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.
No comments:
Post a Comment