It is now evident that animations are slowly carving out a greater share in the entertainment market; until a few years ago they were simply "cartoons", today half Western society talks about Invincible and how it is a series with counter-attributes. Castlevania, on Netflix, fits without blemish or fear within the animation masterpieces; it is certainly not a Mitchell against the Machines, but it is a very good series.

Warning: the following article contains spoilers on the plot of Castlevania and, in particular, on its fourth season. Advance inside Dracula's castle at your own risk.

The plot, from the third season to the finale

Sypha and Trevor find themselves in Targoviste, a city initially attacked by Dracula and now struggling with creatures of the night and vampires. The city, supported by an Underground Court, seems to struggle enormously to recover; also because of the few provisions and heavy embezzlement from the local population. Meanwhile in Styria, Carmilla and her sisters begin to conquer the territory freed by Dracula, with many problems and slowdowns. Alucard, meanwhile, helps a neighboring community by letting them enter the castle of the Father, meeting Saint Germain.

The last installments serve to end the many narrative arcs: Styria is invaded by Isaac's creatures of the night, who ends Carmilla in a bloody confrontation and frees Hector. Trevor and Sypha end up defending Targoviste from the vampires, chasing them to Dracula's Castle. The three, reunited, put an end to the most famous Vampire in the world for the umpteenth time.

A scary technical level

The fourth season of Castlevania reaches truly remarkable levels of animation, among which I cannot fail to mention the clash with Carmilla, the test of Striga and the final clash. Both clashes with a very high dynamism, constantly changing movements and terrain and a very high specific level of detail. Too bad that, as in many scenes, Castlevania loses in the background: often cheap, unable to stand up to the comparison with the detail of characters, actions, spells.

The sound sector remains without merits or defects (some Willhelm Scream too many, in my opinion), as well as the personality of the heroes. At the expense of the narrative lines (fragmented and initially very distant from each other) are certainly the secondary characters, without infamy or praise but forgettable.