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Offline Fou-Lu

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Re: Boss Origins -- Discussion & Consensus
« Reply #15 on: September 01, 2012, 04:37:28 PM »
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Quote
Speaking of which, did you really approve Malphas's Hammer story? It seems rather silly and lighthearted to me.
Nope

Offline Malphas

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Re: Boss Origins -- Discussion & Consensus
« Reply #16 on: September 01, 2012, 04:41:04 PM »
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Not all of them have been edited to fit the dimensional edit because right now I don't have time, but how abour Cyber keeps adding those characters whose story we have agreed with? it would make of this thread the perfect guide for characters' personalities and a MUST SEE to write any story.

BOSSES

Richter doppel/Evil Richter:
(click to show/hide)
The uber- Count:
(click to show/hide)
Olrox:
(click to show/hide)
Shaft:
(click to show/hide)
Barlowe:
(click to show/hide)
Medusa:
(click to show/hide)
Dario Bossi:
(click to show/hide)
Death:
(click to show/hide)
Carmilla:
(click to show/hide)
Brauner:
(click to show/hide)
CHARACTERS:
Richter Good:
(click to show/hide)
Hammer:
(click to show/hide)
Sonia Belmont:
(click to show/hide)
Grant:
(click to show/hide)

Quote
Speaking of which, did you really approve Malphas's Hammer story? It seems rather silly and lighthearted to me.

Yeah, I did it years ago but I think it can be saved if edited a bit. Still, I thought that my take on Hammer's story should not be as serious as the others and focused more in Hammer's DoS "stupid shy guy" style. Hammer is so centered in her love for Yoko that he is uncapable of thinking too much about anything else. In spite of this, the other characters in his story are as serious as ever. If you have any suggestions to improve it I'll be glad to work on them, though. I should be editing it in a few days.
« Last Edit: September 02, 2012, 12:39:55 AM by Malphas »

Offline Superscope

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Re: Boss Origins -- Discussion & Consensus
« Reply #17 on: September 01, 2012, 04:53:13 PM »
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I thought it was agreed apon that death is effectively from "everywhere", as there is only one death?
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Offline Malphas

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Re: Boss Origins -- Discussion & Consensus
« Reply #18 on: September 01, 2012, 11:48:10 PM »
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That was mostly copy-pasted from my old post, but I added the dimensional issues to fit better this thread. I fixed the rest, so Death's problem is corrected now.
Also... true, I read that long ago. Morrison said that it was decided in the old board but I should have asked him more about this, since it's a complicated issue to discuss. If Death a multidimensional deity (the only one and the same in all dimensions) then player death's existence would be pretty much absurd unless we come up with something to cover it. How can one oppose oneself?
Although, I think the trick perhaps would be in:

uber-Death wanting to follow the orders of it's Master VS player Death wanting to restore balance and at the same time questioning the ultimate goal of it's Lord (normal Drac)
uber-Death knows it's doing the wrong thing, it's like defying itself for the sake of it's Master. Still, uber-Death knows that balance must be restored and therefore player Death will be sent to confront uber-Death and solve it's inner conflict trough battle. A servant God fighting itself in a quest to solve the conflict between it's duty and it's friendship and also to understand that sometimes in order to serve your Lord you have to raise against him. Just by reading the summary sounds like the best story ever.

It still seems a bit complicated to me (maybe because I have been a bit off recently) can anyone explain this better?

Offline Morrison

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Re: Boss Origins -- Discussion & Consensus
« Reply #19 on: September 02, 2012, 05:40:16 AM »
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That was mostly copy-pasted from my old post, but I added the dimensional issues to fit better this thread. I fixed the rest, so Death's problem is corrected now.
Also... true, I read that long ago. Morrison said that it was decided in the old board but I should have asked him more about this, since it's a complicated issue to discuss. If Death a multidimensional deity (the only one and the same in all dimensions) then player death's existence would be pretty much absurd unless we come up with something to cover it. How can one oppose oneself?
Although, I think the trick perhaps would be in:

uber-Death wanting to follow the orders of it's Master VS player Death wanting to restore balance and at the same time questioning the ultimate goal of it's Lord (normal Drac)
uber-Death knows it's doing the wrong thing, it's like defying itself for the sake of it's Master. Still, uber-Death knows that balance must be restored and therefore player Death will be sent to confront uber-Death and solve it's inner conflict trough battle. A servant God fighting itself in a quest to solve the conflict between it's duty and it's friendship and also to understand that sometimes in order to serve your Lord you have to raise against him. Just by reading the summary sounds like the best story ever.

