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Fridge Brilliance
- The Netflix series shows that Dracula's castle has some intricate mechanisms strewn throughout it, acting as a method of transportation. With these in regard, it is possible that the mechanisms are why the castle is always different in each appearance, adding a new layer of depth to Alucard's "Creature of Chaos" comment.
- It should be noted that the animated series occurs in a parallel universe. Even though the castle in the animation is depicted as a bizarre mechanism, a wonder of science, Alucard's comment in the video games is referring to the castle's supernaturally chaotic nature, not to actual engines and gears. It is now known that the castle's shifting nature in the video games is due to it being possessed.
- In the Netflix series, the Bishop maintains his power by blaming other people for the invasion of Dracula's horde, while keeping the fact that it was his having had Lisa burned at the stake that was the cause of it all. He is in effect, a miserable little pile of secrets.
- On the same topic, the Bishop could definitely be what fuels Dracula saying "Perhaps the same could be said of all religions" when being told that he steals souls and make people slaves.
- And a more minor throwback: when he finds out what happens to Lisa, Dracula cries bloody tears.
- The Elder Speaker says that their group is the Codrii Speakers. "Codrii Vlăsiei" is the name of the area that the series takes place in: its name literally means "The Forests of Wallachia." The major cities in the series are also based on real ones; Târgoviște was the capital of Wallachia, and Brăila was an important port town that connected the region with Spain, Portugal, and Italy. Argeș was the capital before Târgoviște. And, though Greșit is a fictional city, it could be argued that the location of it corresponds to Grădiștea (the area it is is in between Târgoviște, Brăila, and Argeș). The creators really Showed Their Work in looking at the geography of the area.
- Blue Fangs, the demon in the Netflix series raises some ecumenical points, especially when it comes to the bishop:
- "God is not here. This is an empty box.": Once a church becomes sanctimonious, God abandons it because it effectively worships itself. This is not to say that He abandons the individual worshippers (see below), but pleasing God must be first and foremost in a church's priorities for Him to pay the organization any mind. The bishop manipulated the people to his will, rather than God's.
- "Your life's work makes Him puke.": Sin is a direct offense against God, said to be akin to a powerful stench. In this case, the bishop's 'work' not only consisted of having Lisa, an innocent woman burn at the stake, but creating a scapegoat out of the Belmonts and the Speakers, as well as leading the people on a wild goose chase of those he believes to be witches.
- "We love you": It's all about family. If you don't belong to God's family, you belong to... them. The bishop defected from God's family through his actions, which allowed the demons of Castlevania to run amok.
- Also brings to mind the fact that many of the holy items DO hurt the demons, meaning that in this universe, God Is Good and thus likely a being who would be disgusted with what the Bishop did. So in a way, God is basically handing over an evil man to hell personally while making sure the priest that did stay to help Trevor and Sypha could stop the demons (As he was able to make holy water). In a way, it shows who is the real righteous ones.
- Notice that during the scene, the bishop's eyes reflect the light from Blue Fangs, making them also appear to glow blue. A nice little indicator that he's more like the demons than he believes.
- The fact the sacred whips held by Belmonts explode demons and monsters may sound a bit like overkill... Then you realize there are people like Devil Forgemasters that can resurrect them and suddenly vaporizing these things until there's nothing left sounds like a very good plan to avoid having to deal with them ever again.
- The Speakers prophecy of the Sleeping Soldier seems to be inaccurate, as Alucard has only been dormant a year, not a century. But the prophecy as presented (A soldier who sleeps under Gresit for a hundred years will awaken to fight evil) is exactly what happens in the opening sequence of his own game, Symphony of the Night.
- Also, Alucard points out that the Speakers believe the information about the Sleeping Soldier came from the future. He probably sent (or will send) that information back in time at some point, so the Speakers would be ready for him.
- Possible fridge brilliance, the speakers refuse to write anything down, meaning theres no codified original version of the prophecy, and oral traditions can change with time as it is told over and over slightly differently, its possible originally it did say one year, but one retelling simply said a long time, which was then assumed to be many years, which was then interpreted as a century
- In episode 2, when Trevor is about to enter Gresit from the back, he notices that the water is ominously bubbling and makes some effort to avoid it. Perhaps the water being potentially lethal is why falling into it, at least in the classic games, was a One-Hit Kill.
