peaceful, diplomatic conference, but he makes Integra wait, and she’s still sore about Anderson’s violation of their treaty back in Chapter 5-6.   Maxwell takes all this in stride, then replies that he could care less about the deaths of even two billion Protestants, so the two guys Anderson killed mean nothing to him.    He’s only here because the Pope ordered him to do this, and he calls Integra a “Protestant sow” for good measure.  

At this, Alucard comes out to stand up for Integra’s honor, and then Maxwell responds by bringing out Anderson, except Anderson has a berzerker rage thing going, so it kind of ruins Maxwell’s posturing.    For all his contempt, he really was ordered to London to talk to Integra, so he’d probably get in trouble with the Pope if Anderson starts a big superhero battle in a museum.

In Cross Fire, the unpublished manga that was sort of a precursor to Hellsing, Maxwell looked a lot like Sir Integra does now, so when Kouta Hirano brought him back for this arc, he slicked his hair back and removed his glasses.   On the other hand, Integra doesn’t look much like the early Integra anymore either.    By now, Hirano seems to have settled on her design, straightening her hair out and making her face longer and thinner.   Anyway, Maxwell’s brinkmanship has backfired, and now even he can’t stop Anderson, so what can be done?

Luckily, Seras is here to provide a distraction, as she leads a tour group of elderly Japanese tourists through the gallery.    For some reason this kills Anderson’s fighting mood completely, so he leaves.    Alucard also leaves, because he hates being up during the day.    Walter gives Seras a hearty thumbs up for defusing this tense situation.    Good job, Seras.    You’re doing amazing, sweetie.

All right, so what’s so blamed important that the Pope would send Maxwell to London?    Well, he knows about Millennium’s attack on Hellsing’s base, and he has some juicy deets on them.   After making Integra say “please”, he explains that “Millennium” was a Nazi military unit responsible for transferring resources and personnel for Nazi Germany.    They relocated a ton of these resources and personnel to South America for safe keeping.    Integra’s not too impressed with that, since “Nazis fleeing to South America after the war” isn’t exactly a shocking revelation.  

The twist here, though, is that Millennium was smuggling Nazi stuff to South America during World War II. 

Also, the Vatican helped Millennium do this?   I never understood this part of the story, but I think it gets explained later.   I mean, it explains how Maxwell would have this lead to share with Hellsing, but it raises more questions than answers.

  Volume 2 ends with another chapter of Cross Fire, starring Heinkel Wolfe and Yumiko Takagi.    In the first story, they saved hostages from Islamic terrorists.    This one is them recovering stolen church money from radical communists, which I guess could have been a thing in 1998?    It’s basically the same story, though, as they send Yumiko to infiltrate the bad guys, then they slaughter everyone in sight.    Mostly, I want to focus on the part at the end, where Maxwell, the leader of Iscariot, justifies the use of extreme hyper-violence in the name of the Catholic Church.   You sort of get the sense that the Iscariot Organization in Cross Fire was a concept in search of a villain.   the idea of two girl-assassins dressed as a nun and a priest might have had some traction, but Hirano really seems to have had trouble coming up with worthy enemies for them to fight.    But Hellsing brings vampires into the mix, which suits the Iscariots quite nicely.

Back to “Balance of Power”, the third part features Seras training with the Wild Geese in the middle of the night.   For some reason, Seras expects them to shoot targets from over 4km away.   She can do it, but only thanks to the vampiric senses Alucard showed her how to use.    It’s like she doesn’t realize that this is an ability she only has because she’s a vampire or something.   

Indoors, Alucard and Walter discuss the whole Nazi angle.    Al isn’t terribly surprised, because he only knows three who have ever used undead warriors for combat.   

1) Hellsing

2) Himself

3) The Nazis.

He knows #3 is legit, because he and Walter destroyed a Nazi research facility during the war.    Supposedly that contained all their work on the undead, but now that we know Millennium was smuggling important stuff from Nazi Germany to South America, it only makes sense that they’re the ones who devised the Valentines’ ghoul attack.    The bigger point of this scene is to reinforce that Walter used to be a big wheel in Hellsing, teaming up with Alucard to have Golden Age WWII adventures.   And now, Hellsing will be sending Alucard and Seras to South America to investigate this new threat.   

Here, Walter asks the big question: Why make Seras a vampire?   I’ll have more to say about this later, but I dig this scene because it works as an exposition scene, but there’s more to it than that.   Alucard’s only apparent motivations are over-the-top violence and doing his master’s bidding.   Helping Seras doesn’t seem to fit either of those, so it does indeed feel out-of-character.   You’d expect someone to ask this question, and by now there’s really only two people left who know Alucard well: Walter and Integra.   So yeah, let’s have Walter ask the question.    But later on, it becomes clear that the point is not the question itself, but the fact that Walter is the one asking it.  

For what it’s worth, Alucard doesn’t seem to know, or maybe he just doesn’t want to spell it out.   He keeps saying that it was her “choice”, except he had to make his own choice that night.    He could have just let her die, regardless of any requests she might have made.   Al remarks on her tremendous resilience on that night, since she was surrounded by death and hopelessness, but didn’t resign to her fate.    That impresses him, so I guess we can say that he chose her because he found her to be such an impressive specimen, in spite of some of her goofier behavior.    As it currently stands, Seras can’t even travel across rivers or oceans, a weakness for lesser vampires, but not a problem for Alucard himself.    He seems to think that’ll all be resolved once she finally drinks blood, and he expects that it’ll just be a matter of time before she does.    Ominous!

As far as transporting Seras to South America, Alucard figures the easiest thing to do is nail her shut in her own coffin.   The Wild Geese know a smuggling operation that can fly them to Brazil without any messy customs.   That works out, since they also have to transport Alucard’s coffin, and all the guns.

Integra asks why Alucard is dressed like this, and he says he can’t wear his usual stuff because he’d be too obvious to their enemies.    Also, he doesn’t need to spend the whole trip in his coffin, because sunlight and traveling over water doesn’t bother him, I guess?    I don’t really get the water thing.    If Seras can’t travel over running water, what difference does it make if she’s in her coffin or not?    I can accept that Alucard, who’s basically a super-vampire, would be immune to the whole water thing, but it becomes a plot point later on, so... aw, forget it   

Integra gives Alucard only one order: Search and Destroy, which seems kind of vague when you think about it.   Anyway, she’ll be saying this about a hundred times before the story is over, so we may as well appreciate the original.