(| ASTLEVANIA

Ves THE ART HE

OF THE A ANIMATED SERIES
 AS TLEVANIA
‫هس‬ THE ART OF THE ANIMATED SERIES‫‏‬

DARK HORSE BOOKS

 President and Publisher
Mike Richardson
Editor
lan Tucker
Designers
Stephen Reichertand Keith Wood
Digital Art Technician
Allyson Haller

Page 2 artwork by Sam Deats. Page ‫د‬‎ artwork by Katie Silva.

CASTLEVANIA: THE ART OF THE ANIMATED SERIES

© 2021 Frederator Networks. All rights reserved. Dark Horse Books’ and the Dark Horse logo are registered
trademarks of Dark Horse Comics LLC. All rights reserved. No portion ofthis publication may be reproduced
or transmitted, in any form or by any means, without the express written permission of DarkHorse Comics
LLC, Names, characters,places, and incidents featured in this publication either are the product of
the author's
imagination or are used fictitiously. Any resemblance to actual persons (livingordead), events, institutions, or
locales, without satiric intent, is coincidental.

Published by Dark Horse Books

10956 SE Main Street

Milwaukie, OR 97222

DarkHorse.com

Library of Congress Cataloging-in-Publication Data

Names: Tucker, lan (Editor), editor. |Frederator Studios.
Title: Castlevania :the art ofthe animated series / editor, lan Tucker.
Castlevania (Dark Horse Books)
‘Milwaukie, OR :Dark Horse Books, [2021] |Summary: “Explore
the artistry behind the gorgeous animaced series, Castlevania! This art
book contains stunning, neverbefore-scen concept art for the wildly
popular series. Fanswillcover this opportunity tolearn all thereis
to know about the development of the show withthis beautiful hardcover
tome!" Provided by publisher.
Identifiers: LCCN 2020039000 | ISBN 9781506715704 (hardcover) |ISBN
9781506715599 (epub)
Subjects: LCSH: Castlevania (Television program)
Classification: LCC NC1766.U53 C393 2021 |DDC 741.5/8-de23
LC record available at htrps://Iccn.loc.gov/2020039000

First edition: August 2021

Ebook ISBN 978-1-50671-559-9
Hardcover ISBN 978-1-50671-570-4
13579108642
Printed
in China
 ChapterI

07
Chapter II

5
Chapter III

115
A season 1 promotional piece that also functioned as banner artwork in the Netflix browsing interface.
Saviors and the Innocent
 Trevor Belmont
4

8 CASTLEVANIA THE ART OF THE ANIMATED SERIES

 FINDING TREVOR
“had initially drawn Trevor tolookolder,but thevoiceactor
wehadbeen talkingtosounded
a lot younger, so I started playing around with younger-looking versions [bottom ofopposite
page). Then, asmore voice actors auditioned
and some fellthrough and soon,I started draw-
ingolderversions again. ltwasa struggle. Iremember onenightIsatdown todraw and it all
came together. I drewa sketch ofTrevorholding his whipup withthesnowfallingand I had
an epiphany with thatsketch. Hewasthissurly, pissed-off, much more grim takeonhim,
rather than theyoung, less-beat-up version that was in these other sketches. From there it fell
intoplace,I justhadtodrawthatonesketch beforetherestcameflooding our.”—Sam Deats
AllartonthesepagesbySamDeats.

10 ÇASTLEVANIA: THE ART OF THE ANIMATED SERIES

CHAPTER I SAVIORS
AND THE INNOCENT 11
 TREVOR EXPRESSIONS
“Trevor resembling his voice actor, Richard Armitage,
was a happy accident! His design was completed when a
different actor was up for the role, but happily Richard
took it and he was perfect!" —Sam Dears
An expression model sheet serves as a guide for animators,

12 CASTLEVANIA: THE ART OF THE ANIMATED SERIES

te: Trevor expressions b

CHAPTER
1 SAVIORS AND THE INNOCENT 13
THE ART OF THE ANIMATED SERIES
 We make subtle changes along the way to
try to improvethe design economy where we
can. For example, between season 1 and 2 we
tucked away some of those knives that were
previously on ‘Trevor's belt. Little thingslike
that go along way.His Morningstar Whip
was the st pain in the ass, we would
devise ways to keep it hidden until it was
needed." —Sam Deats

“One of our own in-house artists, who is also

ammer, Krishna Jain, helped write a
would generate a nice chain along
à path with optionsforscale and rotation that
really helped us with Trevor's Morningstar
Whip. He also contributed several scripts
that helped us allthroughout the production
pipeline.” —Stephanie McCrea Rainosck

SAVIORS AND THE INNOCENT

Suplja Belnades
Using only an oral tradition, Speakers commit their knowledge
to memory and pass it on through generations, gathered from
all corners of the Earth. Sypha, the granddaughter of the Elder
Speaker, has formidable magic powers and a cheerful exuberance
that make her an excellent partner for Trevor's mission and
foil for his melancholy.
Lefi page: Early concepts bySamDears, Right page: Character designs
by Sam Бель, backgrounds by RobbyJohnson.

