Sypha and Trevor are again, and there are nonetheless monsters to whip and/or ice magic to smithereens.Picture: Netflix Castlevania is on its approach again to Netflix, with extra bloody monsters to slay and extra villainous scheming than you possibly can shake a Belmont-approved whip at. Nevertheless it confronted a little bit of an issue for
Sypha and Trevor are again, and there are nonetheless monsters to whip and/or ice magic to smithereens.
Castlevania is on its approach again to Netflix, with extra bloody monsters to slay and extra villainous scheming than you possibly can shake a Belmont-approved whip at. Nevertheless it confronted a little bit of an issue for author Warren Ellis: he’d already killed off his villain, pondering there wouldn’t be a brand new season. So the place does Castlevania go subsequent?
With the impending arrival of the third season Powerhouse Animation’s kickass celebration of whipping vamps and good mates cursing the hell out of one another, io9 spoke to Ellis—the lead author who has taken the world of Konami’s beloved sidescrolling motion video games and turned it right into a bloody, curse-filled fantasy epic for Netflix for all three seasons—as well as Castlevania executive producer Kevin Kolde concerning the response to the present’s second season, and what’s to return for our heroes and villains alike when the present returns.
Suffice to say: count on Vlad’s lad to be unhappy.
io9: Looking back at season two, the reaction to that when it came out was on another level, even compared to the success of season one. With that heightened embrace of the show, was there a pressure coming into season three to—I’m so sorry, I cannot think of another way to say this—raise the stakes, as it were?
Warren Ellis: HA! Yeah, I saw it coming and I still laughed. [Continues laughing]. Well…I didn’t see any of that. To this day, I’m not sure if if anyone actually watched season two apart from a few of us. So there was no pressure on me, ‘cos I live in an absolute vacuum. I’ve really got no idea how season two was received—or, as I said, if anyone actually watched it! The only pressure was the pressure I felt to struggle over with season three. And you know, hope the three people who watched season two stick with it for another season. Kevin might have a different angle on it. He talks to people, I don’t. They keep me in the basement.
Kevin Kolde: Well, I’m pretty much on the same page! I think we felt the pressure based on the success of season two. It’s been sort of great to process the excitement, that we’re lucky to work with a great team of people and just sort of live this stuff. It’s not like there was [pressure]—they were gung-ho. “Season three, let’s go.” So yeah, not really.
SEASON THREE LET’S GO, INDEED.
io9: One of the big things that happens in season two is that our heroes confront the big bad, they go to Dracula’s castle, they fight…and he’s defeated. I don’t really want to say “dead” because, well, Dracula, and you know how that turns out. How does Dracula’s current absence, for want of a better word, linger over this new season?
Ellis: Oh, well that was the trick, wasn’t it? Because I didn’t know we were going to get a season three. I thought, “Well…shit, I better actually get the end in season two!” And then Netflix asked for a third season, which was delightful. And surprising. And wonderful. And also one of those, “Oh, shit” moments that you always relish as a writer. That said, once we got the offer for season three, it came to me, because I had all those characters aside from Dracula and Lisa and Godbrand—god rest Godbrand. I had all those characters in play across a whole chunk of the hemisphere, really. And I felt like a lot of those characters still had a lot of places to go, and arcs that had been incomplete.
Isaac is the obvious one, in that, yeah—that was open-ended. There was a degree of completion in the arc in season two for him, but not the whole person. And it became clear to me that in an additional season, I could do something about the whole person. So, the show now becomes very much about the stories generated out of the characters themselves. That initial engine is missing, but now I’ve got seven or eight engines that are just as big. And all those characters are equally as interesting to me as Dracula was.
Kolde: I think it’s also the vacuum, right? That allows those characters stories to come to the forefront because Dracula isn’t there anymore—and how does that impact the sort of journey they’re on? So, he’s not there but he’s sort of very much there, in the motivations and background with what these characters are doing.
Get ready for psychedelic horror.
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