It still seems a bit complicated to me (maybe because I have been a bit off recently) can anyone explain this better?

It's actually quite easy to oppose onself--so easy, in fact, that we do it all the time and never even notice it or pay it much thought.  People switch between political parties, religious ideologies, business decisions, etc. at the drop of a hat, never once wondering what our past self would say about the way in which we just now decided to deviate from his or her path--because to us, in the third dimension, moving in a straight line through the fourth, the past is dead.  Non-accessible.  The older Democrat will never have to worry about what his younger Republican self thinks of his decision to turn Democrat, because the young Republican no longer exists for him. 

Death's conundrum requires a bit of fourth dimensional thinking...thinking like someone who doesn't exist in time and therefore exists (mostly) eternally.  If one exists eternally, how does one change?  Eternity as a concept carries a degree of finality.  Can one who exists eternally change?  If so, how can one who exists eternally change?

Let's talk about painting for a moment.

Let's say you painted a landscape.  A meadow.  Mountains in the background, whole nine yards.  You decide that it's missing something, so you add a mini-self portrait to the painting.  You step back and look at it again, deciding that the human element is just the element you needed.  But you don't like the clothes you're wearing in the painting for some reason.  So now you only have two options: scrap the painting or paint over yourself with a new set of clothes.  You opt for the latter, replacing the old painted version of you and replacing it with your new vision of yourself.

The painting is time itself, and you (the painter) are the abstract concept that is the personification of Death (in pure god form).  The first version of you in the painting is Boss Death.  The second version of you in the painting (the one that replaces the old) is Player Death.  The act of painting is roughly analogous to the fight between Boss Death and Player Death.  It's merely what happens when a being that by definition cannot change does change.

Offline Malphas

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Re: Boss Origins -- Discussion & Consensus
« Reply #20 on: September 02, 2012, 07:37:16 AM »
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Great explanation! It really made it look simple ^^
Thanks.

Offline rasgar

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Re: Boss Origins -- Discussion & Consensus
« Reply #21 on: September 04, 2012, 02:58:43 PM »
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Not all of them have been edited to fit the dimensional edit because right now I don't have time, but how abour Cyber keeps adding those characters whose story we have agreed with?

He will. I'm pretty sure that's why he made the thread.

Quote
Richter doppel/Evil Richter: He is the ultimate vampire hunter, the chosen one.
1- He could have been brought there by himself (SotN Richter before fighting Alucard is wandering castlevania and then BOOM! finds out that the castle has changed into the one in uber-Drac's dimension.

2-He could have been chosen by Aeon before you, which means that he is THE MAN and your character is just the second option.

I don't think it's ever been explicitly stated, but my understanding is that all the heroes are brought in by Aeon, and all the villains are brought in by Dracula in some way or another - so I don't think evil Richter would be brought in by Aeon. Plus, I'm pretty sure there will be two Richters, so it makes sense that they would each be brought in by different means, rather than both by Aeon.

Quote
Because he is obsessed with this final fight against Dracula to the point that he will not allow anyone to confront the Count until he becomes too strong for anyone to defeat... Also, evil Richter enjoys fighting strong opponents...

I think the focus for Richter is not that he wants to have the most epic battle of all time, but that he simply doesn't want to outlive his usefulness. Therefore, I think his motivation for fighting the intruders would be for the sake of job security rather than just because they're strong.

Quote
The uber- Count: He has never been defeated and now he is stronger than ever, so it's normal for him to be a very proud person who will see any hero merely as an entertainment before his decisive victory... If he is defeated, he will try to convince the other that the ultimate victory is his (kind of like a you have defeated me this time, but you haven't solved anything; your life is still pathetic and I will return, so you've just wasted your time)

This seems like a pretty good description to me - although, I don't think Dracula will ever come back with the extent of dimension-collapsing power that he has here, so I don't think he would say that after losing. I think it's more fitting for him to have some "closing comments" on the hero's goal/conflict. Such as, "Those ideals that you fight for really do give you strength..." Something to that effect.