4! E

КА
хе

dN

ак
„7
ANS
Я
N
SA

ASTLEVANIA: THE ART OF THE ANIMATED SERIES

 Early concepts of Sypha at the top pictured on that wasn't qui d the directionfor Trevor, the Syphade
out immediately as an nsion
of that

CHAPTERI SAVIORS AND THE INNOCENT

 In the games, Sypha was originally written as a magician for the church. This was no longer the case for the series, and so any ‫ اا‬page:EarlyconceptsandexpressionsbySamDeuts.‫‏‬
shape language in the designs that might recall the church was avoided. Sam felt that his explorations of hairstyles for Sypha Rightpage:(1) SyphaseasonЗ costume conceptsby Katie‫‏‬
included a subconscious '70s and '80s anime influence that felt appropriate. Sila. (2) SyphaseasonI designbySam Deuts,‫‏‬

18 CASTLEVANIA: THE ART OF THE ANIMATED SERIES

Because she is a Speaker Magician, Syphas
robes were designed with a songbird motif in
mind; the robes and pin recall feathers and
bird-like shapes, Her revised season 3 costumes
cold-shoulder top (above) showed off her cool
battle scars while allowing forgreater mobility
during monster fights alongside Trevor.
“While minor details added to the character,
such as a blush or cuts, are fun and add to the
story, they are a pain to keep track of during
production. There are so many situations of
needing to revisit shots where Trevor! blush
from when he was drunk or a cut was left out
ofasequence,” — Stephanie McCrea Rainosck

CHAPTER I SAVIORS AND THE INNOCENT

 Cú= СЧ = S =
= ==

аз i
=Nes=
:
< ::
‎‫ه‬2:‫ب‬

20 CASTLEVANIA THE ART OF THE ANIMATED SERIES

“А.
MODELS
Above: Two key animation drawings.
Below: An expression shect showing,
STYLE AND PROPS

CHAPTER I SAVIORS AND THE INNOCENT 23

CHAPTER I SAVIORS AND THE INNOCENT 25
 ruffled с
icula fro

ALUCARD'S WOLF FORM

An internal debate was waged in the studio over whether Alucard's wolf form should also share the color of his golden locks. In reference to the wolf form depicted in Castlevania:
Lords of Shadow, the white wolf option won out, but it retained his body scars.

26 ÇASTLEVANIA: THE ART OF THE ANIMATED SERIES

of witchcraft and burned at the stake. “The eyelashes
and eye de
we were looking for the touchstone that we could grab and use from the Ke
had lors of debateson the amountof eyelash to use and how to draw them.” —Kevin Kolde

We were trying to pare those Kojima eye

designs down into a set of shapes that could
then bleed out into the rest of the characters,
out u >o many lashes. Alı

eyelashes. —Sam Deats

H ERI SAVIORS AND THE INNOCENT

28 ÇASTLEVANIA: THI ART
OF THE ANIMATED SERIES
CHAPTER I SAVIORS AND THE INNOCENT 29
 Background Characters
No matter how small their part, each character onscreen needs to be thoughtfully designed
with model and expression sheets for the animation team to reference
Lefi page: Designs by Sam Deas,

THE ELDER SPEAKER

The leader of the group of Speakers that Trevor defends, then befriends:
an experience that leads to his meeting Sypha, the Elder's granddaughter.

THE ARCHBISHOP
Th chbishop п his f t long into his self-congratulatory
speech in episode I when Dracula destroys Targoviste

32 CASTLEVANIA: THE ART OF THE ANIMATED SERIES

MERCHANTS OF THE LAND
Lefi: A season 2 merchant design. Right: A season 3 sleazy merchant
(who extracts the teeth of the dead Wolfman’

CHAPTERI SAVIORS AND THE INNOCENT 33

 SHIP CAPTAIN
For reference, I looked at fabrics
from the
have such a s maritime history,
option, bur they chose the better captain, on the left!" —Ka
(1) Captain designs and early concept by Katie Silva. (2) Crewmen designs by Evgeny
Lubaen cleanup by Bo Li

34 CAsTLEVANIA THE ART OF THE ANIMATED SERIES

MIRANDA
While most designs were typically completed before casting, the reverse was true
for the magician Miranda, and so a request was made for her face to resemble
Barbara Steele, her voice actor.
(3) Miranda and shopkeeper designs by Katie Silva. (4) Tunis overseers designs by Evgeny
Lubaco, cleanup by Bo ‫اد‬‎

