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MPJ 2 | chapelofresonance.com





















MPJ's Castlevania AoEG cutscene plan


To view the corresponding document detailing the actual game, i.e. everything except story, really, click here.

Prologue
Castle Entrance
Divine Library
Haunting Forest
City in Flames
Melodious Waterway
Unholy Chapel
Forgotten Wasteland
Peak of Darkness
Olrox's Quarters
Castle Cloisters
Clock Tower
Castle Keep
Palace of the Damned…and beyond!


Afterword

Cutscene one:

We see Alucard walking out of a building at the dead of night in a village, under the visual guise of Arikado, since Alucard's appearance is…questionable to the general public.

From the shadows we hear a voice, and Alucard stops without turning round. The voice is Dracula's and appears to be almost taunting him. He reminds Alucard of the year it is, and how long ago it was since his last full resurrection, firmly promising Alucard he will be stronger than ever. Alucard turns round to find no one there, whispering Dracula's name with a calm contempt.

[There would possibly be a screen of scrolling text, like you normally get, basically explaining that a few months after that scene is where the next bit starts, and basically saying what Dracula just said in a little more detail, with mention to the Belmonts once again being able to wield the whip, this time falling upon a man named Julius. I don't know, maybe this would be voiced over by Alucard.]

Cut to a view of a forest from above, panning across to fields, fires here and there, people just visible running for there lives across them, though nothing appears to be chasing them. We move in closer to scene, panning across to a village, sounds growing louder and louder. There are screams, both of agony and terror, and the buildings are burning. We can see monsters now as well (remember in the description for the "City in Flames" area (that's not this village) we said Dracula sent out more grotesque monsters first to insight fear, so there'll be ectoplasms, deformed demons, lizard men family rejects and things like).

Cut to the streets at the edge of town, panning up to slowly reveal the body of Julius, running for a house, in a much plainer garb than in AoS; more like that what he wore in DoS. Leave the decorated coats for his senile days, I say. There are gun shots occasionally, and a few people are on their phones while running away (the authorities find out somehow, and this is how it starts. Little things like people phoning for help; that said, this is a country town in Eastern Europe in 1999, so not many people would have had mobile phones).

Julius runs for the house, arriving at it as the windows shatter through heat of flames. The Vampire Killer is hanging in a coil above the mantelpiece, once covered by glass that has shattered (because of course we can assume he's been educated and has trained with it many a time). So anyway, the entrances to the house are now blocked by flames, so looking rather annoyed, he turns and looks for another weapon, finding a sword lying next to a dead person (we can assume this is an old sword, probably ornamental in primary purpose).

So he starts killing monsters. Regardless of whether he can hold them off, monsters start getting slain by someone else, and Alucard (as Alucard this time) appears in view. After slaying the monsters in the immediate vicinity, Julius obviously questions the man as to who he is. Alucard as usual gives his usual "no time for talk!" routine. "Dracula is in the village".

Needless to say, Julius is rather shocked, running further into the village with Alucard close behind. Before he reaches Dracula, he can see Death hovering over a burning building, which I think would be a cool shot, like a ghostly apparition watching over the slaughter with absolute calm. Julius rushes through the village, eventually arriving at a wide road. The first thing that catches his eye is Dracula amongst lots of dead bodies, people that he may or may not have killed himself. Nearby a humanoid figure (Olrox, though the player won't know this) gets up from a leaning over a body, presumably having finished drinking blood, showing a sly grin to no one in particular.

Julius is hesitant here, but recklessly charges in. Death and Olrox stare at him, but do nothing, Dracula spinning and punching Julius as he reaches him, knocking him a fair way back. Dracula gives him a bit of a smile, and is says something like "it won't be that easy for you. You don't even have the VK with you." Perhaps with a mocking smile as he looks down upon Julius. So he orders the monsters in the village to move on, and they all rush past Julius and Alucard. Dracula glances at Alucard for as briefly as he can and grabs a body, sprouts some cool giant bat wings, and flies off. Olrox runs in the direction of the forest, and Death simply vanishes, Julius jumping up and yelling at them of course.

So we've got a fading transition here, and we now see the town with most of the fires out, and Julius is throwing away pieces of his house to get to VK. Alucard arrives on the scene, scolding him for his arrogance, Julius proceeding to question Alucard….as you would. So he says he is Arikado (Julius would have only heard the name Alucard from his parents, and Alucard doesn't want more questions than is necessary at that time), and briefly says Dracula's castle has reappeared very close by, stating he's working on a plan with his colleagues to get rid of Dracula. Julius cautiously decides to trust him because of his help so far, and Alucard tells him to head for the forest, and he too will head in that direction in time. He tells him to for the time being avoid the forest though, as it's probably swarming with monsters, so if he needs to go there, he should do it later. Julius pulls VK from the rubble, stares at Alucard, and reluctantly runs for the forest.

Cut again to Julius, at the edge of the forest. He looks back at his wrecked village for motivation, and turns back to the path ahead of him. This is, btw, the same forest as the one you enter later, but the game starts in front of the castle, about the same distance away you do in LoI.

[Cutscene ends. Game begins.]


Castle Entrance
Cutscene two:

A very short scene, taking place in front of the Castle. Julius looks around for a way in, but in short time the drawbridge drops down for him. Julius looks for signs of why and how this might have happened, but assumes it is Dracula's doing. That would explain to him, after all, why Dracula was so taunting back in the village.

Julius cranes his neck and takes one look at the castle before running in without a second thought.

[Cutscene ends. Begin Castle Entrance area.]

Cutscene three (non-story cutscene):

Cutscene three is simple. Julius runs into the boss room, the aesthetic of which is roughly described in the other article, noticing extraordinary. He crosses the room, the doors lock (perhaps via some sort of visible seal, ala DMC?), and Julius turns round at the sound of the Golden Armour breaking from its hold against one of the walls. It spins its sword around, latches a nearby chain onto its axe, and approaches our hero. Julius steps into a wary fighting stance.

[Cutscene ends. Begin boss battle.]

Cutscene four (non-story cutscene):

This takes place after the boss battle. Julius finishes off the Golden Armour, smashing it with his leet haxorz skills without too much trouble, because obviously he was trained by mum and dad to at least kill the first boss, and the seals on the doors lift.

[Cutscene ends.]


Divine Library
Cutscene five:

This cutscene takes place some way into the Divine Library, perhaps halfway through, just so you know. So after running up a long winding staircase of a tower in-game (perhaps, as I may latter add in the other article, you are forced to travel through some rooms as well to break up the repetition), you walk through a door and the cutscene triggers. Julius finds himself on a balcony which reaches all the way round the room he's entered. In the center of the ceiling there is a glass dome, which appears to be able to retract to allow for use of the telescopes, big and small, stationed around the balcony.

Moonlight shines through the dome onto the rows of bookshelves below (remember, the eclipse won't happen till later. Julius realises now that there are voices from down below, so he takes the stairs within the room down to the lower level and creeps closer through the aisles to better hear the conversation. He hears Alucard's voice, and he peers through a gap in the bookcase next to him to see him facing the opposite shelf.

Alucard scorns the person he's talking to for his insolence regarding ignoring his last words to him (in SotN, that is). Beyond the next bookcase Dracula's voice replies with a backhanded comment about how with hindsight it was a foolish thing to say, and authority over humans belongs to him anyway, so he can do as he chooses. Alucard of course disagrees and asks him what Lisa might have wanted, to which Dracula replies with a simple, cold, "she's dead and so doesn't think anything of me or my actions" type thing.

