The much anticipated fourth season of Castlevania turned out being its last, which might as well. By keeping its run relatively short, the show didn’t overstay its welcome. It prevented itself from getting overly complicated. However, even with just 32 episodes, its storytelling and cast still got somewhat extensive. When season 3 ended, the show had on its hand a couple of dangling character arcs and plot threads. It was the type of situation in which a lesser show would have easily messed it all up (see Game of Thrones). But season 4 managed to tie each loose end neatly, give its characters solid resolutions, and deliver a strong finish.
All in all, not only does Castlevania succeed in being an amazing adaptation of a legendary video game, it has become more than that. It has cemented itself as one of the greatest animated series of all time.
Season 2 was probably the peak of the show. Part of it is because it was the season that developed Trevor Belmont, Sypha Belnades, and Alucard Tepes into a trio. They spent the entirety of that season together, and this show definitely proved to be at its most awesome when these three were allowed to do things as a group, whether that be going to battle side by side or just throwing insults at each other. If nothing else, Castlevania has produced one of the best fictional trios ever (if ever I re-write my list for best fictional trios, I will probably put them at the number two spot), and season 2 did most of the work involving that.
Characters are simply one of the notable things that this show does extremely well. Every character in Castlevania, whether hero or villain, regardless of which season he or she was introduced, feels three-dimensional. The show takes its time, sometimes to the point of tediousness, to flesh out its characters effectively. Thus, it’s always made very clear to the audience what the deal of each character is, what are his or her motivations, what makes him or her tick – leading the audience get easily invested on their storylines, adore the heroes, and even maintain some extent of sympathy for the villains.
Another reason why I think season 2 is the peak of this show is because it was where the main storyline with Dracula – the core conflict of the show – climaxed and was resolved. When the show moved on to new storylines, it seemed like a huge chunk was missing from it. Dracula is simply such an integral part of what Castlevania is as a franchise, that it was a bit weird continuing on a Castlevania show that no longer have him.
Nevertheless, Castlevania remained exciting even without Dracula. After all, Dracula might have been vanquished, but his being and actions had left plenty of evil in the world for our protagonists to battle still. That meant brutal, spectacular action – one of the most notable things that this show has become known for – would remain available to be enjoyed. Moreover, Dracula’s demise sent the remnant of his followers – particularly Hector, Isaac, and Carmilla – on their own nuanced, emotional character journeys. Even though none were as well-layered and engrossing as Dracula’s arc, their respective arcs still proved to be worthwhile as well.
Season 3 ended on a melancholic note, but when season 4 kicks off, it wastes no time in sending our heroes toward a path of activity. Trevor and Sypha continues to wander the land, fighting various agents of darkness, both human and monster, with little rest in between battles. To their dismay, they encounter various efforts to resurrect Dracula wherever they go. Eventually, they find themselves in the city of Targovist, the place where it all started – the place where Dracula’s human wife Lisa was burned at the sake, prompting him to unleash his wrathful vengeance on humanity – and which is now rundown and infested with night creatures and vampires, terrorizing its sick, hungry, suffering populace. And, as it turns out, there’s also a plot for Dracula’s return brewing in this place.
As for Alucard, he manages to snap out of his rut when a nearby village requests him to be its champion. He hears their call, and then allows them to take refuge in his castle. But as a result, Dracula’s Castle becomes the target for an army of vampires and night creatures. And guess what? Yep. These guys want to resurrect Dracula, too.
Obviously, these two plot threads eventually converge. The showrunners aren’t dumb. They know that Castlevania is at its best when Trevor, Sypha, and Alucard are together. It took until the penultimate episode for their reunion to happen, though, but that’s fine. For like the penultimate episode of season 2, the penultimate episode of season 4 serves as an ultimate payoff that makes a season-long wait worth it. You learn to appreciate everything that has led to that moment, regardless of whether the buildup has been actually well done or not. You just feel that it has been well done (and I think it genuinely is). Because once it finally goes down, everything starts firing on all cylinders. Trevor, Sypha, and Alucard showcase immaculate synergy and splendid kickassery, while the action sequences themselves are simply oozing with imaginative violence, crisp choreography, energetic aesthetics, and terrific, subtle storytelling. Between the opening title and the ending credits, it’s sheer epicness, exhilaration, and emotion.
Castlevania season 4 episode 9, “The Endings”, is the paragon of a climax.
