Topic: Castlevania Marathon by Sumac

[Sumac]

Part 3:
Level 2 - Outer Wall.
While this level impressive in its structure, graphically it is not very interesting. Both towers colored in the same shade of blue and generally everything you will see here is blue, grey or black.

Unlike SOTN's level, this version is separated from the Castle. When you arrive there, character seemingly trapped between closed drawbridge and another gate. You must proceed in the door on the right and get to the top of the tower, which is not really difficult. There you must defeat boss of the level - Great Skeledragon Twins. Initially both heads shoot fireballs, from which you can hide behind wall located near the entrance to the roof. After sufficient damage dealt to either of its heads, one skeledragon will explode and start shooting big stream of flame at you. I recomend to destroy the closest to the entrance head, first, since its harder. After you destroyd it, killing second dragon will be a cakewalk. His stream of flame is unable to get to you, if you stand near the opposite wall from him. After destroying boss, push the lever. It will open inner gate of the wall, revealing...another gate. Now, you must go all the way down to the starting point by using ruined floors. There is a torch in the middle of the starting place, which contains key to the second tower (door on the left). This tower is more difficult, but there is no boss on top of it. As soon as you get to the roof, cutscene will show you character opening the second gate and short appearance of the Fake Dracula, insulting your character. This level is linear and simple and must not cause many problems, unlike the next one.

Level 3 - Villa / Garden Maze.
Villa is probably the signature level of this game. And one, most people remember of (with Castle Center being close second). There is a good reason for this - this level has a lot of awesome moments, memorable dark atmosphere and detailed art style. No wonder, since it was based on real life castle. This is certainly one of the strongest in its execution levels in the game. Also, Villa is the most puzzle / adventure heavy levels. It's introduces whole slew of the secondary characters, that will appear throughout the game.

Rosa - young woman, who was recently turned into vampire. Unlike most of the vampires in this game, she is kindhearted and doesn't attack heroes. She even gives them some advice. 

Charlie Vincent - badass old vampire hunter. He considers himself the best vampire hunter in the world, and so cool, that he can sleep in the haunted mansion, while being surrounded by creatures of the night!!

Renon - demon salesman. A merchant of this game. He is very gentle and has some GManesque manners and love for the unexpected appearances.

Malus - strange boy, who according to his own words was kidnapped from his village along with the other children.

You start in front of the beautiful garden and...Immediately thrown into the miniboss battle with three Cerberuses. Seems developers wanted to amaze player, by having him fighting powerful enemies at the very start of the stage, without any preparation or warning. Not very traditional approach, I must say. This one of those battles where wide-ranged attacks could have been very handy. Cerberuses absolutely love to swarm your character from different sides with constant attacks, making its hard to do anything against them. As Reinhardt you must frantically use sword to get some distance, as Carry you must use her rings to do the same. Interestingly, you can make a something like infinite combo with Carry secondary attack: after one strike Cerberus will be pushed a away a bit, temporarily stunned. You can follow him and strike him with rings even before he'll recover. He will be pushed back again. Now, just repeat the sequence until big bad dog is dead. It's a nice tactic, but there is always possibility of another Cerberus attacking from behind. Holy Water can provide a significant help versus those monsters. After you defeated trio of hellhounds, you'd probably thought it’s over. But, no!! KCEK seemingly decided that only three subbosses are for wusses, so now you must fight another two Cerberuses, who are even harder, because they can spit fireballs, which set earth and your character on fire. And after you defeat them its not over!! There is final Cerberus waiting. Technically he is not different from previous duo, aside from the fact, that during battle with him, the surroundings gets dark, making it hard to see him.

After defeating final Cerberus you now free to explore the garden in front of the building and proceed to the Villa itself. In the middle of the square, there is a big fountain with a lot of goodies on top of it. To get there you must wait until the midnight. At this time small platform will rise, which you can use to get on top of the fountain and collect stuff. You can also explore gravestones. Two of them will give you text messages, another two - prizes. As soon as you enter the Villa you will have another miniboss battle with Vampire. He is not very hard, just don't get into his clutches, otherwise he will drink your blood and can even turn you into vampire.

Villa, is probably one of the most puzzle / adventure heavy level in the game. In order to the get to the end of it, you must do some things in particular order. There what you must to do:
- wait for the Rosa in Rose Garden (she appears every night approximately at 3 AM) and talk to her;
- go to the second floor of the Villa and meet Charlie Vincent. Talk to him and receive Archives Key;
- on your way to the Archives, you will encounter another vampire in a small room (it's an awesome scene, BTW);
- pickup Garden Key in the Archives and exit through the backdoor of the mansion. On the first floor you will meet Renon for the first time.
- in the Maze turn left on the first fork, cross over bridge and meet Malus. After you talk with him, probably the most memorable segment of the game starts. You will be chased by the pair of Stone Dogs and Frankenstein Gardener with chainsaw. You goal is to simply follow Malus to the exit, but he himself, doesn't make it very easy and constant attention from the Franky and Dogs will not let you concentrate on the road. Sometimes you will just run in whatever direction, just to get away from the hunting party. As Reinhardt you can deal with dogs fairly simple - use sword attack while running. Its hitbox is big enough to hit enemies, that are right behind his back. As Carry, it's a bit more difficult since her rings attack doesn't have such big range. You'd better jump from dogs and Franky. Somewhere in the garden, there is a big caged area, where you can find Roast Beef and some jewels. Neither dogs, nor Franky can access it - they will just run around the fence in a very comical manner. After you reach the final door, cutscene will be triggered. Reinhardt / Carry will let Malus out of the garden and you will regain control of your character.
- go straight, until almost the very end of the passage. There is small recess in the wall on the left, where you can find torch, which will give you Copper Key.
- go through a door at the end of the passage - you will end up on the first floor of the Villa, in the servants room. You can't access this room earlier in the game, since it was locked from the inside.
- return to the start of the Garden Maze and turn right nearby first Watch Tower (this is right behind the fork to the bridge, where you had encountered Malus earlier). There is door which you can open with the Copper Key.
- Go through the small canal, climb on the bridge. Save you game and enter the door. You will end up in the crypt, where you must fight two bosses in a row - Male Vampire (like the two you have encountered before, though this one have special move, where he rolls in the air) and Female Vampire. She crawls on the floor, trying to suddenly attack your character, and spawns bats, distracting you from herself. Also, sometimes she can turn into a mist and continue to spawn bats. Both are easy to defeat, but having few Chicken Roasts is very advisable.

After you defeat them, you must jump into the coffin to proceed to the next stage, which will be different, depending on your character. Overall, Villa is probably one of the best and atmospheric levels in this game, showing, what this game could be, if developers were given time to polish everything else to this level.

Level 4a - Underground Tunnel.
You will visit this level, if you are playing as Reinhardt. This level is rather straightforward, when compared to the past ones. There are some forks, but they usually end up with dead ends. It not particularly stylish, since it consists of caves and...more caves. While artistically it's not very impressive, this place still have strong mood, thanks to the one of the best musical tracks in the game - Invisible Sorrow. Your main goal here is to reach train system. Then you must ride the first (red) train until the transfer station and then wait for the next (blue) train. While you waiting, try not to be hurled on spikes by annoying ghosts and yellow barriers. After the ride on the second train, you will get to the exit of the level. Main enemies on this level are Spider Women, which can poison you.

Level 4b - Underground Waterway.
You will visit this level, if you are playing as Carry. This level, once again straightforward with several dead ends. Main objective of the level is to shut down to poison waterfalls. Poison and Fire Lizard Men will be the main enemies in this stage, and to make matters worse, they can spawn from the water wherever they want, including appearing right in front of Carry, when she is crossing very narrow road in the middle of the level. Also, this stage is probably the biggest offender next to Tower of Sorcery, when it comes to unwieldy camera angles. In order to deactivate second waterfall, Carry must make several risky jumps on the platforms amidst the poisonous water. The catch here is that camera positions itself in such way, that it is hard to determine not only distance, but also speed and direction of the jump. This probably one of the most monotounous and, generally, uneventful stage in the game.

[Sumac]

Part 4:
Level 5 - Castle Center.
Probably, one of the most hated levels in the game, thanks to a certain puzzle, involving explosives. Also, this stage once again demonstrates awesome level designing skills of the KCEK team. Castle Center is not like any Dracula castle you visited before. It is very different, yet some areas feel familiar. It separated into several parts, almost each, have unique and detailed design. One of the most striking features of this level, is that unlike some other games in the series, areas in this Castle look like an actual places with some internal logic and functions (it's the same reason, that make Villa such a memorable place). It's not just set of rooms and corridors designated "Dinner Hall" or "Library". It feels like an actual location, something, that some of the earliest games in the series somehow achieved without much trouble and what later series has mostly lost. In this vein Castlevania 64 is much closer to the early games in the series. I think, this is what old school Dracula castle should look like in 3D.

