Becoming the Mask: In the beginning The Count only pretends to like Albert when in reality he only views him as a tool for his revenge. However, as time goes on, he finds himself developing real feelings for Albert which cause him lots of angst and heartbreak, but ultimately save him in the end.
Beard of Evil: Dantes was clean-shaven, while the Count has a beard
Darker and Edgier: While the Count from the original novel was at least a little heroic, here's he's undoubtedly a Villain Protagonist, and is much more devious and ruthless with some of his tactics. That probably has a lot to do with the Deal with the Devil this adaptation brings along.
Deal with the Devil: As it turns out, he (perhaps inadvertently) made a deal with a demon of sorts called "Gankutsuou" (known as The Ruler of the Cave in the American version). While Edmond begged for someone to kill him, Gankutsuou heard his cries and recognized the future Count's potential and instead, granted him the strength and means to gain revenge - as long as Edmond allowed the cold-blooded demon to possess him. Because of Gankutsuou, he is afflicted with an odd condition which causes his body to be crystalline, revealing his bones and internal organs, and giving him blue skin, as well.
Death Glare: He pulls off a few; particularly noticeable during his last meeting with Danglars.
Duality Motif: He has a red eye and a green eye. This symbolizes not only his moral ambiguity and inner conflicts, but also the fact that he is part-human, part-monster, part-alive, part-undead and part-earthling, part-alien through his symbiosis with Gankutsuou. The duality symbolism is also present in some representations of his crest, a stylized heart divided into two clear compartments with different colours to represent his remaining human feelings and the fact that he is gradually turning into a cold-hearted monster.
Our Vampires Are Different: Technically not a vampire, but looks like one, and is compared to one in more than one occasion as a Shout-Out to the original novel, where he is briefly compared to Polidori's Lord Ruthven, one of the earliest examples of suave gentleman vampires in fiction.
Big Damn Heroes: Near the end, Baptistin gives Albert a communicator, unbeknownst to the count, and he has Bertuccio drive their ship right into Fernand's ship as it attacks Paris, disabling it. The two then rush in, save Albert and his mother and rehabilitate them.
Bodyguarding A Badass: The Count is way more powerful than he is, but his function is to fight so the count doesn't have to.
The Dragon: Possibly Co-Dragons with Baptistin, but he appears in the position more often, directly accepting orders and carrying them out.
Limited Wardrobe: Odd considering every other character (even Ali) changes clothes at least once. Subverted in the final episode.
Ramming Always Works: He drives the much smaller and heavily shielded ship at the Fernand's, he doesn't ram the ship itself, but hits the more fragile anti-gravity/fuel tank, and that brings the ship down. His ship is still able to fly at a limited capacity after that.
Sinister Shades: Mostly Opaque Lenses, and sometimes his eyes show through, usually when he shows a softer side. Near the end, when struggling with a moral choice shooting Albert one is opaque, one is clear.
Battle Butler: Serves drinks, chauffeurs the count, steers his boat, fences with him, and subdues his enemies.
Big Damn Heroes: He gives Albert a communicator, and when Albert is in trouble on Fernand's ship, Baptistan and Bertuccio ram Fernand's ship with their own.
Bodyguarding A Badass: He and Bertuccio fight so the count doesn't, to hide the fact that he's so powerful.
Co-Dragons: Though Bertuccio seems to be the more active of the two.
Faux Affably Evil: His facial expressions and tone give off the idea that he's mocking other people.
Limited Wardrobe: Pretty noticeable when everyone else always wears different clothes.
Only a Flesh Wound: He tries to pass getting shot in the shoulder off as one, but he immediately goes down, and Bertuccio has to try and stop the bleeding with a cloth. He survives, but provides no more use in the scene, and must be carried out.
Pet the Dog: When he finds Albert asleep at the counts door, he wakes him up and sends him off instead of attacking him. The determination inspires Baptistin to give him a communicator when Fernand attacks Paris, and he and Bertuccio save Albert and his mother.
Undying Loyalty: To the count, up until the end, where he defies him, after that he serves Haidee, calling her princess and even trying to buy her some jewelry, though when he sees the model is Peppo he chooses not to.
Oedipus Complex: Andrea takes this to the logical extreme: although he doesn't kill his father "only" gives him a poison that destroys his mind, he has sex with his mother and tries to rape his half-sister.
Love Makes You Evil: Fernand's Start of Darkness (I was tired of living that loser life) was being pushed over the edge due to his being on the losing end of the Love Triangle between him and his childhood best friends Mercedes and Edmond, which he attributed in large part to the fact that he was poor and struggling in his own profession while Dantes was rich and successful in his career.
Runaway Bride: Eugénie becomes this towards Andrea, who was forcing her to marry him.
Sheltered Aristocrat: Sees herself this way; near the beginning of the show she reflects on what a privileged upbringing she's had, and how ignorant she is of the world outside her wealthy surroundings. She turns out to be much more level-headed than most examples of this trope, though.
Off Model: Luigi's scar goes missing when his face is in close-up in episode 2.
Ambiguous Gender: The anime never confirms if Peppo is really male or female. Peppo was confirmed to be male by the manga adaptation, as well as originally being a boy crossdressing as a girl to seduce Albert in the novel.
Never Got to Say Goodbye: To his father. Not only did he not say goodbye, he also told him he hopes he never comes back. Oops.
Spanner in the Works: Franz becomes this to the Count when Franz decides to participate in the duel instead of Albert and gets killed. This not only derails the Count's plan to get rid of his Edmond Dantes part of soul completely but also hands him Karmic Death in the end.
Hidden Depths: He's one of the least seen of Albert's group of friends, only serving to introduce them to Maximilien, and helping them rescue Valentine. However when Albert is beaten unconscious by a group of guards, Raoul saves him, subdues the guards, and get's his bike back off-screen (he was a soldier). After that, he has a surprisingly deep conversation with Albert, saying he likes cars more than people because their easier to understand, and despite that he volunteered his car to be the getaway vehicle when rescuing Valentine (it got shot up). He also begins crying at Albert's death.