- This could also be a Mythology Gag to the Nintendo 64 Castlevania games, where the appearance of Dracula's Castle turns every river in Wallachia so poisonous it's more or less acidic.
- The Corrupt Church as a major antagonist makes sense in a series with plenty of holy themed adversaries.
- Lisa pleading to an unseen force to forgive her murderers while she's being publicly executed for wanting to help people seems very similar to Jesus doing the same while on the cross. Of course, the one Lisa is pleading to is a much less holy and benevolent entity, so it doesn't quite work.
- Blue Fangs' Pre-Mortem One-Liner, "Let me kiss you," has raised plenty of Narm and Narm Charm accusations, but giving him something cool or righteous to say would run the risk of getting the viewer on his side. His scene is meant to be evil paying evil unto evil -– so anything that wasn't creepy and disgusting wouldn't accomplish that.
- It also works as a parallel to Judas Iscariot and Jesus of Nazareth. Jesus granted Judas great gifts, but Judas betrayed Jesus and identified him with a kiss. The Archbishop's burning of Lisa was a gift to Blue Fangs, since it led directly to him and all evil being released on Wallachia. In this way, the line takes on even more ironic meaning.
- Lisa was accused by the village's former wise woman. This might not be out of jealousy; as a wise woman who sold potions, she could have been dragged before the church like Lisa was.
- Dracula's master plan to exterminate humanity, as pointed out by some of his generals, would be disastrous for vampirekind as well: with no humans, where would the vampires get the blood they need to survive? After all, there is a limit to how long a vampire can subsist on animal blood. Then again, that is the point of Dracula's plan, and for a deceptively clever reason: Dracula condemned humanity for being scheming, treacherous vermin, but his generals are every bit as scheming and treacherous. Every vampire was once a human, and as such, were just as flawed and given to humanity's shortcomings as the humans they would exterminate. In short, Dracula's plan is to exterminate humanity in its entirety, vampiric or otherwise.
- One of Godbrand's Establishing Character Moment s is him arguing with Issac, Hector and Carmilla on the vampiric weakness of not being able to enter running water. Almost everyone there regards him as being an idiot for not comprehending that fact, but consider some of his character traits. He is a vampiric Viking, and Vikings are well known for raids on other countries by boat and sea! Not to mention boating/boat making is mentioned as something he knows of by Hector. As well a dream showing him having a crew of vampiric vikings working a boat over assuredly running water, and given he IS one of Dracula's Generals, he's probably of good enough reknown to have his own court of vampires and thus the dream probably actually happened. It's more likely that he simply misunderstood how running water affects vampires because he used to going over it via boats!
- Isaac and Hector's armor designs are actually quite practical around the vampires. Since it protects their necks, it's less likely their assailants will rip their throats out and force them to actually have to fight them. It was likely Dracula's idea, since he doesn't want to lose his close human advisors to a greedy vampire.
- Sypha's using a lot of ice magic in the episode 7 fight, most of which is being generated specifically from the floor of the hall... which was flooded with holy water not that long ago. No wonder she's gotten everyone's number in that fight; she's throwing holy icicles at people.
- Not that it was hard to imagine a powerful, hardline church treating fringe minority groups like the Speakers as scapegoats in the first place, but it makes even more sense in Season 2 when Sypha explains to Trevor and Alucard that the Speakers are a Nay-Theist order. They consider themselves enemies of God because, in their version of the Tower of Babel story, God destroyed the tower and removed humanity's ability to unify because He was jealous of human achievements.
- It feels a bit stilted for the Speakers to very deliberately refer to the Elder's "grandchild" instead of "grandson" or "granddaughter", and seems strange that Trevor wouldn't remark on it. But since the Speakers deliberately dress everyone the same to safeguard their women, then them intentionally adopting neutral language referring to their own would be a reasonable extension of that when faced with someone they don't know well enough to trust yet, and it would be logical that Trevor, familiar with this Speaker tradition, would take their word-choice in stride.