Alucard, obviously too disgusted to look even in Dracula's general direction through a bookcase turns away and looks up through the dome in silence. Dracula, like in the first cutscene, appears to almost mock Alucard by telling him a Belmont's talents won't suffice this time, reminding him that he's going to be much more powerful this time. He bids farewell, referencing him as Son and vanishes.

When Julius is sure Dracula's gone, he walks round to meet Alcuard face to face, immediately quizzing him on what Dracula was talking about, of which of course Alucard knows nothing about either, but explains briefly that he and others are planning to counter it (with the seal, which he doesn't mention). Julius also takes the chance to ask him about why Dracula called him his son, and goes on to assume he must be Alucard (because he must have been told this sort of thing by his parents).

Alucard can't really hide it any longer and Julius as a result feels he can definitely trust him now, but is still amazed. Alucard, perhaps in fear of losing too much time, tells Julius to head back to the forest to meet with two people in a secure cave location, because he wishes Julius to be a part of his plans, and when Julius tries to ask the questions again, Alucard briefly explains that armies around the world are soon to be engaged with the monsters running rampant across the land, and they shouldn't waste time or else Dracula will achieve whatever he's been trying to do (he's obviously been doing something, because Dracula was back months ago, and his Castle only appeared today).

He first tells Alucard to travel to the far end of the library on the ground floor, to meet with someone who might be of some help (particularly in this case with removing falling trees at the entrance of the forest) with "persuasive gestures". So Alucard bids goodbye and Godspeed, leaving Julius slightly taken aback at the man's abruptness for a moment, before heading off.

[Cutscene ends.]

Cutscene six:

Arriving at the far end of the library, you enter the Master Librarian's office. He looks up from his desk, clearly surprised. Julius takes a brief look around the room before landing his puzzled gaze on the librarian. The librarian asks why Julius is there, and Julius tells him he is here on Alucard's recommendation. The librarian's face lights up but darkens when he realises why Julius is there.

Julius notices this and adds that Alucard said he would be persuadable in some circumstances. The librarian thinks about this and nods, telling him he'll accept money, and jewels and other precious things he might find around the place.

When asked as to why he won't get them himself, the librarian says that he never leaves the library, and is always busy keeping things in check, experimenting with magic and the astronomy tower and other odd jobs. Julius quips aggressively about the man's disloyalty to Dracula, but is unsurprised, and accepts that he might need his help anyway. The librarian says he is merely available to the highest or most interesting bidder, and starts by offering Julius his services, (starting with perhaps giving you the axe weapon and maybe fire magic so you can progress through the forest).

[Cutscene ends.]


Haunting Forest
Cutscene seven (non-story cutscene):

Some way into the forest, you encounter a very ordinary looking clearing, Julius tries to run through, but as he does so, a tree to one side of him comes to life and leaps toward him, thrashing its arms out at Julius several times, who flips out of the way and puts his hand on his whip, ready to fight the Treant.

[Cutscene ends. Begin boss battle. And btw, I didn't think it really needed a closing cutscene; its fan fair can be in-game.]

Cutscene eight (non-story cutscene):

Julius, runs into the main boss arena for anything, suspecting everything and nothing, as always. He almost thinks he can run straight past, though he is distracted by a large ripple in the water of a nearby lake. He stops and slowly moves toward the lake, which is now still, and after some time the Wyrm boss springs out of the water and flies straight at him, killing him.

Or alternatively, if you don't like the idea of the protagonist dying, Julius instead leaps onto his back, the Wyrm dragon flying over him and just missing him, rising into the air and roaring (or perhaps screeches, I don't know). It begins to spit fire at Julius, setting alight to the grass and foliage. Julius sprints to the underbelly of the dragon, which swings its tail round to hit Julius, who flips back over it, distancing himself from the enraged beast with long footsteps. He unravels the whip, and leaves it hanging; ready to attack at any time (the Trevor and Isaac fight came to mind here). So the camera pans behind Julius, pointed upward so we can see the Wyrm rearing up, ready to strike.

[Cutscene ends. Begin boss battle.]

Cutscene nine (non-story cutscene):

Having defeated the Wyrm in-game, it is obviously very weak, rearing up and shooting jets of fire everywhere in desperation. Not able to reach the head, Julius runs for the border of the arena, for a particularly thick tree, swinging his way up the branches in a way that would make Indiana Jones proud, and lands on a branch near the top, wobbling but steadying himself quickly.

The dragon, out of breath from breathing all that fire, makes to bite Julius, who manages to step aside, the Wyrm biting down on the branch instead, breaking most of it off. Julius shoots his recently acquired fire magic into one of the dragon's eyes, causing it to rear back, and as its mouth opens, Julius latches to its tongue with the VK. The dragon, being particularly stupid, shuts its jaws in an attempt to break the whip, of course burning the insides of its mouth as well. The dragon lets go, screams a fair bit, writhing about, and collapses, causing the ground to shake. Julius garbs for the tree trunk to keep his balance, and looks down at the fallen dragon, re-composing himself and catching his breath. He surveys his surroundings, and not far off he spots what appears to be the entrance to a cave.

[Cutscene ends.]

Cutscene ten:

Julius arrives at the entrance of a small underground cave, shortly after defeating the Wyrm boss. He enters and after a short walk finds a man and a woman sitting on a rock. Though they have never met Julius before, they assume his identity, and introduce themselves as the Celesta Belnades and Kenji Hakuba characters, explaining that they have been waiting for him.

Julius is naturally quite ecstatic to learn that an ancestor of a bloodline that has helped defeat Dracula before is a part of Alucard's plans. Julius, eager to hear the plan, begins to ask lots of questions, including of course what role the Hakuba priest will play. Celesta explains that the man is, according to Alucard, a prodigy in certain areas of spell casting, and will help a great deal.

So Kenji rises from his rock seat and begins to explain a bit about it after being prompted by Julius, going on about advancing a basic magic seal, such as those used in DoS, and possibly the Dominus glyph. I'm told by Peklo that there's nothing in OoE that actually devalues this idea. Julius asks how he works into all this, at which time Kenji looks to Celesta questioningly. Celesta mulls it over before telling him Alucard knows the details about his part, and will find Julius if and when he feels he wants to tell him about it.

Before Julius is on his way again, they tell him they need to take a blood sample. Perhaps they want it for the magic seal?! Who knows, but any rate, they not going to talk about it to Julius and instead send the hero begrudgingly irritated in the opposite direction, informing him that Dracula has been leaving his fortress a lot, so the best thing he can do is search him out, starting with the town on the other side of the castle library. So Celesta gives him an unlock jewel thing to allow him access to that area and he leaves the cave with that in mind.

[Cutscene ends.]


City in Flames
Cutscene eleven:

This is very near the end of the area. Julius is progressing through the burning town in despair, perhaps assuming Dracula has already moved on. Then he spots something drifting ghost-like through the sky; Death, his cloak billowing almost in slow motion in the wind, appearing to be rotting, bits of material flaking off at the back as he descends. Julius rushes round a bend in the road, and ahead, Dracula is hovering above a building, his colossal bat wings out again, flapping to keep himself in the air. Death is now hovering next to him, and on the building itself stands Olrox.

The first thing we hear as Julius approaches is from Olrox's mouth, telling Dracula that "we couldn't find them" or something along those lines. Julius' interest is peaked by this, but as he approaches, Death turns to look at him with an empty stare, though he says nothing. Dracula looks in the direction of Death's gaze. He smiles sadly at Julius, and orders Olrox to stall him. He now turns to Death, telling him to accompany him in the search elsewhere. Julius shouts for Dracula to stay, but they leave anyway.

