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The only thing in which i feel compelled to woobify Dracula is the one media in which we need to beg for scraps of woobie-material of him.
In Hellsing all the ugly stuff he had to endure in hands of the Hellsings are just implied...but its never used to make us feel sorry for the poor guy (althought i feel it and a lot) and im sure its the only thing that doesnt exploits even when it has a very solid groudn to do it.
A BETTER QUESTION IS WHY THE FUCK DIDNT THEY PUT THAT CONVERSATION IN THE OVAS UGH
Oh man they didn’t, did they! They had his initial “drink my blood be a real vampire blahblahblah” moment but not that follow-up.. Though I think they had some approximation of it? maybe? I haven’t watched the earlier OVA episodes in quite a while…
jamessspader replied to your post: jamessspader replied to y...
Yes, he influenced her a lot. I always imagine teenage Integra studying his manors and poise and having discussions about politics and history with him and learning a lot but also discarding a lot and saying to his face “that was cruel and stupid”
She'd probably be the first person who ever looked him in the eye and called him out on all his awful actions, toward women especially
I feel like Integra could have easily gone the route of internalizing a lot of misogyny given her being totally surrounded by powerful old school masculine influences, in a powerful old school masculine family, yet she seemingly went the opposite (not to say she's like a radical liberal feminist, she is still a hardcore protestant, politically-tied-in, high born rich white lady..)
but she probably does deal with that a lot - with the internal struggle of how to feel/be feminine while still being seen as powerful in a room full of people she has to convince (at first I mean), and when all her role models her whole life have been male - because she may wear suits and stuff but she doesn't ever try to pass as a man/doesn't seem to regard herself as masculine (yet there is how they call her "Sir" instead of "Dame"..)
(and hello my feelings for the 30 years she was basically alone with Seras)
and like.. Alucard is such a strange figure because he's not human, he isn't bound by any human labels really ("I was a chick in the forties!") so while he's traditionally masculine-coded as the Count.. Alucard is a different example for Integra entirely
idk there's so much that I wish we knew more about in regards to presentation and identity stuff with all of them but of course i would never want it in Hirano's hands
He'd tried to go to him at first, because Alucard didn't exactly enjoy being reminded of what he'd been, but he shrunk away and then visibly forced himself not to and it was all so terrible that he ran away. What else could he do? Then he'd realized, with a bit of a choke, that he'd left Integra and Seras alone with Renfield. And he didn't know what that would do to Renfield. Or what he'd do. Because he'd done things to Renfield that the two women had never seen, never really understood.
oh my heart
(also that last sentence makes me wonder how much Alucard underestimates the ugliness Seras and Integra have both seen.. though it's probably less that and more that he views himself as just that much of an irredeemable monster)
And then when he'd seen Alucard, he wasn't fine. His shoulders hunched and dropped as if they could protect them, his eyes fixed on the floor and the walls and the ceiling, and his nails dug into his hands so hard they bled. He backed up and started to stammer, and when the woman he was talking to put a hand on his arm to calm him he flinched away. "Master?" he asked, and the worst part was that he didn't even know for sure. He didn't even know for sure it was Alucard, and he still did this.
Integra has wrinkles now. She's been waiting for a long, long time. And everything is the way it is, and then Renfield appears again. And he takes one look at Alucard and says 'Master?'. And then Alucard gets to watch him break. Here is the thing; Renfield did not look like he'd remembered him. His shoulders and back were straight and he'd been speaking to a woman. And meeting her eyes head on, and his hands were clasped behind his back tight so they could not shake, but he'd been fine.
His hands wring around and around each other as he talks, and Seras is entranced by them. The motion is repetitive and anxious, speeding and slowing in time with his words. Seras is too captivated to pay attention to what, exactly, is coming out of his mouth. He's a small man, anyway, with tiny teeth that flash in and out of sight as he talks. Seras was only involved because when he'd shown up Alucard had refused to engage. He'd gone paler than possible, actually, and swooped in and away.
Kouta Hirano's art, in which restraining a vampire with an entire department store's worth of belts is an A+ idea
