Netflix's Castlevania Aesthetics: For Gamers and Casuals Alike

America has a history of ruining video games in their translation into movies - Super Mario Brothers and the original animation of Sonic the Hedgehog (until their fanbase requested animators to redesign the characters). A couple of months have passed since Castlevania ended, the animated series on Netflix, directed by Sam Deats, Adam Deats, and Spencer Wan, based on Konami’s Castlevania III: Dracula’s Curse and Castlevania: Symphony of the Night. The animated series should be lauded for its ability to appeal to various viewers.
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The producers’ loyalty to original games appeal to the fanbase. The Netflix series is based on Castlevania III: Dracula’s Curse (1989) on Nintendo, featuring Trevor Belmont, Sypha and Alucard, and borrows elements from the much popular Castlevania: Symphony of the Night (1997), SOTN, on Playstation, where the locus of the drama originates from. The church and the townspeople crucify Alucard’s mother, Lisa Tepes, for being a heretic, accused of “witchcraft,” similar to how the Catholic church treated scientists in the 1600s. In response Dracula vows to wipe out the human race of Wallachia. Vampire slayer, Trevor Belmont, and Alucard 

But for most gamers the allusions to SOTN, because the creatures, weapons and abilities are more dynamic, are more utilized in the Netflix series. Perhaps it is best to layout the allusions in a list for the gamers. Here are some enemies that stuck out to me. Enemies: Flea man, Merman, Fire Demon, Minotaur, Malachi; bosses: Granfaloon, Slogora & Gaibon, Carmilla, Death and Dracula. Weapons: Carmilla’s sword alludes to the Gurthang in SOTN. It invigorates the wielder everytime it draws blood. Carmilla fortifies herself after every slain monster. Alucard’s arms himself with his family’s shield - red and silver - with a lion emblem. Trevor Belmont deftly wields the famous whip, including the flame whip in his battle with Death; he also utilizes his secondary weapons - daggers, holy water, salt and battle axes. Lastly, the abilities come strictly from video game series: Alucard transforms into a bat, mist and a wolf; in combat he teleports behind enemies leaving a red aura behind; he can command a sword in mid-air like the familiar. At times the transformations seem gratuitous. Alucard can defeat the enemies directly or recycle fighting patterns, but the directors add the allusions to homage the original game. There are more allusions to SOTN, from Dracula's castle to the polyhedral save point to Alucard’s black horse. The aggregate of the allusions evidences the loyalty to the video game series, and by proxy, to the gamers, who fell in love with those original elements. 

But the Netflix series invites new viewers outside the gaming fanbase. The directors and producers respond to modern American culture. Although some characters don’t appear in the video games, their plot-arc resonates with the spread of inclusivity in the United States. Female vampires dominate Austria - Lenore, Striga, Morana, and Carmilla. One of the most powerful characters in the series is the female vampire Carmilla who combats an army of monsters. Alucard reveals his bisexuality with his relationship with his Japanese students, Taka and Sumi. Striga and Morana celebrate their homosexuality in their battle against humans for their exclusive lifestyle after the usurption of their castle.Africans have a natural place in Europe in the 1400s through one of the main characters, Isaac, an alchemist and beast-forger who adorns an aquamarine salvar with golden trim. His presence reminds me of the muslims in Eastern Europe when al-Salih allowed Christians to pilgrimage to Israel. The inclusivity in the Netflix series draws new audiences to the franchise.

Castlevania even appeals to the Disney group of viewers. Perhaps, since the end of Games of Thrones, where loyal viewers rioted over the ending, the producers of Castlevania had to deliver a “happy ending” in order to evade backlash from critics.The ending concludes with marriages, children and order restored to the village. Trevor’s false death reaches both realists and idealists. Audiences feel both melancholy for the hero’s death and the joy of his return as Saint Germain rescues him through the Infinite Corridor. However, the plausibility curtails the meaning and drama from Trevor’s bout with Death; stakes are high if the hero is vulnerable. In effect these scenes create an unreal Disney quality. Furthermore, the main characters find contentment with their new lives among community, lifelong friendships and newborns (a love affair blossoms between Alucard and Gerta; Sypha carries Trevor’s son; and Dracula reunites with Lisa). A neat ending safely satisfies the masses but harms the dramatization of the heroes’ struggle.

Castlevania on Netflix entertains a wide audience. It appeals to gamers, Americans and casual viewers. My hope is that, in a sea of poorly made documentaries and random movies, that Netflix’s rendition of Castlevania doesn’t get lost in the stream, and that everyone from across different generations gets an opportunity to enjoy the dark fantasy.

John Tang - 26 June 2023