Castlevania Rondo of Blood Cutscenes Stills Castlevania Cover Art

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EDIT: Cheers so much for the front page feature, y'all guys!

Hello over again, anybody. One time over again, I am your host, Cornelious Diamondsworth, or "Crazy Diamond", whichever y'all prefer. Tonight, nosotros shall accept a look at another exhibition of the Castlevania series, simply tonight'southward exhibition is special. This one showcases a huge change in style for covers of Castlevania titles, simply there will exist more about that as the nighttime goes on.

Firstly, we shall be looking at 1991'southward Super Castlevania Four. This is the first Castlevania title to be brought to the Super Famicom or Super Nintendo, then this has to exist a SUPER Castlevania game instead of merely a tiresome-ass non-Super Castlevania game. I'll talk almost the North American and PAL embrace art showtime, because the Japanese cover art is a real care for. If I tin can only interject my pure bias for a quick 2nd, this is i of my favourite Castlevania covers out of the whole serial. Information technology might just exist because this is one of the games in the series I played kickoff, but I actually do honey this cover. Like, all of information technology only looks so rad. If you didn't already know, this game is a re-imagining of the original Castlevania, and so the protagonist this time effectually is Simon Belmont again. And after the bit of dissappointment that the Simon's Quest cover art was, it'southward and so prissy to encounter Simon Belmont return dorsum to his Castlevania 1 glory. He himself looks the best he's ever been, way improve than his scarlet-haired Kojima variant, and fashion better than his god atrocious Castlevania Judgement blueprint by that Decease Note guy, it'southward the perfect design for him. The rest of the monsters are really adept looking too, and they all look faithful to their in-game sprites. Although, the colours on the Medusa head are a bit off, like usually they're blueish or yellow with greenish snakes, only here it's non also bad of a change. The os dragons are faithful and look fantastic, the skeletons look bang-up, and even the few bats on the cover look great likewise! The only monster that doesn't look good is Dracula however, he'southward just kinda lackluster and is but shoved on the left edge of the encompass. I similar how this cover also conveys a primary part of the gameplay, featuring Simon Belmont swinging on a ring with the Vampire Killer and property information technology in a direction that's other than right in forepart of him, which is a huge element of Castlevania IV's gameplay. The encompass art properly conveys both activeness and gamble through the motility of Simon swinging and likewise the expression on his confront. Although, I practise think that the colours are a bit besides muted and dark to properly give me that "yes let's become on and adventure!" feeling. Similar, if there was more dynamic lighting or if the colours were a chip brighter, then information technology would feel a scrap more enticing. Unfortunately, when looking at this embrace, my eye first hops over to the logo instead of the actual art, and I always discover that as a sin when it comes to game comprehend arts, especially the SNES covers where the logos should be in the upper left corner and the fine art filling the rest of the canvas. It'southward flawed, but it'due south probably one of my favourite pre-Kojima Era Castlevania covers. Simply this is for the North American and PAL covers though, what about the Japanese comprehend?

WHAT IS UP WITH THE JAPANESE COVERS BEING SO TERRIBLE!? Like, normally with series like Mega Man or even Final Fantasy, the American box art is shitty while the other regions are keen, but Castlevania pulled the ol' switcheroo! Okay, so lets endeavor to make sense of this a bit. Simon Belmont looks more than like Richter Belmont, like I have no idea how they fucked up the pattern of Simon this bad. Ordinarily, Simon's colour schemes are either browns and oranges or reds and blacks, he'due south never had a blue color scheme in whatever of the games, he probably doesn't even have a blue costume in Castlevania Judgement. So, Sichter Belmont, making a confront fifty-fifty worse than his confront on the Simon'southward Quest embrace fine art, is whipping at something beyond the realm of the cover, but still casting a Shadow Clone Jutsu so he may swingeth upon a chandelier backside him. Sichter is also very scantily-clad, with no arm protection, midriff out for all to see, and no leg protection from what we tin can meet. Sichter also somehow managed to acquire to dual-wield both the Vampire Killer and a scimitar, just only when he'southward swinging from a chandelier. But, he's trying to slash at what appears to be Death with a scimitar while swinging from a chandelier, which makes little to no sense. Usually the Vampire Killer is the definitive weapon against monsters of whatsoever type, and ordinarily no other ones besides Sub-Weapons work, excluding Eric Lacarde'southward spear, Maria Renard'south doves and other shit, whatever weapon that Alucard or Soma Cruz or Shanoa could equip, etc. An extremely powerful entity like Death wouldn't be brought down with a scimitar unless it was blessed past a priest or something, merely it still wouldn't exist easy, so I don't know why Sichter is trying to kill Death with a scimitar. Plus too, you never fight Death in a room with a chandelier, in fact I don't even think he shows upward near the actual office with the chandeliers, so I'1000 positive that the artist never even played a level of the game. Information technology looks similar allergy season is really hitting Dracula hard, as you can see him, pre-sneeze with his eyes red. Castlevania appears to have been congenital on a rocky platform in the middle of nowhere this time around, which honestly makes sense a flake, like I don't get why Dracula never thought of this before. But, I judge somehow Sichter managed to send his clone in, just physically had to remain outside to swing the Vampire Killer at the audience. Castlevania is likewise bland as hell, similar there's nothing interesting about it. This comprehend overall is just bad. I feel like it's not as terrible as the Japanese cover for Belmont's Revenge, but it'south nonetheless one of the worst ones then far.

