13 Dec Castlevania Humanities Analysis
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[Student Name]
[Date]
Castlevania Humanities Analysis
In the TV show, Castlevania, which is based on a popular video game in which you battle
vampires, a new twist is put on the characters not only to the original storyline, but to the
relationships between them as well. In this adaptation, new ideas on the roles of vampires and of
Count Dracula are also introduced. Castlevania takes place in the country of Wallachia, which is
set in the late 1500’s, in which the Church had a large amount of power and renounced science.
As a result, Dracula’s wife Lisa is killed for her knowledge of modern medicine, which causes
Dracula to begin a genocide of the human race by summoning demons from hell using skilled
forgemasters. Full of despair he organizes the court of vampires, who are Counts across the land
and are under his rule, to wage war on the humans and end them once for all. Over the course of
a year, the demons run loose in Wallachia and kill thousands of people until Dracula’s son,
Alucard, is awakened from his tomb and fights alongside a magician and a monster hunter to kill
Dracula.
Throughout the entirety of the show, the audience meets many characters from the
vampire and human efforts of each side of the war, and their character developments are shown
through their relationships with each other. We see relationships between humans and vampires,
vampires with their own kind, and human relationships as well. Of these relationships, those
which are shown more prominently are Lisa and Dracula whose relationship is a major turning
point in the series. In addition, one of the main characters of the third season, who is believed to
be asexual, holds a great deal of importance as well.
Out of all the relationships in Castlevania, the relationship between Dracula and
Lisa is one of the most important relationships in the entire series, as the loss of Lisa is the cause
for the entire plot point. When the church discovered Lisa’s breakthroughs in medicine, they
wrote off her knowledge as witchcraft and burned her at the stake, causing him to begin his
purge of the humans. Lisa and Dracula’s relationship has many contrasting ideas, but one of the
most notable is the differentiation between desire and romance. The relationship between the two
began with desire. For example, Lisa sought to learn as much of Dracula’s teachings about
medicine, while Dracula had a strong desire for change. His curiosity for Lisa grew from the
moment that she knocked on the door of his castle, with a genuine want for an education. That
desire slowly grew into a sexual desire, as they got closer and began to spend more time together.
In the book Understanding Asexuality, the author describes the A, B, C, and D’s of sex. The
letter D is for desire, and is related to all four of the other letters which stand for: attraction,
arousal, behavior, and cognition. “Desire is defined, sexually, as a feeling that includes wanting
to have a sexual experience, feeling receptive to a patrtners initiation, and thinking/fantasizing
about sex,” according to Bogaert (24). The proof of the desire and lust between Lisa and Dracula
is shown through their child, Alucard, who is born a few years after they get married.
However, there are clear distinctions between their desire for one another, and their
romance. Desire can be decoupled from romance because of the bodily functions that underlie it.
Their romance is separate from this desire, since love can exist even if they could not have
children. Dracula’s instincts are not only to reproduce, but to kill humans as well. This is one of
the main points which separates their relationship from lust and desire. While they did bond
through their desire for one another, he did not once act on his need to feed on humans, which
shows that he has a great respect for her as an individual, rather than her species. He could have
forcefully turned her into a vampire as well, but his love for her would not allow him to as the
loss of her humanity would change her. Their romance defied bodily mechanisms, while their
desires completely followed them, which made their relationship extremely strong and caused
Dracula to mourn her death so extremely as to murder all humans.
In addition, one of the most important characters of the third season, Isaac, is asexual.
Isaac, who worked in the court of Dracula as a forgemaster, was saved by Dracula when his son,
Alucard, and his friends attacked the castle seeking to kill them. As a result, he lost one of his
truest friends, and sought revenge on the other forgemaster, Hector, who betrayed the court. In
Understanding Asexuality, the author describes asexuality as a lack of sexual desire and interest
(10). Isaac’s character is one full of trauma, as he was a slave to terrible people in the past. As a
result, he found himself extremely disconnected from people in his older days, and dedicated his
entire life to learning about forging. Becoming a forgemaster is something revered in the
Castlevania universe, as it is something that deems power over others, that even the most
powerful beings, vampires, cannot access. It requires a human connection to hell, which is
something vampires lack. Isaac could have had the entire world at his feet, and followers to
worship him, but refused all these things, instead focusing on his work and eventually becoming
a friend of Dracula’s.
