Rinaldo Gandolfi

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	“	It was five years ago... A cold night with a full moon. I returned home from picking herbs necessary for the secret arts and what greeted me was a sea of steaming blood. And at the center of it were the bodies of my wife and son... I could not believe my eyes... My daughter was there, laughing, blood dripping from her mouth...	„
		~ Rinaldo to Leon Belmont about his daughter

Background

Rinaldo Gandolfi is a support character introduced in Castlevania: Lament of Innocence. An alchemist by trade, Rinaldo's life was forever altered when his daughter was captured and turned into a vampire by Walter Bernhard. Now residing in a modest hut within the Forest of Eternal Night, Rinaldo dedicates himself to aiding others in their battles against the forces of darkness.

Rinaldo is responsible for crafting the Whip of Alchemy, a powerful weapon he bestows upon Leon Belmont to aid in his quest. This whip later undergoes a tragic transformation, becoming the legendary Vampire Killer after being fused with the life essence of Leon's fiancée, Sara Trantoul. It ultimately becomes the iconic weapon of the Belmont Clan.

This dropdown contains the synopsis of Rinaldo Gandolfi’s story. Read at your own risk as you may be spoiled otherwise!

Five years prior to the events of Lament of Innocence Rinaldo experienced a devastating tragedy when his daughter, Justine, who had been turned into a vampire, took the lives of his wife and son. Determined to put an end to her suffering, Rinaldo created the Whip of Alchemy and used it to destroy Justine. Fueled by grief and a desire for justice, he later confronted Walter Bernhard. However, the whip proved ineffective against the vampire lord, and their battle ended inconclusively. Amused by Rinaldo's defiance, Walter allowed him to live and even encouraged him to set up shop in the Forest of Eternal Night, where he could aid others seeking revenge against Walter. Walter found this added a layer of "fun" to his twisted games. Despite his failures, Rinaldo remained hopeful that someone else would eventually succeed where he had failed. At one point, he encountered a Succubus who served Walter but ultimately spared her. She later suggested that Rinaldo hesitated because she had transformed into an image of Justine, causing him to falter. Following Leon Belmont's defeat of Walter, Rinaldo's fate and whereabouts are left unknown.

Personality

• Grief and Determination: Rinaldo Gandolfi is defined by the deep grief stemming from the loss of his family and the burden of having to destroy his own daughter, Justine, after she was turned into a vampire. This tragedy drives his determination to aid others in their struggles against darkness, as he channels his pain into a steadfast commitment to fighting evil.

• Selflessness and Resolve: Despite his personal losses, Rinaldo dedicates his life to helping others, creating tools and weapons to empower those who fight the forces of darkness. His selflessness is evident in his decision to remain in the Forest of Eternal Night, enduring its dangers so he can provide aid to anyone challenging Walter Bernhard.

• Hope and Perseverance: Although he was unable to defeat Walter himself, Rinaldo remains hopeful that someone else will succeed where he failed. This unshakable hope fuels his perseverance, as he continues to craft alchemical weapons and assist those who share his mission, believing in the potential of others to bring justice to the forces of evil.

• Inner Conflict and Vulnerability: Rinaldo's encounter with the Succubus reveals his vulnerability, as he hesitated when confronted with the image of his daughter, Justine. This moment underscores the lingering emotional scars he bears and the conflict between his sense of duty and the memories of his lost family.

• Mentorship and Support: Rinaldo takes on the role of a mentor, guiding Leon Belmont in his quest to defeat Walter. His wisdom, experience, and willingness to share his knowledge highlight his supportive nature, as he seeks to empower others to achieve what he could not.

