Carmilla

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“	If only you too would embrace the darkness in your soul, then a new world would unfold before you.	„
	~ Camilla to Nathan prior to their encounter

Background

Carmilla, also spelled Camilla in some versions, is a recurring boss and antagonist in the Castlevania series. Different iterations of this vampiress appear throughout the franchise, occasionally alongside her devoted servant, Laura. Carmilla is consistently described as a figure of exceptional beauty and allure.

This dropdown contains the synopsis of Carmilla’s story. Read at your own risk as you may be spoiled otherwise!
Background Carmilla often serves as a devoted follower of her master, Count Dracula, either by scheming to resurrect him or awakening from her own slumber to aid in his endeavors. Her role takes a unique turn in the Lords of Shadow saga, where her character is expanded upon. Carmilla's influence extends beyond her appearances, as seen in her namesake locations like Camilla Cemetery in Castlevania II: Simon's Quest and Carmilla's Lair in Castlevania: Lords of Shadow 2. In many of her portrayals across the series and related media, Carmilla is depicted as a giant, floating, and androgynous-looking Victorian ballroom mask. This mask features a rounded forehead tapering to a pointed chin, often bearing a sinister smirk. One of its most distinctive traits is the absence of a right eye, leaving a deep black void. The left eye, however, is far more striking, appearing as a glowing red bulge that sheds streams of blood, sometimes weaponized as an attack. In more recent iterations, Carmilla transforms into a massive, fully nude demonic figure astride an even larger flying magical skull. This skull is often revealed to have been wearing the mask, possibly alluding to the character in the novel who was a reanimated corpse using a mask to blend into society. Regardless of her form, Carmilla's boss battles typically feature her as a colossal, head-like entity that floats around the arena, launching projectiles from her eye sockets to attack the player. Castlevania II: Simon's Quest Camilla (a misspelling of Carmilla) made her debut in Simon’s Quest as one of the three main bosses of the game. In the Japanese instruction booklet, she is referred to as "Onna Kyūketsuki", which translates to "Female Vampire," while the English version of the booklet names her "Vampira." A clue book in the Devious Woods properly identifies her as "Camilla." She is encountered in Laruba Mansion. In this first incarnation, Camilla appears as a massive, floating ballroom mask. The mask features a hollow right eye socket and a gem-like stone in place of the left eye, which continuously sheds a bloody tear. When entering her chamber, the mask levitates from the floor to the center of the room, initiating her attack pattern. Camilla attacks by crying fiery tears that burst into multiple fireballs upon hitting the ground, spreading across the room. She moves in a large, clockwise circular pattern, pausing periodically to release more fiery tears. The Rib Bone relic, which grants Simon a shield, is particularly effective in this fight as it can deflect her fireballs with ease. Players can attack Camilla when she flies close to them while keeping a safe distance from her path. Alternatively, the Gold Knife can quickly dispatch her, as each hit stuns her and inflicts continuous damage, landing approximately three hits per throw. Upon her defeat, Camilla drops the Magic Cross, a crucial item needed to access Dracula’s Castle. Castlevania: Rondo of Blood Carmilla appears as the boss of Stage 4 in Rondo of Blood, accompanied by her loyal servant, Laura. Upon entering the boss room, Richter or Maria is greeted by Carmilla’s iconic mask, paying homage to her earlier appearance in Simon’s Quest. As the battle begins, Carmilla reveals herself as a massive, nude maiden standing behind the mask. The mask then shatters, revealing a giant skull that emerges from behind it. During the fight, Carmilla hovers in the air behind the skull, which weeps fiery tears of blood. These tears scatter across the room upon striking the ground, creating a hazardous battlefield. Meanwhile, Laura roams the room, attempting to grab hold of the heroes. If she succeeds, she restrains them in place and drains their supply of Hearts, limiting their ability to use sub-weapons effectively. Castlevania: Grimoire of Souls Galamoth plots to send the Time Reaper from 10,000 years in the future into the past to destroy his rival, Dracula, and alter history. A mysterious time traveler named Aeon learns of this plan and gathers champions from various historical eras into a dimensional rift to identify a chosen one capable of defeating Galamoth's servant. Among these warriors is Carmilla. Carmilla is a female vampire who worships Dracula as a god. She derives her greatest pleasure from shredding humans and reveling in the splatter of their blood. Viewing humans solely as prey, she consistently looks down on them with disdain. Carmilla is both aggressive and provocative in nature. Her interactions with Sypha Belnades reveal her culpability in the witch-hunts that led to the persecution of Sypha's clan, fostering a deep grudge from the latter. 'Castlevania: Dracula X In Dracula X, if Richter Belmont fails to rescue Annet during his journey, she is taken to the Clock Tower, where a giant skull descends and possesses her. This transforms her into Carmilla, a vampire witch, and she replaces Death as the boss of that level. Her appearance resembles her portrayal in Rondo of Blood, as she rides atop a massive flying skull. However, her attacks mimic those used by Shaft in the same game rather than her earlier fighting style. Circle of the Moon Taking place in an alternate timeline, Camilla is one of the central antagonists in Castlevania: Circle of the Moon. As a powerful female vampire, she is deeply loyal to Dracula, her master, and relentlessly pursues his resurrection. She devises an elaborate scheme to restore Dracula to full power and asserts her control from her castle in Austria, where the game’s events unfold. Camilla is not only a dedicated servant to Dracula but also a fervent follower of chaos, embracing the darker forces that fuel her villainous ambitions. With her allegiance to Dracula unwavering, she is determined to bring him back to life and enable his reign of terror once again. In 1830, Camilla succeeds in resurrecting Count Dracula, though she does so at the cost of his full strength. Recognizing that more work is needed to revive him to his former glory, Camilla meticulously plans a ritual to restore Dracula's power. To complete this, she sets her sights on Morris Baldwin, a vampire hunter and father to Hugh Baldwin, as the key to the ritual. Camilla intends to sacrifice Morris during a lunar eclipse to maximize the spell’s potency, a plan that will bring Dracula back to life in full force. As Nathan Graves, the game’s protagonist, works tirelessly to thwart Camilla’s plans and rescue his mentor, Camilla uses the Necromancer to impede his progress. Not only does she manipulate others to serve her purposes, but she also brainwashes Hugh Baldwin, forcing him into her service, and using him as a pawn in her machinations. Her influence over Hugh is particularly devastating, as she twists his mind to turn against those he cares about, particularly Nathan, whom he once considered a friend. When Nathan finally confronts Camilla in the Underground Waterway, she attempts to sway him to her side. She argues that humans are inherently drawn to darkness and should not resist the pull of Dracula’s power. She speaks of darkness as an inescapable part of human nature, trying to convince Nathan that fighting against Dracula’s resurrection is futile. Despite her seductive rhetoric, Nathan refuses to listen and presses on, determined to stop the ritual. In one final attempt to manipulate him, Camilla points to Hugh as an example of someone who has accepted the darkness, describing his actions as "more honest" than Nathan’s resistance. Despite Camilla’s persistence, Nathan ultimately defeats her. However, even in death, she takes a grim pleasure in knowing that the resurrection ritual is nearly complete and that Dracula’s full return is imminent. In Castlevania: Circle of the Moon, Camilla plays a much more significant role than in previous appearances, acting as the mastermind behind the entirety of the plot. From the resurrection of Dracula to the abduction of Morris Baldwin, the conversion of Hugh Baldwin into her servant, and the summoning of dark creatures, she is at the heart of the chaos that unfolds throughout the game. When finally confronted, Camilla transforms into a winged demoness, riding atop a massive flying skull. In this form, she attacks Nathan with a variety of dark energy blasts, including homing fumes, blade-shaped projectiles, and an intense stream of energy fired from the skull’s mouth. Despite her imposing new form, she retains much of her previous characteristics, including her cruel, self-assured nature. After the battle, when Nathan has emerged victorious, Camilla reverts to her original form. She tells him, with a sense of bitter finality, that it is too late to stop Dracula and that his master will rise again. As she speaks, her body disintegrates into dust, marking the end of her brief but impactful role in the story.