- In Castlevania's canon, Dracula explicitly does everything he can to spite God — and that's probably part of why he fell for Lisa. She's blatantly a woman of science, and she wants to spread knowledge to make people less "superstitious" and more rational. He probably saw her as an ally, someone who could help him to spite God by turning people away from Him (according the paradigm that science and faith cannot mix).
- Adding to the above, Dracula and Lisa both share a passion for medicine. Dracula became a vampire because his first wife died of illness, which he saw as God taking her away; what better way to spite God than to learn how to save the ones He condemned? What better ally than another doctor?
- Alucard is noticeably less capable than he is in the games. This is not a mistake; Alucard is much, much more powerful in later time periods than he is here. Castlevania 3 had him at his weakest — he wouldn't reach his peak until a few games later.
- When Trevor is fighting the two priests to save the Elder Speaker, he dryly mentions how odd it is for a man of the cloth to be carrying a thief’s dagger, let alone knowing how to fight with it. This seem to strongly hint that the dagger wielding priest was not a real priest, but an actual thief and killer that the Bishop dressed up as one of his own to act as an enforcer. Given how many of the priest who attack Trevor know how to fight with weapons, it seems plausible that most of them may have really been just thugs that the Bishop hired and or coerced into working for him to seize control over Gresit.
- The flashback showing General Cho battling a vampire hunter, playing with him, and then easily sundering his blade, shows the reason why the Belmonts use consecrated whips. You can't break a whip, especially when grabbing it makes your hand explode.
- All three seasons have a theme that permeates the season:
- Season 1 has a theme of religion. Most of the season, from the Speakers to the corrupt Bishop, is focused entirely upon religion. This includes very heavily its use as a weapon both for good and evil. While the Speakers (And a random Priest) are heroic because they are genuine believers in their religion, those who take advantage of it are excessively evil.
- Season 2's theme is children. (And to a lesser extent, parents.) Carmilla calls anyone she doesn't like a manchild, and notably seduces Hector, who, due to something of an ambiguous disorder, is truly a manchild. The season focuses heavily on Alucard's conflict with Dracula, who ultimately breaks down because he cannot kill his own son. All three of the main trio are all childish in some way, due to Sypha's incredible idealism, and Alucard and Trevor never getting proper childhoods. While Isaac's affection toward Dracula is (maybe) romantic in nature, Dracula seems to care for him much as he would a son.
- Season 3's theme is betrayal, a theme which becomes clearer in the end of the season. Isaac continually ends up slaughtering towns due to presuming that the people there would have any sort of basic trust and being enraged when they do not. Trevor and Sypha come to trust the Judge, who turns out to be a genuinely monstrous Serial Killer with a large bodycount. Alucard trusts Sumi and Taka, only to end up forced to kill them when they seduce and attempt to murder him. Hector perhaps gets it worst of all: He's finally broken out of his shell by Lenore, who gaslights him into believing she loves him in a way he never got before, only to end up enslaving him and outright stating her intent to sexually abuse him. In the end, every character is broken by this betrayal, left further in darkness.
- Season 4's theme is the building of something new, as well as moving on from the past. Zamfir desperately believes that the dead rulers of Targoviste will return from their "slumber" and restore her city back to what it once was, Carmilla schemes to take more of the world for herself even though her court understands that overreaching will only cause trouble, the last of Dracula's loyalists are working to bring their old master back (even though Dracula himself had no interest in returning), Saint Germain aids them solely to exploit the opportunity and be reunited with his beloved in the Infinite Corridor, and it turns out Death has been manipulating the prior two parties solely so Dracula can continue a crazed slaughter of all life for his own nourishment. Eventually, all of these storylines end with the main parties dead and their plans stopped. Meanwhile, Isaac develops past his misanthropy and desire for revenge, choosing to build instead of just destroy. Hector helps the conspirators in bringing Dracula to life, but both he and Isaac agree that their friend wishes and deserves to rest, so he forgives Lenore and makes plans on writing a book about the whole thing. Lenore in turn willingly steps into the rising sun so she can be free of the cages she knew in life, while Striga and Morana decide to go about their ways with each other, the three sisters free of Carmilla's neverending ambitions. Alucard finds an opportunity not to be alone via Greta and the people of Danesti; a new village will be made at the foot of Dracula's castle and the Belmont Hold. And even Trevor, who thought himself incapable of anything other than killing monsters, has fathered a child with Sypha, and thus exists a chance that his house will live on. Finally, Dracula and Lisa somehow return to life and debate spending it away in England, giving their son a chance to heal from the pain they inadvertently caused him.