Olrox now shouts down at Julius, getting his strict attention. He exclaims that Julius must be a Belmont, and introduces himself as Olrox with a bow, proceeding to taunt you by summoning one of the dark blades he uses in the boss fight and hurling it in our hero's general direction with telekinesis. Clearly Julius realises Dracula is now gone and he's not going to get out of this situation without fighting so, he readies himself for a battle.

[Cutscene ends. Begin boss battle.]

Cutscene twelve:

After Olrox's health bar is reduced to zero, it cuts immediately to Olrox unleashing some sort of magic on Julius, who rolls out the way, lashing at Olrox, who teleports out of sight. Julius instinctively swings round, and as he does so, steps forward with his left foot, perfectly swatting away a blade of darkness with his blocking gauntlet, stepping with his right foot this time and striking Olrox across the side of his face with the VK.

Olrox screams and stumbles back, and to his knees, oddly not out of breath. Julius moves in for a final blow, telling Olrox this is the price of working with someone like Dracula. Olrox grimaces hatefully, but only looking at the roof of the building they are on, replying that Julius knows nothing of his master's plans. He looks up at Julius with the same grimace, notices Julius about to strike. For a split second Olrox's expression changes entirely, lifting his eyebrows and grinning, then vanishing, unleashing a stream of bats at Julius as he does so.

Julius of course swats them all away, but is angered at his own righteousness and accepts immediately that he should have killed him sooner. He tries to put this aside for now, and surveys his surrounding like he did in the forest, spotting that a pile of debris has been shifted some way away, revealing a hole underground (which is the waterway) , perhaps leading in the direction of the castle (because he may as well go back there now, having lost Dracula).

[Cutscene ends.]


Melodious Waterway
Cutscene thirteen:

Once the player has gotten to the stage that they should be fully immersed in this area of the game, we get our first cutscene of the area. After progressing through a rocky tunnel, all the time hearing the sound of rushing water, steadily growing louder and louder, Julius reaches the end of it find that there is a long drop; a very tall cavern, and from the other side of it, water is gushing down into a massive waterfall (this is the huge SotN/ AoS-esque waterfall cavern).

On the very edge of this tunnel (the one Julius is in, not the opposite tunnel) Dracula stands calmly with his arms behind his back, gawping at the waterfall. Julius is alarmed to see Dracula down here, and grabs the whip instantly. Dracula, who must have heard him approach, will reply with something along the lines of "don't bother", and will continue to watch the waterfall.

Julius is puzzled by his behaviour, cautiously moving toward Dracula, not taking his hand off the VK. Without prompt, Dracula begins to explain how he finds the torrent of gushing water soothing. Julius is even more surprised now, and Dracula goes on to reveal his mutual love for the dancing fires he personally started in the town Julius just visited, and the human screams that soon soared through them.

Julius, not quite sure how to respond to this, is silent for a moment, and eventually chooses to ignore the topic altogether, opting to question him about his words in the town instead (i.e. about the people/person he was searching for).

Dracula of course expresses that he isn't required to talk about it, but laughs and says the people he was referring to have been located and are being intercepted already. In fact, he decides to go one better, accusing Julius of being a pawn for his ancestors and tells him he probably doesn't even know why he's hunting him (Dracula).

Julius recites the reasons his parents told him of course, and to be fair he's had some first hand experience with Dracula's antics already so he's got something to go by there. Dracula scoffs at this and says this is just one of his reasons he's developed for hating the Belmont clan and all it stands for, calling him ignorant, Dracula being the only one who's seen and felt all of the Belmont/Dracula history that Julius has likely been told about.

Julius, in an attempt to object, his knuckles whitening as his grip tightens on the VK, tries to interrupt Dracula, who continues anyway, now going on to explain that can attribute this hatred to humans in general terms.

Julius, speechless once again, lets the sound of the waterfall take over again. Dracula admits now that through all the time he's spent thinking about his reign, which is sure to come soon, he thinks, he hasn't decided on what he'll do once he's completed his subjugation, quickly adding that as long as it angers God, it doesn't really matter.

Julius challenges him for his lack of direction, Dracula for the first time here shouting at Julius (probably with something like "The fate of humans is for me to decide when the time comes!" or something similar). So Dracula pivots to face Julius as he yells this, his face, particularly his eyes, expressing an edgy, passive rage. They are both silent again.

Julius appears lost, but in surprise he still reacts instantly when Dracula steps into him, the vampire grabbing his hair with one hand and his neck with the other, opening his mouth to reveal his fangs. Julius unravels the whip and wraps it around Dracula's neck with both hands, pushing the fangs away from his neck. The two struggle for a while, Dracula at first ignoring the burning and searing taking place on the skin the VK is touching, but soon kicks at Julius in the knee, stepping away and gasping for breath. Julius rights himself as quickly as he can, whipping at Dracula, who steps aside from it.

Dracula begins to circle Julius now, and with Julius now where Dracula was, he tries to attack Dracula, who once again casually steps aside, and fires something from his hand at the ground beneath Julius. Julius is blown backwards as the rock crumbles, falling into the water filled basin below.

Julius wakes on the dry land next to the basin, thanks to Kenji's magical prowess in these matters, as we just about see, before he finishes. Julius is groggy at first, but soon gains his footing. Celesta asks if he can remember what happened, and Julius' eyes narrow. He looks up to where he was but, he can barely see anything from this angle. Julius tells them he was attacked by Dracula, which they are shocked to learn, considering he's still alive. Julius tells them about what Dracula said in the town again (what with him searching for…people) should it be useful, and Celesta confirms she'll relay the information to Alucard in case it might mean something to him.

Julius thanks her and now, thinking about it, seems surprised that they left their refuge in the forest. Celesta of course tells him that she can handle herself, and says they needed to come here anyway. So they bid he stays safe and hurry away to do whatever they're going to do, leaving Julius alone.

[Cutscene ends.]

Cutscene fourteen:

For the next cutscene, we arrive at the start of a winding river (we can't see it's a winding river, because there are the caves walls, but just FYI). We're further underground now, so the water is colder, making the air in turn colder, which I expect you'd be able to see.

At the start of this river (the start of it above the floor anyway), there are boards of wood extending from the ground, and next to it a small wooden boat rocks, a length of rope connecting it to a wooden pole in the water. Sitting in the boat is an old man, hunched over, resting his chin on his hands. As Julius draws near the boatman smiles, and struggles to rise.

Since this is the last thing you might expect to find deep in a subterranean cave below Dracula's Castle, Julius doesn't just pay his fare and be done with it. The boatman asks if he'd like to cross, and Julius in turn asks what he's even doing in this cold, dangerous place. The boatman simply replies that he's required to be, ordered very recently by Dracula to aid anyone who might need the help.

Julius thinks he doesn't need the help, being all arrogant again, but the boatman, utilising his croaky creepiness to the full, grins and points to the water, explaining basically that the water is very cold this far down and Julius would probably freeze to death before he reached the other bank. Julius considers this and begrudgingly accepts this strange man's help.

Note: At this point you'll be taken back into gameplay and probably assaulted by bats and all sorts of water creatures as you go, there'll probably be a hole in the rock to jump into at one point or two so you can jump in and collect an item then back into the boat again if you're feeling speedy, and then of course there's the whole deal of showing him an as of now undetermined item to take you to a secret area (I guess a part of one of the walls will lift or something and he'll take an alternate route).

I've since added this to the other document since writing the above paragraph, but thought I'd leave this here anyway..

[Cutscene ends.]