Isaac is a complex character who has very simple wishes. One of the main reasons he is
deemed as asexual, is his lack of attraction to others. This is one of the letters of sex, as described
by Bogaert. Before he worked as a forgemaster in Dracula’s court, he lived by himself, detached
from others in society. This, which could be difficult for others who need human interaction, was
no problem to Isaac, as he was traumatized by his previous interactions with humans. His
adopted father, who in his childhood used him as a slave, was someone important to him and
someone he made an effort to help. However, when he tried to show his affection to his father, he
was instead abused for his actions. This is one of the reasons why he became so isolated, since he
stopped believing in the kindness of others. For this reason, he never pursued a relationship with
people who liked him, or even had friendships with anyone until Dracula, who has the same
beliefs as him.
Another point which defines Isaac as asexual is his lack of sexual behavior and cognition.
Much of the ways in which he acts towards others is very much the same, no matter the gender
or individual. Once more focus is put on Isaac in the third season, we find that his behavior
towards others worsens, transitioning from neutrality to violence. When his own friend and
forgemaster betrayed him, he found himself confused and resorted to violence. Forging hundreds
of demons from hell, he travels through the world with only one thought: revenge. He refused to
get to know any people, instead feeding them to his demons, thus his behavior towards others is
one that rejects any type of relationship with him.. In chapter 2, Bogaert says, “Our thoughts are
organized into knowledge structures or schemas. Our scripts generalize about the appropriate
sequence of events in a particular context.” Isaac’s cognition lacks the thoughts of other
individuals other than himself. Not only this, but he has no thought about sexual scripts, or
behavioral contingencies regarding others. Not only is this something that is outside of his
personal nature, but also something he has ch=osen to do as a part of his religion: Sufism. This
religion is very much related to Islam, however has more complex ideas about behavior and the
persons relationship with their god. Celibacy is not something that is required, but can be chosen
by sufi. This is one part of his religion that he distinctly chooses, unlike the rest of his devotion
to its practices. He chooses this because of his asexuality, and his lack of connection to any
individuals.
While Isaac had no real connections to any humans, he did have a connection to one
vampire. This vampire was Dracula, who became a dear friend of his when they began the
genocide of all humans. Through all his past interactions with humans, he sought to rid them of
their world, along with himself in the end. After those plans were ruined by the death of Dracula,
he continued this conquest and made it his only desire. Desire is also one of the important parts
of Bogaerts definition of sex and asexuality. As it is related to the other factors of this, we see
that his sexual desires are extremely low. While he has no sexcual desires, throughout the
entirety of Castlevania, we see that Isaac’s true desires stem in his hate for humans, and
moreover, anyone who stands in his way. As someone who has terrible experiences with humans,
he would never choose to interact with them in any way, especially after the betrayal by Hector.
The reason he became a forgemaster was to do the work he believed would bring him closer to
his god, and to make the sinners of hell repent by becoming his slaves. The genocide of humans
was also the only thing he connected with anyone with, and the sole reason he left his isolation
for.
Castlevania not only shows intricate relationships between complex characters, but it also
provides many connections which relate to Andrew Bogaert’s Understanding Asexuality.
Through these many connections between characters such as Lisa and Dracula, which decouple
ideas such as lust and romance in many new ways. In addition, we are introduced to new ideas
about vampires in a more modern way, as well as the reintroduction of characters such as
Dracula in new light. Additionally, the range of sexualities, specifically the asexual character,
Isaac, helps to interrogate this show as a form of art.
Works Cited
Bogaert, Anthony F. "Understanding Asexuality." Understanding Asexuality. Lanham, MD:
Rowman & Littlefield, 2015. Chapters 1-4. Print.
Ellis, Warren. Castlevania. Prod. Jason Williams and Maki Tershima-Furuta. 7 June 2017.