SHOPKEEPER
Blind, but wich such a keen sense of smell that he can identify a forgemaster by
scent alone, the Tunis shopkeeper, a purveyorofoccult items and weapons, wisely
aids Isaac by giving him a magic mirror that reveals Hector's whereabouts:
Carmilla' castle in Styria. Isaac uses this important information on his quest to
avenge Dracula's murder, and the shopkeeper remains alive and uneaten by Isaac's
horde of night creatures, who are patiently waiting just outside,

CHAPTERI SAVIORS AND THE INNOCENT 35

A curious, secretly magical man whose mission to find his lost love through the Infinite
Corridor intertwines with Trevor and Syphas demon-hunting prer ive. “His outfit has a
combination ofShakespearean and Tudor references, and his cloak has the drab green color
of an old blac ment that's been washed and worn for a lo ime. His hair is the color
that it was in che games, but he’s g с more facial hair now to show that this is anolder version
of him. Hes пос pur himself tog her neatly; he'snor really trying too hard!”—Katie Silva

ANIA: THE ART

OF THE ANIMATED SERIES
fit in his flashback montage
kness.х His an cane design

CHAPTER I SAVIORS AND THE INNOCENT 37

 SUMI
The designs here are based on rescarch of the Ser
history. Sumi wears a
straw raincape.The bottom
imperial court guard outfits wich an originalsy
All art on these pages by Katie Silva.

38 Castlevania THE ART OF THE ANIMATED SERIES

TAKA
Taka sports a deer hide worn for horseback archery. Perhaps because of their youth

with Sypha blue

7 —Adam Dears

CHAPTERI SAVIORS AND THE INNOCENT 39

40 CASTLEVANIA THE ART OF THE ANIMATED SERIES
ZAMFIR
Zamfir is the leaderofthe warriorso!
reacures that Dracula
nd her belt patter
e Eye, which means p

motional art sketche ari Arakaki. (4) Zamfir fim

igo. (6) Zamfir head turns and.

CHAPTER | SAVIORS AND THE INNOCENT 41

 THE WIZARD
The wizard t of many coats w
meant togive him the appea
a poser king h the trap
ymbols of royalty ined only
throug! agical creachery

The wizard was specifically described

in the de
cape
looks like a bi
me,” —Lina
(1) Wizard design by Lina Ngo.

SALA & THE CULTISTS

Sala' huge anime eye to im the lookofthat kind
of old Byzanrin:

edieval icon painting feel.Y

my absolute favorite to draw!

cleanup by Bo Li

42 CASTLEVANIA THE ART OF THE ANIMATED SERIES

THE ART OF THE ANIMATED SERIES
LINDENFELD VILLAGERS

CHAPTER I SAVIORS AND THE INNOCENT 45

 (1) Lindenfeld women designs by Evgeny Lubaev. (2) Children
designs by Evgeny Lubaev and Katie Siku, cleanup by Eugeny
Luhaev, Julia Shi, Katie Silva, and Stephanie McCrea
Rainosek. (3) Barkeep concepts by Danny Araya.

LINDENFELD BARKEEP
"For the barkcep, I wanted to draw someone instantly huggable. Just a gregarious dude making his
who probably knows the personal problems of half the villa ¢. He only had the one line about
g Trevor a free beer but it kinda says a lor about him.” —Danny Araya

46 ASTLEVANIA: THE ART OF THE ANIMATED SERIES

 We never had limitations putonus in termsofhow far we could go with violence and gore. Episode I
set the tone with Dracula's attack оп Targoviste and we went full gore, full bore. The audience is
obviously zoin to be sympathizing with Dracula up to that point, but we had to pull ir back and remind
everyone what he was capableof.Having this dismembered kidinthestreet and just guts everywhere
was part of making it horrific so that you take a moment to stop and think, ‘Even though I kind of
want to root for Dracula, this is actually kind of fucked up!" So, at that point it served the story, and
from there on out the gloves were off, and it influenced everything that came after” —Sam Deats

ERI SAVIORS 4 ND THEI NOCENT

 | ||

Carmilla’s Council of Sisters hatch a plot to fill ehe power vacutimyindPfacula’sabsence beginning in season 3
 CHAPTER II

Demons andthe Damned

52 CAsTLEVANIA THE ART OF THE ANIMATED SERIES
CHAPTER II DEMONS AND THE DAMNED 55
 After a prolonged battle, Alucard stakes Dracula.