Up next we take 1993's Rondo of Blood, releasing simply in Nihon for the PC Engine CD, the Japanese equivalent to the TurboGrafx-16 and its CD-ROM add-on. This game revolves effectually Richter Belmont, who goes to fight Dracula to save his fiancée Annette Renard. This embrace is very elementary, just is also maybe one of the about memorable pre-Kojima Era covers. It's but Richter Belmont standing on a rocky platform, Vampire Killer in hand, while the eyes of Dracula looks on. Richter himself actually looks actually good, and true to his in-game sprite. I retrieve that he might actually be a bit too buff, similar his arm seems to have muscles on superlative of his actual arm muscles, only I don't have also many issues with information technology. Also, I know that this is a Pre-Kojima piece of comprehend art, and Dracula'south design hadn't been solidified every bit long white-haired bishi "what is a man?" Dracula, just I call back his in-game sprite looks like how information technology does in the prelude to Symphony of the Night, and so I wonder why his face in the petty slit that we come across on the Rondo cover then young looking. Too, Richter has a shortsword like how Simon Belmont does on the embrace of the original Castlevania. What is upward with this fixation of giving the Belmonts shortswords? They don't need one, they have the Vampire Killer! Also, Castlevania isn't prominently featured on this cover, which is weird, since most of these Pre-Kojima pieces usually feature Castlevania very prominently on the embrace somewhere, merely in that location's only the top left corner of the castle from what I can encounter on this comprehend. Sure, information technology's non a perfect cover, just it'due south simple and works every bit well every bit information technology needs to. Personally, information technology gets me excited for an activeness game. Rondo's cover does its job good plenty!

Up side by side we have 1994's Castlevania: Bloodlines, exclusive to the Sega Genesis, while also non serving as an exact sequel or prequel to any of the previous Castlevania titles. At release, this was the game that took place at the latest engagement in the canonical Castlevania series, taking place in 1914. This game centers effectually John Morris and Eric Lecarde, two distant relatives, both of which have Belmont blood coursing through their veins. John Morris, if you are unaware, is the son of Quincy Morris, the protagonist from Bram Stoker's original Dracula novel, who had killed Dracula back during his lifespan. So, let me reiterate if you didn't understand, THE ORIGINAL DRACULA NOVEL IS Catechism IN THE CASTLEVANIA Serial AND QUINCY MORRIS IS A BELMONT WHO HELPED Keep THE BELMONT Association Alive IN AMERICA! Castlevania'due south lore is weird as hell, it'due south fun, merely boy is it weird. Anyway, plenty with the actual story of the game, allow's become on with the bodily cover art. I really do like this cover art, it is VERY flawed, only I do appreciate it. The unabridged bottom half of the comprehend looks really good. John Morris himself looks pretty great, and his style sense shows how dissimilar he is from the European Belmonts. And it adds on no unnecessary details like a shortsword on his belt, it is merely a human with his Vampire Killer, and fueled past nothing just pure dust and determination, the fashion a Belmont should exist. The monsters are very creative, and are actually pretty original monster designs at this point in the Castlevania serial, especially for a title on a panel they had never worked on before. Although, the groundwork is really lazy. Like, it but looks like the artist rubbed whatever oil pastels he had lying around on the sheet and but used that as a groundwork. And, I said that the lesser half of the cover is great, but the summit half is a bit of a mess. Dracula looks rough, and barely even looks similar what Dracula should expect similar. Perhaps it's supposed to exist that going after the son of the homo that had killed him before fabricated him more direct agitated and animalistic, compared to how he would act if it was simply some random Belmont descendant from hundreds of years later on. And, who ever that dark sorceress is on the comprehend doesn't wait proficient either. Actually let me reword that, she has a great pattern, but the execution isn't cracking to me, only she but barely looks a whole lot more creative and original than Dracula. I realized what makes her stand up out a bit more than Dracula to me though, information technology's that she has a definite bulwark from the groundwork, giving her an bodily corporeal course. Dracula is but another part of the canvas that the artist rubbed his oil pastels on, but fabricated it darker than the rest of the background, and just put an angry face with pointy teeth and declared him Dracula, it just seems really lazy to me. Just overall, the American embrace isn't bad at all, just flawed. I'd say it also does a good job at enticing general Genesis players into picking this up.