General Information

Name: Rinaldo Gandolfi

Origin: Castlevania: Lament of Innocence

First Appearance: Castlevania: Lament of Innocence

Company: Konami

Creator: Koji Igarashi

Actor

• Japanese Voice Actor: Hidekatsu Shibata
• English Voice Actor: Michael McConnohie

Gender: Male

Sexuality: Heterosexual

Pronouns: He/Him

Age: 48 years old

Birth Year: 1046 (The events of Lament of Innocence take place in 1094, with Rinaldo Gandolfi being 48 years old)

Time Period: 1094

Timeline: Main Timeline

Homeworld: Earth

Residence: Cottage right outside from Walter's Castle

Story Role: Supporting Protagonist, Shop Keeper

Legacy: Ancestral Legacy (The Gandolfi family are well known by their descendants and carry out their legacy in helping the Belmont Clan)

Influence: Personal Influence (Rinaldo helped Leon Belmont throughout his journey, giving him wares in his shop along with giving him the Whip of Alchemy to help him fight against the creatures of the night)

Language: English

Classification: Alchemist, Mentor

Species: Human

State of Being: Regular

Physiology: Humanoid Physiology

In-Universe Creator: God

Occupation: Vampire Hunter

Affiliations: Leon Belmont (Helps him in his quest to take out Walter Bernhard), Mathias Cronqvist (Has known Mathias for longer then Leon has)

Enemies: Walter Bernhard (Has unfinished business with him, with him wanting revenge on Walter for turning his daughter into a vampire)

Height: Unknown

Weight: Unknown

Status

• During his Time: Alive
• Modern Times: Deceased (The events of Lament of Innocence take place in 1094, while modern times are 10,000 years later)

Date of Death: Unknown

Alignment: Neutral Good (Helps hunters on their journey to take out Walter Bernhard, offers Leon his wares if he ever has troubles)

Codex Statistics

Grade: A

Tier: At least 9-A, likely Far Higher

Cardinality: Finite

Dimensionality: 3-D

Attack Potency: At least Room level (Potency), likely Far Higher (Built the Whip of Alchemy and used it to kill his daughter who was turned into a vampire, where vampires are considered far larger threats than standard creature of the night monsters, which would put her above creatures such as Golem, from Castlevania Judgement, as he died to a random unknown hunter after his return from the time rift. Golem with his ultimate can shoot out a mouth blast that vaporizes everything it touches as far as the eye can see)

Durability: At least Room level, likely Far Higher

Striking Strength: At least Room Class (Potency), likely Far Higher

Lifting Strength: Unknown: True Class

Travel Speed: Unknown: True level

Attack Speed: At most Faster Than Light (Built the Whip of Alchemy and used it to kill his daughter who was turned into a vampire, Vampires are loved by the night, beyond even the typical Creature of the Night, making her faster then enemies such as the Sky Fish who moves so fast that it appears as a beam of light and is only slowed down when time is stopped and the White Demon, who can move at the speed of light at short distances. Vampires can move so fast that the light itself cannot keep up with them, leaving an afterimage behind)

Reaction Speed: At most Faster Than Light

Stamina: Unknown

Range: Standard Melee, Extended Melee with Whip of Alchemy (The typical whip is around 90 centimeters)

Intelligence: Supergenius Intelligence (Rinaldo made the Whip of Alchemy with alchemy, where magic comes from alchemy, a field that experiments with the principles of God's creation of the world, along with being said to be as great a task as recreating God's creation of the Earth. Alchemy and Magic are one and the same, where magic requires one to have a deep understanding of Quantum Physics to utilize it to its fullest, requiring understandings of theories such as "Curse Amplification")

Knowledge: Grandmaster level (Despite not being as wise as Mathias in alchemy, Rinaldo made the Whip of Alchemy with alchemy, and can use alchemy to enchant Leon's gauntlet, allowing Leon to gather the power from blocked enemy attacks and use magical relics)

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Powers and Techniques

Innate AbilitiesWith Whip of Alchemy

Standard Abilities Granted From MagicUnique Abilities

• Magic (Through utilizing magic, one has to have a deep understanding of Quantum Physics to utilize it to its fullest, requiring understandings of theories such as "Curse Amplification")
  • Alchemy & Principle Manipulation (Magic comes from alchemy, a field that experiments with the principles of God's creation of the world, along with being said to be as great a task as recreating God's creation of the Earth)
• Non-Standard Interaction (Extra-Planar Interaction; Magic is able to interact with beings such as Camilla Fernandez, Physical attacks are difficult to land as Camilla lives in the Astral plane, and her earthly body is completely ethereal)
• Limited Immersion & Dimensional Travel (3+1-D; Magic users can align their magic with the magic of another to enter into painting worlds)
• Summoning (Magic can be used in order to summon weapons and items inscribed in grimoires)
• Soul Manipulation (Yoko through the use of magic discovered a new ability to draw the monster souls out and use them)

