Yeah, exactly. The relevant line is as follows: "The father of Stella and Loretta, and an artist who became a vampire during the course of World War I."
Liz Bartley really got good with making misery infectious, didn't she?
Still, it explains why the Castle responded so positively to Brauner after he locked away Dracula's influence. In the absence of Dracula, Brauner's grief-cum-rage plus vampiric power probably made him into a more than qualified Dark Lord Candidate.
I wonder whether Dracula or Brauner would have been more dangerous in that role by that point in time.
This also creates a viable explanation for why the Castle responded well to Evil Maxim and Corrupted!Richter. In the case of Maxim, his (easily corrupted) desire to protect Lydie and best Juste + Dracula's worst character traits would cook up an ideal person to become a Dark Lord. In Richter's case, the power of a Belmont, the skill of one of their strongest descendents, and Shaft's partly magical, partly psychological
more than mind control had the potential to create an even stronger Dark Lord than Dracula. Fortunate then that Maria and Alucard were able to break Shaft's active corruption when they did.
Really, either one would have been a superb Dark Lord.
In the later context of modern Castlevania, I think it's pretty obvious that resurrecting Dracula might have been Shaft's original plan, but eventually it shifted to creating a new Dark Lord that could surpass Dracula. That's at least what I took home from Shaft's dialogue with Alucard. After Alucard defeated Richter (botching the "new Dark Lord" scheme), Shaft defaulted to resurrecting Dracula. And in a horrid coincidence of fate, Alucard had already done all the legwork required for that task and had also kindly brought all of Dracula's remains to one convenient spot, enabling the resurrection.
Nice job breaking it, hero.