- There also seems to be a twisted symbolism in the way food is introduced in Season 3 and the way it's presence is emphasized throughout: Alucard is first seen making a meal for himself in great detail emphasizing how isolated he has become from the outside world and after he has a mock battle with Sumi and Taka they joke about how he's now their slave and playfully demand him to make lunch. Lenore brings food to Hector in her plan to manipulate him into her slave and violently attacks him when he fights back. Only to give him one last berry in a (false) act of pity. Alucard freely gives his guests food as a show of friendship and trust, Lenore brings her 'guest' food as a way of feeding into the illusion that she's on his side.
- Season 3 shows that Sypha adores the monster hunter lifestyle, showing a disturbing amount of glee towards her adventures with Trevor. This combined with her disillusionment with Speakers' methods of recording information compared to the Belmont Hold goes a long way of explaining why would she leave the Speakers and marry into the Belmont family.
- Viewers of Season 2 mocked Trevor for trying to punch Dracula repeatedly, even after said blows didn't even make Dracula buckle. Season 3 begins with Trevor trying something similar on a werewolf, to similar effect — however, Trevor continues attacking and slowly begins to break the monster's bones (including its neck). Thus we learn the method to his madness: Trevor's hand-to-hand training already took into account the Super-Toughness of the monsters the Belmonts fight...but with enough skill and persistence, the force of their blows will slowly damage the creatures (especially if they refuse to dodge from overconfidence) and allow for a more lethal blow. It probably just didn't work on Dracula because he was no ordinary vampire. A fight in Season 4 finally demonstrates that punching really does work on vampires, as Trevor uses rapid fisticuffs to drive an elite vampire back and get the opening he needed.
- Also, note where Trevor was punching Dracula; he was aiming for his mouth. Trevor was trying to knock Dracula's fangs out!
- Why did Lenore make a point of mentioning that Striga, specifically, was the one who wanted Hector to wear a collar on their walk? Well, she did mention earlier that Striga rarely if ever thinks about Hector, so she might've been picking the sister she feels most sure will not go anywhere near Hector (and risk accidentally raising his suspicions about her by reacting with confusion to the collar or something) until her plan was finished.
- One odd design difference between Lenore and the other vampires of Carmilla's court is that she seems to have rosy cheeks rather than being fully pale like the other sisters. Was it a mistake? Most likely not. Lenore sees herself as a diplomat to humanity. She tries to make herself look good, sweet and soft, all the better to socially deal with (and manipulate) humans. What better way to mimic human liveliness than by using abit of makeup to fake the blush of warm flesh?
- Alternatively, she was very, very freshly fed, possibly from a prisoner in another cell to give herself plenty of fresh blood and appear more human. This would also help to drive home her Bitch in Sheep's Clothing nature; she'd be flirting and sweet-talking her way into Hector's mind while proudly showing that she's still a vampire, and humans are still just food for her.
- During Trevor’s fight against The Visitor he eventually uses both his Leather whip and the Morningstar whip with great effect. But that raises a question, why didn’t he use it against Dracula or other vampires if it was so effective? Well if you take a look at how he fights with both whips, he doesn’t move from the spot he was standing from, and takes a few moments to begin his assault, which while great against slower demons and monsters would fair far worse against a much faster vampire, as he can’t control the whip like he usually does and would be far more vulnerable to an attack from them because of his lack of mobility. As for Dracula, he’s Dracula, anything less then the Morningstar would deal Scratch Damage and could easily be powered through.
- Greta and Adrian's conversation about past LGBT/poly liaisons may seem like a case of Eternal Sexual Freedom and Artistic License – History, until you realize several things.
- Firstly, that his 'confession' is clearly the end of the story "and that's why I started putting people on stakes in my yard", so it was relevant.
- Second, Alucard is a dhampir and has no expectation of acceptance by humans, to humans he is a vampire first and foremost. Vampires seem relatively accepting of non-heterosexuality, the humans likely noticed centuries ago. So it would stand to reason that he was used a part of the population would just assuming he was ye olde bi/pan even in the absence of evidence.