• Superhuman Physical Characteristics
• Weapon Mastery (Whip Mastery; Rinaldo was the originally wielder of the Whip of Alchemy)
• Bestowal (Used alchemy to bestow Leon with a gauntlet that allows Leon to gather the power from blocked enemy attacks and use magical relics)
• Magic (Rinaldo made the Whip of Alchemy with alchemy, where magic comes from alchemy, a field that experiments with the principles of God's creation of the world, along with being said to be as great a task as recreating God's creation of the Earth)
  • Principle Manipulation.

• Resistance to
  • Walter's Castle (Rinaldo Gandolfi can not only live near Walter's Castle and has fought in the castle before). The Castle Abilities Include:
    • Reality Warping (The Castle does not work on standard logic, where changing rooms can have one view a completely different background, such as room with a blue sky that is reflecting up and downwards and having the clouds rotate at a fast speed)
    • Transmutation (Beings that come near are subject to the castle's influence, such as a local barnyard owl which was mutated just from flying near it)
    • Possession (The castle possesses objects with its magic, such as a ouija table)
    • Sealing (Dracula's magic captured Aguni, a primitive god of fire. The Castle has doors sealed off without solving puzzles. This can extend to walls being sealed off where explosions will not affect it until the seal is gone)
    • Mind Manipulation (Everything that enters the castle is under the control by the power of Dracula's castle, the ghost of Eric Lecarde needed to cast a magic barrier to bind himself so he could be free from the control of the castle. The Castle corrupts the minds of those who enter it, such as making Maxim Kischine feel strange ever since coming to it. It also corrupted the mind of Hugh turning him against Nathan with Nathan noting he's being controlled by Dracula. The castle increases one's dark desires, allowing Dracula to easily control them. The magic of Dracula's power that empowers the owl enemy also spurs it to violence)
    • Madness Manipulation (The Castle warped Gergoth, a once-gentle beast and drove it mad)
    • Size Manipulation (Magically enlarged a toad through the use of demonic baptism)
    • Fear Manipulation (Even while far away, Curtis and Michelle felt malicious intent from the castle where their bodies seemed to squeal "run away". Michelle even being at the entrance to the castle had her body telling her to not go in and her leg muscles being petrified like stone)
    • Curse Manipulation (The Curse status that spirits inflict comes from them absorbing the magic power around the castle. The Castle cursed a human to turn into a lizard man)
    • Mortality Manipulation (The castle can bring inanimate statues to life to attack. Can cause the glass murals to come to life and attack)
    • Soul Manipulation (Those that die in the castle become one of the floating spirits that wander the halls of the castle for eternity)
    • Abstract Manipulation & Hell Manipulation (The castle can create a core of evil made from hatred, envy, anger and other dark emotions)
    • Text Manipulation & Plot Manipulation (The vital souls are noted to be apart of the Castle's power, where is noted by Lucy that the "vital soul" of a monster is the cause of the grimoire chaos where creatures of the night's dark powers allowed them to rewrite the Grimoires to strengthen their dark powers greatly, along with their vital souls causing the grimoires contents to be overwritten changing history to things such as Jonathan Morris is now at a disadvantage in battle, or Charlotte fading from existence due to them messing with the history of the Grimoires, Maria starting to fade because Richter's history is being rewritten, where if the contents of the book change the creatures magic will keep growing and eventually overflow into reality, causing the grimoire to fall into chaos and even more monsters materializing into the real world. The text alterations also make the monsters stronger. With the real world and world of grimoires being considered the same or "equal", compared to the like of Brauner's painting worlds that are quantum multi-layered spaces requiring understandings of theories such as "Curse Amplification". Death was going to use Dracula's magic to rewrite Dracula's defeat to Trevor making it where Dracula defeats Trevor Belmont instead where Dracula would go on living in the rewritten grimoire with each grimoire being its own world and the grimoires influence extends into reality)
    • Law Manipulation (The vital souls are noted to be apart of the Castle's power, which alter grimoires, which do not adhere to the laws of reality)
    • Power Modification (The vital souls are noted to be apart of the Castle's power, which the vital souls cause alterations of the Grimoire that can greatly limit the powers of those far stronger than them, such as Jonathan Morris' power being limited due to the alterations. The Chaos of the Grimoire destabilized the magic of the others)

