Welcome to our Colossus TV Guide for Castlevania: Nocturne Season 1. This guide contains our detailed library of content covering key aspects of the movie’s plot, ending, meaning, and more. We encourage your comments to help us create the best possible guide. Thank you!
What is Castlevania: Nocturne Season 1 about?
Castlevania: Nocturne is a new chapter in the exploits of the Belmont clan. The original chapter of the series focused on grief, loneliness, and connection. Nocturne pivots to the theme of freedom. Every character has some burden that shackles them. If not physically then emotionally, existentially. Our heroes fight on the side of freedom while the villainess, Erzsebet, embodies oppression and enslavement.
TV Guide table of contents
- Richter Belmont – Edward Bluemel
- Julia Belmont – Sophie Skelton
- Juste Belmont – Lain Glen
- Annette – Thuso Mbedu
- Edouard – Sydney James Harcourt
- Maria Renard – Pixie Davies
- Tera Renard – Nastassja Kinski
- Emmanuel, The Abbot – Richard Dormer
- Mizrak – Aaron Neil
- Olrox – Zahn McClamon
- Erzsebet Báthory (Sekhmet) – Franka Potente
- Drolta Tzuentes – Elarica Johnson
- Alucard – James Callis
- Animation by: Powerhouse Animation Studios
- Written by – Clive Bradley, Zodwa Nyoni, Temi Oh, Testament
- Directed by – Sam Deats, Adam Deats, Saren Stone, Tam Lu
The ending of Castlevania: Nocturne Season 1 explained
The end of Castlevania: Nocturne Season 1 is the episode “Devourer of Light”. It begins in the aftermath of Erzsebet summoning a total eclipse of the sun, turning the day to night. Drolta and other vampires fly to the church where Richter, Annette, Tera, and Mizrak have gone to save Maria and Edouard and send the forgemaster machine back to hell. Erzsebet fully channels Sekhmet, transforming into a humanoid feline vampire. She takes her carriage to the church.
The Abbot, Emmanuel, quotes the Bible, a story from Genesis where God asks Abraham to sacrifice Abraham’s favorite son, Isaac. This is what Erzsebet has demanded of The Abbot. Sacrifice his daughter, prove his loyalty. Tera confronts The Abbot, as the others fight night creatures, and reminds him that God spared Isaac by telling Abraham to sacrifice a ram instead. Emmanuel questions why, then, God has yet to send a ram to spare his daughter. “Where is the ram, Tera? Why didn’t God send a ram to die in her place?”
Drolta shows up, in her true, empowered, demon form. She and a cadre of vampires attack Richter, Maria, Tera, and Mizrak. In the basement, Annette tries to free the night creature version of Edouard. While fighting a powerful night creature guarding the jail cells, two others rebel and help Annette. Edouard refuses to leave, though, saying that his song has an effect on the other night creatures. Instead of being mindless creatures who serve their forgemaster, they’ve awakened. They’ve remembered who they were. Edouard wants to free more. Annette finds the machine creating the creatures. Using the power of her ancestors, she attempts to push it through a portal that Tera has summoned.
Erzsebet arrives. She’s there to turn Maria into a vampire. And is much more powerful than every other person in the room. Richter, Maria, Tera—they all fail to fight back. Olrox snatches Mizrak and flees, which pisses Mizrak off, as he’d rather fight than run. The portal closes, meaning the night creature machine remains.
Tera gives herself to Erzsebet in place of Tera. “I’m the ram, Emmanuel. God has given you the ram.” As the vampires close in on Richeter and Maria, Annette returns and clears an exit. Mizrak finds them in the town and asks where Tera is. Richter responds: “She wanted us to go. We had no choice.” Then asks, “Did we?” Erzsebet bites Tera. Then Tera drinks Erzsebet’s blood, feeds on Erzsebet’s wrist. Emmanuel says to Drolta, “You’re not going to let them go, are you?” Drolta says, “They’re revolutionaries, Father. We’re here to crush them.”
In the field outside the city, Richter, Annette, and Mizrak, stand their ground against Drolta and seven dive bombing vampires. As she’s about to crash into Richter, a sword pierces her chest. Drolta perishes. The figure turns to the remaining vampires and says, “I am Alucard, the son of Dracula. And if you fight me, you will die, like thousands of vampires before you.” They flee. Alucard acknowledges that Richter is on the brink of utter defeat. He closes the season by saying, “I hope I’m not too late.”