Netflix. Web. 15 Mar. 2021. <https://www.netflix.com/browse?jbv=80095241>.
,
[student name]
HUM 3000-1
Erro
[date]
Feminism in O’Pioneers! and Dracula
Humans are social creatures that tend to run in groups and rotate around the various
relationships they create throughout their lifetime. From parents to childhood friends, romantic
relationships, professional relationships, toxic relationships, all have their own impact on people
and the choices they make in life. The relationships in O’Pioneers! and Dracula have an
incredible effect on both the characters and plots of their prospective stories. Specifically, an
analysis of the relationships of the women in both stories portrays the societal views of
femininity and feminism of the times. As analyzed in this paper these works place more feminine
characters as lower and lesser than characters that portray more masculine traits and actions. This
system of rewarding masculine women over feminine women sheds light on the patriarchal
society that still exists today.
Dracula by Bram Stoker, a classic vampire novel features two main female characters
whose practically opposite personalities place them into entirely different fates throughout the
story. Mina Murray is the smart, dutiful fiance of the main character Jonathan Harker.
Juxtaposed to Mina is Lucy Westenra, a young, bubbly, and naive bachelorette. While both
women look to get married in the near future it is Lucy who draws the most attention most
notably from Count Dracula himself. Lucy’s carefree almost childlike innocence makes her the
perfect victim in this narrative, while Mina’s clever and quiet demeanor is rewarded by the
remaining male characters. “I was filled with anxiety for Lucy, not only for her health, let she
should suffer from the exposure, but for her reputation in case the story should get wind,” Mina
expresses minutes after unknowingly discovering Lucy after being preyed on by Dracula. It’s
significant that Mina’s major concern is Lucy’s reputation, this displays a societal concern for
keeping up appearance specifically for women. Mina acts as a caretaker for much of the story
especially for Lucy and her fiance Jonathan. In many ways, Mina represents the ‘ideal’ woman
of the times while Lucy is a warning to naive women that embrace their femininity. However, as
seen in Dracula Mina’s portrayal as a more desirable woman for her quieter and obedient
approach is just as problematic and misogynistic as Lucy’s portrayal. While Mina is praised for
her traits, she doesn’t succeed to the degree that one would expect, she is boxed into a motherly,
secretarial role carefully being limited from assuming a truly masculine or leaderly role like her
male counterparts. They are consistently referred to and portrayed as stronger, more in control,
and in no uncertain terms superior. Mina’s situation is comparable to Alexandra’s life in
O’Pioneers!, while both women are shown to have more masculine characteristics and are put
slightly higher than their more effeminate counterparts neither reaches any type of incredible
success, and what success they do gain isn’t without consequence.
Similar to Dracula, O’Pioneers! by Willa Cather, portrays two female characters with
considerably different relationships and fates. While Alexandra is the main character or at least
the most center of the plot, the relationship between her younger brother Emil and his childhood
friend Marie drives some of the major conflicts of the piece. The forbidden relationship between
Emil and the married Marie ends in their tragic and premature deaths. While the still criticized
stagnant relationship of Alexandra and Carl survives but causes rifts within Alexandra’s family
and doesn’t necessarily bring anyone any form of great joy. The portrayal of both of these
women is especially important when analyzing each of these relationships. Marie much like
Lucy from Dracula, even as a small child, is described as beautiful, sought after by men,
somewhat naive, bubbly, and flirtatious in nature. Alternatively, Alexandra is seen as stoic,
hardworking, determined, and above all else very masculine in nature. She succeeds mainly due
to her determination and focus, she has never taken time to worry about starting a relationship
with a man or sought after any men instead she worked on her land. Alexandra, the woman who
didn’t worry about love and had a very masculine personality succeeds in the end but even her
success has its limits. “… I think when friends marry, they are safe. We don’t suffer like — those
young ones.’ Alexandra ended with a sigh… She leaned heavily on his shoulder. ‘I am tired,’ she
murmured. ‘ I have been very lonely, Carl.” Alexandra says. She ends her story defeated, tired,
and lonely. After all her work and diligence she lost her brother, her friend, and is left with a rift
between the rest of her family. By analyzing these two women we learn that a young, flirtatious,
feminine woman is doomed from the start but a successful, hardwired, masculine woman is also
doomed to be alone and by many’s definitions undesirable.