• Superhuman Physical Characteristics
• Non-Standard Interaction
  • Metaphysical Interaction: The Whip of Alchemy can interact with ghost.
  • Elemental Interaction: The Whip of Alchemy can interact with enemies that are the mist itself.
• Air Manipulation (The Alchemy whip can create a large gust of wind with its finishing attack in a combo. The Alchemy whip can create wind blades around its user to protect them from all directions)
• Light Manipulation (The Alchemy whip can bring down holy light to attack the enemy)
• Holy Manipulation (Holy Whips cannot be touched by people weak to holy magic or else it will burn their hands and cause them to disintegrate).

• Resistance to
  • Mimicry (The Castle is unable to perfectly mimic Leon's weapons)

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Equipment

• Whip of Alchemy: A whip forged by and wielded by Rinaldo Gandolfi, using alchemy learned from the Cronqvist Family's alchemic books.

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Other

Standard Tactics: Rinaldo has not been directly shown to fight, though allegedly in the lost media Lament of Innocence manga, he fought with his Whip of Alchemy against the Succubus who used his own daughter against him.

Weaknesses: Nothing notable.

Note

• Contrary to popular belief, holy attacks and the whips in Castlevania can affect and harm people that aren't apart of the creatures of the night. Leon's doppelganger can use holy water and holy attacks against him in this fight along with the alchemy whip despite Leon being a pure and noble warrior. Simon's doppelganger can harm him with the vampire killer, despite Simon being a noble hero. Holy Water even works and harms enemies such as the "Holy Armor", a knight who has natural holy powers. Corrupted enemies such as Charlie Vincent, use holy water attacks on Carrie and Reinhardt. Characters like Jonathan Morris wear armor like the Holy Mail, an armor that reduces damage from holy attacks.
• The Sky Fish feat moving so fast that it appears as a beam of light and only slows once time is stopped is a natural indication of Faster Than Light travel as at the speed of light, time is zero from its perspective. Soma Cruz having a hard time catching up with it initially does not mess with his scaling either as we know it's an unquantifiable level into Faster than Light at the most.

Explanation

Usage of games like Castlevania Legends & Castlevania: Circle of the Moon

Castlevania Legends

The game was originally meant to be a prequel to all the other games in the Castlevania series, this can be seen with Sonia's boss fight against Dracula serving as the first time Dracula ever encountered a Belmont along with the ending of the game saying "this story marks the beginning of the Belmont family legend that has been passed on through many ages". Along with this, Sonia shared a relationship with Alucard, heavily implying that her child is between her and Alucard. The existence of Lament of Innocence already greatly messes with this. The game manual even mentions that Sonia was the first of the Belmont family to leave her name to posterity as a vampire hunter. Despite Leon Belmont being the one to start the legend of the Belmont Hunters being vampire hunters. Along with this, Trevor is canonically the first Belmont to defeat Dracula. Iga has gone out of his way to note too that Castlevania Legends was intentionally redacted from the timeline so that it doesn't conflict with the timing used in other titles.

Castlevania: Circle of the Moon

Although it was in the original 2006 timeline, it was removed by Iga from the timeline, along with Castlevania (N64), Legacy of Darkness, and Legends.