Personality

Devotion to Dracula: Carmilla is completely devoted to Dracula, even willing to withstand the endless torment of repeatedly being slain by vampire hunters and resurrecting to bring back her master. She refuses to let anyone talk back of him and will kill any that dare mocks him.

Sadistic: Carmilla is completely sadistic as shown in Castlevania Judgment, constantly noting how her hunger has not been satisfied killing the heroes and tormenting her.

General Information

Name: Carmilla^[1]

Other Names: Camilla^[2] (In some versions)

Origin: Castlevania II: Simon's Quest

First Appearance: Castlevania II: Simon's Quest

Latest Appearance: Castlevania: Grimoire of Souls (Latest canonical appearance), Vampire Survivors (Latest non-canonical appearance)

Company: Konami

Creator: Hitoshi Akamatsu, Koji Igarashi

Actor

Japanese Voice Actor: Sayaka Ohara
English Voice Actor: Karen Strassman

Gender: Female

Sexuality: Bi-Sexual (Carmilla flirts with both men and women alike)

Pronouns: She/Her

Age: Unknown (Her age is listed with a "-" in Castlevania Judgment^[3])

Time Period: Irrelevant (As Carmilla is an immortal, she has been through every time period in the Castlevania franchise^[4])

Timeline: Main Timeline & Circle of the Moon Timeline

Homeworld: Earth

Residence: Dracula's Castle, Castle in Austria in Circle of the Moon Timeline

Story Role: Supporting Antagonist, Side Villain

Legacy: Unknown Legacy

Influence: Event Influence (Carmilla is responsible for helping with the resurrection of Dracula in many occasions)

Language: English

Classification: Witch, Servant of Dracula, Child of the Night^[5]

Species: Vampire

State of Being: Regular

Physiology: Vampire Physiology

In-Universe Creator: Chaos

Occupation: Dracula's Servant

Affiliations: Dracula, Laura (Her maid), Death

Enemies: Belmont Clan including: (Simon Belmont, Richter Belmont, & Maria Renard), Sypha Belnades (Sypha blames Carmilla for the reason witches are persecuted)

Height: 185 cm^[6]

Weight: Unknown

Status: Has been both Alive and Deceased (Carmilla has been slained by many different hunters, only to rise time and again alongisde her lord Dracula^[7])