Many stories can be boiled down to “good versus evil”. That generally holds true for Nocturne but it’s a bit more nuanced in that it’s freedom fighters versus oppressors. So you have moral gray areas. Like the night creatures are ostensibly evil, being that they’re literally hell spawn, but as we see with Edouard and the creatures who defend him—it’s not as simple as kindergarten morality. It’s the same with Olrox. The season starts with the fight to the death between Olrox and Julia Belmont, Richter’s mom. A fight Olrox wins. We should view him as bad. But he’s far more in the realm of anti-hero than villain, with a backstory that, by season’s end, we’re still uncertain of.
So you’re better suited thinking about the show in terms of freedom versus oppressions. A dynamic that’s visually represented by light and night. Erzsebet is the ultimate oppressor. And her grand power is to block out the sun. You can imagine a point where this transcends being a temporary act and becomes permanent. That would mean vampires no longer have to hide during the day. They would be free to walk the planet, no matter the time. We saw how Annette grew up a slave on a vampire-owned plantation on Saint-Domingue. Her experience is a microcosm of what the entire civilization would be like if Erzsebet wins. Vampires in charge. Humans enslaved.
Every character in the show is fighting back against some form of enslavement. Physically, emotionally, or existentially.
Richter had, for 15 years, carried the burden of what happened to his mom and the powerlessness he felt that day in the face of Olrox. His inability to access magic was a direct byproduct of this emotional oppression.
Annette has a similar dynamic. A vampire also killed her mother in front of her. And she also can’t access the full extent of her family’s powers. Except there’s a cool fip. Richter embraces his family heritage but struggles with fear over Olrox. While Annette is completely cool, calm, and collected about facing her mother’s killer, in fact, she embraces the confrontation and succeeds. But she’s far more hesitant about her family history and the power there.
In fact, the same episode Richter unlocks his powers is when we learn about Annette’s problem fully harnessing her own. In a spiritual conversation with Cecile, her mentor, we get this bit of dialogue that essentially sums up the season.
Cecile: You were shaped, Annette. Everything about you, by being born a slave. Of course you were. It’s the source of your fury, but it’s not the source of your power. They like to tell you, these petty devils like the Comte de Vaublanc, that slavery is just the way of the world. It’s what people do. And you can look around and think, oh, maybe they’re right. Evil, violence, and oppression everywhere. Even these French with their high ideals. What do they know about what we’ve suffered? And what do they care? They’ll build their new world, but it won’t be freedom or equality or brotherhood for us. But they know it’s not true, Annette. The petty devils. It serves them if we believe it. But humanity didn’t enter this world dragging armies of slaves. That came later. And your ancestors. Of course I mean your mother, who loved you. And your father, who was dragged from her by men with whips. And your grandmother, who watched the ships sail, weeping and pulling her hair. But they go back. Beyond them and beyond them. Back to the source. To the Iwa of Ogun. And a world without slaves or masters. Learn to hear your ancestors. There is light in this darkness.
There you have the show making a formal connection between enslavement and darkness. Which connects back to Erzsebet and the eclipse. Which connects to the show’s subtitle Nocturne, a word that means “a work of art dealing with evening or night.” So it’s a season that’s exploring the concept of slavery in its many forms, social and personal, and the way in which light emerges in such darkness.
It makes sense to have this similarity between Richter and Annette as they’re set up as co-leads of the show and potentially romantically involved.
Edouard becomes a night creature but his mission of fighting enslavement continues. The night creatures are, afterall, a kind of slave. While in Castlevania, they were mostly portrayed as devoid of personality, random fodder the heroes could easily fight. In Nocturne, we see how personalities can remain. How humanity can remain. So Edouard as a night creature is fighting the same fight as ever before.
Tera and Emmanuel both have the burden of “sin” (given their religious beliefs) when it comes to their relations and lying to Maria all of her life. Emmanuel, as an abbot, has leaned into religion as a coping mechanism, trying to be holier-than-thou to make up for his guilty conscience. We see the way in which it has stripped him of his humanity and decency. Tera is less delusional about what they did but still feels a desire to atone. That combined with the simple fact of being a mother wanting to protect her child is what leads her to sacrifice herself in Maria’s place.