Why abilities from them are still usable for main timeline

These games were at one point officially a part of the original timeline before ultimately being removed, making them hypotheticals that could be done. This is further supported by an interview in the History of Castlevania - Crescent of the Moon book, where executive producer of Castlevania Netflix Adi Shankar noted that even the "non-canon" games are parallel timelines in the overall multiverse, sharing the same spirit and lore. While one could argue his statement shouldn't be used, it comes from a book titled, "History of Castlevania - Crescent of the Moon", where it wouldn't make much sense if his statement was wrong and there was no correction over it. The book even has asterisks to give further context, yet they never claim him wrong. Along with this, it's consistent with the fact that most of the Castlevania games that are "non-canon" now were originally a part of the timeline. Thus this statement is usable. Thus abilities and the likes from these games can carry over to the main timeline games.

Trivia

• His name implies he is of Italian heritage.
• Chronologically, Rinaldo is the first merchant to appear in the Castlevania series; Hammer from Aria of Sorrow is the last.
• Rinaldo shares his last name with Barbara Gandolfi, one of the partners of Jean-Paul Belmondo, the man whose name inspired that of the Belmonts, whose Leon Belmont is the first representative. However, this is only a coincidence, Jean-Paul Belmondo and Barbara Gandolfi started living together in 2008, while Castlevania: Lament of Innocence was released in 2003.
• Giovanni Gandolfi, a mentioned character in the 2007 cell phone game Castlevania: Order of Shadows, is stated to be a descendant of Rinaldo, and even gives to the heroes the Magic Gauntlet Leon Belmont used.

Misconceptions

"Gaiden" means "Non-Canon" or "Alternate Timeline"

This stems from the belief that when Iga or a producer calls a Castlevania game a "Gaiden" it is therefore non-canon or an alternate timeline and can be dismissed. This, however, is not the case.

The term "Gaiden" merely just means a side story, spin-off, or a separate tale. The term "Gaiden" does not determine the canonicity of a work, it just lets you know if the game is a spin-off/side-story or if it's a main story. Take, for instance, the Kingdom Hearts series. Kingdom Hearts: Chain of Memories would be considered a gaiden, as it's a side-story and spin-off title that isn't a mainline numbered title, however, it is in all manners canon and important to play to understand Kingdom Hearts II.

The same can be applied to Castlevania itself, Castlevania Symphony of the Night is a gaiden game. Yet it is very obviously canon and pretty important to play to understand more of Alucard's backstory. The idea of a Gaiden game for the Castlevania series itself would be any game not dealing with one of Dracula's main 100-year-resurrections, which in this case, even Castlevania 2: Simon's Quest is in a way a gaiden, despite being completely canon.

This is all to say that Gaiden does not at all mean "non-canon" or "alternate timeline" and should never be treated as such, the term itself has nothing to do with the canonicity of a product.

IGA Statements Quoted by a Fan

Any statements Iga has made about Judgment that don't come from this IGN interview or a sourced and reputable article are not usable. This is, of course, referring to the popular statements used when discussing Judgment's Canoncity about a fan asking IGA about the game's Canoncity on Facebook, here are some of them below:

Fan: You mentioned Legend of Cornell was an alternate continuity. However, Cornell appears in Castlevania Judgment, which I believe is not an alternate continuity. How does that work? is he from a different universe than the other characters? It is not really explained in the game itself so I was hoping you could give some clarification on the issue.

IGA: Judgment is a work that surpasses space and time and brings them together.

Fan: I get it. So, is the explanation I suggested in the previous reply possibly correct?

IGA: I don't think it's exactly correct. Judgment is a work born of thinking it would be fun to remove all the hedges and bring characters that appeared throughout the series together. I think that you need to view it as an event from another world which does not consider things like timelines or parallel dimensions at all.

Now these seem like pretty clear-cut statements until you start to try to find where these come from.

They come from both a timeline archive discussion on the Castlevania Wiki back on January 15th, 2012 and from a forum post from the same user as the wiki article.

There is no way to find anything sourced or verifiably proven that this person spoke to Iga. Trying to look up the person didn't get any real results either.