Date of Death: 1698 (During Simon's Quest), 1792 (During Rondo of Blood)

Alignment: Lawful Evil (Servant of Dracula who wishes to bring humanity into a world of chaos, she is completely devoted to him to, to the point that its noted even as she endures perpetual torment, her loyalty and devotion to Dracula never falters^[8]. Very sadistic, wanting to torture those she captures)

Threat Level: Global Threat (A high ranking member of Dracula's army, where Dracula intended to cause a global war during the events of Castlevania (N64)^[9], planned to wrap the world in darkness and crush all to his will^[10], in Castlevania III: Dracula's Curse, Dracula plans to take over all of Europe^[11], and proceeded to amass an army to kill hundreds of soldiers to take over Europe, plagued the beautiful land located in the Southern Part of Romania into darkness by having devils attack it, planned to spread his evil grip to the rest of Europe^[12])

Codex Statistics

Key: 17th Century | 18th Century | Judgment

Key Information

17th Century: This key covers her during the 17th Century (Castlevania II: Simon's Quest).
18th Century: This key covers her during the 18th Century (Castlevania: Rondo of Blood).

Grade: A

Tier: At least 7-C | At least 7-C | At least 7-C

Cardinality: Finite

Power Source: Chaos (All monsters and creatures are Creatures of Chaos^[13], where they are empowered by Chaos, always rebirthing from Chaos with each rebirth, the creatures takes a new form^[14])

Dimensionality: 3-D

Attack Potency: At least Town level (Potency) (Vampires are considered far larger threats than the standard creature of the night monsters^[15], which would put her above creatures such as Golem, from Castlevania Judgement, as he died to a random unknown hunter after his return from the time rift^[16]. Golem with his ultimate can shoot out a mouth blast that vaporizes everything it touches as far as the eye can see getting these results^[17]. Can fight and harm Simon's Quest Simon Belmont^[18]) | At least Town level (Potency) (Can fight and harm Rondo of Blood Richter Belmont & Rondo of Blood Maria Renard^[19]. Can harm and fight against enemies stronger than characters who can take hits from neutron bomb^[20], that have a yield range of 1-10 kilotons of TNT) | At least Town level (Potency) (Fought and defeated the Time Reaper^[21])

Durability: At least Town level (Can take hits from Simon's Quest Simon Belmont^[22])| At least Town level (Can take hits from Rondo of Blood Richter Belmont & Rondo of Blood Maria Renard^[23]) | At least Town level (Can take hits from Time Reaper^[24])

Striking Strength: At least Town Class (Potency) | At least Town Class (Potency) | At least Town Class (Potency)

Lifting Strength: At least Class 10 (Vampires are considered far larger threats than the standard creature of the night monsters^[25], which should make her superior to Hector's Battle-Type innocent devils who can move entire tree logs that are blocking roads out of the way^[26] where logs can weigh around 15 to 5 tons^[27] and Hector's battle-type innocent devils can lift open large iron doors that "no man could force open"^[28]) | At least Class 10 | At least Class 10

Travel Speed: At least Superhuman regularly (Vampires can assume the shape of a wolf, a bat or fog^[29]). At most Faster Than Light at top speed (Vampires are loved by the night, beyond even the typical Creature of the Night, making her faster then enemies such as the Sky Fish who moves so fast that it appears as a beam of light and is only slowed down when time is stopped^[30] and the White Demon, who can move at the speed of light at short distances^[31]. Vampires can move so fast that the light itself cannot keep up with them, leaving an afterimage behind^[32]. Alucard in his suppressed Genya Arikado form can still move so fast that an afterimage made of light is behind him^[33]) | At least Superhuman regularly. At most Faster Than Light at top speed | At least Superhuman regularly. At most Faster Than Light at top speed

Attack Speed: At most Faster Than Light | At most Faster Than Light | At most Faster Than Light

Reaction Speed: At most Faster Than Light | At most Faster Than Light | At most Faster Than Light

Stamina: Limitless (Vampires are loved by the night, making them so powerful that vampires like Walter Bernhard never been defeated before Leon Belmont gained the vampire killer^[34])

Range: Standard Melee, Extended Melee with Chained Blade. At least Tens of Meters with Attacks (Has a tear fall from her mask that splits into multiple energy projectiles going in multiple directions that reach across the entire room^[35]. Can shoot out a rapid fire of multiple energy projectiles that wrap around the target and reach across an entire room^[36]. In Rondo of Blood and The Dracula X Chronicles, the tears she drops are fire-based, going across the room^[37])

Intelligence: Supergenius Intelligence (Carmilla is an expert user of magic, where magic requires one to have a deep understanding of Quantum Physics to utilize it to its fullest, requiring understandings of theories such as "Curse Amplification"^[38])

Knowledge: At least Master level (An expert user of magic beloved by the night, capable of fighting against the likes of Simon Belmont, Richter Belmont, Maria Renard, and many more warriors)