56 CASTLEVANIA THE ART OF I

 Inspiredby Ayami Kojima's line гіс Silva с r rorional illustration ofthe forgemasters Isa: I wanted to look more like he knew whathe
Hector for season 2.T с с 3lu-r or press relea onal use doing, and He pearmore like hehadhi

58 CASTLEVANIA ГНЕ ART OF THE ANIMATED SERIES

The Bishop
Тһе bishop meets
hisfare carly on in the series as the instigator
of the primary chain
ofevents, “Luckily” for him, he makes a
reanimated return appearance later in the series.
Lefi page: ArtbyKatie S ‫ هه‬Right page: (1) Bishop design by Sam Deats.‫‏‬
(2) Reanimated bishop wig by Isaak Ramos.‫‏‬

The digital workflow at Powerhouse occasionally

offers efficiencies such as the use of a code
script that can produce the artwork of a chain
based on an artist-placed guideline, but
these computer assists only have limited
practical usability. More often than nor,
complex, difficult-to-animare objects like
chains are still traditionally animated by hand.

CHAPTER II DEMONS AND THE DAMNED ‫وو‬

 Hector

60 CASTLEVANIA THE ART OF THE ANIMATED SERIES

 (1) Hector Styrian livery design by Suzanne Sharp. (2) Season + casual Hector costume concepts by Katie Silva. (3) Styrian livery early concepts by Suzanne Sharp.

62 CASTLEVANIA THE ART OF THE ANIMATED SERIES

YOUNG HECTOR
In a flashback w

CHAPTER 11 DEMONS AND THE DAMNED 63

64 CASTLEVANIA THE ART OF THE ANIMATED SERIES
YOUNG ISAAC
Showing times passage, Isaac's body scarification evolves from his young desi

CHAPTERII DEMONS AND THE DAMNED 65

THE ART OF THE ANIMATED SERIES
Godbrand
Early Godbr
Sam
the
Pop

Castlevania THE ART OF THE ANIMATED SERIES

DEMONS AND THE DAMNED
 Carmilla
The leaderofthe CouncilofSisters, Carmilla swooped in with
a plan to fill che power vacuum left by Dracula’ demise. Left
This early Carmilla concept references her LordsofShadow
design, but the gratuitously featured bosom from the game
ultimately didn't fit the character as she appears in the series.
Center: Carmillas flashback costume design.
(1) Camilla carly concept by Sam Deats. (2) Carmillaf hback costume
design by Joanne Wong (3) ArtbyOlivia Sweet, cleanup by Lina Ngo. (4)
Carmilla early concepts and designs by Sam Deats

70 CASTLEVANIA: THE ART OF THE ANIMATED SERIES

 ur chose shoes.: Th klike
ing shoes to me [laxghs]" —Kevin Kolde

CHAPTERII DEMONS AND THE DAMNED 71

 'Carmillas nightgown was so big that we had to
send two model sheets for it, one for the front view
and one for the back Katie Silva

4 Carmilla finalcostumedesigns and early concepts

cleanup by Suzanne Sharp.

72 CAsTLEVANIA THE ART OF THE ANIMATED SERIES

CHAPTERII DEMONS
THE ART OF THE ANIMATED SERIES
Morana
With origins in ancient Sumeria or Mesopotamia, Morana
is the oldest of the Council of Sisters. Moranas name was
inspired by the Slavic pagan goddess who is connected to
seasonal rites about the cyclical death and rebirthofnature.
D igner Katie Silva incorporated Elizabethan silhouettes
with accessories inspired by more ancient times.

“Her earrings reference ancient Sumerian designs chat

might be worn by a queen. Her shawl is based off of some-
thing called a kaumake, which is only depicted in ancient
stone carvings, so we don't actually know whether it was
made of leaves, or feathers,orfabric, but it is supposed to
be something thatshe's had for a very long time.She's gor
modern cut-crease eyeliner!” —Katie Silva

All art on these pages by Кайе Sie

Cast evania: THE ART OF THE ANIMATED SERIES

CHAPTER 11 DEMONS AND THE DAMNED 77
THE ART OF THE ANIMATED SERIES
“Her eyes are very much inspired by the way that Ayami Kojima draws eyes. She'll give certain
characters these droopy doe eyes with enormous irises.” —Karie Silva

“Lenore was described asasoreofwinter princess, or princess

in mourning (thus the veil), who was the type who might press
flower petals into a book in her nice room. In the end I just
threw everything that I love together into one design, and
thats Lenore.” —Katie Silva

CHAPTER II DEMONS AND THE DAMNED 79

80 ÇASTLEVANIA: THE ART OF THE ANIM ATED SERIES
 Originally scripted
toperish in
in season2,Dracula's vampire карта were spared Буа
We wanted to have them stick around a bit longer revor, Sypha, and Alucard
could have some good minibosses tofight in the upcc ingbattle.” —Sam Deats
Character designs by Sam Deats, cleanup by Stephanie McCrea Rainosek and Robby Cook

DRAGOSLAV AND ZUFALL

Dragoslav and Zufall
weredesi «А to be intimidating newhar understated generalsin
Dracula army—especially whe pared t hink
Dragoslav is Slavic and Zufall
isGerman. That wa
they weren't originally scripted and were just written Sam Deats