Nosotros still accept the Japanese cover to look at, however. We don't have to pay attending to the PAL region cover, since it's the same equally the Japanese cover art, just with the name "Castlevania: The Next Generation" instead. This cover actually prominently showcases all of the characters that have major roles in the story of Bloodlines too simply John Morris and the dark sorceress. Eric Lecarde and a proper Dracula appear on this cover, which I similar, since Eric Lecarde has a much bigger impact on the overall lore of Castlevania than John Morris does, with his only touch on actually is simply existence the begetter of Jonathan Morris and simply being a Belmont. He does await pretty accurate to his in-game sprite, fifty-fifty though his hair is blond on the cover while information technology'south green in the game, simply at least information technology's still meliorate than how the Expiry Notation guy turned him into a little trap male child for Castlevania Sentence. John Morris is actually a downgrade from the American box fine art, he just looks like he'southward trying to cosplay every bit Richter Belmont rather than existence his ain guy, which kinda makes no sense logically likewise since John Morris exists a adept 200 years after both Rondo of Claret and Symphony, so why would he really care nearly Richter compared to any of the other relatives of his that he actually got to know? The night sorceress and Dracula are actually actually absurd. The sorceress herself has a really cool and relaxed design while distinguishing herself as powerful and evil without being outright monsterous similar she is in the American encompass. Dracula wrapping his arms around her is actually very accurate to his character both in Castlevania amd the original Dracula novel, it shows that he's still more powerful than her, but nevertheless uses that classic Tepes charisma to woo fifty-fifty the lady that wanted to resurrect him, like a truthful OG. The background is actually my favourite role of this cover fine art, since information technology reflects how the whole game takes place all effectually Europe instead of just Romania by showcasing actual levels like the Leaning Belfry of Pisa. Also, the colour scheme perfectly reflects both a horrifying and suspenseful mood, and is just a cracking background. Like, if they had taken this background and gave it to Simon's Quest's cover or even the Japanese Dracula'southward Curse cover, it would get in a million times improve. Overall, information technology'due south a pretty good cover, but easy to miss if you lot mainly stuck to the Nintendo or Playstation Castlevania games like I mostly did.

In 1995, American audiences finally got a belated release of Rondo of Blood, but in the form of Dracula Ten. It has the exact same story as Rondo of Blood, but is VERY different from its source material. Some phone call it a bastardized port, some call it a hidden SNES gem, and some call it one of the rarest fucking SNES cartridges of all time, but it'southward all up to opinion. Enough nearly that at present, let's merely give the low-downwards on this cover art. Now, the American box fine art is the aforementioned as the Rondo of Blood comprehend fine art, simply just stretched out a tad. Then, what else tin can I say almost the same piece of art? The same flaws and positives apply to the Dracula 10 cover art. Then, permit'southward take a more in-depth await at the Japanese embrace art instead.

HOT DAMN! What a embrace this 1 is! This one takes a huge divergence from any of the covers earlier and has a completely dissimilar art style from any Castlevania titles earlier information technology or after information technology, and information technology is actually i of the best ones so far in the series. Richter looks absolutely amazing, he's true to his in-game sprite, and only overall looks really cool and stylized. His arm muscles are however really weird, but besides that, he looks good! Dracula is very off, though. He looks nothing like any iteration of him through out the Castlevania serial, and is nowhere near his Dracula Ten or Rondo of Blood sprite, but the stylization of the embrace makes him notwithstanding await bully. Castlevania looks great, the weird suspended path holding Castlevania, even the cliché swarm of bats all look swell, because they're all great with the stylization! In all honesty, even though I love Kojima's art style, I think I might take prefered that later titles kept this fine art mode. Sure, even though it doesn't fit the darker tone of Castlevania, it just looks nice. It gives me a JoJo's Bizarre Adventure vibe for some reason, and I similar that. Like, information technology seems similar something out of a manga, and I love that. But unfortunately information technology never caught on, simply information technology'll go down as one of the best covers in the Castlevania series, at least in my opinion.