Key Information: This key is covering Carmilla from Castlevania: Circle of the Moon, a game originally apart of the timeline that was later removed. Due to it originally being apart of the timeline and even alternate timeline "non-canon" games sharing the same spirit and lore^[39], abilities are all cross-shared. Grade: A Tier: At least 7-C Cardinality: Finite Power Source: Chaos (All monsters and creatures are Creatures of Chaos^[40], where they are empowered by Chaos, always rebirthing from Chaos with each rebirth, the creatures takes a new form^[41]) Dimensionality: 3-D Attack Potency: At least Town level (Potency) (Vampires are considered far larger threats than the standard creature of the night monsters^[42], which would put her above creatures such as Golem, from Castlevania Judgement, as he died to a random unknown hunter after his return from the time rift^[43]. Golem with his ultimate can shoot out a mouth blast that vaporizes everything it touches as far as the eye can see getting these results^[44]. Can fight and harm Nathan Graves^[45]) Durability: At least Town level (Can take hits from Nathan Graves^[46]) Striking Strength: At least Town Class (Potency) Lifting Strength: At least Class 10 (Vampires are considered far larger threats than the standard creature of the night monsters^[47], which should make her superior to Hector's Battle-Type innocent devils who can move entire tree logs that are blocking roads out of the way^[48] where logs can weigh around 15 to 5 tons^[49] and Hector's battle-type innocent devils can lift open large iron doors that "no man could force open"^[50]) Travel Speed: At least Superhuman regularly (Vampires can assume the shape of a wolf, a bat or fog^[51]). At most Faster Than Light at top speed (Vampires are loved by the night, beyond even the typical Creature of the Night, making her faster then enemies such as the Sky Fish who moves so fast that it appears as a beam of light and is only slowed down when time is stopped^[52] and the White Demon, who can move at the speed of light at short distances^[53]. Vampires can move so fast that the light itself cannot keep up with them, leaving an afterimage behind^[54]. Alucard in his suppressed Genya Arikado form can still move so fast that an afterimage made of light is behind him^[55]) Attack Speed: At most Faster Than Light Reaction Speed: At most Faster Than Light Stamina: Limitless (Vampires are loved by the night, making them so powerful that vampires like Walter Bernhard never been defeated before Leon Belmont gained the vampire killer^[56]) Range: Standard Melee. At least Tens of Meters with Attacks (Can shoot out a massive energy laser that covers the entire room^[57]) Intelligence: Supergenius Intelligence (Carmilla is an expert user of magic, where magic requires one to have a deep understanding of Quantum Physics to utilize it to its fullest, requiring understandings of theories such as "Curse Amplification"^[58]) Knowledge: At least Master level (An expert user of magic beloved by the night, capable of fighting against the likes of Nathan Graves)

Powers and Techniques

Is a Creature of the Night, which gives:

Resistance to

Is a Vampire, which gives:

Resistance to

Equipment

Chain Whip

A Chain Whip Carmilla uses as her weapon in Castlevania Judgment to match her sadistic personality. She can utilize it for short ranged combat for quick stabs and penetration attacks, or for long range attacks if the enemy is far away.

Laura

Laura is a devoted servant of the vampiress Carmilla. Initially, she presents herself as a harmless and helpless damsel in distress, luring unsuspecting victims into a false sense of security. However, her true nature is revealed when provoked or attacked, as she quickly sheds her innocent facade to unleash her deadly combat skills, which primarily revolve around martial arts.

In battle, Laura displays a methodical pattern of movement, pacing back and forth with a deceptive air of vulnerability. She poses a significant threat to those who venture too close, as she will seize the opportunity to grab her opponent. Once restrained, she immobilizes them and begins to sap their strength by draining their supply of Hearts, leaving them vulnerable and at a severe disadvantage in the fight.

Once Camilla has been defeated, attacking Laura triggers a transformation that reveals her true form. She sheds her dress, unveiling a black one-piece suit complemented by black thigh-high boots. In this state, Laura abandons her earlier tactics and starts launching a series of flying kick attacks, showcasing her agility and combat prowess.

Notable Techniques

Blood Draining: Vampires can bite and drink the blood of their victims. Blood acts as a source of energy and life for vampires and creatures of the night, an example of this being Red Skeletons who endlessly^[200] regenerate^[201], from any kind^[202] of damage due to it absorbing blood^[203].
Transformation: Vampires are able to turn into bats, wolves, fog, and other sorts of creatures as they please.
Super Strength: Vampires are incredibly superhumanly strong, even for the average creature of the night, being noted to be stronger than even Werewolves.
Super Speed: Vampires can move incredibly fast, to where all of them leave behind light projections due to how fast they're moving, while they can control their speeds even to approach speeds such as sound. They are normally beyond even other creatures in the castle such as the White Demon who moves at the speed of light at top speed.

Neutral Combo

Directional Combo

Jumping Attack

Wicked Game

Displaying her mastery of acrobatics and weaponry, Carmilla leaps high into the air, her chained blade whirling around her in a deadly arc. The spinning motion creates a circular zone of destruction, slicing through anything within its reach. Her precision and control ensure that the attack is as mesmerizing as it is lethal, leaving her opponent with little chance to evade.

The Pleasure

The Pain

Sweet Torture

Carmilla begins this attack by dashing gracefully but aggressively toward her opponent, her movements quick and precise. With a single, fluid motion, she shoves her opponent to the ground, the force of the impact disorienting them. Without pause, she flips backward in a somersault, her movements exuding both elegance and cruelty. She then lands directly on her opponent with deliberate intent, driving the sharp, deadly blades of her heels into their flesh, ensuring maximum pain and damage.