82 ÇASTLEVANIA THE ART OF THE ANIMATED SERIES

RAMAN
Raman is a vampire general from India inspired by some of India's own vampiric lore

SHARMA
Another Indian vampire general,
Sharma was a member of Dracula's
army chat illustrated the scope of
Draculasglobalinfluence andpower

CHAPTER II DEMONS AND THE DAMNED 83

 CHO
Avampire general from Japan, Cho first appearedinseason 2. Later, ir
Sumi and Takas flashback, welearn of her cruel imperia
with human slaves who are force
lengers before drinking their blood
(1) Cho design by Sam Deuts, model sheet cleanup by Stephanie McCrea Rainosek (2)
Chos court guards design by Katie Silva. Mon design by Sean Randolph. (3) Human
slave designs
by Evgeny Lubaev, cleanup by Stephanie McCrea nosek and Katie Siku.

84 CASTLEVANIA: THE ART OF THE ANIMATED SERIES

 Dragan's design was intended tobebig, masculine
h look like the vampire general equivalent c
design wasthat he looked like ‘aproper nun-cating b Katie Silva

THE ART OF THE ANIMATED SERIES

 5

xi + м
< 72 ‎‫و‬

<
a
—
>:

CHAPTERII DEMONS AND THE DAMNED 87

88 CASTLEVANIA THE ART OF THE ANIMATED SERIES
Death)
Sam Deats wanted the Death design to ex

d I thought
up for Death,

CHAPTER II DEMONS AND THE DAMNED 89

screen. Death grows
fingers here, Work
Sam Dears
“The final line in the script is “Trevor Belmont just died: had the scripts for episode 9 and 10 ar the same time but deliberately
only sent episode 9 to Sam because I wanted him to ery.Bu until he also had 10 later, thwarting my evil plan.” —Kevin Kolde

TER II DEMONS AND THE DAMNED

 M N
AKAN Z
Í | XI
|
iW Á 7
KAY bal
ХА | КД 24 | N
| | МЕЗ ES | \ |
| |І v

ER

92 CASTLEVANIA THE ART OF THE ANIMATED SERIES

 454
=

=
=`

eg
El

RM
£É
=
=

=
H
Syp

94 ÇASTLEVANIA THE ART OF THE ANIMATED SERIES

VAMPIRE MAGICIAN
Sypha and Trevor encounter

CHAPTERII DEMONS AND THE DAMNED 95

 Right page: (1) Early night creature
6 “ip by Ed Booth.

BLUE FANGS
Blue Fang:

96 CASTLEVANIA THE ART OF THE ANIMATED SERIES

 <. Design for the giant night creature
‎‫که‬ 255
AR ‎‫د‬
‫` یچلټ ب‬
‫بته‬
PERA ۵
Te— < ~
AN
ЖА ПЛ ‫هه‬‎ Ж |
(N / TN ‫هس‬‎ )
Ға ŞA

CHAPTER II DEMONS AND THE DAMNED ‫و‬7

 ‫رک حس‬ AS THE CYCLOPS‫‏‬

FIRE DRAKE
When cleaning
upthe Fire Drake,Sp

98 CAsTLEVANIA THE ART OF THE ANIMATED SERIES

SLOGRA
Slogra is a raptor-like demon with a spear weapon. Slogra and Gaibon are both
well-known monsters that appear in the Castlevania games, and fight together as
a duo in Symphony of the Night.

GAIBON
Gaibon isa fire-breathing demon

CHAPTER II DEMONS AND THE DAMNED 99

 Storyboards by Spencer Wan.

GENSC ANC
1 ^ 3

Storyboards for the Cyclops and Trevor fight. Spencer also animated a sizable portion of this sequence.

100 (ASTLEVANIA:1
CHAPTERII DEMONS AND THE DAMNED 101
 BALD PRIEST
In the season 1 episode “Necropolis,” a bald
priest gets his eye forcibly removed by Trevor
during a өтесе fight. In the following episode,
"Labyrinth; the priest is seen in the crowd
menacing Trevor with a bandage over one eye
socket, ready for revenge. He promptly loses
the second eye. Asa referential ig, his body
is later seen in season 2 on the pile of corpses
that were recovered for Hector to reanimate
into undead creatures, This nightcreature is
his final form.
(1) Bald priest design by Spencer Wan, cleanup by
Evgeny Lube, (2) Hammerbande design by Spencer
Zan, cleanup by Robby Cook.(3) Velocivampire design
by Spencer Wan, cleanup by Ed Booth, (4) Malphas
design by Spencer Wan, cleanup by Evgeny ласт.