Quote
Shaft is from uber-dimension. He is aware of what Dracula can do with time disruption and eager to make it happen. He is a total fanatic who wouldn't mind dying just for the sake of the plan, for he knows that if the Count succeeds everything will eventually perish. He wants the world to be purified with chaos and destruction as the Count becomes an undead God. Shaft is a very intelligent manipulative man and he may even try to corrupt the heroes with his mischievous words...
Interesting enemies: Richter...

It seems to me that it would be more fitting to have Shaft come from the main dimension. If he were from the uber-dimension, he would not know Richter at all - Richter would never have existed. Plus, I'm pretty sure that the reason he got involved with everything was that he was part of a cult that was trying to revive Dracula - if Dracula never died, that could never have happened. Of course, there's plenty of ways it could have happened differently in the uber-dimension (as we discussed with Brauner), but...

Quote
Medusa: Dimension and awareness of it it's irrelevant, but I go that she's unaware of the changes in Castlevania. She was once the most beautiful lady. Now that she has lost her charm is totally obsessed with beauty, since it was 'unfairly taken from her'... Sometimes, she will even offer the heroes to freely become a statue, to freeze the beauty of their forms for all eternity...
Interesting enemies: Any handsome character.

This may bear some discussion, to see if it's worth having Medusa conversations in the stories (since if one person does, everyone else must). While I have seen Medusa depicted in such a way that she makes statues in order to preserve their beauty for herself, I would prefer that she petrify people in order to spite them and their beauty.

With this being the video game series it is... I think every single character is going to fall into the handsome/beautiful category, except maybe the monster characters... and Mr. McDonald. Even Dracula is fairly handsome.

Quote
Carmilla: From uber-Drac's dimension, although I think it's irrelevant since she serves Dracula, no matter where. She is not aware of the dimensional rift. Carmilla is 'sexy and she knows it'. She is aware that no human can resist her charm and feels playful about it. Also, she will try to convince the heroes that it is too late for them and try to torment them more... Appart from her hatred towards werewolves, what is more remarkable about her is her devotion towards Dracula, the only one she admires and respects.
Interesting enemies: Death, because a skeleton with a tunic is more important for Dracula than she is.

I feel that making Carmilla overly sexy/seductive/charming will make her far too similar to the succubus/Astarte. We should focus more on her loyalty to Dracula, and her tendency to play on the fears of the hero to corrupt them. Thanks to CotM (where she gets just about all of her dialogue), I think of her as a villain more like Maleficent from Kingdom Hearts than someone like the succubus. Additionally, I don't think the hatred between vampires and werewolves really comes into play in the CV mythos (although I haven't played LoS yet, so maybe it comes up in that), and I also think Carmilla is smart enough to recognize why Death is so important.

Quote
Hammer:
Interesting enemy: evil Julius, because he always saw him as a rival for Yoko's heart and they might have lots of things to speak about.

I don't think there's going to be an evil Julius.

Quote
Sonia Belmont: She fights darkness and thinks it is her duty to defeat the Count as many times as necessary. However she has been expelled by the people she saved and her love is in an eternal slumber, so she feels a bit discouraged about her life in general. Nevertheless she still sees herself as the only one who can defeat Dracula and feels that it is her duty to use her power to fight darkness. When she has to completely destroy Alucard (in my story) she has lost basically everything and she can not bear it anymore: she decides to kill Dracula and seal it's powers forever, even at the cost of her life. She no longer cares if she lives or dies in the end, there is only that last thing to do for her.
Interesting enemy: evil Al.

I find myself a bit biased here - Legends is one of the few games I've never played, mostly because I didn't even know it existed back then. When I first found about it, people were already decrying it for its conflicts with the CV timeline and being removed from canon, so I really don't have any love for Sonia. So I can't really comment on how good this is. However, from what little I know... there's nothing to suggest that she was ostracized by the people. And I don't think there's going to be an "evil Alucard".