This level has several objectives and subobjectives. Your main goal is to activate the elevator in the center of the Castle. But for this you need to do several other things:
- move from the corridor with Motorcycle Skeletons and into the big room, where three vampires await. While their number always the same, their set changes almost everytime, when you revist this place. Usually this team consusts from Butler Vampire (can be replaced with Villager Vampire), Female Vampire (like Victim boss in the Villa) and Maid Vampire. They have different tactics and like swarm your character together. Sometimes, there is a glitch occurs and vampires will not move from their places after you enter the room. You can use this bug to kill closest vampire with subweapon or homing energy balls.
- in the next area there is an elevator, that you must activate. Go to the statue of the Goddess and wait for the Blood Monster to appear. You can kill it, but it will be easier just to run away from it. You can read inscription on the Goddess statue, which will give you clue to puzzle, you will need to solve a bit later.
- in the next room there are two doors from which you can choose: one on the opposite wall and another on the right. I advise, to go through the opposite door, because it will make things a bit faster.
- in the next big room you must face several Lizard Men. After you enter this room, both exits will be locked until you defeat some amount of Lizard Men here. On your first visit you must defeat 8 Lizard Men to exit. On the next, I think you must defeat only 3 or 4 of them. In the next room you can save your game. In the room after that one, you can fight two Glass Knights, but it is not necessary to do that at all and you can run into the next door;
- now, this one of the most annoying places in this level. In the big hall, with broken columns, you must face two very annoying Butler Vampires in the red suits. They are fast, love to jump all over the place and can charge energy attacks. If playing as Reinhardt, you doomed to frantically run and jump around to defeat monsters. If you play as Carry...climb on the broken column nearby the exit from the room and charge homing energy balls at bloodsuckers. Alternatively you can attack them with the Axes or Crosses (this tactic also can be used by Reinhardt if you have a lot of crystalls). While you are standing on the column, vampires will be absolutely harmless.
- after this battle you will reach corridor with fire spitting faces. Note the cracked wall (that you must blow up with Nitro and Mandragora later) and proceed to the only door at the end of the corridor. There you will meet Heinrich Meyer AKA Lizard Men. He was a human merchant who was transformed into mutant, by Dracula evil sorcery. He will give you some advice and a key to the Torture Chamber. In the neighbor room you will meet Malus, who gives some creepy monologue and then run away. Pickup Nitro and return to the cracked wall. Leave nitro there and return to the very beginning of the level.
- Torture chamber lies on the opposite side of the corridor, where you made your entrance to the stage. Go there, defeat Butler Vampire and Maid Vampire and pick up Mandragora - component, that is necessary for explosion. Now, instead going to the cracked wall on the upper floor, go to the another part of the first floor, where you will find double doors. Behind them there is a giant arena with the, seemingly, dead bull lying in the middle of it. On the opposite end of the arena you will see giant magical seal on the cracked wall. As you can guess, you will need to blow this wall up, but before you need to remove the seal, otherwise explosion will not have any effect. Set up Mandragora and return to the Torture Chamber to pick up another one.
- Now return with second Mandragora to the cracked wall on the top floor and set it up near Nitro. You will see cutscene with explosion. Go into the door on the right and you will end up in library. There is a second statue of goddess. Once there go onto the second floor and find moving panel in the ceiling. Go into the secret room. There is another moving panel in the ceiling. Go up and will end up in the beautiful observatory. There is a puzzle, which you need to solve in order to remove the seal from the wall on the arena. You must set each goddess statue to the places, which reflects positions of the planets in the Solar System. Right answer is: Yellow Goddess goes to slot 2, Red Goddess goes to slot 4, and Blue Goddess goes to slot 8. After this manipulations, seal will be removed and you can save your game and return to the hall with ladder. Now the hardest part of the level.
- In the room with the ladder and two doors, enter the door on the left. Go through the big room with two gears and narrow bridge, up the stairs into the room with Golden Armor (you can ignore it), then into bar room (you must defeat two Vampire Maids here), into the room with different devices, then into the room with falling spikes and, finally, into the corridor with fire breathing faces. From there you can access the room with Nitro from the other side, the one where Malus was standing earlier.
- Now the most difficult part of the quest: you must carry Nitro all the way to the arena with the dead bull. While doing this you can't jump and must not be hit. Both actions will detonate Nitro, killing you instantly. In the room with falling spikes, carefully wait for the moment, when the closest to you spikes will go up. Go under them and wait for when the farthest ser of spikes will go up. Quickly run to the door. In the room with the devices, previously unanimated armors, will come to life and will not be able to exit the room until you defeat them. If you play as Reinhardt, you can carefully use your whip or subweapons (Axe and Crosses are the best for this task). As Carrie you can simply charge homing fireballs. You can simply run through the Bar room and room with the Golden Knight.
- Now you are in big hall with narrow bridge and two gears. The first obstacle is a narrow set of bridges with (immortal) Fire Lizardmen spitting fireballs at you. Also, some parts on the corners of the bridges will fall, if you stand on them for too long (like 2 seconds). The main problems with this place are the camera, which while you turning on some corners of the path, changes its angle and characters habit of skidding, when turning corners on the run. It is very hard to run on the narrow bridge, when the camera constantly moves and you can't stop and change your direction or fix camera angle. There are two ways to get across this bridge. You can start immediately after descending from stairs from the upper floor. The path here is wider, but if you choose this way, then you must navigate the rest of the path very quickly, otherwise Lizardmen or falling corners will kill you. Because, of the aforementioned problem with camera, I prefer another way. You can choose to start a bit further on the path - there is very very narrow set of bridges connected to the main path. It is hard to navigate and you must constantly to be sure, that the center character's shadow is in the center of the path. That is the only way not to fall here. Good news is - you can spend as much time to maneuver here as you want; Fire Lizard Men are unable to hit your character here. Another good thing - if you choose this path, then you will make a big shortcut and all you will need is to run through only relatively short and simple section of the path. But after that part challenges in the room doesn't end. Now you must go through the pit with two gears. Get between teeth of the first gear and walk to the small area, where the two gears meet. Now, walk carefully near the wall, between teeth of the second gear. If you able to do that, than you can safely make it to the first floor with Motorcycle Skeletons. They are the only danger you will face (trio vampires do not appear in the big room, when you carry Nitro), but you can simply outrun the first Bone Rider and get in the Arena, before he will be able turn into another direction. Place Nitro nearby Mandragora and watch the fireworks.
- Activate crystal to activate elevator, save your game and proceed to exit...only to be expectdely stopped by revived dead bull from before. He is a dangerous and powerful enemy. He can ram you with horns, which will throw your character away for several meters. He also can create ice and fire beams from his mouth. The latter creates big explosion, which can put your character on fire. Battle with Bull is more annoying than hard. Bull loves to run to the other side of the arena and then charge at your position, which leaves very little time to attack him. You can't keep up with his speed, so you need to use little time you have to attack Bull, when he is close to you and that is dangerous, since he will actively use his fire and ice breaths to not let you get to him. As Reinhardt you can make use of the whip's range. Despite Carry's weapon having a very wide range and homing abilities, her fireballs can strike Bull only when he is close, otherwise, they will not be able to keep up with his speed and disappear. Most notable thing about this boss is that whichever part of the beast you attack the most, it will be soon reduced to the mere skeleton, making this battle rather creepy. This specail feature exists not only for special effects, but it also can play a crucial role in this battle. If you want to defeat Bull faster, aim at his head. After it will be reduced to the skull, aim at his chest and soon enough it will be transformed to the skeleton, revealing Bull's weakest place - his heart. After several blows to the heart, Bull will explode, leaving (appropriately enough) Roast Beef on the ground. Interestingly, attacks on his heart take only little amount of HP from his lifebar, but by attacking his heart, you still can kill him before his lifebar will be completely depleted. Somehow he will still die with half of his HP intact. This battle is very impressive in its scale and use of special effects.
- if you think, that now you can simply walk to the elevator and get out of this place, than you making a mistake. There is another boss battle and the enemy will be different, depending on the character you use. If you play as Reinhardt, you will fight Rosa, who was forced to battle vampire hunter by Grim Reaper (who makes his first appearance in this game). It is rather easy battle. Rosa will make it hard to get close to her by using some sort of protective aura. If you play as Carrie you will face her cousin (AKA Fernandez Warrior or Camilla Fernandex or its Carrie's Stepmother) as an enemy. Fernandez Warrior has only two attacks - ice mist, that can freeze Carrie, but she uses it only, when Carrie is close to her, and homing energy balls. There are not very accurate, but since there are several of them at once, they still pose some threat. The tactic in this battle is simple - run around Warrior and charge homing fireballs. Soon enough, she will be finished.

After defeating bosses, both characters can finally get to the elevator and move to the next level.