Let me geek out for a second about story structure
Tera’s sacrifice is narratively really cool as a chess move. What do I mean by that? The season had set up Erzsebet as The Main Villain and Drolta, the second in command, as the mini-boss. Usually, you have the heroes struggle against the mini-boss(es) but eventually power up. It’s by defeating these previously impossible to defeat characters that we know our heroes have gotten stronger and may have what it takes to take down The Main Villain. It’s pretty much Anime 101 at this point.
Drolta was clearly set up as the mini-boss. And we saw in the final episode that none of the characters could compete with her. Even a powered-up Richter could only fight her to a stand still. Given her prominence, you don’t expect anything bad to happen to her until much later.
Except it can because of Tera. The thing that sells Erzsebet on accepting Tera in place of Maria is that Tera herself says that given her background as a Speaker she’d make for a powerful vampire. Viewers spent the whole season watching her hold her own with Annette and Richter. Now she’s not only a villain but supercharged by Erzsebet’s Sekhmet blood? Yeah, she’s going to be formidable. And given her connection to the main cast of characters, quite an emotional mini-boss.
That means all the work the show did in building up Drolta transfers to Tera. That’s because both inhabit the “second in command” role. It’s kind of like King Arthur and Excalibur. As great as Arthur was himself, it’s the sword that made him a legend. So we know “whoever has Excalibur will be really powerful”. The role itself gains certain narrative expectations. Kind of like the title “Darth” in the Star Wars universe. Darth Vader was such a great villain that when another character has Darth in their name we automatically expect them to be at a certain level in terms of abilities but also importance.
So because Tera’s now a powerful villain, it means Drolta can do something else. In this case—it’s introducing Alucard.
When introducing a legacy character, you want them to make an entrance. Typically, you accomplish this by having the hero(es) go to the character or the character come to the hero(es). In the former, it tends to be a journey and a byproduct of things having already gone wrong. In the latter, you want to be in the midst of what seems to be an unwinnable situation. Nocturne went with the latter. You don’t want to have Alucard have a showdown with Erzsebet yet. That’s in the future. So you need another powerful villain. It could be a monster summoned just in that episode, but then the viewer is kind of expecting someone to defeat the monster. When it’s Drolta, this second in command mini-boss who the show had built up so much that you figure she’s going to be an important character for multiple seasons…you don’t quite know what to expect. Certainly not for someone to kill her.
Without Tera’s conversion, it would be wasting the mini-boss. But since Tera’s now the mini-boss, we get the twist of Drolta not surviving the season and Alucard re-introducing himself in a major way. Imagine if he just showed up and swung his sword and she hissed and fled. That’s fine…but it’s very anticlimactic. The thing that makes mini-series like Castlevania and Nocturne so refreshing is that they can and often do take these decisive actions. A lot of shows want to drag on for as many seasons as possible so constantly delay anything significant. Not the Castlevania series.
Back to the ending
Without knowing how many seasons Nocturne will be, it’s hard to know where it goes from here. It can go a short-term path where the rest of the series takes place in a shorter time-frame of stopping Erzsebet within the window of this eclipse. Or a longer-term path that rolls out over several chapters and time skips (much like the original Castlevania anime did).
Generally speaking, I’d assume it’s the longer-term. But Alucard’s cryptic final words, “I hope I’m not too late”, do carry an implication that we’re already kind of in the final battle. Of course, even if the second season is all short-term, nothing’s preventing the show from picking up after the events of this night. Castlevania had a similar structure. Seasons 1 and 2 focused on a relatively brief period of time and the defeat of Dracula. Season 3 jumped forward a month. And Season 4 six weeks.
Regardless of what Nocturne will do moving forward, it seems safe to assume it will continue to lean into the light/dark dynamic and the thematic tension of freedom fighters battling oppressors. Especially with its 1792 backdrop of the French Revolution and talk of the recently formed United States of America. .
The themes and meaning of Castlevania: Nocturne Season 1
Freedom vs Oppression
As we discussed in the ending section, the season’s main theme is freedom vs oppression. The heroes are all revolutionaries who are fighting against oppressive regimes, against slavery, and will need to triumph over their personal demons in order to succeed. The villains are all oppressors, slavers, and want to spread trauma and fear throughout the world in order to better control people.