Sacrifice

Demonstrating her mastery of ranged combat, Carmilla fires the blade of her weapon like a harpoon. The chain propels the blade forward with immense speed, piercing her opponent before they can react. With a flick of her wrist, she retracts the chain, dragging the helpless target back toward her. As they are pulled within range, she seamlessly transitions into a spinning kick, striking with devastating force and adding an element of humiliation to the attack.

Merciless Dance

In a display of relentless fury, Carmilla drives her blade into the ground, anchoring it firmly. Using the weapon as a pivot point, she spins rapidly, her kicks transforming into a whirlwind of destruction. Each rotation is precise, her bladed heel cutting through her opponent with machine-like efficiency. This attack is as much a display of her combat prowess as it is a brutal onslaught.

Maiden Pull

Carmilla rushes toward her foe with the speed and precision of a predator closing in on its prey. As she reaches them, she unleashes a flurry of attacks, each movement a calculated strike. Her swirling combo of slashes and spins culminates in her weapon impaling her opponent, pinning them in place. With an air of disdain, she hurls them away, her strength a testament to her terrifying power.

Bloody Heel=

Carmilla showcases her agility with this attack, launching herself into the air with a powerful jump. While airborne, she twists her body into a spinning dive kick, aiming directly at her opponent. Her razor-sharp heel becomes a deadly weapon, striking with pinpoint accuracy and delivering a blow designed to slice deep and incapacitate.

Maiden's Feast

Carmilla’s ultimate move is a chilling display of her cruelty and dominance. She detaches her weapon from her arm, the device morphing and growing in size, revealing its true nature. With incredible speed, she charges at her opponent, delivering a relentless barrage of punches and kicks that leave them utterly broken. As they collapse, unable to resist further, they are ensnared by an Iron Maiden torture device—the grotesque final form of her weapon. Carmilla savors the moment, delivering a mocking taunt and a humiliating slap to her victim's face before sealing their fate. The Iron Maiden's doors snap shut with a resounding crash, crushing her opponent and leaving no doubt about her merciless nature.

Other

Standard Tactics

Regular Games: Carmilla normally is shown to float around dropping tears from her mask that either shoot out a multitude of energy projectiles or fire projectiles.
Judgment: In Judgment, Carmilla takes a more humanoid moveset, utilizing a chain whip in combat to torture her opponent.
Circle of the Moon: In Circle of the Moon, Carmilla is back sitting on her flying head, while shooting down lightning from it, cursed based attacks, a multitude of projectiles, and shooting a massive energy blast.

Weaknesses

Note

Contrary to popular belief, holy attacks and the whips in Castlevania can affect and harm people that aren't apart of the creatures of the night. Leon's doppelganger can use holy water and holy attacks against him in this fight along with the alchemy whip despite Leon being a pure and noble warrior^[216]. Simon's doppelganger can harm him with the vampire killer, despite Simon being a noble hero. Holy Water even works and harms enemies such as the "Holy Armor"^[217], a knight who has natural holy powers^[218]. Corrupted enemies such as Charlie Vincent, use holy water attacks on Carrie and Reinhardt^[219]. Characters like Jonathan Morris wear armor like the Holy Mail, an armor that reduces damage from holy attacks^[220].
The Sky Fish feat moving so fast that it appears as a beam of light and only slows once time is stopped^[221] is a natural indication of Faster Than Light travel as at the speed of light, time is zero from its perspective. Soma Cruz having a hard time catching up with it initially does not mess with his scaling either as we know it's an unquantifiable level into Faster than Light at the most.
While vampires have some weakness to sunlight and can burn overtime in them^[222], higher tier vampires^[223], can stand out in the sunlight just fine^[224] without being weakened. It should also be noted even with Dhamphir's like Alucard, in original lore, he was considered a full vampire yet could stand out in the sunlight perfectly fine.

Explanation

Usage of games like Castlevania Legends & Castlevania: Circle of the Moon

Castlevania Legends

The game was originally meant to be a prequel to all the other games in the Castlevania series, this can be seen with Sonia's boss fight against Dracula serving as the first time Dracula ever encountered a Belmont along with the ending of the game saying "this story marks the beginning of the Belmont family legend that has been passed on through many ages". Along with this, Sonia shared a relationship with Alucard, heavily implying that her child is between her and Alucard. The existence of Lament of Innocence already greatly messes with this. The game manual even mentions that Sonia was the first of the Belmont family to leave her name to posterity as a vampire hunter^[225]. Despite Leon Belmont being the one to start the legend of the Belmont Hunters being vampire hunters. Along with this, Trevor is canonically the first Belmont to defeat Dracula. Iga has gone out of his way to note too that Castlevania Legends was intentionally redacted from the timeline so that it doesn't conflict with the timing used in other titles.

Castlevania: Circle of the Moon

Although it was in the original 2006 timeline, it was removed by Iga from the timeline, along with Castlevania (N64), Legacy of Darkness, and Legends.

