![]() You could never stand still in Dead Cells for long, but in Return to Castlevania you’ll also contend with new traps, crumbling or turning platforms, and a host of new enemies. It drips with atmosphere, from the spectacular music to the enemy design, peppering in themed weapons like Holy Water bombs and the Vampire Killer whip, and upping the pace of gameplay to match. Without a doubt, this expansion is built for Castlevania fans. ![]() Alucard then gives you his Shield, a powerful new weapon, and sets you the task of meeting him deeper in the castle. In standard fashion, the Beheaded wakes him up by hammering on his coffin in the clueless, bumbling way we’ve come to expect. The first time you fight through the new area, you’ll meet Alucard, protagonist of Symphony of the Night. But the Castlevania portion handles things a little bit differently. If you’ve ever slain the Hand of the King and finished the initial campaign, you’ll know it’s all just a cruel and bizarre cycle anyway. Or even question the potential life-ending danger of what lies ahead. Your Beheaded Prisoner is hardly one to shy away from a challenge. Here you’ll also meet legendary vampire hunter Richter Belmont, who will ask for your help to vanquish a great evil. You don’t select this campaign from the menu or a special door in the Sewers, instead you will come across the entry to this strange alternate world via a set of familiar stone steps early on. Which is not to say it’s not integrated just the same. ![]() But for the first time, Dead Cells: Return to Castlevania truly feels like something extra that exists alongside the standard game. ![]() Once integrated into Dead Cells’ labyrinthine structure, they feel as though they’ve always been there – and the superb Assist Mode allows you to tailor the difficulty across the board. It often adds new levels, bosses, weapons, outfits, but none of them are unique experiences. Historically, Dead Cells DLC has been difficult to properly review in a vacuum. ![]()
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