Cutscene fifteen:

A bit later on you'll arrive at a massive cavern, and covering much of it (at ground level) is a lake. Once again there are boards of wood jutting out from the bank, and next to it is the small wooden boat, the boatman sitting in the boat again, appearing to be waiting for someone to come along.

Julius is quite shocked to find that this old man has beaten him here, and questions this. The boatman gives him the same "I am required on Dracula's orders to aid any travellers" bullshit again. Julius is quite frustrated at this development, asking the question again, emphasising how, not why.

The boatman frowns and looks away but doesn't answer the question, changing the subject. He says that that the water is even colder here, and Julius will need his help again. Julius reluctantly steps on board the boat once again.

When they are about halfway across, we see Julius looking around. He looks down into the water, and squints, thinking he can see something. Now sure he can see the silhouette of something, and indeed something very big deep in the lake, Julius asks what it is. The boatman, being a complete prick tells him that he "doesn't want to know". When Julius insists he does, the old man instead changes his story to "but you don't want to fight it".

Julius, finally realising that trying to get information out of the boatman is about as worthwhile as slamming your own head against a brick wall, gives up. The scene cuts again to the far end of the lake, and Julius gets off the boat, not thanking the man for the service.

[Cutscene ends.]

Cutscene sixteen (non-story cutscene):

A fairly simple and short cutscene. Julius walks into the boss room of the area, and begins to leap across the islands, because most of the room is submerged in water. At the far end of the room, a trident shoots out of the water, flies toward Julius, who ducks under the speeding weapon, and it spins back to where it came from like a boomerang, hovering above the water. There is a small whirlpool, then it moves upward like a fountain, carrying with it this time the Triton boss. The fountain slowly subsides, lowing Triton onto the water itself. The boss grabs its trident and points it at Julius as a challenge.

[Cutscene ends. Begin boss battle.]

Cutscene seventeen (non-story cutscene):

So basically the thing screams or roars or something, dies, and tumbles into the water, leaving its trident behind for Julius to pick up.

[Cutscene ends.]


Unholy Chapel
Cutscene eighteen:

Okay, this isn't actually the next area on from the waterway, as you might have noticed, but the one cutscene that takes place in the Cloisters doesn't happen till much later, and this is all in chronological order, so naturally I've left that out for now.

Anyway, moving on. The first cutscene of this area takes place in a cathedral type room containing a confessional to one side. Since confession is the last thing on his mind right now, Julius doesn't even think to ignore it, not even noticing it.

That is until he hears a noise from the other side of the confessional booth. Julius decides to check it out, and when he gets close to it, he squints through the grate to see, to his surprise, a transparent man seated there in very old peasant clothes, so presumably a ghost from some time ago, crying, his head in his hands.

The ghost cries that it's sorry, which is again quite alarming. Julius wary of crap like this in Dracula's Castle, moves closer, and asks why he's sorry, rather unsympathetically. Instead of answering, the ghost repeats itself. Julius' face is almost pressed against the grating now, and the ghost looks up at him. For a moment it is still and silent, but without warning he lifts his arm up and from his sleeve a blade slides out shattering the grating, missing Julius by an inch as he moves aside. This action is followed by a heavy, quite distant laughter, unmistakably that of Death's.

The ghost slides through the wall and what's left of the grating, and morphs with I guess some sort of fuzzy black particle effect into his normal form. From his sleeve he lets the blade drop, the handle sliding seemingly out of nowhere from it. Death grabs the blade, and stops laughing.

Julius is understandably unnerved by this, taking steps away from Death. Julius gives the usual "you're an ally of Dracula so you've got to die" nonsense. Death laughs again and tells him he isn't going to waste more time in the Chapel, saying his work here is done (so he was doing something other than waiting in the confessionary for someone to come along so he could pull a Halloween joke on them; perhaps gathering sacrificial tools or something). He says the eclipse is at hand (sort of, I don't know why he might need it, but it's obvious he does) and he must prepare, adding something like "besides, you're afraid of me!" at the end. Julius refutes this but Death drifts off through the wall before he gets a chance to do anything.

[Cutscene ends.]

Cutscene nineteen (non-story cutscene):

I was thinking here that, upon walking into the boss room, Julius looks around, noticing all the different stain glass windows upon the place, one of will just happen to have a horse rearing up, with a warrior on its back. Light begins to shine from it (it would be a bit stupid if it came from outside, since it's night) into the middle of the floor, creating a physical, magically activated stain glass knight and his horse.

The horse rears up, just like in the painting, and it spins its sword, since I guess that's what it'll be holding at first.

[Cutscene ends. Begin boss battle. (I couldn't think of an outro that would be cool and or/relevant for this boss, but you're welcome to come up with one if you think it's worth it.]

Cutscene twenty:

After the boss battle you begin to descend again, and when you get to the bottom, you will enter one of the last rooms of the area and a cutscene will trigger.

Julius progresses through a corridor, but he stops abruptly when he hears fighting break out in the next room. There's the sound of swords, magic and flames and all those sorts of things that you might get in a fight in Dracula's Castle. Julius bursts in without hesitating, and he's all like "Oh snapz, it's Alucard and co." He rushes in to help the fighting (against amalric snipers and some sort of axe armour enemies that look like they've come from the crusades or something similar).

The room looks to be a storage room; pianos pushed up against every wall, the room itself quite dusty looking, with spiders webs here and there.

Alucard and Celesta don't really need his help, but the monsters begin attacking him as well, so he's got to do something. He reels in one of the knights with the whip around its neck, pushes it into a group of the knights, jumps and knocks down some of the approaching amalric snipers, fires some magic, fights some more with Alucard and Celesta, while Kenji steers well clear of the whole thing, blah blah blah.

I could choreograph the entire fight scene, but that would take way too long, and you get the idea anyway.

Once they finish the fighting, Julius approaches the group to have a little word with them. He asks for an update, and Alucard tells him he doesn't need to know his role yet, so he'll be told nearer the time, which is again frustrating, but Julius proceeds to ask if Celesta passed on the message from earlier…and she did. Alucard has been doing some detective work, and now suspects that Dracula is gathering vampires (or kidnapping them, I suppose) but doesn't know why.

Knowing it won't help, Julius tells them about his encounter with Death. Alucard finds there to be too little detail, but also finds it curious, as Celesta explains that they too need the eclipse (I guess…?).

Julius is now feeling slightly irritated about something else, asking Kenji why he wasn't fighting, and of course the reason is because he can't, which infuriates Julius, considering he's supposed to be the one to finish Dracula, who is, by the way, quite powerful. Celesta and Alucard don't seem to know how it's going to be done either, but to be fair they're not talking about it much, and while they're on the subject, Alucard brings up that Celesta told him about Julius fighting Dracula, calling him arrogant for engaging him considering this is 1999, and he's at full power.

When Julius tries to rebuttal, Alucard simply tells him they're not going to have an argument, and tells him to make himself useful by opening a path to the throne room. Julius asks how, naturally, and Alucard explains the door to the quarters of a vampire named Olrox were sealed when he checked (though Julius had met Olrox, Alucard didn't know that until now). He says they spotted Olrox heading for the mountain, but didn't bother to pursue because of their other important job, so tell Julius to hunt him instead, emphasising again that he must hurry, for more and more people in the outside world are dying because of the monsters. And so Alucard and co. go through the door Julius used to enter, and Julius leaves through the opposite door.

[Cutscene ends.]


Forgotten wasteland:
Cutscene twenty one:

A short cutscene will take place as soon as you leave the Chapel and step outside. Through the moonlight you can see that the air is a little wavy, indicating that it is hot here. Julius looks across the wasteland, and the ruins and such, seeing Valkyries and skeleton birds circling round in groups around the place in the distance, but what really catches his eye is the snow laden mountain, which links directly to the heated desert like area at its base, which is a massive what the fuck moment.

