It is a strange feeling to see Alucard running across a smartphone screen. For a series that basically defined the "Metroidvania" genre—a term that somehow stuck despite being a bit of a mouthful—Castlevania has had a rough decade. Between the Pachinko machines and the long droughts of silence from Konami, fans have been starving. Then came Castlevania Grimoire of Souls. It wasn't exactly what everyone wanted. It wasn't a sprawling $70 console epic. It was a mobile game. But honestly? It’s probably the most dense piece of fan service the franchise has ever produced, even if its journey from a soft launch in Canada to an Apple Arcade exclusive left a lot of people scratching their heads.
The game is essentially a "Greatest Hits" album. You aren't exploring one giant, interconnected castle this time. Instead, you're diving into magical books that contain snippets of the past. It’s a clever narrative trick. It allows the developers to throw Simon Belmont, Maria Renard, and Shanoa into the same room without breaking the space-time continuum too badly.
The bumpy road of Castlevania Grimoire of Souls and its Apple Arcade rebirth
Most people forget that this game actually "died" once. Back in 2019, Konami launched a version of it on Android and iOS in select regions. It had all the hallmarks of a standard mobile title: microtransactions, stamina bars, and that constant pressure to open your wallet. It didn't last. By 2020, they pulled the plug. It felt like another footnote in the "Konami doesn't know what to do with its IPs" saga.
But then something unexpected happened. Apple Arcade picked it up.
This changed everything about how the game feels. When it moved to Apple’s subscription service, the developers had to strip out the "gacha" mechanics. Suddenly, you weren't paying for pulls; you were just playing the game. It’s rare to see a game go from a predatory business model to a pure gameplay experience. It makes the progression feel way more natural. You're grinding for materials because you want that specific whip, not because a timer is forcing you to wait.
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Who are you actually playing as?
The protagonist is a guy named Genya Arikado. If you’ve played Aria of Sorrow, you know exactly who that is. If you haven't, well, he's basically Alucard in a very sharp suit working for a secret Japanese government agency. He's trying to stop the grimoires from leaking out and bringing Dracula back—again. The guy can't catch a break.
The real draw isn't just Arikado, though. It’s the roster. You get to play as:
- Alucard: He plays exactly like you remember from Symphony of the Night. Smooth, fast, and deadly.
- Simon Belmont: The classic. He’s slower, sure, but that whip reach is hard to beat when you're dealing with Medusa heads.
- Charlotte Aulin: Coming straight from Portrait of Ruin, she brings the magic.
- Shanoa: The fan favorite from Order of Ecclesia. Her glyph system is simplified here but still feels distinct.
- Maria Renard: Specifically the Rondo of Blood version. She’s arguably the most "broken" character in the best way possible.
The chemistry between these characters is where the writing actually shines. You get these small dialogue moments that address things fans have debated for years. It’s sort of a "What If" scenario brought to life.
Is the gameplay actually "Castlevania" or just a hollow shell?
Look, it’s a mobile game. You have to go into it with that mindset. The levels are short. They're designed for a bus ride, not a five-hour session on a couch. Most stages take about three minutes to clear. That might sound like a dealbreaker for purists, but it works for what it is. The controls are surprisingly tight, especially if you hook up a controller to your iPad or Mac. Touching a screen to play a platformer is usually a nightmare, and while this is "fine" on glass, a DualSense or Xbox controller makes it feel like a real Castlevania game.
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The combat focuses on a "dual character" system. You pick a primary and a secondary. You can swap them on the fly to chain combos or survive a boss's desperation move. It adds a layer of strategy that the older games lacked. Do you bring Simon for the range and Alucard for the speed? Or do you go double magic with Charlotte and Maria?
The boss fights are where the nostalgia hits hardest. Seeing Death or the Legion boss rendered with modern high-definition 2D sprites is a treat. Ayami Kojima, the legendary artist behind the series' most iconic looks, provided the character designs. Having her art back in the fold makes the whole project feel legitimate. It doesn't look like a cheap knock-off; it looks like the real deal.
What people get wrong about the "Grimoire" story
A lot of critics dismissed the story as filler. I think that's a mistake. While it’s not Symphony of the Night 2, it does some heavy lifting for the series' lore. It deals with the idea of the "Eternal Night" and how Dracula's influence lingers even when he's theoretically dead for good. It’s a meta-commentary on the franchise itself—how these characters are trapped in a cycle of retelling their own legends.
The game also features music from Michiru Yamane. If you know, you know. Her harpsichord-heavy, gothic-rock compositions are the heartbeat of the series. Even if you hate the touch controls, you can't deny that the soundtrack is top-tier. It includes remixes of classic tracks and some new compositions that hold their own against the greats.
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The grind is real (but different now)
Since there are no microtransactions in the Apple Arcade version, the "grind" is purely about gameplay. You collect "parchment" and "magical thread" to upgrade your gear. In the old version, you'd just buy your way to the top. Now, you have to actually play the Daily and Weekly missions.
Some might find this tedious. Honestly, it can be. Especially when you need that one specific drop to level up your sub-weapon. But it's a "fair" kind of tedious. It reminds me of the old Boss Rush modes or the soul-farming in Soma Cruz’s adventures. It gives you a reason to keep coming back to levels you’ve already cleared.
Why the "Winter Update" mattered
Konami didn't just dump the game and leave it. They added substantial content updates, including the final chapters of the story. This is important because so many mobile games end on a cliffhanger when the servers shut down. Castlevania Grimoire of Souls actually has a conclusion. It finishes the arc. That's a rarity in the "games as a service" world.
How to actually get the most out of it
If you're going to dive in, don't just mash the attack button. The game has a surprisingly deep elemental system. Fire, Ice, Light, and Dark actually matter. If you’re hitting a wall with a boss, check your gear's elemental affinity. Usually, switching from a flame whip to an ice brand is enough to turn a frustrating fight into a cakewalk.
Also, pay attention to the sub-weapons. They aren't just secondary attacks; they provide passive buffs. Some weapons increase your critical hit rate, while others boost your defense when your health is low. Mixing and matching these is the "secret sauce" of the endgame.
Actionable Steps for New Players
- Use a Controller: Seriously. Whether it's a Backbone One for your iPhone or a standard console controller, the experience is night and day.
- Focus on One Duo: Materials are scarce early on. Pick two characters you like—I recommend Alucard and Maria—and dump all your resources into them first.
- Check the "Orders" Tab: There are constant challenges that reward you with the currency needed for high-level upgrades. It's the fastest way to bypass the mid-game slump.
- Explore the Alter Engine: This is the system that lets you customize your "soul" skills. It’s easy to ignore, but it's where the real power-scaling happens in the later chapters.
- Listen to the Music: Don't play this on mute. The soundtrack is a genuine gift to long-time fans and deserves a good pair of headphones.
The game isn't perfect. It’s a bit repetitive, and the level design is nowhere near as intricate as a traditional Metroidvania. But as a celebration of everything Castlevania has been over the last thirty-plus years, it’s a surprisingly heartfelt project. It’s the closest we’ve gotten to a new classic-style entry in a long time, and for subscribers, it's essentially a free trip down memory lane.