Level 6a - Tower of Duels.
You will visit this level, if you are playing as Reinhardt. Tower of Duels is like some sort of sporting event. You must fight several minibosses and, between battles, you must climb and jump on the platforms, and avoid nasty mills with sikes. Good idea for a new Olympic discipline, eh? This level is overall rather simple in its style and its structure is mostly linear, but it makes up for it with its intense atmosphere. By the way, you can't take as much time as you want to defeat bosses. While you fighting them, the ceiling will slowly descend on your head, so it's in your best interest to deal with enemies fast. Also, battle area is surrounded by hedge, preventing any escape attempt. It will disappear only after you defeat the enemy. You start from the battle with WereLeopard, who is more annoying than dangerous. He runs in circles around you and sometimes charges with his claws. His speed allow him to dodge your attacks. Catch him offguard after his charge attack and jump up to him, when his running around and attack. Next battle is against WereWolf. His main attack is a slide kick. Jump over his head, while WereWolf doing his attack, and whip him. Next fight is against WereTiger who is the same slowself as in the first level of the game. Final battle of the stage is against WereBull. Both of his attacks are pretty much the same - he runs at Reinhardt with multiple punches, though, in one version of the attack he takes his time to charge it. Be very careful and if you suspect, that he will run at you - jump away, since he abe to deal big damage. After this battle you can proceed to the exit. I think this level was initially created for Cornell - melee werewolf character, who was cut during development of the game.

Level 6b - Tower of Science.
You will visit this level, if you playing as Carry. This level is probably the most visually boring and monotonous in the whole game. The only colors this level uses are green and black. It makes this place, feel very tedious and even more boring, than it really is. This is one of those levels, where you must find keys to unlock next parts of the level. You start at some conveyor belts surrounding central tower. Here you must be wary of boxes with spikes, which can knock you from the tower, and electric emitters. If you will be zapped during jump - you will fall. After climbing to the platform with save crystal, you can finally proceed to the main part of the level. It is a big labyrinthine room with demon-like creatures in giant glass cages. There are multiple turrets on the floor and guns on the ceiling. Turrets will fire long stream of bullets, if they see you (and they can do it literally - they have eyes, or rather one big eye under the gun). Guns on the ceiling don’t have eyes, but they also can trace your movement and as soon as you will be in the open, they will start shooting. What very apparent about this location - is that gameplay is broken in it, thanks to the Carrie's ability to charge homing projectiles. As soon, as you enter the room, you can start charging one homing fireball after the other, killing several turrets (even the ones, which you can't see) and, maybe, one ceiling gun. In the door opposite of stairs on your side of the room you will find Science Key 1. Then jump onto the narrow platforms and proceed to the narrow platform on the opposite wall. Go from there to the left. There is a door, leading into corridor with turret and three doors. Behind the second dorr you will find torch with Science Key 2. Via platforms, return to the starting point of the big room and, once again, go to the narrow ledge, but this time, go to the right from it. There is a door, that can be opened with Science Key 2. All you need to do after that is just jump over conveyor belts with spikes and destroy bunch of turrets between them. Also, you can find Science Key 3, but this is optional task. Me thinks, the reason, why middle part of the level is essentially broken, is that it was supposed to be played with another character. Namely axed Corler - shotgun wielding monster, who supposedly was not able to create homing projectiles.

[Sumac]

Part 5:
Level 7a - Tower of Execution.
Traditional linear platforming stage with rather haunting style. You will visit this level only when you play as Reinhardt. The main objective here is to climb higher and higher by using moving platforms. This level is rather easy and plays a lot like levels from 2D classic Castlevanias. And this is the only stage in the game, where Red Skeletons enemy can be found. By the way, you can see multiple hooks over gaps. Supposedly, they remained from the times, when Reinhardt was able to swing over pits with his whip.

Level 7b - Tower of Sorcery.
Platforming paradise...or platforming hell, if you are not very good with jumping and climbing mechanics in this game. You visit this level as Carry. This level is  linear, but because of the combination of art direction in this place and faulty camera it can take some time to find a correct path to the exit. The level take place in the giant empty room, filled with floating crystalline platforms. Artwise, it maybe interesting, but doesn't look very haunting or creepy. The beginning of the level is rather simple, up until the moment, when you see Save Crystal on the remote platform. To get there you need to jump on the platforms, that dissappear and reappear following certain pattern. After first save crystal, you will encounter another new mechanic in this level - crystal switches. When you broke crystal switch, one of the crystals, not far away from you, will rise, giving you access to the next part of the level. The color of the switch determines crystal of which color will rise. This level is the main offender, when it comes to the problem mentioned earlier - inability to determine correct distance to the next platform. Also, when you  climb around the big tower in the begining of the level, using platforms, camera often will not trigger right angle to reveal you the next platform. The same happens, when you climb on top of the first tower - camera will not show where you should go next. In both cases, use First Person View to find a way. With careful planning, and some trial and error this level can be conquered.

Level 8 - Room of Clocks.
This level consist only from two locations - Room of Clocks, where you can save your game and buy some stuff from Renon, and top of the tower, where you will fight either Reaper or Actrise, depending on the character you play as. Reinhardt will fight Reaper, Carry will fight Actrise.

Battle with Reaper can be rather confusing. He throws his scythes in every direction possible and sometimes comes to attack directly with his scythe or charging at the player. His main attack is rather hilarious, though. Reaper summons giant ugly fish from the pentagram. Fish can appear from any possible angle, but is easily noticeable and, therefore, escapable. You must be condtantly running to avoid Reaper's projectiles and fish. You can use subweapon to attack Reaper or get close to him and use whip. The latter is harder to do, because Reaper, mostly, keeps himself out of range, flying high above the arean, and it is generally hard to say, when you can reach him, with attack and when not. While he changes his attack patterns through the battle, it does little to no difference, because all of them are about throwing many scythes in every direction. Overall, this battle is hectic, but fun.

Now battle with Actrise is the opposite of that. Actrise stays in the center of the arena, creating multiple crystals around herself, as protection from your attacks. All the while she also summons crystals from the ground, where player is standing. The main tactic for this battle is to run in circles around Actrise and charge homing fireballs. And that's it. Sooner or later, one of them will break her shield and another one will be able to hit her. This battle rather uneventful and boring, though it looks visually impressive.

After defeating bosses, you can return to the Room of Clocks and save your progress. Last level waits.

Level 9 - Clock Tower.
Final level of the game. It's probable the most realistic, or at least, the most realistic-like depiction of the Clock Tower in the series. It is enormous and overwhelming and excellent track Gear, makes this location even more melancholic and impressive.

This level is fairly simple with a lot of platforming and minor puzzle elements. Clock Tower divided into three big sections, connected by small corridors. To exit from the section, you must find key, hidden somewhere in the same room. There is a lot of platforming and little to no enemies, though, Medusa Heads are present. Happily finding direction here is not nearly as confusing as in Tower of Sorcery, so you will be able to complete this level rather quickly. In the first section, key is on the platform under the gears, that you must use to exit the stage. In the second, smaller section, key is in the small alcove on the right nearby the exit, right under the ceiling Bone Tower. In the third section, to get the third key, you must descend to the floor, climb on the wheel, nearby two rotating towers and jump to the set of whells on the opposite side of the room. Go to the single platform with torch and there you will find the key. Then, return to the rotating towers and climb all the way up, until you will be on the top of one of them. From there, you can proceed to the exit from the level, or pick up the last contract to buy something from Renon.

Level 10 - Castle Keep / Top of the Clock Tower / Desert Dimension.
And finally you have reached the legendary long staircase!! And that means, that final battle is not far away. KCEK outdid everyone by making structure of this place so improbable, that its not even funny. Basically long staircase leads to small castle keep, from where another long staircase leads to another small castle keep, from where final long staircase leads to the final castle keep. I know that castle of Dracula supposed to be, unreal, but this...is something different. While the whole location can be run through in one minute, it still notable, because of the song playing in the background. Stairway to the Dark Clouds is one of the most impressive tracks in this game, that sets up an appropriate mood of foreboding before the final battle. While it's fairly simple (it's just male chant-like singing with bells on the background) because of this music, grand staircase feels like a very special place in the game.

Anyhow, in the first castle keep you will have your final encounter with Renon. If you spend more than 30.000 Gold in his little shop, then he'll try to take your soul to hell, i.e. you will fight him in his true demonic form. As far as I know, he partially copies his tactics from Reaper, down to summoning giant fish. However, I have never fought him, so I can't say nothing more about this battle.

In the second castle keep you will find vampirised Charlie Vincent, if it took you too long (more than 16 ingame days) to get to this place. In this scenario Charlie goes to fight Dracula, but old fool overestimated his powers and ends up cursed. I never fought him, so once again I can't say anything about this encounter.

And finally in the third Castle Keep you will fight Dracula himself!! Or at least, that what you will think, if you reach him for the first time. This "Dracula" has four attacks: he can throw semi-homing bat on fire, create long stream of fire from his cape (him most damaging attack), create two energy waves (one crawls along the floor, another appears on the waist level) and, finally, he can try to draw your character to himself, by sucking air in his cape. If he succed, he will grab your character and suck his blood, restoring his lifebar. After each attack, "Dracula" will turn into the mist, to reappear in the next few seconds in any part of the Keep. If he  starts materialize somewhere close to you, he will instantly turn back into mist and reappear elsewhere. Generally, he appears in the field of vision of your character, though, sometimes, he starts to appear somewhere behind your back only. If you play as Reinhardt the best way to deal with "Dracula" is to set your camera to the Battle Mode, so it will automatically follow him, whenever he appears. When you see "Dracula" appearing, run to him, jump and whip his head. If it didn't make any damage, run away and let him do whatever attack he planned. It will be safer to wait for another opportunity to strike, rather than receive fire or energy wave in your face. Besides, there are two more boss battles and you need save as much Roasts as possible. In general, as Reinhardt, this battle can be rather frantic and drawn out. As Carry you will have little to no problems with this boss. Stay in the center of the Keep and charge homing fireballs. As soon as "Dracula" appears, release the button and fireball will fly at his head. Almost every single projectile will deal damage to him and this "Dracula" will be dead in no time.