[Cutscene ends. Begin Forgotten wasteland area.]

Cutscene twenty two (non-story cutscene):

I suppose the most generic yet best way to introduce the Sand golem is to have a simple scene where Julius enters the arena outlined in the other article, and sand and rocks begin to shake, and whirl around him in a tornado-like fashion, eventually forming in front of him as the boss, when it's had enough of him knocking the rocks away.

[Cutscene ends. Begin boss battle.]

Cutscene twenty three (non-story cutscene):

After beating the hell out this thing, the sand golem, in its sorry state, is probably not in control of the magic keeping it alive, or vice versa, so it starts flailing around, falling apart, and rocks and sand flying in all directions. Julius blocks them while he runs for the nearest boulder to hide behind, and sits tight while it passes. So there you have it.

[Cutscene ends.]


Peak of Darkness:
Cutscene twenty four:

This cutscene takes place very soon after you've entered this area. You begin climbing the mountain, and as you do so, you spot Olrox standing on a bit of rock jutting out of the mountain a little higher than you are, because I suppose literally talking down to people makes him feel tough.

There isn't a whole lot of snow on him, so he must have only just arrived. Olrox bows, like last time, and questions Julius as to why he's come this far from the castle. Julius tells that actually he was looking for him. Olrox seems to find this mildly amusing, Julius not finding the humour, asking why he's even serving Dracula. Olrox smiles and tells Julius Dracula has what a ruler needs. Julius is about to attack Olrox, who jumps up backwards to the next ledge, this time not bothering to actually land, hovering there, and puts his hand up, with a sort of "not now" attitude, telling him he's about to take his leave.

He warns Julius, however, rather mockingly, that if he intends to climb the mountain, there have been some landslides and such, because he thinks Dracula has awoken Glacius. Julius would otherwise be pretty apathetic of this as he doesn't know what it means, but at this time he hears a roar from nearby, and there is a slight rumble in the ground. Julius looks up through the snow and mist to see if he can spot anything, and Olrox turns 90 degrees, tilting his head up as well with a nervous grin on his face. He disappears and leaves Julius to make his way up the mountain.

Cutscene twenty five (non-story cutscene):

We find ourselves at the top of the mountain now, and at the gates of the battered fortress thing. The two heavy iron gates are ajar and Julius, before entering, takes a look around inside. He sees nothing, and continues on in.

From further down the mountain he hears a rumbling noise. Julius, now alert to this sound because of what's been going on through the entire level, spins round, attentive to the nothingness in front of him. The noise grows louder as the creature draws closer, and before long the giant two headed beast bounds up the mountain and into the fortress, Julius in response running to the far end of the arena while Glacius stays where it is, slamming both doors shut with its tail and roaring at him with both heads.

[End cutscene. Begin boss battle.]

Cutscene twenty six (non-story cutscene):

The cutscene starts with Julius cutting off the beasts remaining heads (although this is a little dodgy; I don't know if the start of the scene would be scripted depending on how many heads you cut off and it consequently grew during gameplay).

Glacius flails around madly, smashing one of the towers at a corner of the fortress, knocking the doors off its hinges, and then rearing up on its back legs, dying, and falling to the ground, smashing the ice. Julius, at the edge of the breakage area, falls safely to the top of the rocky ground below, while Glacius tumbles down the hole in the middle, breaking what would otherwise be handy walkways across each side of the mountain as it does so.

[End cutscene. Begin Nature of Avarice.]


Olrox's Quarters:
Cutscene twenty seven:

For this cutscene, basically just imagine Olrox's room in SotN in 3D, only not quite as tall, and you enter at floor level instead of entering through an oddly placed door near the ceiling.

Julius enters, sees Olrox sitting across the other side of the room, sitting at his long table, and Julius closes the two doors. Julius eyes Olrox, who is casually drinking blood from a wine glass. Julius suspects for obvious reasons that Olrox was waiting for him and demands to know why. Olrox appears to think about this, his lips lifting at one side into a sly grin, his eyes narrowing, but he doesn't answer.

Julius seems to disapprove of his silence, damning him for it. Olrox says, almost to himself, that this reminds him somewhat of when Alucard fought him all those years ago. Julius finds it difficult to care, and indeed accuses Olrox of likely not caring for whatever Dracula's got planned. Olrox is stern now, and tells him he'll know he cares by telling him he knows for certain Dracula will take his life soon, as he has done many other vampires.

Olrox understands that Julius and Dracula must fight eventually, but Olrox seems confident with his chances this time, to distract Julius for long enough (with the assumed intent of teleporting away again when he can't take any more damage lest he be killed).

Julius realises this and tells him he won't let him leave this place. Olrox smiles slyly again, downing the wine in his glass, throwing it aside into the nearest wall, and standing up abruptly, kicking his chair back as he does so. Olrox begins to twitch slightly, though probably not out of nervousness.

Julius stands still for a moment, taking in Olrox's possible intent and composure, and sprints forward, leaping onto the table, and continuing to run until he nears his adversary, unravelling the whip and diving in a manner that's not dissimilar to that attack Trevor does in Curse of Darkness. Olrox skips aside, though his feet don't land back on the ground; he instead hovers, as he often does.

He tilts his head slightly, smiles nervously, and taunts Julius.

[End cutscene. Begin boss battle.]

Cutscene twenty eight:

This occurs halfway through the battle, and Olrox, angered and injured, begins to transform into his demonic form, smashing the pillars at the corners of the room, which tumble to the floor. Olrox beats the floor with his tail in attempts to flatten Julius, smashing it as a result, and the two of them begin to fall.

[End cutscene.]

Castle cloisters:
Cutscene twenty nine:

Perhaps at first there will be a short fight scene, basically involving Julius beating the hell out of Olrox, and as Olrox tries to escape, he perhaps throws holy water or something at him. He begins to burn, but crawls from the flames into a safe zone, and starts to rise, but his legs give way and he crumples. He eyes flutter around, but mainly focus on Julius, and his mouth again twitches occasionally.

Julius looks at the burnt vampire with disgust, but puzzlement as well, and perhaps sympathy. Olrox manages to speak, telling Julius that he must think Dracula is cruel, but says his experience gives him rightful judgemental authority, and after spending a very long time in one of the cells in the area, Olrox came to an understanding himself.

Julius throws more holy water at him. This time he is unable to escape, trapped in the flames and screaming, firing off his magic randomly, and soon there is a flash of white light, the screams fading in the form of an echo, and when Julius is able to see again, Olrox is gone, the flames reduced to a blue liquid running across the floor, no longer in contact with a being that would cause it to set alight.

[End cutscene.]


Clock Tower:
Cutscene thirty:

Entering the boss room you will at first see nothing. Julius looks around and out across the sky and castle towers through the places on either side where you might expect walls to be.

When Julius looks ahead again, Death is there, hovering near the ceiling, his cloak again flapping about. Julius jumps back a little, seeing as how there was no sign of him entering.

Death finds this behaviour amusing, and claims that Julius is still afraid of him. Julius doesn't rebuttal this time, but looks like he's trying to retain his anger and concentrate on how he might defeat Death.

Death says he just came to inform Julius that the rite is nearing completion, which he thought he might wish to know before he died. Julius watches for any movement from Death, but he spots instead something else from the corner of his eye. He turns to see a bird-like creature about to hit him, and he rolls away. When he rises again. Death is gone, but the Harpy queen is ready for a good fight.