In 1997, the Castlevania serial took a drastic turn in both gameplay and cover art mode. This is the Ascension of Kojima that I was talking almost in the championship of this mail service. Ayami Kojima, a new inclusion to the Castlevania crew, ended up becoming the chief artist behind most of the titles released between '97 and basically 2007, and merely ended up leaving in 2012 with the induction of the Lords of Shadow serial. Kojima was an up and coming artist before hopping on to the Castlevania coiffure, and her first illustration in her repetoire as a video game artist happens to be the cover art for 1997's Symphony of the Nighttime.

I had talked about this a footling bit in my review of Symphony of the Night that I posted almost a month ago. But if you didn't see that previous to this postal service, let me just give y'all my personal opinions of the American and PAL cover arts for a 2nd.

PAL Cover Art?

Fucking masterpiece.

American Encompass Art?

Fucking garbage.

But why is that exactly? Why is the American box fine art bad to me exactly? Well, it's fairly elementary. It'southward because they use a shitty return of Castlevania instead of the incredible artwork by Kojima. I mean, I can understand if information technology was the whole idea of making the castle the focal betoken like it is in Symphony of the Night's gameplay, but I don't think that's the case. I really experience similar information technology's considering there was a pretty bishi vampire boy on the cover, and were thinking that that wouldn't sell well in America. This was the late 90s we're talking about hither, where everything had to be edgy and cool to really be super popular. And then why not merely rebrand it as a horror game instead of a fun and creative Metroidvania exploration-based RPG so it'll sell to the teens? And then I approximate that shitty 3D render of Castlevania draped in shadow could provide an ominous mood surrounding the castle itself? I accept no thought what they were going for with the American box art but information technology is then bad. Now, the European box fine art, that shit is fuckin' hot! And I'm not just saying that because the ultimate husbando bishi Alucard is taking the center stage. There's just something so enticing almost it for me. Alucard is so determined while staring at something across the realms of the canvas, brandishing his sword. It makes me desire to see what he could be looking at that he needs to brandish his sword at it. The whole artwork is just and then beautiful and is amazing to expect at, yous can tell that some real work and talent went backside information technology, and it makes me actually somewhat mad that the American wing of Konami changed information technology to such drivel.

The Japanese cover fine art is even better in my opinion, since the Castlevania logo is way less invasive than information technology is on the European comprehend. Here you can encounter more of Alucard and it actually adds more to his character. He'southward holding a cantankerous, which shows that he's on the side of adept, presumably on the side of the Belmonts, and it shows that he'south something possibly fifty-fifty more than powerful than a normal vampire, since he'southward not tied down by the same weaknesses as them, like existence in the presence of crosses and silver. I likewise like the texture of the whole slice, it looks similar it would experience bumpy if you reached out and touched it, and I like that aspect of it. Information technology'southward not flawless yet, like I have no idea where the lighting source projecting on Alucard'south face is coming from since the moon is behind him, plus all of the cliché bats that serve no purpose. But, it's probably one of my favourite Castlevania covers of all fourth dimension, and is in my opinion one of the best ones of the series and but ane of my favourite cover art pieces. The American box fine art still sucks shit, and I take no idea why nosotros had to endure with that, but I still love Kojima's artwork.