The secondary storyline is also quite interesting. Over at Styria, the Council of Sisters is already executing Carmilla’s plan for world domination. However, doubt is slowly creeping at Striga, Morana, and Lenore, while Carmilla is seemingly becoming madder by the day. Meanwhile, Hector, who is supposed to be now bent to their will, appears to be harboring a plot of his own. At the same time, Isaac and his army of night creatures are inching toward Styria. But before launching his invasion, Isaac first takes his time to finish his self-reflection, ascertaining to himself what he really wants.
Actually, before episode 9, there are times where the second storyline is more interesting than the primary storyline. It’s probably because the secondary storyline is the more philosophical and emotional of the two, and thus, in a sense, it hits closer to home with regards to the human experience. The two storylines don’t ever intersect, and it’s a bit disappointing that they don’t. But the secondary storyline is so well-told and substantial by itself, that in the end, it’s totally fine that it doesn’t cross over with the primary storyline. Plus, the second storyline also has its own excellent “final battle” and resolution in episode 6, “You Don’t Deserve My Blood” – where the inevitable large-scale battle in Styria finally happened, which culminates to a vicious showdown between Isaac and Carmilla.
The tenth and final episode, “It’s Been a Strange Ride”, takes a similar approach as the final episode of season 2. In contrast to the action-packed climax preceding it, it serves as a quiet, pensive epilogue. Consisting of three lengthy scenes, it brings this saga to a beautiful, pleasing close. The first scene is a poignant scene between Hector and Lenore, which puts the finishing bittersweet touches on the secondary storyline (if I remember it correctly, this is the first and only return to the secondary storyline after episode 6). The second scene follows up on the fate of the heroes after the previous episode’s earth-shattering events. Moving and elating, this is easily one of the greatest moments in the series, as it gives our beloved trio the gratifying, perfect ending they deserve. Lastly, the third scene unexpectedly provides a “happily ever after” to a surprising character (more about this in my miscellaneous musings below).
Indeed, Castlevania wraps everything up in a satisfying, glorious manner. Overall, this animated series proves to be an exceptional one, delighting tremendously with its superb characters, inspired storytelling, enthralling action, striking gothic atmosphere, and an overall sense of awesomeness. Well-written and visually engaging for the most part, it has been consistently absorbing and thrilling from the get go until its culmination. It must have had flaws, but it’s so fantastic as a whole that any perceived problems eventually come off as negligible. All thing considered, Castlevania is deserving of being regarded as a modern classic. Years from now, I bet people will give it the same affection and veneration that people are now giving to animated shows like Gargoyles and Batman: TAS.
Miscellaneous musings (w/ SPOILERS):
- Seriously, I felt so much rush from watching season 4’s episodes 9 and 10 that I had the urge to watch them again as soon as I was finished the first time around. And I did. I watched the final two episodes twice in succession.
- I equally love season 2’s climactic penultimate episode and season 4’s climactic penultimate episode. But if I was forced to choose, I would still go with the former. But only because it came first and it had Dracula.
- After witnessing his “boss fight” with Death, I now hold the opinion that Trevor Belmont is one of the most badass fictional characters ever. His audacity, grit, guile, and tenacity before and during this battle are the stuff of legends.
- It’s been reported that a spin-off series is on the works. A likely possibility is that it will be set at a future time and will feature Simon Belmont, Trevor’s descendant. Among all Castlevania video game protagonists, Simon is the one I’m most familiar with.
- If this is indeed what the new Castlevania series will turn out being, I presume/hope Alucard will still be in it, considering that he’s immortal. I’m excited to see what Alucard’s dynamic will be with a next generation Belmont.
- The final scene revealed that Dracula and Lisa were resurrected after all and were set on living a simple, contended, obscure life together in some remote village. It’s an unlikely “happily ever after”, and I understand if someone would ever choose to hate this development (“it eliminates the tragic villain aspect of Dracula, which is a significant factor to why he’s a compelling villain”, or “it’s weird for Dracula to have a face turn, since what is Castlevania as a franchise if Dracula is not its main villain?”, or some other valid reason). Personally, I like it. I found it to be such a feel-good moment that I couldn’t hate it. It’s probably the Christian in me. We Christians, being recipients of grace ourselves, have an affinity for unlikely characters finding redemption or unmerited favor.
- That being said, it would be awkward now at this point to make Dracula the villain of that Castlevania spin-off series. On the other hand, again, it’s kind of weird for Castlevania to not have Dracula as its main villain. The games, after all, is all about the Belmont bloodline being locked on a perpetual war with Dracula. Dracula unleashes unholy terror across the lands. A Belmont rises up to challenge him. The Belmont vanquishes Dracula. Peace. A couple of decades later, Dracula is back again. Repeat. Hence, this is a great challenge for the new Castlevania series.
- Regardless, I can’t wait for that spin-off.
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