[End cutscene. Begin boss battle.]


Castle Keep:
Cutscene thirty one:

This will take place outside, on a balcony, I suppose. Or something like those ledges outside Dracula's Castle in CoD. You get the general idea. Upon entering, Alucard, looking through a telescope that he is holding on the railing with on hand, looks up and grabs the hilt of his sword, unsheathing it an inch.

He sees that it is only Julius and relaxes, looking through the telescope. Without looking up again, Alucard asks what has become of Olrox. After Julius tells him, Alucard tells him Olrox was trapped in a cell by himself in a cell for 100 years to make him the way the way he was, merely because when Dracula met him, he found him to be far too righteous, especially for a vampire.

Alucard sharply asks how many more people Julius wishes to see become like him. Julius is taken aback, and Alucard steps aside, nodding at the telescope which you might notice is something he probably picked up from the observatory, particularly visible when looking at the patterned relief around the surface. I never mentioned patterns before, but, well, I am now. So now you know.

Julius takes a hold of it and looks through. What we see is a battle in the distance. Soldiers on the ground are using their vehicles as cover from the oncoming hordes of demons. In the sky air support is constantly being shot down and as Julius pans the telescope we can see the demons smashing through the vehicles and crushing the soldiers. It's not that the soldiers aren't killing any of the demons, but rather it's because there are just far too many. Suddenly we can see no flashing of gun fire anymore, and as Julius zooms out we can see that the demons are bounding off into the distance, over and around the rubble and wreckages.

Julius looks away, and says nothing. Alucard explains that this is the furthest anyone has managed to get to the castle, but they're not the first military forces to be killed, by far. And even if they did reach the castle, they wouldn't achieve anything, because by that stage Dracula will have gained his power. Julius doesn't seem to know what else this entails. Alucard explains that he now believes Dracula is trying to harness the souls of strong vampires, though he won't explain his theory as to how because he doesn't think it's possible. He also believes Death was in the chapel earlier because he was searching for ghosts which may have been vampires in life.

He does, however, believe Dracula will be doing this outside of the castle, which likely has something to do with the extra tower connected to the throne room, though again he won't elaborate, only this time because silently he doesn't want Julius worrying about hell dimensions and other such things. He simply tells him that he must be even quicker now, he's being slow, and Kenji and Celesta are elsewhere, making preparations as fast they can with that in mind. Alucard for the first raises his voice, almost like a bark, ordering Julius to make his way to the throne. And so he hurries off, glancing back at Alucard once, who remains where he is.

[End cutscene.]

Cutscene thirty two:

We enter the throne room, and good lord, Dracula isn't there! Not that you would have expected him to be if you've followed the plot with even a semblance of interest, but whatever. Death pops in, and without delay, tells Julius the rite is very near completion, Olrox being one of the only vampires left to begin…soul extracting. Yeah, we'll call it that for now.

Naturally Julius decides to now point out that Olrox is dead. Death tells him that he extracted Olrox from the scene, and though his body is a wreck, he's found a way to keep Olrox alive and conscious in a transient state. With the crimson stone, the powers of all these vampires can be utilised immediately, magnified and enhanced by one another.

And Julius is all like "oh snapz, the crimson stone!" Death is rather impressed, or perhaps pretends to be impressed about Julius' knowledge. Julius' parents of course educated him on these matters, but Death finds it amusing. Perhaps, Death suggests, he also picked up his blind determination and insolence from them as well. And Julius is all "on no you di'n't just say that!" And Death floats down, covering the door, essentially challenging Julius to fight with this rude, obfuscating behaviour.

[End cutscene. Begin boss battle.]

Cutscene thirty three:

We see Julius still fighting Death, and Julius is beginning to tire a little, and if Death is losing (which he is) he doesn't show it. Suddenly we hear a rumbling sound from the next tower. The entire throne room begins shaking, and the seal on the boss doors begin to wane. When they disappear, Julius sprints to the back of the room, round the throne, kicking the doors open. Upon entering, the walls of the tower begin to crumble.

The tower has no footholds to reach the ceiling. On the floor is a demonic seal of some kind, and the ceiling, while pointed sharpening to a point, ends at the top with a flat surface, a sort of grate with the moonlight shining through. So anyway, the walls and ceiling begin to crumble, and all at once smash into smaller pieces. Julius thinks he's a dead man, shielding himself with both arms, but the pieces instead seem to fly around at random for a bit, the clouds in the sky spinning toward this one spot above the tower, like a giant vacuum. I guess. As this happens, the pieces of the tower suddenly stop where they are, floating, but still they move about a little, up and down.

Death, pleased with this development, lets out a laugh behind Julius. Julius had momentarily forgotten about Death, and hears the sound of metal moving slicing quickly through the air. Julius spins and grapples the blade of the scythe with the VK. Death seems to send some sort of…magic…down the whip from the scythe, causing Julius to scream in pain, but clamps his teeth together, enduring it, and managing to pull the scythe away, sending it flying off of the edge of the tower, proceeding to continuously whip Death like a madman, and as Death begins to crumple under the magic of the VK, there is lightning nearby, and the clouds begin moving at a fast rate.

All the colours in the world seem to invert for a moment, then again, and one last time, for a bit longer this time, and Death, his bones apparently flaking away bit by bit.

He isn't despairing at all, but laughing, claiming his master's plan is near completion, while Julius hopelessly shouts the names of Alucard and Kenji and Celesta, though I expect if they haven't seen this great fucking tower shifting its existence, and the speeding clouds and lightning, they're probably not going to hear him shouting, which Death takes great pleasure in pointing out.

All sound disappears now, for a moment, and the image of the surroundings changes. Everything is extremely hectic. There are soldiers on the ground being massacred, vehicles being destroyed in spectacular explosions, or being knocked flying by larger demons, and of course planes are being shot out of the sky. The events seem to skip forward and all around the castle there are mounds of bodies and blown up vehicles. In the sky there is an enraged scream, and Julius looks, the camera panning with him, to see Dracula's demon form there, which the player will fight later. We haven't seen this form by this stage, but you could guess that it's Dracula. He fires a bolt of magic, and hits something in the sky, resulting in a massive explosion and a very bright light (so it was a nuclear missile).

When the light begins to fade, he appears to be surrounded by many different events, like he is in the middle of a battlefield, perhaps, the overlapping images of many people from different places falling down dead closing in on him, and as they almost touch him, he hears a frightened scream from up above ( a real scream, as in, its actually happening.

Along with this, he can now hear the rapidly fading laughter of Death, and the rapidly loudening screams of Dracula's demon form as he slays more and more humans in succession. The screams, though angry, sound increasingly desperate and hopeless as well. Julius, deciding he's had enough of this, pulls the VK to his neck, pushing it back with force. The sudden jolt of pain removes him from the illusion and Julius looks up to the sky, examining the floating platforms with intent.

[NOTE: This is pretty much the introduction to an invisible plotline involving the "castle's memory". Okay, so this wasn't a memory Julius was witnessing, and whether this was a prediction or simply what the castle was hoping would happen is something else entirely, but I'll divulge more on this later on in the document, when it's appropriate.]

[End Cutscene.]

Cutscene thirty four:

You climb the platforms to the top, and when you reach it, you find Olrox there. He has taken a form that looks like his former self, but is translucent, and all of him, including his clothes, is a sort of wavy pale blue colour. He doesn't seem to notice you at first, his eyes flickering about, wide open, often spinning his body round as well, and muttering something.