- Third, Greta's 'counter-confession' makes perfect sense at this point even in a historical context. He'd already confirmed he was the same and therefore wouldn't judge her and they were alone.
- Why is Sypha moodier and more crass during Season 4? It's because she's pregnant. When she accuses Trevor of "turning [her] into" someone who swears, she doesn't just mean via Toxic Friend Influence.Sypha: It's all your fault! You did this to me!!
- Her comment about him "climbing all over [me]" sounds like a reference to him using her as a platform when she was a statue, but could just as likely refer to him being on top of her when he got her pregnant.
- On that note, Alucard has similar concerns about "turning into Belmont." And it's true, both he and Sypha were originally more hopeful about the world before having their view crushed by the actions of others, much like how Trevor admits he trained hard as a kid to become a heroic monster hunter before his family was hunted and excommunicated, leaving him bitter and alone. But now Trevor is still pretty foul-mouthed and pragmatic, but happier than he was before thanks to Sypha. And just like how he improves, Sypha and Alucard improve by being with genuinely good people that help keep their chins up; in fact, it's Trevor who supports Sypha now. Some common ground has been built between the trio at the series' end.
- Hector's magic that keeps Lenore confined and bars Carmilla from making a run for it seem rather painless. Neither is harmed by touching his constructs, only their movements are restricted. This might be intentional on Hector's part when he set it up, as the ring Lenore tricked him into wearing forbids him from harming any of Styria's council. He likely didn't want to risk it interfering during the preparations or activations, so as along as they aren't being hurt by Hector, directly or indirectly, the sisters can't escape his traps.
- Dracula and Lisa being resurrected in the finale actually lines up perfectly with the original series timeline. After the Battle of 1999, Dracula is destroyed permanently, but he reincarnates as Soma Cruz. His wife Lisa likewise was reincarnated as Mina Hakuba. In short, he finally got the happy ending he always wanted, and as Soma sealed away Castlevania forever so the war couldn't start all over again. The series finale does essentially the same thing with fewer steps, and ensures no more constant battling to stop necromancers from resurrecting Dracula.
- Varney keeps boasting about being Dracula's oldest lieutenant while dropping stories about his age, even claiming to have been around during the time of the Romans in the British Isles. While this may seem like him making up for being an unimportant lieutenant who was given an unimportant task (securing Targoviste, which was already in ruins), it's actually him hinting at his real identity as Death himself, who is older than anyone else in the cast.
- Him being at Targoviste also makes more sense after the reveal, he was likely just feeding off the deaths from ground zero from Dracula's war.
- Trevor claimed in Season 1 that dying never frightened him. Come Season 4, it turns out Death doesn't frighten him at all.
- Throughout the seasons, we see Carmilla's various thoughts on men, ranging from "crazy old men" to "Manchild I can use" and everywhere in between. Which makes one wonder how she was able to put up with Godbrand without slicing his throat or trying to kill him at some point. But take into account one mention in Season 4, where she states that after she and the others took over Styria, she's had to deal with invasions from "Armies from the West" and "Wolf People of the North". Given Godbrand is the vampire in charge of the Scandinavian Vampires, it's very plausible that he was one of the few who gave aid to Carmilla, namely taking on the northern wolf people. It would make sense as to why she tolerated him for so long, as well as how they have correspondence to each other as Carmilla notes.
- Dracula's Curse takes place in 1476 because that's the year Vlad the Impaler (the inspiration behind the literary Dracula) died. While Dracula isn't Vlad III, Season 4 reveals that the King and Queen of Wallachia (presumably unnamed because of an unholy offspring between One-Steve Limit and Celebrity Paradox) died during Dracula's initial attack in 1476.
- Ratko's rant against Varney takes a completely new tone with the knowledge of Varney's true nature, more specifically his mood during the entire ordeal. He starts out shocked at Ratko's outburst, then grows amused by the fact that Ratko's defending himself, then just falls silent and stares grimly. The emotional scale lends itself both to the idea that he's been successfully talked down to, as well as the idea that he's shocked that Ratko took the bait so easily, laughs in his face at the fact that Ratko's ego is hurt enough to defend himself from a bumbling wreck of a man, and then losing interest because he's had his laugh and is waiting for Ratko to shut up and do what he's meant to.