Quote
Yeah, I did it years ago but I think it can be saved if edited a bit. Still, I thought that my take on Hammer's story should not be as serious as the others and focused more in Hammer's DoS "stupid shy guy" style. Hammer is so centered in her love for Yoko that he is uncapable of thinking too much about anything else. In spite of this, the other characters in his story are as serious as ever. If you have any suggestions to improve it I'll be glad to work on them, though. I should be editing it in a few days.

I understand that he was like that in DoS, but I think we're trying to avoid that storytelling approach in this game. It's been stated before that CV Fighter is supposed to have a darker, serious feel to it all across the board (aside from Jonathan, I guess). It's possible to have him be shy but very much in love with Yoko, yet have the story be serious. Someone correct me if I'm wrong on this.

Offline (yber])ragon10]{

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Re: Boss Origins -- Discussion & Consensus
« Reply #22 on: September 04, 2012, 08:29:55 PM »
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He will. I'm pretty sure that's why he made the thread.

Indeed. I've been busy with other stuff the last few days, but I'll get around to adding more bosses to the master summary once I'm certain we've all agreed on that particular interpretation of him/her/it. :/

I'm pretty sure there will be two Richters, so it makes sense that they would each be brought in by different means, rather than both by Aeon.

I think at this point that segregation of a player character from its boss version is to be expected (if applicable). This thread is meant for the bosses anyway. Player characters will be sorted by the person writing each character's story, in adherence to the meta ideas and guidelines in this sub-forum. :P

I think the focus for Richter is not that he wants to have the most epic battle of all time, but that he simply doesn't want to outlive his usefulness. Therefore, I think his motivation for fighting the intruders would be for the sake of job security rather than just because they're strong.

There has to be more reason behind his obsession with fighting forever than simply "for the lulz". I'm of the opinion that it stems from some of his fears and insecurities about being forgotten by the people. Simon and Trevor had the accolades of the common folk for slaying Dracula in their times, but by Richter's era, it's an expectation of the Belmonts. How does something like that weigh on one's mind? When your ancestors were praised for choosing what you're expected to do? When the two Richters meet, it'll be a rich opportunity for introspection. :]

It seems to me that it would be more fitting to have Shaft come from the main dimension. If he were from the uber-dimension, he would not know Richter at all - Richter would never have existed. Plus, I'm pretty sure that the reason he got involved with everything was that he was part of a cult that was trying to revive Dracula - if Dracula never died, that could never have happened. Of course, there's plenty of ways it could have happened differently in the uber-dimension (as we discussed with Brauner), but...

How does Shaft end up in the Uber Dimension then, considering he's dead at more times then I care to count? I suppose the only logical explanation would be that he has more of those orbs hidden away acting as phylacteries for his soul (essentially equating him to a D&D Lich, although we shouldn't explicitly imply/mention that). Without a physical form, perhaps he wanders the aether and happens upon Uber Drac's realm, where the nigh immortal count grants him a body again in exchange for his services? :x

This may bear some discussion, to see if it's worth having Medusa conversations in the stories (since if one person does, everyone else must). While I have seen Medusa depicted in such a way that she makes statues in order to preserve their beauty for herself, I would prefer that she petrify people in order to spite them and their beauty.

With this being the video game series it is... I think every single character is going to fall into the handsome/beautiful category, except maybe the monster characters... and Mr. McDonald. Even Dracula is fairly handsome.

Serio hasn't given her story code yet. On the one hand, she's one of the five original bosses, but on the other, she's never had any particularly involved speaking roles, outside of LoI (which, even then, was sparse at best). I suppose this'll be something to mull over in the coming days? :x

I feel that making Carmilla overly sexy/seductive/charming will make her far too similar to the succubus/Astarte. We should focus more on her loyalty to Dracula, and her tendency to play on the fears of the hero to corrupt them. Thanks to CotM (where she gets just about all of her dialogue), I think of her as a villain more like Maleficent from Kingdom Hearts than someone like the succubus. Additionally, I don't think the hatred between vampires and werewolves really comes into play in the CV mythos (although I haven't played LoS yet, so maybe it comes up in that), and I also think Carmilla is smart enough to recognize why Death is so important.