The theme extends beyond ideas of government and literal enslavement to the emotional and existential. Richter is oppressed by a feeling of powerlessness that’s stayed with him ever since his mom’s death. Likewise, Annette has a fury that she believes is her true power but actually limits her. Tera and Emmanuel struggle with lying to Maria about Emmanuel being her father. Tera carries that guilt. While Emmanuel, the town’s abbot, tries to ignore his sense of sin by doubling down on his religious fervor. Maria was mostly a vanilla revolutionary who only has a brief time to react to finding out Emmanuel is her father. But following the events of this season she’s definitely going to have a lot more depth to her thematic journey.
As the characters struggle to defeat the macro representation of oppressions, Erzsebet, they come face to face with those personal boss fights.
The theme also extends to the show’s backdrop. The French Revolution.
Fighting for others makes a difference
A less obvious theme in Nocturne is fighting for others rather than purely yourself. As much as every character has some oppression they’re pushing back against, they each have a reason to fight that goes beyond “It’s the right thing to do.”
When Richter was just going through the motions, he was strong but weak. It isn’t until he’s on the brink of death and understands he wants to defend those he cares about, truly realizes it, that he reawakens his magical ability. It’s also a stark contrast to his recluse grandfather, Juste, who abandoned Richter and Richter’s mother. As Richter sees this version of what he could become if he continued to put up walls and live in fear, he knows he wants to be better.
When Annette communes with Cecile, the wise woman chastises the younger one for believing her fury is what makes her strong. It’s not. The fury is only getting in the way of Annette realizing it’s her ancestors and heritage that empowers her. Only when Annette stops fighting from that place of fear disguised as anger can she reach her true potential.
Olrox is a negative example. He fought with the others when the situation was easy, but as soon as Erzsebet shows up, he takes Mizrak and flees to a field outside the city. Mizrak is pissed.
M: We have to go back! Coward! Let me go!
O: You can’t fight Erzsebet.
M: Then you fight her. You’re the powerful vampire.
O: Not powerful enough.
M: She’ll kill them.
O: If you go back, she’ll kill you. And I don’t want you to die, Mizrak.
M: You wouldn’t understand. You’re an animal which lost its soul centuries ago.
Earlier in the series, Olrox explained how he had loved a Mohican man in America and turned him into a vampire in order to be with him forever. Mizrak then asks if that’s what Olrox has planned for him. Which Olrox laughs at and says “I’m not in love with you.” But when he flees with Mizrak, when he fears Mizrak will die, the subtext is love. Except instead of fighting to protect him or fighting to save him, Olrox simply flees. That act of cowardice earns Mizrak’s ire. Which makes sense since it flies in the face of the show’s main theme: fight for what you believe in.
Down with the aristocracy
It’s not a coincidence that most of the villainous vampires are rich people. Nobles. Plantation owners. Countesses. Historically, classism is the foundation for oppression. The wealthy take advantage of those with less.
From Karl Marx: The ideas of the ruling class are in every epoch the ruling ideas, i.e. the class which is the ruling material force of society, is at the same time its ruling intellectual force. The class which has the means of material production as its disposal, has control ast the same time over the means of mental production, so that thereby, generally speaking, the ideas of those who lack the means of mental production are subject to it. The ruling ideas are nothing more than the ideal expression of the dominant material relationships, the dominant materials relationships grasped as ideas.
Which gets back to what Cecile said to Annette: They like to tell you, these petty devils like the Comte de Vaublanc, that slavery is just the way of the world. It’s what people do. And you can look around and think, oh, maybe they’re right. Evil, violence, and oppression everywhere. Even these French with their high ideals. What do they know about what we’ve suffered? And what do they care? They’ll build their new world, but it won’t be freedom or equality or brotherhood for us. But they know it’s not true, Annette. The petty devils. It serves them if we believe it. But humanity didn’t enter this world dragging armies of slaves. That came later.
So to tear down the aristocracy, to revolt, is to challenge the ruling ideals that supported such notions as slavery.
Why is the show called Castlevania: Nocturne?
Merriam-Webster defines nocturne as “a work of art dealing with evening or night.” It’s also “a dreamy pensive composition for the piano.”
The idea of dealing with the evening or night can be more figurative than literal. For example, the musical association. You can’t literally show daylight or nighttime in music. But you can capture the tone. Daylight is bright, active. Nighttime is dark, slow. So a brooding, somber composition is more reflective of night than it is of the day.