Some other issues fall under the inconsistencies within these Iga talks, the person claims that Iga confirmed that Order of Shadows and the Arcade are non-canon because they were intended from the very beginning to be such, however, an officially sourced interview has the lead game designer of Order of Shadows state that Iga was actively involved with ensuring the game was consistent with the current canon, this would be a weird thing to do if he intended it to be non-canon from the very beginning.

He also claims that Iga said Super Castlevania IV was an alternate continuity, when the wiki also notes Iga saying that the games are all legitimate and the same scenario of defeating Dracula, however this quote is also unsourced, they just claim Iga says this with no link or anything.

There is another one not related to the user who spoke to Iga, but a user on reddit who claimed that a magazine claimed that Castlevania: Circle of the Moon was stated to be in a "different time axis". Attempting to get it translated got no wording that said anything like that, with it not even mentioning anything about canon, timeline, time axis, or any other wording of the sort in a machine-translated attempt. Do note however that this is a machine translation so it could potentially be that it is there, but until a reputable and verifiable translator can confirm or deny this translation, the jury is out with it and it will not be used for the canoncity of Circle of the Moon.

Thus all of these quotes are merely hearsay until shown or proven otherwise.

Remakes/Remasters Being Non-Canon

This comes from an Iga quote that says:

"IGA: FC版とX６８０００版ですが、X６８０００版はFC版をベースにアレンジを加えたものになっています。ゲームのアレンジは、その時に応じて、色々と施されるものですので、正直どちらも正統であると思ってよいのではないかと思っています。結論として、ドラキュラと戦い勝つというシナリオで、中間部分の切り抜きが違うと考えてもよいのではないかと考えています。スーパーファミコン版も違いますし…。どうしてもと考えるのであれば、FC版を尊重すべきかと考えます。

Translation: Regarding the Famicom version and the X68000 version, the X68000 version is an arrangement based on the Famicom version. The arrangement of a game is the kind of thing where you add a lot of different things as needed, so honestly speaking, it think they both should be considered legitimate. In conclusion, I think they should be considered as the same scenario of fighting to defeat Dracula, just with a different middle part. The Super Famicom version is different as well... If you simply must have a clear answer, the Famicom version must be given deference."

Now the quote itself doesn't state remakes or remasters are non-canon despite what people believe. It's moreso a quote of Iga stating that all of them are the same scenario, just with differences. However, an interesting point is that Iga says the NES version should be given "deference", as in to defer to the NES version.

Of course, though, this has the same issue as the Judgment quotes, everyone claims Iga said this, but there is no source of him saying this. In fact, in Castlevania Chronicles, there's a reward interview you receive from Iga himself where he talks about the game, Iga pretty much explains how the game came to be and never says anything about the game not being canon or to defer to the original, if anything he treats this as just an updated version of the original. Interestingly to note too, the original he's talking about is not Castlevania on NES but instead, he's talking about the computer version of Castlevania, though it borrows a lot of elements from Castlevania NES.

Overall due to the quote itself having no source, it is unusable. The way we will treat remakes, remasters, or ports here however is that they are all equally canon unless stated otherwise. Most of these tell the same story with the only real differences being extra background information added, such as Haunted Castle having it be Dracula stole Simon's wife, though the same overall story still applies even here. Iga himself has already expressed that the original Castlevania's story is pretty simple and Simon having a wife does not affect anything in the overall narrative. Super Castlevania IV notes that Simon is a vampire, though this was due to a novel writer making him a vampire in their novel. The novel was originally supposed to be an adaptation of Super Castlevania IV but was then dropped and made its own thing. Super Castlevania IV itself is still canon, but the subplot of Simon being a vampire is not. The most recent timeline even acknowledges it as canon.

Iga Only Allows Stuff He Works on To Be Canon

There is a weirdly believed idea in the fandom that Iga only considers works he worked on canon, however, an officially sourced interview has the lead game designer of Order of Shadows state that Iga was actively involved with ensuring the game was consistent with the current canon, along with this Iga did not work on a lot of Castlevania games considered canon, such as the NES trilogy and the Gameboy games. In fact, he has only made 12 Castlevania games, out of the 30 Castlevania games in total, and most of them from the older console eras are still a part of the canon. Thus Iga does not only allow stuff he works on to be canon.