It does come up in LoS, and it's not to be a part of this game's story. The only shades of that continuity you can safely expect will be Gabriel, and Gabriel alone. Regarding Carmilla proper, about the only thing we have to go on for her personality is CotM and Judgment, so we'll have to make do using those as a basis, moreso Judgment. :/

I find myself a bit biased here - Legends is one of the few games I've never played, mostly because I didn't even know it existed back then. When I first found about it, people were already decrying it for its conflicts with the CV timeline and being removed from canon, so I really don't have any love for Sonia. So I can't really comment on how good this is. However, from what little I know... there's nothing to suggest that she was ostracized by the people. And I don't think there's going to be an "evil Alucard".

Oh, I have $67.01 USD invested in hating Sonia. ;P

She's ostracized according to the ending of the game when she's defeated Dracula and gets thrown out because SHE'S A WITCH. Dx

Sonia Belmont: She fights darkness and thinks it is her duty to defeat the Count as many times as necessary. However she has been expelled by the people she saved and her love is in an eternal slumber, so she feels a bit discouraged about her life in general. Nevertheless she still sees herself as the only one who can defeat Dracula and feels that it is her duty to use her power to fight darkness. When she has to completely destroy Alucard (in my story) she has lost basically everything and she can not bear it anymore: she decides to kill Dracula and seal it's powers forever, even at the cost of her life. She no longer cares if she lives or dies in the end, there is only that last thing to do for her.

No, she's not going to do by herself what took Julius and a bajillion people helping him to accomplish, especially against Uber Drac. I already did a lot of pruning to the story, Mal, don't make me bring out the gardening shears to start removing chunks. >:/

I understand that he was like that in DoS, but I think we're trying to avoid that storytelling approach in this game. It's been stated before that CV Fighter is supposed to have a darker, serious feel to it all across the board (aside from Jonathan, I guess). It's possible to have him be shy but very much in love with Yoko, yet have the story be serious. Someone correct me if I'm wrong on this.

I had an idea where Malphas could focus instead on Hammer's worthiness as a soldier, considering he abandoned his mission in AoS to open a shop of all things. His plot could address whether or not he has the will to carry out his duty. Yoko should not be the primary motivation, because even if I ever accept it (in a drunken stupor, likely), Fou won't. >_>
« Last Edit: September 04, 2012, 09:07:10 PM by (yber])ragon10]{ »
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Offline Malphas

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Re: Boss Origins -- Discussion & Consensus
« Reply #23 on: September 04, 2012, 09:40:50 PM »
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About the uber-count... I think he should do as you say with heroes that he respects but I really like the idea of "Drac being so evil and smart that he doesn't care if you beat him" just like Rondo of Blood Drac, he is friggin burning and when he dies he goes away laughing... laughing! That's just badass!

By the way.. remember the Necromancer of CoTM? Doesn't it look a bit like Shaft's Ghost? I just had an idea... what if Shaft can not really die because his soul was absorbed by castlevania as well? He is a powerful magus/Dark priest and also a smart guy so his spirit would manage to survive like that. I think we could give him a MAJOR role in this game since he is capable of doing evil cunning plans against his enemies.

Here is where it gets weird:
(click to show/hide)

About Sonia (lol, I thought nobody actually read it, thanks Cyber ;_;)  I wanted to make it look as if it wasn't Sonia who had the power to destroy Drac, but the Vampire Killer. In lament of Innocence, it seemed to grow stronger when the user focused hate+dead vampires' souls so in uber-dimension and after everything Sonia loses I think the whip has all the ingredients it needs to become an "uber-Vampire Killer"

Still, I can make the same as I did with Grant. Dracula grows so powerful that his soul becomes free of the bonds of time and the crimson stone no longer affects him, for he is becoming a God. During Serio's castlevania, however, he is still not powerful enough to become a Godlike being, so when he dies he is actually killed forever and ever. I think I should have written about that on the other threads, my bad.
Now seriously, this is one complicated issue. If he is the STRONGEST Dracula ever and will just come back some day then will the dimensional thing have to be repeated ever and ever? I think there should be a way in which Drac is completely destroyed at the end of this game and a good explanation for it, if we can make it.
« Last Edit: September 04, 2012, 11:04:30 PM by Malphas »