After defeat of the "Dracula", Castle Keep starts to crumble. Run down the staircase, to the very entrance to this location. Jump on the left on the elevator and rise to the top of the tower. There, Malus reveals himself as True Dracula and transforms into typical handsome bishounen vampire. That means, that you will have another boss battle. This Dracula uses tactic even more similar to his classic Modus Operandi. He randomly teleports around arena, appearing usually in one of the corners, and shoots projectiles at you. He has another two attacks, but he rarely uses them. He can shoot two energy waves, similar to his fake counterpart, but they go in reversed order: first wave is on the waist height, second - goes along the floor. In his another attack, Dracula surrounds himself and the place where player is, with wall of fire. If player will stand on one place, he will be hit with powerful attack. As Reinhardt, switch camera to the Battle View, though it does little to no help here - Dracula's teleports are so chaotic, that camera, can't trace him. If you see Dracula appearing, run to him. Stop at some distance, then whip. If you're lucky, then you can strike him several times in the head, before he disappears. His fireballs will pass through Reinhardt, if he is in attacking animation. If you're not so lucky, then at least there is possibility, that you will destroy his fireballs - sometimes they can give you Chicken Roast or Beef Roast. If you don't feel like running around arena and have enough ammo for Cross-Boomerang - then use it, they useless in the upcoming battle anyway. They can deal hefty damage to the vampire and make the battle simpler. As Carry use the same tactic as in the battle with Fake Dracula: stay in the center of arena, charge homing projectiles and throw them at Dracula. He will be defeated quickly. Just don't forget to evade his projectiles.

After this battle, Dracula will return back to his childish form of Malus. Malus attempts to convince heroes, that he is not Dracula, but Charlie Vincent throws Holy Water at him and sets vampire on fire. Dracula becomes real angry and uses all his powers to transform into his final form and transfer player to another dimension. The battle with Drago can be described in one word: CHAOS. Drago does everything in his powers to confuse player. He randomly attacks the earth nearby him, to cause giant shockwaves, summons two flying gold dragons, which will chase player around the place, causes nuclear explosions somewhere on the battle field, shoot projectiles...On the first glance, it's pretty much impossible to determine his pattern and understand what the hell you need to do with him. Everything around explodes and threatens to kill. However, killing this beast is much more simplier, than it looks. As Reinhardt run around Drago until you will be somewhat behind his back, where his tail makes a ring on the ground. Jump behind his tail and you will be right in front of his body. In this position most of the Drago attacks, save for fire breath, will be unable to damage Reinhardt. Whip his body several times and run away as fast as possible, because almost immediately after you jump to his body, Drago will start charging super explosion, that can knock Reinhardt several meters away and take almost 50% of his life. Repeat this tactic until Drago is defeated. It will take approximately three such charges to finish monster. It would be very good, if you have at least three Beef Roasts with you to restore lives. The longer you will take to defeat Drago, the more chances, that you will be destroyed by one of his attacks. As Carry you can defeat him pretty much the same way - jump behind his tail, charge projectile and shoot. Run away, rinse and repeat. It almost useless to fire at him with homing fireballs at long range - Drago throws two moving projectiles of his own in the air and Carrie's fireballs will always target them, instead of dragon. Having several Beef Roasts as Carrie, is even more advisable, since it will take longer to kill Drago with her than with Reinhardt, because to make big damage fireballs need to be charged and it take precious time. After this insane battle, watch the ending and the credits. But what happened with Charlie Vincent...?

Bestiary in this game is semi-traditional. Some enemies, like Skeletons, Red Skeletons, Bats, Medusa Heads, Bone Towers, Ghosts, Knight Armors - all received 3D incarnations. Some enemies are completely new, like Lizard Men (who are more or less based on Fishmen enemies from previous games of the series), different kinds of Werebeasts, save for the Werewolf, Blood Monsters, Exploding Skeletons, Cerberuses (who were relagated to the simple enemies), Spider Women, and some others. Looking at the artworks for this game, it looks like there were supposed to be even more new enemies, but sadly deadlines didn't allow that to happen. One of the most memorable enemis in the game are Motorcycle Skeletons. Those guys wouldn't have been redundant in Castlevania game set in the begining of the 20 century, but in the game set in the middle of the 19 century...they certainly look hilariously out of place. However, most memorable enemies in this game are vampires, who sadly appear only in the begining and the middle of the game. It is strange, but never before, Castlevania series, which is based around the myth of, probably, the most famous vampire character in existence, had vampires as common enemies. Now, this game recitfied it and did so perfectly. There is one awesome moment in the Villa, where player encounters frightened villager and then notices, that newcomer doesn't cast reflection in the mirror, which clues Reinhardt / Carrie, that villager is not human. What even more awesome, is that enemy vampire can bite and infect your character with vampirism. If you're not heal your character in time, he will transform in vampire (complete with angry face and fangs), resulting in Game Over.

As for the bosses some of them are based on the bosses and enemies from the past games, some are completely new. Nobody from classic quintet from the first Castlevania game, made it as boss in this game, save for Grim Reaper, obviously. Giant Ape Skeleton is more or less enlarged version of Paranthropous enemy. Skeledragon Twins is the boss version of the classic enemy. Demon Bull, is most likely, based on Behemoth - monster who was chasing player in both Rondo of Blood and Dracula X, and who's dead corpse, could have been seen in the Coloseum in Symphony of the Night. Frankenstein's Monster can be considered as presesnt in the game, though, he initially was supposed to be playable character and look somewhat different (but even then he was still based on Monster).

Overall, this game is curious thing. It tryes to marry very different concepts and introduce its own aproach to the series. It's graphics is not bad, but didn't aged well. Music is very atmospheric, but rather removed, from what you used, to listen in the Castlevania games. General mood and story presentation is more akin to the horror movie, which is the first time for the series. Gameplay is interesting and fun, but severely lacking and at places very unpolished. Especially it goes for everything, that have to do with platforming. Level design is the strongest part of the game - each location was created with certain idea in mind, to make it feel like an actual place, even, if it hampered gameplay. Some places feel like they were taken from 2D games and into 3D. Designs are nice and once again, have more horroresque vibe to them, than usual. In some places, game manages to surprise and impress players with wonderfull and moody locations and awesome moments (like Gardener chase and Villa in general). Boss battles are often epic and almost always hectic. They also often tend to impress with their presentation. In some respects this game feels like 2D Castlevania with added third dimension. And, sometimes, it feels like developers didn't exactly knew how to create interesting gameplay in the three dimensional world and approached the task with 2D sensibilites, which sometimes felt awkward, though certainly not game breakingly bad. Eventually, I think Castlevania 64 power in its subtleness. It doesn't jump in your face with awesome visuals and loud soundtrack, but carefully conquer your heart with awesome moments here and there and, like a true horror movie, with its love for nasty surprises. Yes, there are some flaws, I admit. However, I can forgive all those shortcomings, because, in my opinion, this game made a lot of things right (atmosphere and locations structure, in particular) and is truly embodies the spirit of the classic part of the series in 3D, but with its own flavour.

[Pfil]

Very good review, it pretty much sums up what I think of the N64 CV games.
I didn't know this thread was about reviewing. In general, I love to read reviews.
I will read the other ones you made.
Do you have them uploaded all together in a webpage?
Thanks.

[Sumac]

Very good review, it pretty much sums up what I think of the N64 CV games.

Thanks.

I didn't know this thread was about reviewing. In general, I love to read reviews.

I linked to this thread earlier, when I said about CVA.

Do you have them uploaded all together in a webpage?

Erm...what?

[Pfil]

I meant if you had a website where you make reviews and have them all uploaded together.

Tonight I'll be reading the rest of reviews on this thread.

[RichterB]

Sumac, I thought your review format for CV64 was very fitting, and I'll be back at some point in the next few days or week, maybe sooner, to write down my thoughts on your review (and maybe add a few points for consideration). I found myself reading it in one go, despite telling myself I wouldn't. The above review elicited a number of thoughts, which I'll share in that eventual reply. For now, though, I wanted to put down perhaps the most striking and difficult thought your review brought forth in my mind: CV64's weaknesses were a product of the time and circumstances it was released, but CV64's strengths were also a product of the time and circumstances it was released. Consequently, while its weaknesses can be fixed in the modern gaming climate/philosophy, its strengths are no longer a part of the modern gaming climate/philosophy. When I get back with the rest of my thoughts organized beyond the rough draft bullet points of reaction I have so far, I'll explain further.

I meant if you had a website where you make reviews and have them all uploaded together.

Tonight I'll be reading the rest of reviews on this thread.

As far as I know this thread serves as the website of sorts for Sumac's reviews. They're pretty in-depth and insightful. A lot of fun to read.

[Sumac]

I meant if you had a website where you make reviews and have them all uploaded together.

