Overinterpretation in the Literary World Part II

Christopher Lee in Dracula (1958)

Currently, I am reading Bram Stoker's classic Dracula. Undoubtedly, Dracula is a figure of carnal sexuality and sensuality. During a period when the societal views towards sexuality were more stringent, it seems logical that the antagonist be the embodiment of sexuality (and all the dangers and corruption which that entails). Dracula comes in the night and seemingly hypnotizes women. Then, in a very intimate way, he takes them for his own by inserting himself (his teeth more specifically) into the female character characters of the novel which culminates in the taking of bodily fluids.

Using the symbols of Dracula as a backdrop, I will demonstrate how otherwise meaningless images can be assigned meaning and symbolic value.

There is a series of video games called 悪魔城ドラクラ, better known as the series Castlevania. The protagonists for the vast majority of the series are members of the Belmont clan. The Belmonts, utilizing a variety of sacred and holy weapons, battle Dracula and his followers. The Belmonts (at some point during the saga) are sanctioned by the Catholic Church in their crusade against evil. Essentially, the player becomes an avatar of the Church.

Simon Belmont prepares his entry into Dracula's lair

During the start of each game Dracula is somehow resurrected. The player is then treated to a scene of the holy crusader entering Dracula's vast and ghoul filled castle. The imagery is an exceptionally powerful view of the struggle between good and evil on the mortal plane. The Belmonts tend to be of muscular build (classically) which is a clear representation for the power of the Church. However, the crusader stands alone in the foreground against the vastness of Dracula's dark castle which is a representation, and later canon embodiment, of the evil in the hearts of men. The sole force of good able to oppose the seemingly unending darkness stands undaunted and bravely enters the castle to do battle.How true it is that the Church fights for our souls in a world filled with corruption and sin. It is the fundamental state of the world (as proclaimed by the Church) brought to life in game format!

Looking more closely at the battle between Dracula and the Belmonts, I'll remind you that Dracula is essentially a metaphor for the evil and corruptive power of sexuality, "Dracula's violent bloodsucking . . . can easily be read as obsessive sadistic substitutes for sexual gratification" (Dracula, intro xiii). What is the need for sex if not one of the core and primal moods of man? Indeed, the drive for sexual gratification and reproduction is a part of man still closely linked with his more animalistic nature. This is important to note since Dracula, despite his charm and refined manner, remains nothing more than unchecked sexuality. Essentially, Dracula is an animal (also shown in his ability to become a bat).

Shifting focus to the Belmonts; our protagonists do battle with Dracula not with swords but with a whip dubbed "Vampire Killer". "Vampire Killer" is endowed with the unique and ability to fight the darkness of Dracula. Classically, the taming of beasts is done with the aid of a whip (I will ignore the obvious sexual uses for whips that has developed in less mainstream sexual practices). It makes perfect sense that the holiest of weapons in the fight against Dracula is a whip.

The whip wielding Belmonts set against Dracula must therefore support the idea that the church alone has the power to help man fight back the sinful and animalistic impulses symbolized by Dracula.

To me, the imagery and symbolism of Dracula, the powerful Belmonts and the holy whip are far too clear to be anything but intentional on the part of the creators.

Of course, I could be over reading the images. The game's Dracula could be nothing more than an iconic villain used to appeal to a wide audience. The holy nature of the Belmonts and their weaponry could easily be seen as a logical counter to Dracula's clearly unholy nature. The whip may have just been an alternate weapon choice to the more common bladed weapons. These things may not combine in any meaningful symbolic way. They are just games afterall. But were my explanations particularly implausible?

Again, there is nothing wrong with attempting to interpret an create new meanings and theories works of art or even games. Finding patterns and logic in a chaotic world is part of the human condition. However, there must be a point where we acknowledge that sometimes we over interpret and then revere these over interpretations as virtual fact.

I leave you with a final word directed, with love and admiration, to my former high school English teacher: sometimes a green light is just a green light.

-Dan