“Castlevania” is one of Netflix’s original shows with the most traffic in years. With Powerhouse Animation’s hand-held animation, it didn’t take long to verify that, at least when it comes to the technical section, quality peaks could be achieved so rarely. With temporada 4 of the series, the grand finale of it, the visual part of the work is really uplifted because it has never been before. We recommend no further reading to those who have yet to see “Castlevania” temporada 4, as the reviews are full of spoilers. An animation worthy of the best animated productions In the first three seasons of “Castlevania”, we had already seen enough what Powerhouse Animation’s plan was to make the fights stellar: ‘save’ as much as possible with the transition plans – well than obedient anyway – and put all the eggs in one basket: that of Sypha’s magic, Alucard’s dexterity, and Trevor’s violence. In temporada 4 of “Castlevania” we have more of it, but on a fairly frequent basis. It should not be forgotten, after all, that with the exception of Dracula, the other characters of “Castlevania” were still involved in large-scale conflicts, with a series of ambitions and desires that would inevitably require confrontation. . The Striga Massacre is one of those moments, although the character has to do it in a context he really doesn’t get the chance to enjoy: against a series of farmers who are completely frozen when they see the vampire beast. come with his gigantic sword in his hand. . Trevor’s fight against “Death” is a completely spectacular Striga fight that is, at the same time, a warm-up for the gore-bath that awaits us in this final temporada. This is the one that is particularly emphasized with Carmilla, whose evolution leads to a certainly curious parallel that we will deal with later. In any case, we see how he finds himself in an absolute pool of blood fighting all the creatures of the night created by Isaac, to the point that he ends up flying off with an auto-detonation not missing the smallest detail. All of this takes us bit by bit into the final showdown, which is the one that reunites Trevor, Sypha and Alucard in Dracula’s castle, just as his first big mission began. So comes the eye-catching and brilliant fight choreography that combines the abilities of the three individuals, serving as a prelude to the enormous technical deployment shown in Chapter 9, which is the one that really puts an end to most of the loose leftovers. end. Trevor’s final showdown in “Castlevania”, which brings him face to face against “Death”, has to be acknowledged as one of the most impressive displays of animation of recent years. While Powerhouse Animation makes sure that “Castlevania” does not fall into the anime category per se, it is nonetheless true that what they end up achieving is eyeing the “Kimetsu in the eye without any difficulty.” no Yaiba “from ufotable or MAPPA’s” Jujutsu Kaisen “, which boasts some of the most technically sophisticated matches of the past decade. This is how amazing it is all that is accomplished with Trevor’s final battle, and this is how a laudable effort such as “Castlevania” deserves to end. A narrative closure that convinces Logically, only the animation is not lived, and with so many characters and ambitions involved, “Castlevania” had to find a way to end the story of its characters. Although with more and more success, this is something that Warren Ellis and others end up achieving for all of their characters, among which we will start by dealing with Carmilla, who in one way or another stands out. ends in a manner similar to Dracula. It wasn’t too hard to see that Carmilla had some complex about how she lived her life, under the command of a man, until she finally parted ways with him. This is how she began a journey through which she would always seek to be above all those “ pathetic ” and “ old ” men who were seeking to take over a world that belonged to her. … or at least that’s how she wanted to believe it. Carmilla faces her end in utter loneliness … but happy with herself The group formed by the vampire “ sisters ” is one that, in the same way, does not take long to show certain imbalances, all concentrated. about how Carmilla’s figure is a force that he simply drags others around … until that effect stops taking his sisters with him. Firstly, Lenore sees her role in the Core fade away in the absence of human diplomacy, while Striga and Morana hate the idea of having to live apart because of Carmilla’s ambition. Ultimately, Carmilla ends up losing her life in a way that fits perfectly with the chaos her character moves through. The reality is that it would be fairer to say that Carmilla takes away the right of men to commit suicide, thus justifying this exclamation of final victory in front of Isaac not because he believed he was going to end it with the explosion, but because he manages to conclude his story by the margin of control of the figure from which she fled in her debut as a vampire. To get Striga and Morana back, it’s hard not to understand the two characters. Striga may prove to be a ruthless bloody assassin, but that’s the role she plays in a war vampire. However, what’s really remarkable about the two characters is how they relate to each other, how they understand each other’s limits, and where the line is that they shouldn’t cross. Trevor and Sypha is the main love story, but Striga and Morana’s romance is also pure. Striga and Morana present one of the most natural love stories in the series. Alucard’s role was one that, on the other hand, was pretty much on hold going into the final temporada of “Castlevania”. After temporada 3’s disappointing relationship, there was reason to think he was going to fall into the same kind of hatred that his father suffered before. However, the constant references to Trevor – alleging a humorous fear of becoming one – quickly let us know that won’t be the case. Alucard’s human part, Lisa, is one that the half-vampire has always wanted to protect, and that Greta’s presence is finally helping him hold on again. Note also the reversal of the roles of Hector and Isaac, that is to say reversing all the weakness and naivety they had previously expressed to gain strength and character. As Lenore tells Hector, change isn’t something very popular with vampires, as opposed to humans. The raw experiences of Dracula’s two men transform them completely over the course of the episodes, ultimately leaving us with two faces that really know who they are and what they want, and not just two grown children – as Carmilla pointed out – who just knew how to hang on to Dracula. As a final approach, I will point out that “Castlevania” can be understood in many ways as a story whose main fuel is love: Carmilla’s self-respect for self-respect, Dracula’s love which promotes his hatred of humans, Alucard’s love for Trevor and Sypha which saves him from his darkest part, the love of Saint Germain which leads him to make his biggest mistake … “Castlevania” is, in essence , a series that those who watch it do primarily to enjoy its animation and dark legend, but in the process, they take a series of stories that help bring out the best and the worst in human beings. … and to be a vampire. Netflix’s Castlevania “Castlevania” conclusions may have a somewhat questionable decision at its end, such as the final battle fought against a character who has painted little in the longevity of the story, but ultimately leaves us with a conclusion for everything. high. It is remarkable that throughout the series we see female figures such as Carmilla, Sypha or Striga, skilled in their fighting ability and not requiring the help of a man to hold them upright, but advancing by their own strength and desire. Whether it’s the end of Netflix’s “Castlevania” or another series that awaits us, the reality is that the story with Trevor, Sypha and Alucard ends on the high desired note.