No, I don't have personal website so far, so this topic is kind of collection of my reviews and video playthroughs, as RichterB said.

For now, though, I wanted to put down perhaps the most striking and difficult thought your review brought forth in my mind: CV64's weaknesses were a product of the time and circumstances it was released, but CV64's strengths were also a product of the time and circumstances it was released.

You know, it's funny, because, I never thought about it that way. Or rather, now, when I think about it, I wrought exactly that, but I haven't formulated it in the review. I think, what you pointed, can be the underlying theme of this review.

Also, every good review on my reviews inspire me to work faster on the next one. LOD review is somewhere in near completion stage. 

[RichterB]

...every good review on my reviews inspire me to work faster on the next one. LOD review is somewhere in near completion stage. 

Sumac, I decided to take the time sooner rather than later, and ended up going the extra mile.

Sumac, as I said, I think the format you chose worked very well for reviewing CV64. It’s inspired me to do a little something different with my written reaction.

CV64 PART 1 REACTION:

Castlevania 64. When you stop and really think about it, rather than taking the game’s pros and cons for granted, there hasn’t particularly been a game quite like it. (What 3D game plays with such a mixture of vertical and horizontal openness and direction without almost always forcing camera angles, all while containing consequential platforming, melee-and-ranged weapon combat, puzzles ranging from time to reason, survival horror elements featuring multiple playable and non-playable characters, and an overall internal structural logic with so much attention to atmosphere that things as simple as doors actually tend to open into adjacent rooms rather than always transitioning into a black load screen? When I think about wanting to play a game like CV64, outside of LoD, I suddenly realize that there isn’t an alternative to readily fill its place for a gaming experience).

On this same train of thought, if you think about all of the things that could go wrong in translating Castlevania into 3D, especially with a team that had never done 3D—and we have almost a decade-and-a-half of evidence now!—this entry was, all things considered, a small miracle. I think the frame of mind coming from its creators had a hand in this result. Game Designer Takeo Yakushiji once told IGN: “The Castlevania series has always had a theme of horror behind it. This does not mean bloody scenes or chilling torture, but a mood of darkness and absence of light, [which] still has cool beauty and elegance to it. Retaining this theme has been what I have been careful with while designing the game. In regards to the character design, I have tried to bring the former enemies to life in 3D and retaining their atmosphere, while keeping them appropriate and looking cool for this generation of game system.”

In a GamePro interview, the CV64 creators acknowledged a familiarity with the series even earlier than this, specifically citing Castlevania III: Dracula’s Curse as a favorite, and noting Dracula X and SotN in terms of what those entries did with the timeline and gameplay versus what the goals were for CV64’s design. Unlike more recent attempts for Castlevania in 3D, whether by Japan or Spain, this familiarity isn’t simply utilized for broad shout-outs or nostalgia winks, but key and core design choices. As a result, CV64, consciously or subconsciously, is a concentrated effort to pull from the whole of Castlevania’s history up to that point in time. Some of this was noted in Sumac’s review, and some I wanted to elaborate on or address below:

*The game is rooted in that tense blend of action and platforming that was present since the original Castlevania, which the first two stages highlight even as they warm you up for the intricate exploration and puzzles that will follow in Stage 3.

*Environmental hazards and traps, along with enemy placement, play a key role in platforming, making it strategic, rhythmic, and consequential all at once. Many examples could be given, but Stage 2 is a textbook Castlevania level with its flipping, floating, and crumbling platforms; falling guillotines; medusa heads; bone pillar snipers; bats; and fatal heights. (No Castlevania game in 3D post-N64 has come remotely close to replicating this definitive experience, which speaks to something I will bring up later about modern 3D games).

*Level designs are vertical as well as horizontal. It seems like a given, but rarely do designers use vertical and horizontal gameplay in a cohesive or compelling manner these days. The opposite was true in the going up and going down inside Grant’s Clocktower of Castlevania III, and, again, it’s true of the up and down flow in CV64’s Level 2.

*Exploration and puzzle elements go back to Vampire Killer, Simon’s Quest, and even Rondo of Blood, to say nothing of SotN.

*Visual tricks of optional invisible platforming for special item pickups appeared in SCVIV’s last stage, and I seem to recall that this element may have appeared in Simon’s Quest somewhere. (To name three places, CV64 has this before the marathon fight with the Cerberuses, as well as near the end of the Tower of Science, and at the end of the Tower of Sorcery).

*Non-playable characters, signs, and other text-based objects are present to provide clues (and atmosphere/story), even if they are cryptic, such as in Simon’s Quest.

*There is a night-and-day mechanic that affects gameplay like in Simon’s Quest.

*Multiple playable characters with varying styles of gameplay and different endings have a history that starts with Castlevania III, but continues with Rondo of Blood and Bloodlines. (In reply to a specific point made by Sumac, I see Carrie as a clever acknowledgment and logical continuation of female magic-users Sypha and Maria in the franchise, and forerunner to Yoko, Charlotte, and Shanoa. In that context, as an option next to a whip-wielder, her presence fits like a glove. Moreover, I wonder if Carrie’s biological mother wasn’t a “Belnades.” The scene where she acknowledges her stepmother’s love for her to Actrise is pretty powerful, and sets up the fact that her birth name was not necessarily Fernandez).

*The game does not use Hearts as ammunition, but instead uses Red Crystals, which connects to the ammunition system seen in Bloodlines. (Interestingly, this allegedly wasn’t in the earliest builds, which instead used a new meter system).

*Meat and other items are hidden inside candles as well as solid, sometimes even breakable, structures—a feature of Castlevania from day one on the NES. (Interestingly, this allegedly wasn’t in the earliest builds, which instead had items lying around randomly).

*Money bags can be found and are used, logically enough, as a currency here. The money bags have been around since Castlevania on the NES, and the idea of "currency" for shopping goes back to Vampire Killer and Simon’s Quest.

*You have an inventory where you can store up items. Simon’s Quest had this, and SotN brought it back with more items. (This strikes a balance between the two).

*A system of doors and keys is used for progression. The visual idea of door-based progression was big in Castlevania NES, Vampire Killer, and Castlevania III, to say nothing of its inclusion in SotN. The lock-and-key item mechanic has been around since Vampire Killer, and was a feature of Rondo of Blood and Dracula X.

*Enemies drop items when defeated. The earliest Castlevanias had random sub-weapon drops, and SotN took what a defeated enemy might drop to new levels.

*While levers themselves are very rare in Castlevania to this point, similar devices are seen in Rondo of Blood and Symphony of the Night that create stage-altering events.

*The whip (or weapon of choice) can be upgraded three times by power-ups. (The weapon power-up effects are very visible, so I’m not sure what you meant in your review, Sumac. Reinhardt’s whip and Carrie’s magic ball both change colors and/or animations, and get better range, as one might expect from series standards).

*Status ailments, seen in Rondo of Blood, Dracula X, and SotN are present.

*Many of the classic sub-weapons are present, and work in tandem with the attack limitations of the character—a key to their importance since Castlevania on NES.

*Dropped somewhere in the Beta stages were, as noted, whip-swinging over gaps from SCVIV and Bloodlines; but also dumped were a stated whip-wiggle move from SCVIV (where you hold down attack and move the control stick), and perhaps even Item Crash-style supers or special moves like in latter games of the 16-bit and 32-bit eras.

*A crouching/crawling mechanic to navigate precarious places is present, like in SCVIV.

*An attention to a gritty yet haunting atmosphere, perhaps seen most strikingly before in Simon’s Quest and SCVIV, is used well with surprising survival-horror supporting elements.

*Speaking of those survival-horror elements, they fit the legacy of Castlevania. (They were present before to an extent in past Castlevanias, whether it’s the painting grabbing you in SCVIV's library, the tree spawning a monster in Haunted Castle, the changing color of water to blood in Bloodlines and SotN, the zombies coming out at night in villages and the graveyard salesperson in Simon’s Quest, or the ghost in SotN’s chapel. The list could go on).

*The modern and the medieval are mixed together in creative and bizarre ways, which was a main feature of Bloodlines.

*There are optional bosses and stages depending on the character you play as, which goes back to Castlevania III and Rondo of Blood.

*Enemies can be positional in placement, but also spawn and chase you, allowing you to choose to fight or dodge, which was a balanced element of enemy usage since Castlevania on the NES. (It's rarely arena focused).

There’s probably more I could note, like locations or things I’m not even thinking about, but the above is enough to make my point. (I could go even further if we talked about LoD, with its sub-weapon power-ups, swinging chandeliers, flooding levels, rescuing prisoners, etc). In any event, the creators had an acute awareness for the Castlevania franchise in all of its previous variations on one level or another, and weren’t afraid to USE this awareness in fundamental ways while realizing their own vision, ensuring multiple and distinct connection points for those versed in Castlevania to feel at home even while being acquainted to 3D gaming. From the moment it was first revealed in rough form as Dracula 3D, it had already captured my attention with the likes of the more popular and successful Zelda 64 (AKA Ocarina of Time). Bare bones as it was, it struck me as Castlevania in 3D without much reservation, and I looked forward to it, not even considering the challenges the team might face. Back then, its early screens were often compared to and confused with Zelda 64, and when it came out, I still remember some people around me saying its look rivaled Zelda: OoT, which I wasn’t so sure about; though, it depends on how you look at things. As for today, some say it looks very ugly, but I find a certain impressionistic charm to CV64 still, which connects to several art direction choices.