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Re: Boss Origins -- Discussion & Consensus
« Reply #24 on: September 04, 2012, 10:30:23 PM »
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Quote
Dracula grants shaft his body back as a reward for helping him in his revenge against the Belmont clan.
this part doesn't work. the uber dracula doesn't have any need for revenge against belmonts since he never lost to them, and if he found out it was because of shaft that lisa and alucard died, he'd most likely destroy him, not reward him.

lol

Quote
Serio hasn't given her story code yet.
the recent story code cleanup/recode was to standarize everyone. this means, everyone, including her (and even the cerberus, lol) has it available, just not enabled by default.

that and if i enable her, everyone'll have to include her in their stories.

maybe sometime in the future i'll add something to each character vs each boss, so that each character'll have a "can have story vs dario" or "can have story vs richter" option, which, if absent, will make the character/boss skip the story.

fortunately with the animation detection trick i can have as many of those as i want. they are a constant value and can only work as a 0/1 (meaning, yeah or nope. can do or can't. if animation exists it means it's true, if it doesn't it means false), but that's more than enough for this.
« Last Edit: September 04, 2012, 10:41:00 PM by serio »
Dracula was here

Offline rasgar

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Re: Boss Origins -- Discussion & Consensus
« Reply #25 on: September 04, 2012, 10:44:35 PM »
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There has to be more reason behind his obsession with fighting forever than simply "for the lulz". I'm of the opinion that it stems from some of his fears and insecurities about being forgotten by the people. Simon and Trevor had the accolades of the common folk for slaying Dracula in their times, but by Richter's era, it's an expectation of the Belmonts. How does something like that weigh on one's mind? When your ancestors were praised for choosing what you're expected to do? When the two Richters meet, it'll be a rich opportunity for introspection. :]

You put it better than I could. Thank you.

Quote
How does Shaft end up in the Uber Dimension then, considering he's dead at more times then I care to count? I suppose the only logical explanation would be that he has more of those orbs hidden away acting as phylacteries for his soul (essentially equating him to a D&D Lich, although we shouldn't explicitly imply/mention that). Without a physical form, perhaps he wanders the aether and happens upon Uber Drac's realm, where the nigh immortal count grants him a body again in exchange for his services? :x

For that matter, how does anyone get there? I'm not super clear on that. Is uber Drac making a conscious effort to drag them in, or do they just pop in as a result of all the chaotic dimension-ripping? That aside, I'd say he either has a way of continuing to preserve his soul, or perhaps he was taken from a time period before he was defeated by Alucard but after he controlled Richter.

Quote
Serio hasn't given her story code yet. On the one hand, she's one of the five original bosses, but on the other, she's never had any particularly involved speaking roles, outside of LoI (which, even then, was sparse at best). I suppose this'll be something to mull over in the coming days? :x

Honestly, I'm finding it hard enough to write for some of the other non-talking people like Abbadon and Balore. I think it would be fine if we left her out.

Quote
It does come up in LoS, and it's not to be a part of this game's story. The only shades of that continuity you can safely expect will be Gabriel, and Gabriel alone. Regarding Carmilla proper, about the only thing we have to go on for her personality is CotM and Judgment, so we'll have to make do using those as a basis, moreso Judgment. :/

Hm. When I was talking with Morrison months earlier, he said it was likely that we would disregard a lot of the Judgment characterization for Carmilla, since it makes her too similar to the succubus (with her seductiveness) and Bartley (with her sadism). So I figured it would be based primarily on CotM.

Offline Malphas

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Re: Boss Origins -- Discussion & Consensus
« Reply #26 on: September 04, 2012, 10:48:55 PM »
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True, it's not exactly revenge (wrong word choice >_>) but it's defeating his oldest enemy. Mathias and the Belmont clan are enemies since the times of Leon so it's natural that Dracula would be pleased if the Belmont clan was no longer a threat.
Also, Shaft wishes to purify the world in the forges of Chaos, not to serve Dracula. Shaft doesn't even have to plan much of Alucard's murder, he just needs to make sure that Al is on the right place on the right moment and an angry mob will eventually kill him. If he was to plan Alucard's "accidental" death he would be sure that Dracula doesn't notice that he actually planned to murder his son. It seems a bit like Game of Thrones meets Castlevania but I personally like this idea.
The thing that seems more off to me is the fact that Shaft regains his body, which is rotting 500 years in the future and in another dimension...