Freedom and oppression have similar energies. Freedom means openness, opportunity, potential. It’s bright. While oppression means fear, submission, limitation. It’s dark.
As the season finds the main characters all confronting oppressive emotions and a literal oppressor, it’s a work of art dealing with evening or night. A concept that’s made very explicit in two ways. First, that Erzsebet is the “devourer of light” who ends up creating a total eclipse that casts the land into unnatural night. Second, how Edouard keeps singing these opera pieces that are all haunting and nocturne-y.
So we can expect the story to, for a time, descend into the night. But only as a setup for the brilliance of a new dawn.
Important motifs in Castlevania: Nocturne Season 1
The total eclipse
Ezsebet’s eclipse embodies the show’s subtitle, Nocturne, by plunging the world into darkness. But because the show also makes a point to connect oppression to darkness and freedom to light, the eclipse also represents all of the negative energy of slavery and oppression that’s discussed in the first seven episodes.
There’s a recurring theme of not being self-reliant. Revolutions are the byproduct of people working together. Whether that’s on the scale of nations or just an individual overcoming personal demons.
Both Richter and Annette have family legacies they’re struggling to be the mantle bearer of. But their powers come from their ancestors. So even though they’re individuals, they must, in order to unlock their true potential, stay connected to those who came before.
Maria’s animals embody this motif. She could have any power. Any power. She could, like Tera (or Sypha from Castlevania), just cast random elemental spells. Instead, Maria summons random fantastic beasts from some other dimension. And she doesn’t control them so much as asks them to help her and they respond. It’s a collaboration. A partnership. She’s only as powerful as these creatures are willing to make her.
While this may seem unimportant, it’s one of those little things that resonates with the work’s primary concepts. It’s the kind of detail great storytellers have—either on purpose, by instinct, or on accident—because it makes the story reverberate. And the viewer feels that. Even if they can’t explain where it’s coming from.
Another example of this technique is in No Country For Old Men. The main theme is generational push. How people go from being adults in the prime of life to too old and unable to keep up. Two characters represent the “prime of life” part. One is definitely the villain but the other isn’t necessarily a hero. Both are smart, capable, and fighting each other over a lot of money. While an old cop tries to save one and stop the other but is always miles behind.
The villain wins but ends up in a car accident. It’s a seemingly pointless scene, unnecessary to advancing the plot. But what happens? He goes from completely healthy and seemingly unstoppable to seriously injured and in need of help. Who helps him? Some teenagers. They’re young, in shape, full of energy and ignorance. While this terrifying character is all of the sudden vulnerable and weak. While this isn’t the end for him, the scene conveys the fact that even this monstrous man will leave his prime, lose his ability and capacity, and become much like the old cop—pointless.
99% of people who watch No Country For Old Men won’t realize there’s a thematic point to having it be kids who help the villain. It’s so brief and inconsequential that there’s no reason to give it much thought. But by having that little detail in there it gives the movie that cohesiveness that creates a thunder that’s felt but not heard.
Nocturne does the same.
Questions & answers about Castlevania: Nocturne Season 1
Erzsebet is based on a real person?
Yeah. The Countess Elizabeth Báthory de Ecsed (1560-1614). It’s a pretty messed up story.
Elizabeth’s family was pretty important. She was the niece of the King of Poland, who also happened to be Grand Duke of Lithuania, and, get this, the Prince of Transylvania. So she’s the tier below royalty. Living this extremely privileged life in Hungary. She married in 1575 and moved to her husband’s castle. He was the head of the Hungarian army and went off to war in 1578. So Elizabeth was pretty important in the local scene as she essentially ruled the whole area in her husband’s absence.
Around the turn of the century, rumors started up. Apparently, Elizabeth had what was essentially an etiquette school for young women. People in the area would send their daughters there, hoping to have this noble woman train them in how to be ladies. Except many of the girls never returned. In 1610, a huge investigation happened. In 1612, the head official of Hungary, György Thurzó, okayed the arrest and imprisonment of Elizbaeth on charges of murder.
Thurzó himself conducted the investigation into Elizabeth, going so far as to appear at her castle, enter it, and claimed to discover a girl being tortured and another dead. He apparently said Báthory was completely covered in blood.