With all of that said, by its creators’ own admission, CV64 uses templates of 3D platforming from the time, such as Mario 64 and Tomb Raider II. It also mixes modern strokes of survival-horror-esque elements ala Resident Evil. As was noted in the above bullet points, neither of these elements in theory is particularly foreign to Castlevania, though. Also, Francis Ford Coppola's Bram Stoker's Dracula and Neil Jordan's Interview with a Vampire were stated as additional visual references, but both of these were Gothic in nature and not too far removed from Castlevania’s origins of Hollywood horror. When trying for a sense of authenticity with the Dracula legend in all of its incarnations, the team went to some strange and extreme lengths, actually. Takeo Yakushiji told IGN: “We wanted to get information on Dracula, so we went to an event that was celebrating the 100th anniversary of Bram Stoker's Dracula. What ended up happening was that we were put into a small theatre with no bathroom, and got stuck watching eight hours of minor Dracula movies that were not even sub-titled. Suffice to say, we didn't learn a whole lot from that process.” Ill-fated or not, that’s commitment to detail and atmosphere exemplified. Through all of this, it was a transition from 2D to 3D and an evolution all at once for Castlevania.

END OF PART 1...

[RichterB]

PART 2 REACTION:

Now that all of that is out of the way, I’d like to get to a central tragedy regarding CV64, before moving on to a final few specific points on Sumac’s review.

The limitations of Castlevania 64 are obvious. Some of it is based on scheduling circumstances, some of it is based on technical limitations, and some on inexperience with 3D. Director Yuji Shibata told IGN one of their challenges: “The limitation on the number of polygons that could be on screen and in the enemies. Also, with the lack of memory space, the number of enemies that could be running around on screen at one time.” As I said about the unique nature of this game’s elements, exemplified further by how it tried to be true to Castelvania as a franchise, they didn’t have any great models to help them. People cite Zelda: Ocarina of Time as proof of CV64's ineptness, but that was in development at the same time as Castlevania 64 from a team that had already worked on 3D games and had internal company insight on the N64 hardware. There’s no way CV64’s team could have looked at Zelda: OoT in-depth before releasing CV64, and LoD already had certain framework elements in it that could not be changed, only polished or finished. Most importantly, Zelda and Castlevania are fundamentally different games. Castlevania leaned more toward a realistic style with realistic proportions, and was based in split-second action and platforming far more complex than Zelda’s more leisurely auto-jumping and largely puzzle/target-based bosses.

Now, these kinds of limitations, camera and all, can be improved upon. But some of these limitations, such as inexperience, led to strengths that are difficult to replicate due to stigmas in the modern gaming and game development communities.

Sumac noted that the game at times felt like transporting a 2D game to 3D. This has its pitfalls and awkwardness, but this is actually one of the brilliant things of the early 3D era, in my opinion. It led to two things: 1.) Trying hard to translate the core kernels of franchises into 3D, no matter how hard or absurd it might seem, rather than reinventing the wheel and basically retrofitting the name onto a product that was something else altogether 2.) In doing so, it meant tweaking and experimenting to gradually reshape the game from 2D to 3D, rather than throwing out everything and starting from scratch.

Just to use one example, it’s this mindset, largely a unique product of its time, which allowed for the consequential platforming described earlier in Stage 2. It also allowed for the tricky platforming of the Tower of Sorcery noted in Sumac’s review. Now, yes, that has frustrating issues attached to it; but in today’s market, almost no one has the guts to try to design a 3D stage like the Tower of Sorcery that requires such death-defying platforming and quick decision-making in a full 3D space. And if you’re making a 3D game, USE THE 3D SPACE! Can it be improved? Yes. Will it be even looked at for improvement in an era obsessed with fixed camera angles and safe on-rails plaforming events for action games? I sadly doubt it. Designers and gamers are seemingly scared of 3D jumping without having their hands held. It’s safer to make things more movie-like than game-like. Games like Capcom’s Maximo series and the 3D Bionic Commando are exceptions to the rule, but we see those swept under the rug, despite their merits of having addressed issues of a 3D camera and 3D platforming seen earlier in flawed trailblazers like Castlevania 64.

And as soon as you take out this mindset of full 3D platforming's potential, it extends into use of 3D space in general. Everything tends to get chopped up and trends toward flatter, less dynamic or interactive environments. Instead of navigating a 3D box filled with a cohesive or semi-cohesive environment (a predominant and progressive idea during N64 because ironically no one knew any better), you start playing with tighter and tighter (and more obvious) invisible walls in what amount to glorified corridors or stand-alone set pieces (a rule-of-thumb trend in most modern 3rd-person perspective action-gaming). But see, there is a flow to 3D platforming, just as there is a flow to 2D platforming. Yes, distances can be hard to judge at times, but that can be helped by design choices and camera controls, and it’s really part of the thrill when all is said and done. Learning the 3D platforming in, say Mario 64, requires a certain kinesthesia with the game, and the same could be said for what was managed in CV64, by and large. You need to learn and understand the game’s physics and physicality, just like how jumping in Castlevania was different from jumping in Super Mario Bros or Ghosts N Goblins back on the NES. I’m not saying it’s perfect by any means, but I am royally upset at how the industry has taken the safe route too often, especially in a series like Castlevania that, in my mind, fundamentally depends on consequential platforming. Sumac, you basically said that latter point yourself in your review of SotN. (Even if that was a 2D game, the same rule applies here, I think).

That Mercury Steam, IGA, or any other developer of Castlevania would NOT take a long and serious look at what was achieved in CV64 (and LoD), instead picking and choosing scripted platforming from “successful” things such as Uncharted, is inexcusable—especially when the former cites pre-SotN titles [often CV 1, 3, & 4] as a key reference and starting point. If one wants Castlevania to sit at the table of God of War and Devil May Cry with largely superficial nods to the franchise, I can understand to an extent. But if you want Castlevania to stand on the table and actually stand out from the competition in ways that will surprise people, you’ve got to go for the glory and assert an identity (and if you have a franchise like CV, why abandon that identity, collectively noted from the *-based points above). With all due respect to the good things Lords of Shadow has done and the hard work put into it, to date, it’s largely stuck in the same limited and deferential box as LoI nearly a full decade after the fact. (There’s still a heavy emphasis on arena combo action, limited and scripted platforming, fixed camera angles, and largely cut up or flat areas).

Those last three paragraphs might have gotten a bit heated, but it does get frustrating to wait in vain for over some 10 years. I thought it needed to be addressed, given the critical historical junction CV64 marked. There's no reason this series couldn't have flourished in the 3D era; though, now it faces a steep uphill battle.

Finally, points of interest to your review that were not previously noted above:

-While horror movies are noted as a strong influence, there is definitely a balanced anime flavor to CV64. (Not all anime is kiddy or inane. Ergo Proxy, Witch Hunter Robin, and Vampire Hunter D: Bloodlust are all examples of this. For that matter, the Vampire Hunter D franchise was rumored to be a huge influence on Castlevania, such as a whip-wielding character [IE: Doris Lang] and the idea of Dracula’s son fighting on the side of good with a sword [D]). At least one somewhat controversial anime artist worked on CV64 during its life-cycle, and design ideas like the spider ladies and the unique flare to the outfits seen on many characters are a direct result of anime sensibilities on the action-horror genre. As a result, in my mind, Reinhardt, with the fur and the scarf and hair spike is one of the most iconic Belmont-types, which adds to the memorable visuals of CV64 despite their graphical limitations. He’s tough and rugged yet sleek, and looks like a one-of-a-kind warrior who’s well prepared to take on Dracula. Similarly, Carrie’s main outfit has a villager’s simplicity and ruggedness with just a dash of elegance and eccentricity hinting at her supernatural abilities and past as a girl trying to live a normal life. That balance of yin and yang seen in the best Japanese artists and in the more intricate anime strikes a stylized balance between likeability, functionality, and generic archetype.

-It’s interesting that games like Ocarina of Time managed to hold three save slots on the cartridge, while CV64 requires a Memory Pak. Konami’s Hybrid Heaven was that way, too, for N64. That’s why I sometimes decide to play CV64 without saving/checkpoints. I’ve gotten pretty far with that technique—at least to Castle Center, as I recall—and it makes for some extra challenge, while also showing a cohesive classic-style game within the product.

-It’s possible to save in the wrong spot in the Castle Center with the nitro and be unable to advance. Luckily, on such a rare occasion, the developers put in the choice to return to the beginning of the stage at the Game Over screen. Frustrating, but forgiving.

-There are two other Special Jewels in the game (I recall that one is at the end of the Tower of Sorcery where you walk on an invisible bridge) which unlock “CVII Simon’s Costume” for Reinhardt and “Rondo Maria’s Costume” for Carrie. (More nods to the series’ heritage by the developers, and more elements for replay value aside from the Hard Mode Special Jewel).