Why abilities from them are still usable for main timeline

These games were at one point officially a part of the original timeline before ultimately being removed, making them hypotheticals that could be done. This is further supported by an interview in the History of Castlevania - Crescent of the Moon book, where executive producer of Castlevania Netflix Adi Shankar noted that even the "non-canon" games are parallel timelines in the overall multiverse, sharing the same spirit and lore^[226]. While one could argue his statement shouldn't be used, it comes from a book titled, "History of Castlevania - Crescent of the Moon", where it wouldn't make much sense if his statement was wrong and there was no correction over it. The book even has asterisks to give further context, yet they never claim him wrong. Along with this, it's consistent with the fact that most of the Castlevania games that are "non-canon" now were originally a part of the timeline. Thus this statement is usable. Thus abilities and the likes from these games can carry over to the main timeline games.

Trivia

Vampira, the name with which she appears in the English instruction booklet for Castlevania II: Simon's Quest, may be a reference to the eponymous character created and played by Maila Nurmi during the 1950s (and who was in turn partly derived from Morticia Addams, the matriarch of The Addams Family).
Most depictions of Carmilla (starting from her second appearance in Castlevania: Rondo of Blood) have her riding atop a giant, flying, magical skull, similar in concept to the Giant Ghost.
The caption above Carmilla's illustration in the Akumajō Dracula XX: Holy Bible guide reads as follows: "The tragic fate of a witch enchanted by a dark power."^[227]
- This description is reminiscent of the identically named Carmilla from the Boktai series (also by Konami). In Boktai, Carmilla is a tragic villain who, during her original life as a human, was shunned because of the magical powers she possessed, and thus was known as "the crying witch". Eventually, she was turned into a banshee by the Count (a clear Dracula stand-in). It is unclear whether this is an allusion to a backstory of Carmilla that has never made it into the games, or just a coincidence.

Carmilla's mask appears as an Easter egg in the Dead Cells: Return to Castlevania DLC, in stage 2, Dracula's Castle, although neither as an enemy nor boss battle. If the player examines the mask, the right eye will start bleeding.

The boss Mask of Infamy from the game The Binding of Isaac references Carmilla^[228].
Although it is made clear that she was responsible for the witch trials that resulted in Sypha being orphaned, it is unclear whether she was also responsible for Lisa's death (due to her also being killed due to being mistaken for a witch).
The name "Camilla" that she sometimes has was also used by Camilla Fernandez, the Fernandez Warrior turned Vampire in Castlevania (N64)/Castlevania: Legacy of Darkness.

Misconceptions

"Gaiden" means "Non-Canon" or "Alternate Timeline"

This stems from the belief that when Iga or a producer calls a Castlevania game a "Gaiden" it is therefore non-canon or an alternate timeline and can be dismissed. This, however, is not the case.

The term "Gaiden" merely just means a side story, spin-off, or a separate tale. The term "Gaiden" does not determine the canonicity of a work, it just lets you know if the game is a spin-off/side-story or if it's a main story. Take, for instance, the Kingdom Hearts series. Kingdom Hearts: Chain of Memories would be considered a gaiden, as it's a side-story and spin-off title that isn't a mainline numbered title, however, it is in all manners canon and important to play to understand Kingdom Hearts II.

The same can be applied to Castlevania itself, Castlevania Symphony of the Night is a gaiden game. Yet it is very obviously canon and pretty important to play to understand more of Alucard's backstory. The idea of a Gaiden game for the Castlevania series itself would be any game not dealing with one of Dracula's main 100-year-resurrections, which in this case, even Castlevania 2: Simon's Quest is in a way a gaiden, despite being completely canon.

This is all to say that Gaiden does not at all mean "non-canon" or "alternate timeline" and should never be treated as such, the term itself has nothing to do with the canonicity of a product.

IGA Statements Quoted by a Fan

Any statements Iga has made about Judgment that don't come from this IGN interview or a sourced and reputable article are not usable. This is, of course, referring to the popular statements used when discussing Judgment's Canoncity about a fan asking IGA about the game's Canoncity on Facebook, here are some of them below:

Fan: You mentioned Legend of Cornell was an alternate continuity. However, Cornell appears in Castlevania Judgment, which I believe is not an alternate continuity. How does that work? is he from a different universe than the other characters? It is not really explained in the game itself so I was hoping you could give some clarification on the issue.

IGA: Judgment is a work that surpasses space and time and brings them together.

Fan: I get it. So, is the explanation I suggested in the previous reply possibly correct?

IGA: I don't think it's exactly correct. Judgment is a work born of thinking it would be fun to remove all the hedges and bring characters that appeared throughout the series together. I think that you need to view it as an event from another world which does not consider things like timelines or parallel dimensions at all.

Now these seem like pretty clear-cut statements until you start to try to find where these come from.

They come from both a timeline archive discussion on the Castlevania Wiki back on January 15th, 2012 and from a forum post from the same user as the wiki article.

There is no way to find anything sourced or verifiably proven that this person spoke to Iga. Trying to look up the person didn't get any real results either.

Some other issues fall under the inconsistencies within these Iga talks, the person claims that Iga confirmed that Order of Shadows and the Arcade are non-canon because they were intended from the very beginning to be such, however, an officially sourced interview has the lead game designer of Order of Shadows state that Iga was actively involved with ensuring the game was consistent with the current canon, this would be a weird thing to do if he intended it to be non-canon from the very beginning.