- Trevor's speech against Death in the finale mentions that they're just two old killers and it's time to give the world back to those who know how to create things instead. By this point, however, he already has created something himself: Sypha's child. Which would thematically line up with the fact that although he's convinced there's No Place for Me There, he ultimately lives and returns to her.
- The fight against Dracula in Season 2 takes place in a hallway. While there's enough room to maneuver, there's only two real directions to move. Just like the original side-scrolling video games.
- Like his name indicates, Blue Fangs glows with blue light, it's shown next season that Night Creatures glow red when made by Isaac and Blue when made by Hector, it's possible Hector created Blue Fangs specifically to give the Bishop a "Reason You Suck" Speech as a form of closure-by-proxy for Dracula, who he sympathises with.
- Death's rather informal manner of speaking, coupled with his colorful vocabulary, may seem out of place at first, until you realize two things:
- Death has been around since an age immemorial; perhaps even the dawn of time itself. His dialect could either be a crude amalgamation of that of every culture he's seen bloom and die, or simply the result of him seeing so much shit that he can no longer be assed to keep up appearances.
- Death's liberal use of "fucker" as an insult holds a much, much deeper meaning in his case: he means it in the most literal sense. He harbors a deep-seated contempt towards humanity, after all, and most likely sees humans as mere beasts who simply eat, sleep, and copulate.
- Trevor drawing the god-killing knife in the climax of his fight with Death might seem to come out of nowhere, but if you pay close attention over the course of the season, Trevor keeps picking up odd items in the background of various important sites, and putting them together. And when he's confronting Death, he mentions that he's a Belmont, and "finding things and recognizing things is what we do." He isn't just saying it in the context of knowing what Death is, he's saying it in the context of finding the pieces of the dagger, recognizing their significance, and using that to kill Death.
- The amount of Ambiguously Brown characters in Season 4 may also be the result of Isaac's rampage in Anatolia and Middle East, especially since two of these regions were under Ottoman control and would have fled to Targoviste (which was then an Ottoman vassal).
- Death, after devouring the Infinite Corridor key, is able to manifest fully into the real world and overcome his All-Powerful Bystander status. The obvious question would be why Death didn't do this earlier if he was that gluttonous for souls. However, Death choosing only to eat the key after his original plan failed fits with Trevor's assessment of him during his "Reason You Suck" Speech. Death truly is a Dirty Coward who just eats and hides and would usually rather not risk permanently putting himself in a state where he could be killed, as the form granted by the key appears to be a one-way street. Death choosing to devour the key could be seen as him undergoing a Villainous Breakdown, becoming so ungodly pissed at losing his chance at the ultimate feast of souls that he's decided to pull a Taking You with Me on as many people as he can.
Fridge Horror
- Continuing a bit from the Bishop's resurrection as an unholy creature that still carries God's blessing, there's one huge question that comes to mind: what does this say about God in the Castlevania setting? The Blue Fangs show that God's love isn't unconditional, which implies he can spread his protection if he desires to, but because he doesn't, hundreds if not thousands of innocents have died which could've easily been stopped. Heck, the first thing Dracula does is blow up a Church before proceeding to teleport his castle atop the remains! Granted, the Church is genuinely being corrupt in the setting, but that does not excuse the fact that God hasn't made much, if any visible moves to counteract what could've been the end/enslavement of humanity.
- It's in keeping with the games, really. There are a fair few monsters scattered throughout the various incarnations of the castle that used holy spells and iconography, and a number of protagonists who've used darker powers to fight them with. The ethics of the game seem to be that holiness and darkness are just tools, and it's how they're used that determines their morality; so too God, in the animation, if He exists.
- If you look at the Old Testament, you'll see that there are instances of God's wrath and the punishment against humanity for sins. Remember, this is the guy who flooded the Earth, sent ten plagues against Egypt, and destroyed Sodom and Gomorrah. It would make sense, in the context of the Old Testament, for the destruction rained down on Targoviste and Gresit to be a form of divine retribution for the variety of sins done in the name of God.