-You didn’t mention the slide and crawl mechanic, which can be useful in various situations, especially battles where you’re cornered. I’ve found you can do custom combos, where you slide-tackle into an enemy, slash with the sword, and then get up and attack with the whip. It’s neat and natural-looking.

-Isn’t there a blimp of some kind (maybe a model) in Castle Center? (Perhaps a reference to Bloodlines’ lost material; if not, a neat coincidence).

-This game, LoD, and LoI have some of the most emotionally compelling plot threads in the series. They’re not necessarily “Shakespeare” or anything, but they have more impact than a lot of Castlevania games, IMO. With CV64 in particular, they do it in a mixture of subtle and direct ways, and it always seems to be in the context of the game flow.

-I’ve found that using the R Button centers the camera pretty well during most platforming. (As I said earlier, I love full 3D platforming, and find the challenge an extension and rethinking of what was experienced by Mario 64).

-You bring up a valid point about having a wide attack to clear away a swathe of enemies. The dropped-in-development whip-wiggle or a hinted at Item Crash could have served this purpose originally, while now you have to rely on the sword and the slide to escape, or a carefully used sub-weapon. Here’s where I am with this: I’m OK with a wide whip attack, as it is a 3D space (it could even be done ala Circle of the Moon or, dare I say, Lords of Shadow). HOWEVER, I don’t want this to lead into the idea of long and preset combos to trash enemies and wail on them. The rhythm of whipping and jumping and exploring would be upset by such a change. Part of Castlevania is the challenge of fighting against odds with limited means, which allows the sub-weapons to become valuable in a strategic sense. When you get into the core combo elements at the heart of Lords of Shadow, it pads levels, affects animation for movement and jumping on small platforms, forces enemies to have less importance in placement, engenders arenas regardless of stage intent, and moves one toward that fundamental and distorted “Superman” philosophy that made both you and I upset over the combat in SotN. As an aside here, I want to note that CV64's whip, while limited, has a nice feel of weight/recoil to it, fitting of such an unwieldy weapon that logically requires decisive snaps to make any big impact on an enemy.

-About those crystal platforms you can manipulate in the Tower of Sorcery. I was reminded recently that they reset if you’re not fast enough to clear them!

-Some of the new music tones from Dracula X SNES in its opening and ending have a feel that reminds me of some of the tones in CV64.

-I would have liked a few more action-platforming centric levels or portions mixed in—maybe a long, moonlit bridge with gaps in it—but the mix given of action and exploration is quite good for one game. (It inspires a lot of creativity for what levels could yet be done with this 3D format. There’s a lot of room for growth, but will the modern climate allow such a thing?).

...And so, I'm back where I started: CV64's weaknesses were a product of the time and circumstances it was released, but CV64's strengths were also a product of the time and circumstances it was released. Consequently, while its weaknesses can be fixed in the modern gaming climate/philosophy, its strengths are no longer a part of the modern gaming climate/philosophy.

I will conclude by saying this: While titles like Simon's Quest, Dracula's Curse, and SCVIV got me into Castlevania, CV64 along with Dracula X (SNES) and Legacy of Darkness were significant in making me far more aware of just how much I liked the Castlevania franchise. How Ironic.

END OF CV64 REACTION

[Pfil]

The game feeling like 2D gameplay transported to 3D is exactly what makes it so perfect to me.

[Sumac]

RichterB can you, please, give me links to the description of the early versions of CV64 and interviews with its creators? I searched for old previews of the game via Google, but was unable to find anything significant. Those articles would have provided a great help to the CV64 / LOD bonus article I plan to write.

Yes, distances can be hard to judge at times, but that can be helped by design choices and camera controls, and it’s really part of the thrill when all is said and done.

Yes, it's fun, but at the same time it is something, that should not be in the game. In 2D Castlevanias you always can see, whether you can get to the platform or not. And in general, I think it's unfair to make player play guessing game with platforms and distances. Challenge should be in the level structure and enemy placement, not in the problems with camera angles.

While horror movies are noted as a strong influence, there is definitely a balanced anime flavor to CV64

It is more subdued, when compared to the next entries and I prefer it to stay that way.

-You didn’t mention the slide and crawl mechanic

One of those omissions, that come from the size of the text. Many things were added in the last minute, like description of physics.

-This game, LoD, and LoI have some of the most emotionally compelling plot threads in the series.

This is where, I heavily disagree. By the Castlevania standards, plot of the CV64 is very good and emotional (in a good way), but when it comes to LOD...

Here’s where I am with this: I’m OK with a wide whip attack, as it is a 3D space (it could even be done ala Circle of the Moon or, dare I say, Lords of Shadow). HOWEVER, I don’t want this to lead into the idea of long and preset combos to trash enemies and wail on them.

I would have been OK, with singular wide attack, just to brush away the enemies, that come from different directions at the same time. It's really frustrating, that in such situations you feel rather helpless and need to resort to the blind running.

Overall, I am agree with some of your points and I think, that developers of the CV64 really had passion and undersatding of what Castlevania should be, when they were making this game. It's unlucky, that for all of this good achievements, that could have been used in the modern games, CV64 is usually always remebered as "that awkward and ugly game with bad music", when in reality it's nothing like that.

[RichterB]

RichterB can you, please, give me links to the description of the early versions of CV64 and interviews with its creators? I searched for old previews of the game via Google, but was unable to find anything significant. Those articles would have provided a great help to the CV64 / LOD bonus article I plan to write.

You got it. Here's the ones I can still locate (I tried to organize them, but some may be in the wrong section or repeated. You definitely want to read the Nintendo, GamePro, and IGN ones, though. Some of them have new quotes and/or ideas sprinkled in at various stages of development. Don't have time to make it neater, but just go through them and you'll find the info (the videos at the end elaborate on some things, too):

MOST IMPORTANT:
http://www.castlevaniadungeon.net/features/magscans/gamepro%20112%20(jan%2098)%20-%20castlevania%2064%20interview%20(1).jpg
http://www.castlevaniadungeon.net/features/magscans/gamepro%20112%20(jan%2098)%20-%20castlevania%2064%20interview%20(2).jpg
http://www.castlevaniadungeon.net/features/magscans/gamepro%20112%20(jan%2098)%20-%20castlevania%2064%20interview%20(3).jpg
http://www.castlevaniadungeon.net/features/magscans/np-102p45-cv64-preview.JPG
http://www.castlevaniadungeon.net/features/magscans/np-104insp8-cv64-preview.JPG
http://www.castlevaniadungeon.net/features/magscans/np-104insp9-cv64-preview.JPG
http://www.castlevaniadungeon.net/features/magscans/gamepro%20112%20(jan%2098)%20-%20castlevania%2064%20interview%20(1).jpg
http://www.castlevaniadungeon.net/features/magscans/gamepro%20112%20(jan%2098)%20-%20castlevania%2064%20interview%20(2).jpg
http://www.castlevaniadungeon.net/features/magscans/gamepro%20112%20(jan%2098)%20-%20castlevania%2064%20interview%20(3).jpg
http://www.ign.com/articles/1999/11/19/behind-the-castle-walls

SUPPLEMENTARY:
http://www.castlevaniadungeon.net/features/magscans/np-98p63-cv64-preview.JPG
http://www.castlevaniadungeon.net/features/magscans/np-97p75-cv64-preview.JPG
http://www.castlevaniadungeon.net/features/magscans/EGM95p62.jpg
http://www.castlevaniadungeon.net/features/magscans/EGM101p48.jpg
http://www.castlevaniadungeon.net/features/magscans/EGM106p36.jpg
http://www.castlevaniadungeon.net/features/magscans/EGM111p89.jpg
http://www.castlevaniadungeon.net/features/magscans/EGM113p102.jpg
http://www.castlevaniadungeon.net/features/magscans/EGM114p76.jpg
http://www.castlevaniadungeon.net/features/magscans/EGM114p77.jpg
http://www.castlevaniadungeon.net/features/magscans/gamepro%20117%20(june%2098)%20-%20castlevania%2064%20e3%20preview.jpg
http://www.castlevaniadungeon.net/features/magscans/gamepro%20121%20(oct%2098)%20-%20castlevania%2064%20preview.jpg
http://www.castlevaniadungeon.net/features/magscans/gamepro%20125%20(feb%2099)%20-%20castlevania%2064%20preview%20(1).jpg
http://www.castlevaniadungeon.net/features/magscans/gamepro%20125%20(feb%2099)%20-%20castlevania%2064%20preview%20(2).jpg
http://www.castlevaniadungeon.net/features/magscans/gamepro%20135%20(dec%2099)%20-%20lod%20preview.jpg
http://www.castlevaniadungeon.net/features/magscans/gamepro%20121%20%28oct%2098%29%20-%20castlevania%2064%20preview.jpg

ADDITIONAL GATHERED INFO in VIDEOS HERE:
http://www.unseen64.net/articles/castlevania-64-beta-analysis/
(11:40-12:54 of the following) Season 3 Playback Castlevania: Legacy Of Darkness Review

[REGARDING 3D PLATFORMING & CAMERA] Yes, it's fun, but at the same time it is something, that should not be in the game. In 2D Castlevanias you always can see, whether you can get to the platform or not. And in general, I think it's unfair to make player play guessing game with platforms and distances. Challenge should be in the level structure and enemy placement, not in the problems with camera angles.