He also claims that Iga said Super Castlevania IV was an alternate continuity, when the wiki also notes Iga saying that the games are all legitimate and the same scenario of defeating Dracula, however this quote is also unsourced, they just claim Iga says this with no link or anything.

There is another one not related to the user who spoke to Iga, but a user on reddit who claimed that a magazine claimed that Castlevania: Circle of the Moon was stated to be in a "different time axis". Attempting to get it translated got no wording that said anything like that, with it not even mentioning anything about canon, timeline, time axis, or any other wording of the sort in a machine-translated attempt. Do note however that this is a machine translation so it could potentially be that it is there, but until a reputable and verifiable translator can confirm or deny this translation, the jury is out with it and it will not be used for the canoncity of Circle of the Moon.

Thus all of these quotes are merely hearsay until shown or proven otherwise.

Remakes/Remasters Being Non-Canon

This comes from an Iga quote that says:

"IGA: FC版とX６８０００版ですが、X６８０００版はFC版をベースにアレンジを加えたものになっています。ゲームのアレンジは、その時に応じて、色々と施されるものですので、正直どちらも正統であると思ってよいのではないかと思っています。結論として、ドラキュラと戦い勝つというシナリオで、中間部分の切り抜きが違うと考えてもよいのではないかと考えています。スーパーファミコン版も違いますし…。どうしてもと考えるのであれば、FC版を尊重すべきかと考えます。

Translation: Regarding the Famicom version and the X68000 version, the X68000 version is an arrangement based on the Famicom version. The arrangement of a game is the kind of thing where you add a lot of different things as needed, so honestly speaking, it think they both should be considered legitimate. In conclusion, I think they should be considered as the same scenario of fighting to defeat Dracula, just with a different middle part. The Super Famicom version is different as well... If you simply must have a clear answer, the Famicom version must be given deference."

Now the quote itself doesn't state remakes or remasters are non-canon despite what people believe. It's moreso a quote of Iga stating that all of them are the same scenario, just with differences. However, an interesting point is that Iga says the NES version should be given "deference", as in to defer to the NES version.

Of course, though, this has the same issue as the Judgment quotes, everyone claims Iga said this, but there is no source of him saying this. In fact, in Castlevania Chronicles, there's a reward interview you receive from Iga himself where he talks about the game, Iga pretty much explains how the game came to be and never says anything about the game not being canon or to defer to the original^[229], if anything he treats this as just an updated version of the original. Interestingly to note too, the original he's talking about is not Castlevania on NES but instead, he's talking about the computer version of Castlevania^[230], though it borrows a lot of elements from Castlevania NES.

Overall due to the quote itself having no source, it is unusable. The way we will treat remakes, remasters, or ports here however is that they are all equally canon unless stated otherwise. Most of these tell the same story with the only real differences being extra background information added, such as Haunted Castle having it be Dracula stole Simon's wife, though the same overall story still applies even here. Iga himself has already expressed that the original Castlevania's story is pretty simple^[231] and Simon having a wife does not affect anything in the overall narrative. Super Castlevania IV notes that Simon is a vampire, though this was due to a novel writer making him a vampire in their novel. The novel was originally supposed to be an adaptation of Super Castlevania IV but was then dropped and made its own thing. Super Castlevania IV itself is still canon, but the subplot of Simon being a vampire is not. The most recent timeline even acknowledges it as canon^[232].

Iga Only Allows Stuff He Works on To Be Canon

There is a weirdly believed idea in the fandom that Iga only considers works he worked on canon, however, an officially sourced interview has the lead game designer of Order of Shadows state that Iga was actively involved with ensuring the game was consistent with the current canon, along with this Iga did not work on a lot of Castlevania games considered canon, such as the NES trilogy and the Gameboy games. In fact, he has only made 12 Castlevania games, out of the 30 Castlevania games in total, and most of them from the older console eras are still a part of the canon. Thus Iga does not only allow stuff he works on to be canon.

Iga is a Producer of Castlevania: Circle of the Moon

A Nintendo Power magazine calls Iga the producer of Circle of the Moon, with Iga talking like he worked on the game in that interview. However Iga can be found nowhere in the credits of the game. Making this Nintendo Power issue questionable as to if they were talking to Iga or if the game was mixed up. Though we have direct in-game proof that Iga was not a producer of Circle of the Moon.

Elements and Statements can be used from Lords of Shadows for the main continuity

This argument comes from Adi Shankar saying that even "non-canon" games are parallel timelines in the overall multiverse, sharing the same spirit and lore^[233]. However, the Lord of Shadow games are directly noted in an interview with the lead developer, that the game has nothing to do with the canon, sharing none of the lore or original stuff for the characters. This directly conflicts with Adi Shankar's statement and it was very likely he was not even thinking of Lords of Shadows when making this statement but moreso games like Castlevania Legends. On top of this, Adi Shankar has no actual position within Konami, and being an executive producer for the Castlevania anime, thus he does not have any true say in terms of how Castlevania canon works and can only be used at most as a supporting piece of evidence.

Codex Statistics Questions

Q: Shouldn't the characters be around Tier 2 for defeating the Time Reaper who would've destroyed the very fabric of time^[234], attempted to destroy the specific era of time^[235], cause all beings everywhere to disappear, forever^[236] and that the age was on the verge of collapse^[237]?