Even with the introduction of Ayami Kojima into the Castlevania coiffure, there were still other artists that took reigns of the comprehend artwork of some titles inbetween Symphony and the introduction of the Lords serial. Here accept a piece done by some other miscellaneous artist for the game Castlevania Legends. Serving every bit a prequel to Castlevania III, this title revolves effectually Sonia Belmont, the commencement and only playable female Belmont in the archetype serial (unless you want to count Maria Renard), but unfortunately was excommunicated from the catechism of the Castlevania series. The actual cover itself isn't bad. It's very similar to the cover of Simon's Quest, in my opinion. Sonia Belmont is the focal point of the cover, with Dracula being part of the background, much like the cover for Simon'due south Quest. Certain, Dracula is more prominent, and is way less plagarised than he is on the Castlevania II cover, but it'due south more or less the same kind of idea here. Sonia herself actually looks pretty good, and aforementioned thing with Dracula also. The fine art style of the ii of them imitates Ayami Kojima's fine art style adequately well, just y'all tin can just even so tell that it's nowhere nearly as good equally a Kojima grapheme illustration. Dracula has the same design as he did in Rondo of Blood and Symphony of the Night, which is a fleck anachronistic since Legends would've taken place a adept 400 years before Rondo if it were canon, so it's weird to encounter imitation Bishi-Dracula this early into the timeline. The placement of his fangs besides seem to be very off, like they should exist more towards the center if any of his superlative canine teeth are supposed to be fangs, but the placement of them on the encompass implies that his fangs would exist a pair of premolars, which are normally nowhere nearly equally sharp as canines are. Castlevania itself is bland to await at. It seems to just blend into the groundwork rather than stand up out as its ain chemical element of the artwork. Also, more cliché bats, simply flying around because bats are spooooooooky! The Moon is also fucking gigantic. Similar, I'm surprised that Earth in the Castlevania series isn't flooded with the gigantic tides that would occur with the moon that close. I exercise kinda similar the moon though, it makes the cover a fleck more highly-seasoned to the heart. The whole comprehend isn't really that bad, it'southward just forgettable to me.

At that place'southward no existent difference between the American, Japanese, and European box fine art, but in that location is one thing I wanna say nigh the American box art. Practise yous remember they have enough damn logos on the box!? Like at that rate, there'll be no cover art and will only be logos!

Lastly this evening, we shall be looking at 1999'due south Castlevania for the Nintendo 64. For the sake of making things easier on myself and for you lot, I'll only be referring to this title every bit either Castlevania 64 or just 64. So, Castlevania 64 revolves around Reinhardt Schnieder, a Belmont who just changed his last name for some reason, who sets off to slay Dracula one time again when he resurrects in Wallachia, Transylvania in 1852, with the help of Carrie Fernandez, a descendant of the Belnades clan. Nosotros'll be looking at the American box art first. I hope you love shitty late 90s 3D renders, considering in that location are a lot of them! Y'all've got a 3D Reinhardt! 3D Castlevania! Fucking 3D Castlevania logo! Oh my, how impressive it would be if it were notwithstanding 1999 and we didn't have improve 3D renders on fucking portable consoles! Only in all honesty, they've aged poorly, but for the fourth dimension the renders don't look bad. Actually, permit me rephrase that, Castlevania doesn't look bad, but Reinhardt looks bad. Castlevania actually looks better on the cover for 64 than the render on the American cover of Symphony of the Dark! Although that's probably simply because information technology'due south not draped in a shitty blackness filter to attempt to make it await more menacing (ゴゴゴゴ). Reinhardt looks like shit. He reminds me of the actually unintentionally creepy FMV cutscenes of the Tekken trilogy on the PS1, dorsum when they couldn't properly render realistic facial motions and textures, making everything look more like stop-motion with action figures rather than real human being movements. He has a glossy characteristic which makes him look similar he'southward not even a 3D model and is just an action figure that they posed and photoshopped on top of a 3D render of Castlevania. The Vampire Killer doesn't assist either. Instead of it looking like he's reeling dorsum with the Vampire Killer, it looks like a prop that was already in that position and was just shoved in his non-articulated hand. Also, I'm dislocated if that white flare-up behind Reinhardt'due south shoulder is part of his design or if it's simply a random burst of white light behind him. I do really like the Harvest Moon or Blood Moon or whatever you want to call it behind Castlevania. It produces a natural ominous mood caused by the actual environment rather than a character or some fucking bats on the cover. The American comprehend art for Castlevania 64 isn't too bad, in fact I probably would've liked it if I had grown up in that era of panel graphics rather than the PS2 and GameCube era, just equally of 2018 information technology's just really really dated.