Julius makes his way toward him and hears that Olrox is whispering "let me out". Julius remembers the scream he heard at the bottom, and how he had seen all those images closing in on him. So presumably this had brought back memories of claustrophobia for Olrox being trapped in a tiny cell for so long. Suddenly Olrox notices Julius and looks angry. Maybe he recognises him, but maybe he doesn't, but either way, he's going to fight you.

[End cutscene. Begin boss battle.]

Cutscene thirty five:

So we beat Olrox, who is even more angry and afraid, but too weak to fight, and still may or may not recognise Julius. And then…suddenly! The portal opens very close to the two characters above the platform, ripping Olrox's ghost away screaming into the void. Julius has got it in his head that hell is bad, and jumps up into the portal.

Julius is pretty horrified by this place, and even more so when he finds out Dracula has already noticed his presence. Dracula, in a more gravely, far-off voice, invites Julius to come and meet him.

[End cutscene. Begin Palace of the Damned.]


Palace of the Damned…and beyond:
Cutscene thirty six:

Our hero Julius is on a bridge, of sorts…very little in this place is completely relatable to things in our own world. So yeah, he's running along this bridge type thing, and someone calls out his name. Julius down below to where he was not long ago to see Julius looking up at him. Alucard basically shouts for him to hurry, and says he'll catch up soon enough, and Kenji and Celesta are not far behind him. Julius nods, and is on his way again with this in mind.

[End cutscene.]

Cutscene thirty seven (non-story cutscene):

After travelling down a long stairwell, probably with lots of ledges and random alternate paths to jump to on each side, you reach the bottom, a very rocky, hilly arena, and as you stop on it, the stairs behind you and the path ahead drop into the lava that surrounds you in this section, trapping you. From the lava a giant red bird springs up. It shakes off the magma sticking to it and screeches.

[End cutscene. Begin boss battle.]

Cutscene thirty eight:

You reach the final door (we'll talk about the bits leading up to this) and when you press the button to enter it, a cutscene is triggered. Again you hear Julius' name called out, and Julius turns round to see Alucard running up the stairs. He believes Dracula is through these doors, and tell Julius to go on in alone.

Julius still doesn't know what he's doing, and Alucard tells him Kenji intends to use them all as catalysts for the seal, but seems in a rush. Julius quickly tells Alucard about what Death told him, about the Crimson stone. Alucard now understands this, though he didn't think it could facilitate more than a single soul.

Alucard starts to rush off, much to the surprise of Julius, but Alucard says he must hurry back and make sure Kenji and Celesta arrive alive and well. So Alucard dashes off, and Julius takes a deep breath, entering the boss room to find what is described in the other article. Dracula is staring at Julius entering, the doors closing on their own accord behind him. Dracula welcomes him to his otherworldly lair, with absolutely no warmth in this voice at all. He appears angry, but is glad Julius has arrived at last so he can end his crusade of ignorance and false fulfilment.

Julius is unsurprised at the vampire's arrogance and confidence. If you have killed Cthulu and Galamoth, this is where Julius will comment on Dracula's insecurities and lust for authority, claiming he could have destroyed them both if he had enlisted the help of Death and others in his employ, but probably wanted to wait till he had the power to crush them both by himself (which he definitely has now). Dracula's anger rises, slamming the shallow and undesired persistency of him and his ancestors. And so they start to fight.

[End cutscene. Begin boss battle.]

Cutscene thirty nine:

After defeating Dracula and Dracula's Wraith, Alucard and Celesta burst into the room, the doors again closing on their own accord. Julius notices Kenji is not with them, but has no time to question them about it. Dracula has already locked horns with Alucard. The moment he spots Alucard, he grimaces and makes eye contact, asking rhetorically if he's come to kill his father again.

Alucard begins to reply, telling Dracula he can't allow him to continue with his madness, but that's as far as he gets. Dracula interrupts him, shifting his focus to Celesta, smiling slyly and greets her, assuming she must be a Belnades, another of the hopelessly persistent bloodlines that has pursued him through the ages. Celesta begins to speak in her defence too, but Dracula puts a hand up, demanding she spares him of any long and drawn-out defensive expositions she has in store.

Alucard looks disgusted with his father again, but doesn't look away this time, drawing his sword, nodding at Julius, and running forward. Dracula, now pleased; if you can call it that; that his greatest enemies are all here, present and correct so he can end their lives all at once. Alucard closes in on Dracula, sweeping his sword across where Dracula's torso should be. Dracula skips back with lightning speed, spinning away in order to avoid the incoming whip, and as he spots Celesta running into the fray, magic charging, he smiles as they all draw in on him, exploding with some sort of demonic energy, his transformation starting, knocking the three of them flying.

They groan from the pain as they get up, and already Dracula has transformed into his demonic form, which we recognise from earlier, when the castle thought it might be funny to plant all those images in Julius' head.

[End cutscene. Begin boss battle.]

Cutscene forty:

Congratulations, you've defeated Dracula! Hooray, yippee, Simon Belmont Forever, etc etc.

Dracula, terribly weakened, can no longer retain his demonic form, shrinking to his humanoid form, wailing and screaming and so on, dropping to his knees as soon as the devolution is complete. Julius and co. look incredibly weak too though, all out of breath.

Alucard lifts himself up, slamming the tip of his sword into the ground to keep his balance. "Don't let him die!" Alucard will be screaming, and Celesta will call out for Kenji, increasing the volume of her voice with some sort of…magic, I guess. And like magic Kenji bursts through the door, telling them to take their positions. Alucard nods to Julius, who again is confused. Alucard reminds him that they are to be used as catalysts, and tells him to use the whip on Dracula. Julius wraps the whip around Dracula's neck from a distance, Celesta use some sort of spell to stop Dracula from struggling, at least in the feet. Alucard is looking the other way, but spins the sword round in his hand, breathes deeply and turns around, jamming the sword through Dracula's lower torso, who of course screams at the unpleasantness of this.

And suddenly a seal appears beneath them all, glowing white like the one that appeared when Leon killed Sara. Dracula, though in pain, seems to ignore this for a time, feeling a strange sensation. He is angry and possibly scared. He frowns and digs his hands down his collar, removing it with a red stone, which he rips from its chain. It too is flashing slightly.

Dracula looks over Alucard's shoulder at the concentrating Kenji and asks him what he's doing. Now more frightened and angry, he asks the question again, this time screaming it. Alucard rests a hand on his father's shoulder, telling him in a soft voice to be quiet, and not to struggle.

Julius is now interested in what is going on too, and asks the question Dracula did. Alucard looks at the stone which Dracula is staring at like it's the most important thing in the world. He explains Dracula's soul will be sealed inside it. And when the process is complete it will shatter. Dracula is enraged by this, and struggles more, but the light beneath them is brightening, and soon the desperate screams of Dracula start to fade away as if he were moving quickly into the distance. Alucard whispers his apology, and the light overwhelms them for a moment. Julius feels the VK vanish from his hands, and looks to Alucard, who nods to let him know that was planned too. He says it was necessary. The whip will keep the seal a constant. He won't need the whip anymore anyway.

But barely seconds after the screams have gone, a different voice comes into earshot, a hollow but malevolent voice, laughing, and there is the sound of metal slicing through air at a high speed. They all look up, and Death is there. Julius is not pleased, seeing as he thought he killed this guy not long ago. Death doesn't even bother looking at the spot where Dracula was and acknowledges that he is gone. Just as he had hoped. Death exits, while Celesta looks to Alucard, worried, asking if perhaps this is what "that man" was talking about. Kenji doesn't seem to know what's going on, asking who this man is. Alucard tells him for now they must concentrate on escaping. He looks over his shoulder and waves Julius to the exit, because of course the castle will start collapsing very soon.