HAMMERHANDS
Hammerhands was designedfor practical purposes: to be a massive foe with crushing
fists

102 CAsTLEVANIA: THE ART OF THE ANIMATED SERIES

VELOCIVAMPIRE

CHAPTER 11 DEMONS AND THE DAMNED 103

 Designsonthesepagesby Julia Shi, Katie Silva,
and Sam Deats. Cleanup by Evgeny Lubaco,
KatieSilva,Stephen Stark, Stephanie MeCrea
Rainosek, and Jose Vega.

ISAAC'S MONSTERS
Many of Isaacs night creature designs were inspired by mythical creatures
from African folklore, includingtheNinki Nanka, Rompo, Bultungin,
Grootslang, Impundulu, and Abada (Isaacs demonic unicorn mount). Others,
like the orange fish-like Merman, were inspired by Castlevania game
characters. A few of them a ntirely original creations by Powerhouse de-
signers, such as the Fisharoo (rhis page, middle lft, with childinpouch).

104 CastLevanta: THE ART OF THE ANIMATED SERIES

CHAPTER II DEMONS AND THE DAMNED 105
 WILD NIGHT CREATURES
Classic Castlevania creatures like the Minotaur and Wolfman,
among others, make various appearances throughout the series.
(1) Wildnight venturedesignsbyJulia Sbi. cleanupbyEvgeny Lubna and Julia Shi.

106 CASTLEVANIA: THE ART OF THE ANIMATED SERIES

 |
LAN (
/ | ‎NY‫و‬
SABIO:

a, cleanup by Evgeny
pes by Lou O'Neill

THE BEAST

LUMENESCENT
В адм-SPENE

Early concepts for the Beast

CHAPTER II DEMONS AND THE DAMNED 107

 SEASON 4 NIGHT CREATURES
Season 4 introduced a slew of new night creatures, both wild and domesticated, including
a five-headed, vomiting centipede and Varney' giant pet twin lizards. When Sam Deats saw
the script mention the need for two large night creatures in episode 8 with “abnormally large,
rocky-looking fists" he saw an opportunity to slip in an Easter egg from the Castlevania
games by referencingthedesign of the Golem boss in Lament of Innocence.

(1-3) Evgeny Lubaev. (4) Sam Deats. (5) Katie

Engeny Lubaer. (7) Evgeny L
b y Evgeny Lubaco
(10) Designs by Зат
“Faragon” R.

108 CASTLEVANIA: THE ART OF THE ANIMATED SERIES

"A lot of thought goes into naming our night creatures. On this page you can sce
Crusty, Rusty, and Dusty (the lobster trio), Brainy (his head looks like brains),
Chomps (he has big teeth), and Twins (with two heads)” —Katie Silva

CHAPTER II DEMONS AND THE DAMNED 109

 GERGOTH
Gergorh is a creature from the games, wich flesh fallin,

ARMORED BEAST
The Armored Beast was also inspired by an in-game creature

110 CASTLEVANIA: THE ART OF THE ANIMATED SERIES

CHAPTER II DEMONS AND THE DAMNED 111
 Demons
“The five-legged goat demon is roughly based
on the demon Buer, from ‘the 16th-century
grimoire Pseudomonarchia Daemonum and its
derivatives, where he is described as a Great
President of Hell; according to Wikipedia.
—Stephanie McCrea Rainosck

Since this creature was also described as some

thing that resembles Sagittarius, Sam Deats
used this prompr to mix the lion and archer
elements to complete the demon,
Lefi page: DesignsbySam Dears, cleanupbyStephanie
McCrea Rainosek. Right page: (1) Lesser Demon design
by Evgenyішімен. (2) Malebranche andweapondesigns
by Sam Deats, cleanup by Evgeny Lubaev and Stephanie
McCrea Rainosek

Demons inspired by the Castlevania

game monsters: Buer, Ukobach, Flame
Demon, and Malachi,

112 CASTLEVANIA: THE ART OF THE ANIMATED SERIES

Art by Jose Vega.
 c
Q ¡am < Pua E 四 pá - -
 Dracula’s Castle

116 CASTLEVANIA THE ART OF THE ANIMATED SERIES

Left page: Robby Johnson, Ri by Robby Johnson. Bottom paintis

ng momentsofthe series, s guid ер ula's c lachia b T n totheir skeletons

CHAPTER111 WALLACHIA AND THE LANDS BEYOND

 There's technicall
of the castle. In se
basic modelt
position andth
ason2, when

made afull
model that v
place it in a scene
n the artists goin an
over it to blend it inte
background painting

THE ART OF THE ANIMATED SERIES

CHAPTER111 WALLACHIA AND THE LANDS BEYOND
< z
ArtbyRobby Johnson,

The impossible architecture of Draculas castle becomes almost believable thanks

tothe intricate detailing of mysterious machinery embedded throughout, and the knowledge that
the entire structure is a teleportation device far beyond even modern technical abilities.