- Or at least, God didn't intervene directly to thwart Dracula's plans, the people of Wallachia having reaped what they've sown. On the other hand, He did make sure Trevor Belmont was in the area, and met the exact people he needed to in order to be snapped out of his funk...
- Of note is that when the undead Bishop blessed the river, he was killed by it as well due to standing in the water — and was set ablaze. If ever there was a justification to let the undead cast a miracle...
- The child vampire's skull in the Belmont Hold is pretty chilling for a couple of reasons. For starters, we don't know if this was a kid that was turned by a vampire, a Dhampir like Alucard or a pure born vampire offspring of two other vampires. Either way, that kid ended up suffering for their short life before the Belmonts hunted them down and killed them. And, even if there's some justification for the Belmonts killing the kid, it's still sobering to think about adults killing kids and taking their skulls for hunting trophies.
- All the ordinary people of Wallachia who didn't leave when Dracula told them to. Too Dumb to Live, right? Well, remember that this was still a point in time where most people never left the town they were born in, much less the country. Travel is still expensive and time-consuming, not something the average peasant could undertake. Likely the overwhelming majority stayed put because they didn't have any ability to leave.
- Alternatively, the ones who could leave were forbidden from doing so by the Church. It's not unreasonable to assume that the Church would twist people trying to escape Dracula's wrath as a grievous sin.
- Why...just, WHY is Lisa in Hell? Because she loved Dracula? She tried to redeem him and actually came pretty close to doing so. Because she used advanced science and alchemy? She literally did nothing but heal and help people using it. Because the Church condemned her to burn at the stake? Her last moments of life, while burning in agony, were pleading with her incredibly powerful husband to spare the people who betrayed her. Lisa is the closest thing to a Christ allegory in the entire story (redeeming those considered abandoned and wicked, healing the sick, and begging for her powerful benefactor to forgive those who tormented and killed her), so if God let her go to Hell, then how many other people are there for reasons they can't even understand? It's possible that she chose to go down there (again, like Christ allegedly did) just so that she could be Together in Death with her beloved — but that also raises the concern that one can actually feel lonely in Heaven.
- If Flies Eyes story is to be taken at face value, apparently getting into Heaven or Hell is a lot more complicated than "were you a good person or not."
- Lisa could have been allowed there to see if she could bring him over to the righteous path, since we will recognize loved ones and have a choice to help them if they wind up on the wrong side.Dante's Inferno was all about how, given the rules of the Church, Hell is probably filled with people who, strictly speaking, probably shouldn't be there.
- Given that Lisa doesn't believe in the Devil, she probably doesn't believe in God either.
- It has also been argued that the "Lisa" in Hell isn't actually the "real" Lisa, but is rather a demon taking on her form — either to torment Dracula further or to try and convince him to not feel remorse for his actions.
- Even if the physical location (if even we can say that) is Hell, metaphorically we can say that there is heaven for her since she is with one she loves the most. And as of the ending of Season 4, it may even had been God's plan of redeeming Dracula this whole time!
- In fact, there is a surprising lack of torture in that part of Hell (and Hell is so vast it needs a map) and both Lisa and Dracula are unchanged, as in, their souls didn't turn demonic and twisted. By the point we see them, Lisa is dead for over a year and Dracula is dead for months.
- Reincarnation doesn't happen in Christianity, but it does happen within this show. It's quite possible that the rules for this religion and world are different than the ones in real life.
- If Lisa is a non-believer and they are using Dante's vision of hell, then Lisa is in the first layer where the righteous non-believers go like Greek philosophers like Plato and warrior kings like Saladin. All things considered, it's a nicer place than even purgatory which involves burning the soul clean to allow the true believers into heaven. Flyeyes, on the other hand, while a philosopher, was also a traitor. That would put him in the lowest level of hell which is by far the worst place to be hence why Isaac called him out. If Flyeyes was in hell for just being a non-God fearing philopher, he wouldn't have popped back out of hell as such a monstrous creature.
- A little but interesting attention to detail is that not only are they in the depths of Hell, but they are in a familiar place (their burned down house), there is nothing threatening them there, they are not being tormented by demons or anything, and Heaven's light shines upon them still, as if God himself is granting them a little piece of Heaven.