No one knows what happened. Guinness World Records actually lists Elizbaeth as the “Most Prolific Female Murderer”. The actual entry on the official website says: The most prolific female murderer and the most prolific murderer of the western world, was Elizabeth Báthory, who practised vampirism on girls and young women. She is alleged to have killed more than 600 virgins in order to drink their blood and bathe in it, ostensibly to preserve her youth.
Except scholars debate that any of this ever happened. The popular theory among them is that Elizbaeth was the victim of political maneuvering in the wake of her husband’s death. She was powerful, wealthy, and owned swathes of land. Not only that, Matthias, the Holy Roman Emperor, Archduke of Austria, King of Hungary and Croatia, and King of Bohemia, owed the Báthorys a lot of money. What better way to get rid of the debt than to get rid of Elizabeth?
At trial, the prosecution presented zero proof or evidence of the crimes. They relied entirely on witnesses and confessions from Elizabeth’s tortured servants.
So either the story is messed up because Elizabeth was a total monster. Or it’s messed up because she was a grieving mother of (at least) five whose political opponents turned into such a monster they’re using her name as the main villain in anime shows over 400 years after her death. She’s nicknamed Blood Countess. Or Countess Dracula.
Why couldn’t Richter use magic?
It goes back to the opening scene and the fight between Julia and Olrox. Richter tried using magic to help his mom, to save his mom, but it didn’t work. He was too weak to hurt Olrox, much less stop him. That whole situation left him with such fear and grief around his use of magic that he “lost” the ability. Which is just a form of PTSD.
Will Trevor Belmont and Sypha Belnades be in Nocturne?
Probably not. The events of the first Castlevania on Netflix happened in 1476. This is 1792. Last I checked, Belmonts aren’t immortal. There could maybe be flashbacks. Or even some kind of magical way Richter talks to Trevor’s spirit or something. But it’s unlikely we see Trevor or Sypha.
Who was the vampire messiah? And why is she a messiah?
Erzsebet. Because she claims to be a goddess, specifically Egyptians Goddess of War, Sekhmet. Sekhmet was the daughter of Egypt’s sun god, Ra. If Ra was mad about something, Sekhmet would be the one to punish. They associated her with plagues. And she had the head of a lion.
The whole connection to the sun thing is what makes her relevant to the vampires. Because she herself is a vampire and a goddess, she has the power and the incentive to block out the sun. Creating an eternal night that would allow vampires to roam the Earth 24/7 rather than needing to hide during the day.
Where does Nocturne take place?
It starts in Boston, with Richter as a little kid. He goes to France specifically because Tera was Julia’s friend. That’s the plot reason. But it’s really because the show’s main theme is freedom and having parts of the story in America and France makes the backdrop the American and French Revolutions. Which just adds a deeper sense of cohesion between plot and theme.
It’s the same with having Annette and Edouard come from Saint-Domingue. The island rebellion they so casually mention was the beginning of the Haitian Revolution. A real event that was the largest and most successful slave-uprising in documented history. It had a profound effect and helped shape the world as we know it today.
Three locations. Three crucial revolutions that established modern democracy.
Is Nocturne connected to the Castlevania video game franchise?
Yeah. Richter is a key character in Castlevania: Rondo of Blood and Castlevania: Symphony of the Night. Though the show is quite original.
In Rondo, a vampire-affiliated priest does kidnap Richter’s girlfriend, Annette, in order to sacrifice her to Dracula. Maria and Tera are also characters. Maria fights with Richter. Richter defeats Dracula. Something that doesn’t seem like Nocturne will have happen.
And in Symphony of the Night, Richter and Alucard team up. But it’s mostly Alucard as the hero and Richter as a kind of brainwashed victim of the same evil priest from Rondo who wants to resurrect Dracula.
Nocturne definitely takes some ideas from the games but has added all the literary qualities that video games from 1993 and 1997 did not usually possess.
Will there be a season 2?
How many seasons will there be?
As of October 2023, no one knows. The original Castlevania was 4 seasons. But the first was only four episodes. So really 3.5.
It’s certainly possible Nocturne only goes for two. Especially since there are so many Belmont stories to tell.
Now it’s your turn
Have more unanswered questions about Castlevania: Nocturne Season 1? Are there themes or motifs we missed? Is there more to explain about the ending? Please post your questions and thoughts in the comments section! We’ll do our best to address every one of them. If we like what you have to say, you could become part of our guide!