CHAPTERIII WALLACHIA AND THE LANDS BEYOND 121

THE ART OF THE
WALLACHIA AND THE LANDS BEYOND
Q“:
m
ng by Jose Vega. Bo

THE CASTLE
ENTRANCE
The castle entrance was modeled and
textured in finerdetail fortheseason 2
ich streamlined th
background art c

exterior, cach comp

mage isdigitally painted over b
1 artists to matchthe series
t de pecific details, such a
battle damage

CHAPTER111 WALLACHIA AND THE LANDS BEYOND 125

 w. Middle lefi, ig by Sean Ran

126 CASTLEVANIA THE ART OF THE ANIMATED SERIES

THE ART OF THE ANIMATED SERIES
тәне mm ?^ ^ Ann. А44. _

CHAPTERIII WALLACHIA AND THE LANDS BEYOND 129

 t a ==

HECTOR'S AND ISAAC'S LABORATORIES

Base Hector's and Is ratoric the 5 i

130 CASTLEVANIA THE ART OF THE ANIMATED SERIES

WALLACHIA AND THE LANDS BEYOND
 ALUCARD'S
CHILDHOOD BEDROOM
Considering his parents’ academic prowess, Alucard was fated to be a
studious, curious child. oncept 5 depict some arcas in
his room where he would learn, study, and practice
Right: Katie Silvas sketches of Baby Alucard were created as preparation
forthe family portrait seen on page 135. These studies helped determine
how old he should be in the final version.
Lefipage: Baby Alucard sketchesby Katie Sle. Alucard’ childhood bedroom visual
development by Saskia Gutekunst. Right page: Paintings by Jose Vega.

132 CASTLEVANIA: THE ART OF THE ANIMATED SERIES

CHAPTERIII WALLACHIA AND THE LANDS BEYOND 133
134 CAsTLEVANIA THE ART OF THE ANIMATED SERIES
WALLACHIA AND THE LANDS BEYOND
 Carmilla’s Castle

136 CASTLEVANIA THE ART OF THE ANIMATED SERIES

Leftpage:Top painting byStephen Stark. Bottom painting by
Sean Fa. Right page: Carmill castle sketches by Sean Va.

CHAPTER 111 WALLACHIA AND THE LANDS BEYOND 137

lated knowledg:

CHAPTERПІ WALLACHIA AND THE LANDS BEYOND 139

Top painting byBo Li,3D ۸٩۹

Hector' laboratory and a! where he enjoys the limited autonomy and fre of « fer ‘cular floor
gn around Hector

CASTLEVANIA THE ART OF THE ANIMATED SERIES

CHAPTER111 WALLACHIA AND THE LANDS BEYOND
THE ART OF THE ANIMATED SERIES
Гр painting by Danny Moll. Bottom paintingby mdolph. Right page: Layouts
andpaintings by Danny Moll.

Layouts depict var the fallen estare

CHAPTERHI WALLACHIA AND THE LANDS BEYOND 143

THE ART OF THE ANIMATED SERIES
CHAPTERIII WALLACHIA AND THE LANDS BEYOND
146 CASTLEVANIA THE ART OF THE ANIMATED SERIES
Lefi page: Belmont Hold de s Zamecki, I by Danny Moll.Middle rightpaintingbyBo Li.Bottom painting by Sean Va.
Right page: Toppaintingby Bo Li.Bottom left Belmont Hold shelf layouts by Sean Randolph. Bottom aintingrbyBo Li (top), Stephen Stark (middle), andSean Randolph (bottom).

If you look clo: 1 wil fin г с ; ter isibil tions to boss trophies lik ad of Medusa
ortheboomerang ofthe Skelerar
There п

CHAPTERIII WALLACHIA AND THE LANDS BEYOND

Top painting by Stephen Stark. А by Bo ‫اخ‬‎ Bottom paintings by Stephen Stark

Leon Belmont in the tradition of

ÇASTLEVANIA THE ART OF THE ANIMATED SERIES

CHAPTER111 WALLACHIA AND THE LANDS BEYOND 149
THE ART OF THE ANIMATED SERIES
 еМ

Targoviste

152 ÇASTLEVANIA THE ART OF THE ANIMATED SERIES

Lefi page: ToppaintingbyRobby Johnson. Bottom painting by Danny М t page: Robby Johnson.

CHAPTER111 WALLACHIA AND THE LANDS ВЕҮО

THE ART OF THE ANIMATED SERIES
 introduces T nt in a pub llc u t. The b hel се of thetowns inhabitants, afew of
m Tre

ye. d
ак

LEN
 Gresit

156 CASTLEVANIA THE ART OF THE ANIMATED SERIES

Sketches develop the character and materialsofthe structures in the medieval village, before and after destruction.