Julius starts to get a move on, that is, until he notices something shiny on the floor. There must have been a miscalculation or something! At any rate, Julius grabs it and shoves it in his pocket. He looks up to ask them about it, but they're already at the door. Alucard looks over his shoulder and shouts for Julius to get out again.

[End cutscene. Begin escape.]

Cutscene forty one:

You've now escaped the castle in-game, and you witness the castle collapsing, or rather, breaking apart and being sucked upward. The four heroes stand in front of the drawbridge, on the edge of the forest, looking up at the spectacle. Julius is curious as to why it is being pulled up, and Kenji explains that while Dracula's spirit was sealed in the Crimson stone, the castle will be sealed in the eclipse, which is now complete, making the whole area rather dark save for the light seeping through around the edge of the moon.

Julius is instantly reminded of the stone in his pocket, reaching for it. Alucard walks behind Julius, lowering to the ground on one knee, while Celesta takes a few steps back, out of Julius' view.

Still holding on to the stone, Julius now begins to think there may have been other flaws in Kenji's seal, asking if the castle will return at the next eclipse. Kenji seems fairly confident that it won't, while Alucard, still silent, stops what he's doing for a second and appears to consider this. He grabs hold of a rock, stands up, and looks at Celesta, who nods solemnly.

Julius says, still looking at the place where the castle was, (it's now finished being sucked away) tells them that this isn't over. He seems hesitant to bring this up, perhaps thinking he should have left the stone in that other realm. But he's all out of time. Alcuard slams the rock onto the top of his head, and continues to do it several times. The rock is in pieces, and Julius is lying on the ground, his head cut open. Alucard tells Celesta to hurry up, while Kenji, obviously not pre-informed of this, asks what the hell they're doing.

Celesta performs a spell on Julius, healing his head at the same time. Alucard tells Kenji to calm, saying him and Celesta were visited by someone whose words are not to be taken lightly. The fact that Death appeared like that after Dracula's demise only reinforces this fact.

Alucard prompts them all to pick him up, and they carry him away.

Cut to a scene inside a cottage at the edge of a rural town (clearly not the same town we saw at the start of the game, but it's still somewhere in Eastern Europe). It's quite a cosy looking place, and there is a fire burning merrily in a fireplace. Julius is lying on his back on a bed, unconscious. Alucard (in the visual guise of Arikado again), Celesta, and Kenji are there as well. Alucard picks up a piece of paper and a pen, and begins writing a note, in letter-like format, with the name to the left, followed by a comma and the message underneath. Or at least, he goes to write his name, but gets only as far as the J. It's best not to give him any clue. He is about to about to draw a line through it, but decides against it, and writes underneath it "Your life is your own now", not signing it.

He pins it to the middle of a desk, and waves for them to leave. Celesta and Kenji follow him into the street. A clock tower on a church nearby shows that it is about 1 O'clock, and in the morning presumably, judging by the darkness and empty streets. Alucard and Celesta are shocked as to what they find, while Kenji…well, isn't. Saint Germain is there, leaning with his back against a lamp post. He straightens himself, brushes his tailcoats down, and greets them with a tip of his hat.

Arikado demands to know the necessity of this act now. Saint Germain thinks about this nervously and replies that he isn't entirely sure, but believes Julius should be safe. Celesta challenges this, because things like this shouldn't be done without certainty.

Germain reveals that even if he knew why it was necessary, he wouldn't tell them anyway, but fears someone is trying to screw around with time somehow. He tips his hat again, and takes his leave through a portal.

Naturally Kenji wants to know all about this mystery figure, but Alucard tells him it will have to wait. They have to leave this town before Julius wakes up. He says they will be heading back to Japan, to the Hakuba shrine. He tells Celesta he will find her a place to stay. Kenji offers to facilitate her in his own house, and they both agree to this, and walk away to a shiny black car. And yes, FYI, they do fuck each other. Not that it's stated here. Short story made even shorter though, Peklo and I decided to make Yoko and Mina actual sister, since they were already described as being like sisters, both being the daughters of Kenji and Celesta.

And yes, I've considered the fact that Yoko goes by the name of Belnades in AoS, as opposed to Hakuba, which would technically be her surname. But what the hell, right? Alucard goes by the alias of Arikado, so it's no big thing that she wouldn't want her practises at the "church" connected to her family. So she chooses her mother's maiden name.

Cut back to Julius in the cabin. Even in his unconscious state, he feels a connection of sorts, though he doesn't understand it. We cut to Julius in the floating garden. He too feels a connection and the cutscene flashes back and forth between the two scenes a few times. Julius opens his eyes in the floating garden, unsure as to what just happened, blinking stupidly. But instantly he remembers why he is there, yelling at Soma, telling him he can't let him continue.

[End cutscene. Begin boss battle.]

Cutscene forty two:

You know what happens here. We see them fighting a bit, but Julius is going easy on Soma, who knocks him down, Julius lets him enter the Chaos Realm, blah blah blah.

Saint Germain enters through a portal, looks around as if he's not quite sure where he is. He focuses on Julius, asking him how much he remembers. Julius is silent at first, but reluctantly tells him he remembers all but how he was rendered unconscious in the first place. Saint Germain nods, looks around worriedly again, and re-opens the portal, muttering to himself about Death as he walks through. The portal closes, leaving Julius dumbstruck.

He now realises he feels a bitterly cold wind against his face, and shoves his hands in his pockets. He frowns and removes the Crimson Stone from his pocket. There is a flash as he is seemingly removed from his spot, and from his own mouth, yet not with his voice, he hears the words "No! You betrayed me!" (This is clearly Walter speaking).

Julius is back in the Floating Garden now, confused. He remembers the priest who helped him cope with his amnesia and told him to hang on to the stone, as it may be an invaluable heirloom, and he should on it often, as it may be a vital clue to getting his memory back. The priest's name was Zead.

So yeah, Zead was interested to find out more about Julius. He'd used a devil forge-master before, and Maxim had almost been viable too, so now he wanted to know if a Belmont would be a suitable puppet for the power of the Crimson stone to wield the power of the Crimson stone (but not to become Dracula, because he doesn't want him involved anymore). So all the while was trying to form a connection between the oblivious Julius and the Crimson stone. But anyway, that's a near invisible plotline for now, as is his experimentation with the castle memory.

Julius feels the power of the stone again, taken away again, this time inside a different body, looking straight at a man, possibly a Belmont, he probably thinks, and taking note of the whip on his belt.

"I made Walter's soul mine with the power of this stone" he hears from his mouth; a very deep, loud and authoritative voice. There is another transition, and he hears the same voice again saying "if limited life is God's decree, then I shall defy it, and within that eternity, shall curse him forever more" (and of course this is Mathias we're hearing).

Julius is back in the Floating Garden now. He wonders aloud if this bears relation to Chaos and decides that after all this is done, he will tell Arikado everything he's just felt and witnessed (thus spinning into motion the plot of a post-DoS game; and the good thing is, Arikado would never have told Soma these things, so this is all fine, and doesn't contradict DoS).

Yeah, this is too weird for Julius to keep to himself…

[End cutscene. End game!]

Afterword

For the record, I'm well into developing the story to the sequel for this. I didn't think I'd go into the details yet, but ideas popped up in my head and I thought I'd develop them. Already I think it's much more intriguing and expansive than the story of this one. As a kind of practise, I might update this document sometime in the future. Maybe I'll write a script, or just write the cutscenes as I normally would, i.e. like a book. If I choose to do the former, it'll be interesting for me to, as I've never written screenplay before.


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