Iga is a Producer of Castlevania: Circle of the Moon

A Nintendo Power magazine calls Iga the producer of Circle of the Moon, with Iga talking like he worked on the game in that interview. However Iga can be found nowhere in the credits of the game. Making this Nintendo Power issue questionable as to if they were talking to Iga or if the game was mixed up. Though we have direct in-game proof that Iga was not a producer of Circle of the Moon.

Elements and Statements can be used from Lords of Shadows for the main continuity

This argument comes from Adi Shankar saying that even "non-canon" games are parallel timelines in the overall multiverse, sharing the same spirit and lore. However, the Lord of Shadow games are directly noted in an interview with the lead developer, that the game has nothing to do with the canon, sharing none of the lore or original stuff for the characters. This directly conflicts with Adi Shankar's statement and it was very likely he was not even thinking of Lords of Shadows when making this statement but moreso games like Castlevania Legends. On top of this, Adi Shankar has no actual position within Konami, and being an executive producer for the Castlevania anime, thus he does not have any true say in terms of how Castlevania canon works and can only be used at most as a supporting piece of evidence.

Codex Statistics Questions

Q: Shouldn't the characters be around Tier 2 for defeating the Time Reaper who would've destroyed the very fabric of time, attempted to destroy the specific era of time, cause all beings everywhere to disappear, forever and that the age was on the verge of collapse?

A: We actually never get a direct outright method of Time Reaper's plan for doing this, from what Aeon mentions to Golem, if the Time Rift is not erased, all beings everywhere will disappear, forever, implying that it's the Time Rift causing this, this is further backed up by the fact that in Time Reaper's boss fight, there is a vortex in the background consuming everything, meaning this is an overtime feat that scales to no one physically.

Q: Shouldn't they get tier 2 for Dracula's influence destabilizing the flow of time?

A: This is a potent ability but has nothing to do with Attack Potency, there is no quantification for "destabilizing the flow of time", along with this, even if it was taken as physically, then it would be overtime as the effects are not noticeable throughout most of Curse of Darkness. Thus this is merely potent Time Manipulation.

Q: Shouldn't Dracula and by proxy anyone that scales to him get tier 2 for him being able to sustain his castle?

A: This goes under our Stabilization Feats standards, which treats sustaining feats are non-combat applicable Attack Potency normally, though in Dracula's case the Castle is speficially powered by the existence of a Dark Lord, and doesn't necessarily need their strength to rise. In the Castlevania novel, the castle rose without a Dark Lord as an example. Along with this, no one scales to the collapse of the castle, in Curse of Darkness Hector would've died to the collapse of the castle if Julia didn't come save him, and Isaac died within the castle. In other cases the Castle does not collapse, but instead slowly fades away. At the end of Dawn of Sorrow Soma Cruz and Genya Arikado (aka Alucard) must escape the collapsing abyss.

Q: Shouldn't Castlevania characters that scale to Death have Infinite speed due to Death being able to kill distance itself with his attacks?

A: Killing distance to attack is not a speed feat, it's a method of Spatial Manipulation by circumventing and ignoring distance, while one can say the attack spawns on you instantly, this is not really something quantifiable. Along with this, it would only scale to characters comparable to Death during post-Dawn of Sorrow, as Soma notes Death is far faster than he remembered from his fight with him in Dawn of Sorrow.

Battle Records

1 - 1 - 0

VictoriesLossesInconclusive

• Justine Gandolfi - Explanation of the Fight
  • Conditions: None.
  • Location: Walter's Castle

• Walter Bernhard - Explanation of the Fight
  • Conditions: None.
  • Location: Walter's Castle
  • Note: Rinaldo noted he challenged Walter but nothing came of it, basically saying he lost.

None.

References

Expand here.

Versus Threads

VictoriesLossesInconclusive

None.

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