A: We actually never get a direct outright method of Time Reaper's plan for doing this, from what Aeon mentions to Golem, if the Time Rift is not erased, all beings everywhere will disappear, forever^[238], implying that it's the Time Rift causing this, this is further backed up by the fact that in Time Reaper's boss fight, there is a vortex in the background consuming everything^[239], meaning this is an overtime feat that scales to no one physically.

Q: Shouldn't they get tier 2 for Dracula's influence destabilizing the flow of time^[240]?

A: This is a potent ability but has nothing to do with Attack Potency, there is no quantification for "destabilizing the flow of time", along with this, even if it was taken as physically, then it would be overtime as the effects are not noticeable throughout most of Curse of Darkness. Thus this is merely potent Time Manipulation.

Q: Shouldn't Dracula and by proxy anyone that scales to him get tier 2 for him being able to sustain his castle?

A: This goes under our Stabilization Feats standards, which treats sustaining feats are non-combat applicable Attack Potency normally, though in Dracula's case the Castle is speficially powered by the existence of a Dark Lord, and doesn't necessarily need their strength to rise. In the Castlevania novel, the castle rose without a Dark Lord as an example. Along with this, no one scales to the collapse of the castle, in Curse of Darkness Hector would've died to the collapse of the castle if^[241] Julia didn't come save him, and Isaac died within the castle^[242]. In other cases the Castle does not collapse^[243], but instead slowly fades away^[244]. At the end of Dawn of Sorrow Soma Cruz and Genya Arikado (aka Alucard) must escape the collapsing abyss.

Q: Shouldn't Castlevania characters that scale to Death have Infinite speed due to Death being able to kill distance itself with his attacks?

A: Killing distance to attack is not a speed feat, it's a method of Spatial Manipulation by circumventing and ignoring distance, while one can say the attack spawns on you instantly, this is not really something quantifiable. Along with this, it would only scale to characters comparable to Death during post-Dawn of Sorrow, as Soma notes Death is far faster than he remembered from his fight with him in Dawn of Sorrow^[245].

Battle Records

Main Timeline
11 - 2 - 0

Circle of the Moon Timeline
0 - 1 - 0

Aeon - Fight^[246]
- Conditions: None.
- Location: Time Rift

Trevor Belmont - Fight^[247]
- Conditions: None.
- Location: Time Rift
- Note: Fights against characters in the time rift are technically not the actual characters but one's desires being made within the time rift, such as why some characters like Dracula kill others in their story mode but the characters is alive and defeats Time Reaper in their own story mode, never meeting Dracula.

Maria Renard - Fight^[248]
- Conditions: None.
- Location: Time Rift
- Note: Fights against characters in the time rift are technically not the actual characters but one's desires being made within the time rift, such as why some characters like Dracula kill others in their story mode but the characters is alive and defeats Time Reaper in their own story mode, never meeting Dracula.

Alucard - Fight^[249]
- Conditions: None.
- Location: Time Rift
- Note: Fights against characters in the time rift are technically not the actual characters but one's desires being made within the time rift, such as why some characters like Dracula kill others in their story mode but the characters is alive and defeats Time Reaper in their own story mode, never meeting Dracula.

Simon Belmont - Fight^[250]
- Conditions: None.
- Location: Time Rift
- Note: Fights against characters in the time rift are technically not the actual characters but one's desires being made within the time rift, such as why some characters like Dracula kill others in their story mode but the characters is alive and defeats Time Reaper in their own story mode, never meeting Dracula.

Shanoa - Fight^[251]
- Conditions: None.
- Location: Time Rift
- Note: Fights against characters in the time rift are technically not the actual characters but one's desires being made within the time rift, such as why some characters like Dracula kill others in their story mode but the characters is alive and defeats Time Reaper in their own story mode, never meeting Dracula.

Sypha Belnades - Fight^[252]
- Conditions: None.
- Location: Time Rift
- Note: Fights against characters in the time rift are technically not the actual characters but one's desires being made within the time rift, such as why some characters like Dracula kill others in their story mode but the characters is alive and defeats Time Reaper in their own story mode, never meeting Dracula.

Eric Lecarde - Fight^[253]
- Conditions: None.
- Location: Time Rift
- Note: Fights against characters in the time rift are technically not the actual characters but one's desires being made within the time rift, such as why some characters like Dracula kill others in their story mode but the characters is alive and defeats Time Reaper in their own story mode, never meeting Dracula.

Cornell - Fight^[254]
- Conditions: None.
- Location: Time Rift
- Note: Fights against characters in the time rift are technically not the actual characters but one's desires being made within the time rift, such as why some characters like Dracula kill others in their story mode but the characters is alive and defeats Time Reaper in their own story mode, never meeting Dracula.

Aeon - Fight^[255]
- Conditions: Match was a rematch.
- Location: Time Rift

Time Reaper - Fight^[256]
- Conditions: None.
- Location: Time Rift

None.

Simon Belmont - Fight^[257]
- Conditions: None.
- Location: Laruba Mansion

Richter Belmont & Maria Renard - Fight^[258]
- Conditions: Carmilla had help from her maid Laura.
- Location: Torture Chambers

Nathan Graves - Fight^[259]
- Conditions: None.
- Location: Camilla's Castle