CHAPTER III WALLACHIA AND THE LANDS BEYOND 157

THE ART OF THE ANIMATED SERIES
CHAPTERIII WALLACHIA AND THE LANDS BEYOND
 ‫وسه‬ n A‫‏‬
Ша СТ‫‏‬

160 CASTLEVANIA THE AR

WALLACHIA AND THE LANDS BEYOND
THE ART OF THE ANIMATED SERIES
 `
p
Åx `a

1
AA

!
SS

--
li
—
‫ات‬‎

Ж
()
{4V>+4
‫رکا‬‎ ^ 2
É

LI
S
-
E
THE ART OF THE ANIMATED SERIES
1 WALLACHIA AND THE LANDS BEYOND
 Y
7
й

THE ART OF THI ANIMATED SERIES

Lefi page:Top painting
byJoseV ge: Top paint g by Sean Randolph. Middlepainting
byJoseVega.Bottompaintings
byBo‫اخ‬‎

CHAPTERIII WALLACHIA AND THE LANDS BEYOND 167

 Top paintingbySean Vo. Middle and bottom left paintings by Sean Ra tin g by JoseVega. Right page: PaintingbyJoseVe

168 CASTLEVANIA THE ART OF THE ANIMATED SERIES

170 CASTLEVANIA THE ART OF THE ANIMATED SERIES
7 7 7
 First vow paintings by Sean I

172 C LEVANIA: THE ART OF THE ANIMATED SERIES

THE JUDGE'S HOUSE

= 5a x z z = 173
THE ART OF THE ANIMATED SERIES
з by Jose Vaga.

CHAPTERIII WALLACHIA AND THE LANDS BEYOND

THE ART OF THE ANIMATED SERIES
Left page:Desert keepdesign and p by Sean Vo. Right | Å t by Alex Оо

CHAPTERIII WALLACHIA AND THE LANDS BEYOND 177

 tion, Isaac leads his

Lefi page:Top paintingbySean Vo, Middle lefi painting by Sean Randolph, Middle tin g by Sean Vo. B ight pai

178 CASTLEVANIA THE ART OF THE ANIMATED SERIES

CHAPTERШ WALLACHIA AND THE LANDS BEYOND 179
 Genoa
Isaac lands ar Genoa,butisimmediately ch »y thelocal authorities, who soon also joi de of corpses wher re reanimated asnight creature

180 CAsTLEVANIA THE ART OF THE ANIMATED SERIES

WALLACHIA AND THE LANDS BEYOND
The mad magician controls th

THE ART OF THE ANIMATED SERIES

Lefi page:Top paintingb Right page: Top paintingbyStephen Stark. Secondotepaintings by Bo ‫اد‬‎ Third row ‫یاو‬‎ 3Dmodelof Legion by Tucker Roche. Bottom painting by JoseI

CHAPTERHI WALLACHIA AND THE LANDS BEYOND 183

 turia
We wanted the conversation berween and Morana before the battle to feelvery peaceful, ‫هل‬‎ Y 1.1 ime in the tent before the battle in episode
of season 4. Durir a beautifultime of day st to th ttle and th >s around th —Jose Vega

by Joe Vega. Right page: Stephen Stark

184 CASTLEVANIA: THE ART OF THE IMATED SERIES

< = AND THE LANDS BEYOND 185
 DANESTI
for this loc

186 CASTLEVANIA THE ART OF THE ANIMATED SERIES

WALLACHIA AND THE LANDS BEYOND
 The Infinite Corridor

811 1011

188 CASTLEVANIA THE ART OF THE ANIMATED SERIES

 е: Toppainting by Bo Li.Middle lefi paintg a. Middle rightpainting by Stephen Stark. Bottom I Sean Randolph. B. y by Stephen Stark:
Right page: Infinite Corridor and Infinite Corridor library concepts and ngs by Jose Vega. Bottom row с g testsby Adam 7

CHAPTERHI WALLACHIA AND THE LANDS BEYOND

Hell
Originally, che pl

THE ART OF THE ANIMATED SERIES

Lefi page:

CHAPTERIII WALLACHIA AND THE LANDS BEYOND 191

A sumpbonu of gothic horror and adventure!
Gothic adventure and horror abound in Netflix’s Castlevania. Now explore the work behind the scenes of the
popular show that was originally inspired by the classic video games!
Hundreds ofpieces of ultradetailed artwork are contained in these pages, including stunning, never-before-seen
illustrations of monsters, characters, and environments. Experience the labor of love that went into adapting the
design for Dracula’s castle, and get a closer look at the intricacies of each prop's fastidiously created components!

Fans of Castlevania will covet this opportunity to learn all there is to know about the development of theanimated
series with this beautiful volume!

CE DARK