- If Flies Eyes story is to be taken at face value, apparently getting into Heaven or Hell is a lot more complicated than "were you a good person or not."
- The entire flashback of Chō that Sumi and Taka tell Alucard is laden with this. As most commenters in the video say
, Chō's fighting style isn't just flashy and a mere performance, she's basically acting as if it were all a song and dance to amuse her. She uses kabuki forms to mock her opponent, and has human spectators watch his failed attempt to kill her. Even at the end, when the man attempts to reclaim his honor in traditional Japanese fashion, Chō steals that last moment away from him and proceeds to drain him, either killing or possibly even turning him into a vampire and denying him the possibility of ever reclaiming it. In short, Chō's fight showcases that she completely dominates and humiliates her foes that come before her.- Related to that, take note of the guards present. Who's to say they didn't start out like the samurai in question, attempting to kill Cho, only to end up forced into servitude instead? And what are the chances he did end up joining their ranks? It's quite likely this is how Cho recruited, and it's quite possible other vampires do the same.
- Oddly enough, this show has never actually explained how vampires can turn humans into new vampires...
- In Castlevania lore, it's generally the standby "Transmission by bite" but with the caveat, that draining them completely, just kills them.
- Related to that, take note of the guards present. Who's to say they didn't start out like the samurai in question, attempting to kill Cho, only to end up forced into servitude instead? And what are the chances he did end up joining their ranks? It's quite likely this is how Cho recruited, and it's quite possible other vampires do the same.
- Before Trevor and Sypha arrive at the Judge's home to bring a prior in for questioning, the Judge is shown coming out of a room panting, sweating and wiping his hands with a cloth. With the revelation in the finale that the room is a shrine filled with souvenirs of the victims of his Death Trap, several of which are children's shoes, it's highly likely that he was masturbating in pleasure of his latest victim.
- With the reveal that Varney was actually Death all along and, as Trevor stated and he himself confirms, Death was involved with Dracula's court for a very long time and pined for Dracula to wipe out all life so he could feed; but there was a period of time where Dracula went and forgone his bloodthirst and settled down with Lisa, which presumably interfered with Death's plans for him. Given that he was in Targoviste as Varney and has ability to disguise himself as other things, Death may have had a hand in causing Lisa's death specifically to encourage Dracula to slip off the deep end and go back to killing humans tenfold, all while not caring at all about the state of Dracula's mental well-being either given how he wanted him driven mad explicitly to potentially add more to the body count... that and probably a bit of pettiness against Lisa anyway for denying the death he craves for by humanizing Dracula.
- Additionally, in the game universe, Death is always shown as Dracula's closest companion and one of the few people the count trusts completely and implicitly. Aria of Sorrow even outright calls Death "Dracula's confidante". The ancient deity's Undying Loyalty towards Dracula is such that in Portrait of Ruin's final boss fight, he tells Dracula to just take his soul and use it to achieve his demon form when things go south. Yet in this universe, even the being Vlad may well have considered his best friend was just using him to its own ends. Awfully depressing.
- All the abuse Sypha gets put through in Season 4 becomes this when it's revealed she's been pregnant all season.
- Assuming Lisa didn't go to Hell by choice, unless she fulfills some sort of criteria to save herself in her new life or otherwise if her being sent there absolved her of whatever warranted it happening, it's disturbingly likely that she's doomed to go right back to Hell once her time comes, as is Dracula.
- Possibly not all bad. They seemed to be fine enough together, with the two of them searching each other out. Then there's Lisa's commentary that Dracula would get into a shouting match with Satan to complain that he was just warming the throne of hell for him, implying that he has some pull there or enough autonomy that they may not suffer while they're there.
- If someone as benevolent as Lisa can be sent to Hell, how safe are any of the other characters from going there?
- During Sypha's profane ranting, her and Trevor are fighting off Fleamen in a wheat field. Fleamen are a type of Night Creature. And if one has watched Hector and Isaac do their work as forgemasters, it deserves noting that most human bodies seem to create night creatures around the same size. Consider the size of the Fleamen though... are they Night Creatures created from the remains of children? An even worse revelation is that there may also be the possibility that they could be children who ended up in Hell for one reason or another, which given the notation of Hell seemingly following the Divine Comedy implies it could be easy to end up there.