While both O’Pioneers! and Dracula feature major female characters, the fates and
portrayals of these characters send negative and cautionary signals about feminism and feminity
as a whole. Truly feminine women are portrayed as childish and their sexuality becomes their
ultimate downfall. More masculine women like Alexandra or more obedient women like Mina
are portrayed as more desirable women but they are still shown as having limits to their ability or
agency. This raising of masculine traits over feminine reveals deep-seated misogyny which can
still be seen in society today. Even as feminism grows and evolves it struggles to shake many of
the societal norms established from hundreds of years of patriarchy and sexism. Sexual or
feminine women are stereotyped as airheads, vain, or bimbos. The ‘not like other girls’ female
characters that display masculine traits and are often pitted against feminine counterparts are
given more importance or validity. Both are being undermined by misogyny, female
representation becomes intertwined with the reinforcement of sexist norms and ideals. The
reality is an honest and feminist narrative would put both feminine and masculine female
characters on the same level with the same opportunity for success. Instead, they are often
pigeonholed into either hypersexualized and mindless or smart and prudish.
Works Cited
Cather, Willa. O Pioneers! Dover Publications, 1993.
Stoker, Bram. Dracula. 1897.
,
[student name] 1
[student name]
HUM3000-001
Professor Erro
[date]
The Impact of Technology
The availability of internet access has ushered in an entirely new facet to human
understanding. Previous generations would seethe with envy at the mere possibility of being able
to instantly communicate with friends or family at the press of their fingertips. However, with
each rapid technological advancement, there is a much longer and more complicated adjustment
for humankind. For the purposes of this paper, those adjustment range from emotional
attachment, sexual attraction, and social ineptitude. Two works that perfectly display the struggle
involved with human understanding of changing technology are in the film Her, and in the
episode “Striking Vipers,” of the Netflix series Black Mirror. Leading to the concern of
technology changing the very essence of human interactions and sexuality.
In the film Her, protagonist Theodore falls in love with an operating system named
Samantha. Throughout the film Theodore struggles to engage in human interaction, as he is
going through a divorce. He invests all his emotions into Samantha, and they start a relationship.
In one scene Samantha acknowledges that perhaps her feelings are mere programming and are
not real at all. To which Theodore responds, “You feel real to me, Samantha. …I wish you were
in this room with me right now. I wish I could put my arms around you. I wish I could touch
you” (Her, 40:21-41:00). This leads to an emotional connection that expands throughout the
film. To consider artificial intelligence being advanced enough to participate in full
conversations or relationships might seem far-fetched, but it is important to remember the rate at
[student name] 2
which humans are producing new technologies. Allowing the film to provide foreshadowing of a
very possible near future phenomenon. To take an example from society today, it is not difficult
to find individuals spending copious amounts of time on their phones and ignore the people
closest to them. There is no telling what the future may bring, but people would have laughed at
the idea of wireless communication just thirty years ago.
The episode, “Striking Vipers,” has friends Danny and Karl reuniting after a year apart at
Danny’s birthday. Karl purchases Danny a new version of a fighting game they used to play
together that requires a new advanced virtual reality device that takes over the user’s mind. As
they entered this reality, their mind is taken over by a device they place on their temples. The
game puts them in an arena, and they began fighting with their characters, Karl as a female and
Danny as a male. The fighting begins simple enough, until Karl kisses Danny. This leads to
future matches that involved zero fighting, but instead resulted in Danny and Karl having virtual
sex as their characters. The issues that resulted in these exchanges were numerous. For Karl, he
no longer could engage in normal sex with his girlfriend because it was nowhere near as
enjoyable as the virtual sex he was experiencing. Danny began to ignore his wife and stopped
having sex with her because he was getting it virtually with Karl, even though his wife was
attempting to become pregnant with their second child. This occurrence of engaging in virtual
sex resulted in tremendous strain for their friendship. Karl and Danny confront their feelings and
meet up to kiss each other to confirm they are not actually sexually attracted to one another
outside the game. After their kiss, Karl expresses what he felt with, “Nope, not a damn thing.”