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Re: Boss Origins -- Discussion & Consensus
« Reply #27 on: September 11, 2012, 09:54:10 PM »
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For that matter, how does anyone get there? I'm not super clear on that. Is uber Drac making a conscious effort to drag them in, or do they just pop in as a result of all the chaotic dimension-ripping? That aside, I'd say he either has a way of continuing to preserve his soul, or perhaps he was taken from a time period before he was defeated by Alucard but after he controlled Richter.

If death in the dream realm sets the Succubus' soul wandering for eternity, could a similar idea not be applied to Shaft? When his last phylactery/orb is destroyed by Alucard in SotN, his spirit is set adrift between the timelines, whereupon he ends up at Uber Drac's timeline. The rest could plausibly follow from what I posted previously at that point. :x

Hm. When I was talking with Morrison months earlier, he said it was likely that we would disregard a lot of the Judgment characterization for Carmilla, since it makes her too similar to the succubus (with her seductiveness) and Bartley (with her sadism). So I figured it would be based primarily on CotM.

I think this is a case of either or being acceptable; I mention Judgment mostly because IGA fancies it to be a canonical representation of each character's personality (at that age, in Eric's case). Though, as Morrison would probably say, know what to keep, and what to throw out. :P

Also, Shaft wishes to purify the world in the forges of Chaos, not to serve Dracula.


OT: Regarding timely updates to this thread, my net has been dying sporadically as of recently, so any updates may be a bit slower than I'd first anticipated. Doesn't help I'm playing Lufia DS right now either. >_>
« Last Edit: September 11, 2012, 10:03:49 PM by (yber])ragon10]{ »
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Offline Malphas

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Re: Boss Origins -- Discussion & Consensus
« Reply #28 on: September 11, 2012, 10:26:29 PM »
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What? It's actually true. Shaft serves Dracula BECAUSE he can bring chaos to the world and despite he admires Drac in a way I think Shaft would not hesitate on preparing any plots against his "Master" in order to make him focus a bit more on the destruction thing instead of in raising a lovely family. Alucard and Lisa both empower Drac's human side so they are Shaft's enemies, even if Drac would never allow Shaft to raise a hand against them he would destroy them if he had the chance.

Shaft doesn't even need any complicated plot since he only has to make sure that Alucard and Lisa are together when she is killed (or just to make sure that the mob is angry enough to also kill young Al)
Dracula's hatred would go towards humanity so he would be too blind by rage to even notice Shaft was behind Al's death.

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Re: Boss Origins -- Discussion & Consensus
« Reply #29 on: September 14, 2012, 12:05:26 AM »
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What? It's actually true. Shaft serves Dracula BECAUSE he can bring chaos to the world and despite he admires Drac in a way I think Shaft would not hesitate on preparing any plots against his "Master" in order to make him focus a bit more on the destruction thing instead of in raising a lovely family. Alucard and Lisa both empower Drac's human side so they are Shaft's enemies, even if Drac would never allow Shaft to raise a hand against them he would destroy them if he had the chance.

Shaft doesn't even need any complicated plot since he only has to make sure that Alucard and Lisa are together when she is killed (or just to make sure that the mob is angry enough to also kill young Al)
Dracula's hatred would go towards humanity so he would be too blind by rage to even notice Shaft was behind Al's death.

I don't like this fanfiction. Pure and simple. It downplays the idea of choice that Morrison's expanded premise works off of, making Uber Drac a rabid dog that Shaft decided to point in any random direction, instead of the credible threat that he is through choosing to wage war on humanity, conquering his world, and threatening the stability of the CV universe through his steadily increasing power. Olrox is already the conniving backstabber, so you have no excuse beyond fanciful theories/extrapolation to be positing this anyway. :/

And don't bring up how Dracula is a slave to chaos either; that, also, is stupid, because it again spits on the idea of choice that these stories are to revolve around. >_>

(click to show/hide)

Nothing about the above ever suggests that Shaft would prioritize serving "chaos" over Dracula. In fact, Shaft reveres him quite obviously, especially in DXC RoB, where he calls Dracula "Lord Count" in the pre-Stage 6 cutscene. Using either or would've been fine, but the localization chose to use both to make a point. :P
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