The European box fine art is some other beast in itself. It'southward not god awful fine art, only it'south also very flawed. For one, Reinhardt doesn't look like Reinhardt. He looks more than like a David Bowie alter ego rather than a Belmont or a Schnieder or any you want to telephone call him. Those skeletons in front of him are lazy at best, although I like how they have the torso language of ornery old men, yelling and shaking their canes at that whippersnapper Reinhardt Schnieder to get off their lawn. Castlevania itself actually looks more like a modest boondocks than it does a castle, and a bland looking town at that. The only really interesting things on this cover are the Harvest Moon and the pretty fuckin' rad lookin' electric Vampire Killer. But here'south the thing nigh that Vampire Killer, information technology phases out of existance very close to Reinhardt, then the Vampire Killer is more of a riding crop here than information technology is a leather whip and/or morning star. But, the electricty continues to follow the path of where the Vampire Killer was probably meant to continue travelling behind Reinhardt, and so to my eye it looks like the Vampire Killer is nonetheless traveling backside Reinhardt fifty-fifty though it isn't, and is just confusing to me. But anyway, the European cover for 64 isn't the worst, just the American cover art is better in my stance. Now, we have a concluding animal to conquer earlier tonight is over.

The Japanese cover fine art... oh boy. If yous similar shitty late 90's 3D renders of characters, considering the holy motherload of them I've ever seen on a embrace is on the embrace of Castlevania 64. Reinhardt and Carrie both have that glossy action figure Tekken cutscene look to them. Reinhardt looks somehow worse than he does on the American cover, just Carrie really takes the cake. Similar, I take no idea what emotion she's supposed to exist expressing, and the lighting on her hair is terrible. I made a comment about how it looked like the render of Reinhardt on the American cover of 64 looked similar an action figure with a still prop of the Vampire Killer snapped into his paw, well it goes for both him and Carrie on the Japanese cover too. It doesn't even wait like Carrie's ring things are even beingness held, simply look more than like they're just glued to her hands. Speaking of the Vampire Killer, I have no idea what kind of trajectory it'due south supposed to exist post-obit, simply information technology seems to get backside Reinhardt'due south shoulder but so goes in front of him, like he'due south trying to whip himself in the leg. Simply at least he's put this weird cap on the end of the Vampire Killer and so he won't hurt himself, or anything else in that case! I dunno how he expects to kill whatever monsters with that cap on the end of the Vampire Killer, unless edgeless forcefulness trauma happens to work against incorporeal forms similar ghosts and Death. The skeletons are lazy and bland, in fact, they seem to blend correct into the background to me. They're just barely occupying empty space, and doing that poorly. Castlevania looks like but an unused render that they scanned for the American cover art simply wanted to put to use so they just shoved it into the background of the Japanese cover. And that Dracula in the background (if y'all tin can really make it out), that looks plagarised to me. Like, it might be ripped off of one of the miscellaneous Castlevania spin-off titles, or I really feel like I've seen it on some Fatal Fury or Male monarch of Fighters cover or something like that. I honestly can't identify it, but I know it's ripping off some other cover art. If any of you guys think you know what I might be talking most, please let me know down in the comments! But anyhow, the main sin of this cover in my stance is the colour scheme. It'southward red, and nothing simply information technology. Even if there are other colours to go with the reds, the ruddy drowns information technology out. Even though red is similar my favourite colour, information technology hurts my eyes to look at all that crimson. The entire groundwork is red, Dracula is red, the moon is cherry-red, Castlevania is red, the colour schemes of Reinhardt and Carrie's outfits were fabricated blood-red, even the goddamn logo is red! Like, tin can yous tone down all of the fucking red!? Information technology makes me feel like a damn blood vessel bursted in my eye! If y'all want to use cerise on a encompass, use it either as a secondary colour or employ information technology in single elements around the encompass to convey something. There's no betoken to all of this cherry, information technology'southward just there considering red makes shit wait scarier. Merely it doesn't convey horror to me, it legitimately just hurts my eyes, and it makes me hate looking at this matter. It's not even anywhere near the worst art-wise, it's just the fucking colour scheme that hurts to look at. I'd rather hang the Japanese encompass art for Belmont's Revenge over my bed so that the offset thing I see every morning is that slice of shit comprehend, and I would cherish it with open up arms rather than spend another second looking at this cover art. Just, fuck this one. I don't wanna talk nigh it anymore.

Well, that was fun. But, it is not the end yet, my friends. Nosotros've still got another 15 years of Castlevania to have a await at! So, as this evening wraps up, I welcome you to return once more side by side fourth dimension nosotros have another exhibition of the Castlevania series at the Cover Fine art Museum. This has been your host, Cornelious Diamondsworth, and I bid you all adieu.

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