Danny responds, “No, me neither. So, that settles it” (“Striking Vipers,” 55:00-55:30). Confusion
with their sexuality developed because they knew they were receiving sexual pleasure from their
same sex friend, even though they both identified as heterosexual. This leads to the very real
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possibility of blurring the line between sexes and an expansion on the idea of gender existing on
a spectrum. This work also expands on emotional dependence to technology and the careless
treatment of the loved ones around them.
Both Her and “Striking Vipers” create this investment and over dependence toward
technology. A glaring concern is while both works feature sexual interaction with their
respective technologies, it appears unclear as to how to identify this sexuality. Essentially
meaning that technology is not bound by the human constraints created among societal
standards. Dr. Goren touches on this in her article, “America’s Love Affair with Technology,
The Transformation of Sexuality and the Self Over the 20th Century” with, “…technological
innovations of the cyberage have altered fundamental processes of perception and experience,
conflating private and public, and changing subjective sense of self, the body, sexuality, and
reality, posing new theoretical and clinical challenges for psychoanalysis” (2003). This reference
provides support to the concern over technologies influence on multiple aspects of the human
condition as far back as 2003. If technology can make itself contort or confuse the human mind,
then the extent of its capabilities are essentially limitless.
To say that technology has no influence on sexuality would be careless and harmful. The
emotions and sensations that the individuals in the works experienced were very real.
Psychological processes of sexuality are broken down as ABCD, in Anthony F. Bogaert’s
Understanding Asexuality, “A: attraction and arousal… B: Behavior… C refers to cognition…
…D: Desire. Focusing on these processes will allow us to deconstruct or break down and
examine some of the key components of sexuality…” (11). This gives a clear interpretation, at
face value, as well as validity to the sexual thinking and feelings that the characters were
experiencing. However, the concern persists on the problems that will arise from social
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ineptitude among current social norms. Unfortunately, that is something that would maintain an
endless carousel that revolves around unanswerable questions from potential, or hypothetical,
future problems. Although, both Her and “Striking Vipers” contributed to ambiguous conclusion
for the viewer to draw conclusions about what happens next, it did appear that for people to
become societies expectation of “normal” again, technology had to be set aside. Clearly this is a
warning of what is to come, but this will have to become a question to be answered another day.
[student name] 5
Works Cited
Bogaert, Anthony F. Understanding Asexuality. Rowman & Littlefield Publisher Inc. 2012.
Black Mirror: “Striking Vipers.” Directed by Owen Harris, Netflix. 2019.
Goren, Elizabeth. “America’s Love Affair with Technology: The Transformation of Sexuality
and the Self over the 20th Century.” Psychoanalytic Psychology, vol. 20, no. 3, Sum
2003, pp. 487–508. EBSCOhost, doi:10.1037/0736-9735.20.3.487.
Her. Directed by Spike Jonze, Warner Bros. 2013.
,
Mr. Erro
Humanities Analysis Paper assignment sheet
Instructions: You are to write a humanities analysis based off of either one or more of the works we’ve read so far, or a work from outside of this class. The goal is not to summarize the work(s), but rather explore and explain the prominence of a theme (such as perseverance, trust, possession, etc.) or concept/term (intimacy, lust, physicality, etc.) within the work(s). Thus, you have two options in approaching this paper:
1) Analyze two works we’ve read and explain how a shared theme/concept is constructed in each of the works. Thus, explain the role of that theme/concept in each of the works, how the theme/concept helps construct the message, and/or how the different works approach that theme/concept. Focus on one unifying theme/concept between the two works, but as you present your analysis you can also note related themes/concepts (such as community → gossip) that arise. Cite specific passages/moments from each work to support your analysis.
2) Analyze a text from outside of class that clarifies and/or complicates some of the terms related to intimacy and desire we’ve touched on this semester. Thus, is there a book, film, or television show where you can read the character as asexual? Even if there are no asexual charac
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