I may have been misunderstood. I agree that the camera can be a lot better (that's what I meant by "helped by design choices and camera controls"--that those could be improved). However, I just was saying that I'd rather have them use the 3D space with tricky jumps rather than give me scripted events like in Uncharted, or 100% fixed camera jumps, which, when I play games like that, I feel like it's too artificial and simplified. Games, particularly those with platforming, that always force fixed cameras just strike me as wanting to be more movie-like than game-like; it feels like I'm jumping on plastic Lego board play-sets rather than real environments. So I give the nod to CV64/LoD, despite their potential frustrations, for taking the risk of trusting the player, so to speak.

[ON ANIME]It is more subdued, when compared to the next entries and I prefer it to stay that way.

Yeah, this was just enough. I think that Circle of the Moon and Order of Ecclesia (which, to date, I have skipped) struck the right visual balance, as well. By the way, that note of physics you made earlier was a good one. I never really paid attention to it. Maybe because the momentum stuff is just a trait of real life?

[ON EMOTIONS]This is where, I heavily disagree. By the Castlevania standards, plot of the CV64 is very good and emotional (in a good way), but when it comes to LOD...

I was probably a bit too broad in my statement there, yes. I think I just took LoD as an extension of CV64 since it has some of the same characters. I suppose the addition of Henry, who is saved and then goes to save others like him, was maybe one of the new pieces I liked, along with his family situation at the Villa. Honestly, LoD is a title I am due to play again. I have not played it since it first came out, and only had an opportunity to clear Cornell's quest, due to various circumstances.

The game feeling like 2D gameplay transported to 3D is exactly what makes it so perfect to me.

In a nutshell, I think that was kind of the basic point I was saying. It didn't lose its identity in the transition.

[Sumac]

Very very big thank you, for those artticles. I will read them them soon enough. Not only for the article purpose, but, also because, I am a big fan of beta-versions and the like. 

By the way, LOD review is finished and I just need to reread it, to fix mistakes and make some "last minute additons". It will be more negative, then CV64 review and it ends up with a long rant. 

However, I just was saying that I'd rather have them use the 3D space with tricky jumps rather than give me scripted events like in Uncharted, or 100% fixed camera jumps, which, when I play games like that, I feel like it's too artificial and simplified.

No-no, I didn't mean to come of as supporting fixed camera angles and scripted jumps. What, I meant, is that in good 3D game you should be able to judge distance between platforms at a glance. Not only, when you jump.

[Sumac]

And it is done!!
Castlevania: Legacy of Darkness review by Sumac.

Part 1:
I've learnt about this game at the same time, when I first come to know about original Castlevania 64 - in 2006. However, due to various circumstances and setbacks, I was able to complete it only in 2008. Back then, this game didn't impresed me as much as CV64. I can't say why exactly. Maybe it's the fact, that I didn't like main character - werewolf Cornell or maybe something was wrong with the general mood of the game. But anyway, I have replayed this game recently and here's my renewed thoughts about it.

First, what exactly is Legacy of Darkness? As you remember, the original Castlevania for the Nintendo 64, was heavily trimmed in order to be released on holiday season in 1999 in US. Most jarring omission was absence of the two playable characters - melee fighter werewolf Cornell and shotgun wielding Frankenstein-like monster Corler. Though I am pretty sure there were a lot of other important things, that were cut. The lack of content was noticeable and there were complaints about camera and controls in the game. Konami decided to give KCEK another go at it (or rather to simply release the same game twice with more content, making first release essentially obsolete). Initially the game was called Castlevania: Special Edition, but it seemingly reeked too much of the "guys who bought original game wasted their money", so they changed it to something more ambiguous - Legacy of Darkness. What was added? First and foremost two new playable characters: Cornell and...Henry Oldrey. Yeah, no Corler sadly, he was destined to stay as Frankenstein Gardener forever. Though, Henry, apparently uses game mechanic initially planned for Corler. Also, few new levels were added, though accesible for Cornell only, several new bosses, new enemies, new music tracks. Special effects were added to some events, like when you pick power up. A lot of old levels, especially Towers, were completely redesigned, making them look like completely new locations.

Cornell's story serves as the prequel to the Reinhardt / Carrie adventures and take place 8 years before events of the CV64. Cornell AKA Blue Crescent Moon is the werebeast (werewolf) who belong to the race of the werebeasts. They prefer to seal their super natural abilities in order to peacefully co-exist with humans. Cornell goes on the long ascetic traning to master his powers and to gain full control of his ability to transform into wolf. When he returns to his village, he finds out, that it was set on fire by horde of the animated Skeletons. Also, his sister, Ada, was kidnapped. Cornell goes to search and his kin sense of smell, leads him to the old misterious Castle. There Cornell fights many enemies and goes through a lot of obstacles (also, he saves young Henry Oldrey, by request of his mother) only to find, that the whole thing was setup by his old friend-rival Ortega, who wanted to prove himself as superrior warrior and made a deal with Dracula. After beating Ortega, Cornell finds himself face to face with Dracula himself. Dracula took Ada hostage and after intial beating he uses her power to transform into creepy demon in attempt to destroy Cornell. Cornell succeds in defeating Ultimate Dracula, but in order to save his sister he sacrifices his magical power...that was the target of Dracula all along. After credits you will see scene in which Grim Reaper, with Gilles De Rais and Actrise, use Cornell's magic power to conduct ritual and ressurect Dracula in the human body. Cue text, that describes Dracula ressurection as Malus. There are also some hints, that it was Ortega who killed Ada's real family. Henry's story happens at the same time (well, a bit later) as Reinhardt / Carrie quest. He was sent by Church to find several children captured by Dracula's servants. He only have 7 days to finish his quest.

It is obvious, that at least this version of the Cornell's story, was a new element, that wasn't salvaged from the initial plan for this game. In original CV64, Dracula says, that it was 100 years since his last ressurection, which obviously couldn't have been the case, if he was alive just 8 years before. There are some other hints as well. Overall, both Cornell and Henry stories, felt like there were created just to make some vague sense from their introduction in the previously established storyline. All main villains from the Dracula's side (Grim Reaper, Gilles De Rais and Actrise) appear in the Cornell's quest, but none of them play any significant role. They just appear and...that's that. On one hand it makes some sense plotwise and it is an interesting idea, to see struggle with the Dracula from the eyes of someone, who doesn't normally involved with the whole Belmont-Dracula feud. On the other hand, it doesn't make Cornell's quest more interesting, probably because Cornell is quite a bland character. He does have personal purpose to fight Dracula, but in terms of reaction for his surroundings he kind of reminds of me Keanu Reeves as Neo, since he always have this dull surprise thing going on. And his primary costume in this game makes him look like an elf. Henry's quest is more interesting, since it directly tied to the Reinhardt and Carrie story, but it still feels like an afterthought. Overall, story feels like it was created with the sole purpose of making sense out of new characters. Unlike story of the CV64, Cornell's plot is less spectacular and rather dull by comparision. It doesn't feel like an attempt to create movie-like story anymore. The same goes for Henry storyline, which even doesn't have cutscenes, except for the final one.

Graphics are the same as in original release, though I think some textures are better. Some graphical effects were added: when you pick power up, glowing field appears around your character. Reinhardt's whip have different effects, depending on how many power ups you have. Some models from the old games, were made more detailed.

Soundtrack is the same as in CV64, but some new melodies were added. Most notable are several different versions of Shudder, standard boss track in the CV64. Forest of Silence received its own background music. New levels: Foggy Lake, Inner Wall, Tower of Ruins have their own new tracks. Another new stage, Tower of Art, uses Sinking Old Sanctuary, from Castlevania Bloodlines, as a background melody. Part of the Begining sounds during Cornell introduction in the Village. Finally, Vampire Killer makes appearance in this game, but only as part of the Prologue music, during Dracula's dialogue with Cornell in the Castle Keep. Bloody Tears, as it was in CV64, used as part of the music during intro and the ending of the Cornell's quest. Begining accords from the Simon's theme play, when Henry saves a child. New music is interesting, though nothing special. There is no new awesome tracks like Invisible Sorrow. However, remix of Sinking Old Sanctuary is very good.

General gameplay is still the same, however, there are few changes. First, controls became tighter. You can feel character movement better and apparently there is less skidding on the corners. Second, when you hang on the platform, to climb on it, you must press in direction of the platform and not just "forward" like it was in CV64. This change, very confused me in the begining of the LOD playthrough. I am not sure what was the point of this, honestly, since climbing, was one of the few things in CV64, that was done well, when it comes to platforming. Third, there is no more Normal View for the camera. It only has now Action View and Battle View. Action View is pretty much the same as Normal View in the CV64. Also, there is new camera mode called "Auto View" - it triggers during some scripted events, like, when your character ride elevators. There is new feature called "Lock On". By pressing button, that usually repositions camera behind your back, you now can fix camera on your target. This is very helpful during battles with Ortega and Dracula in Cornell's quest, because both bosses love moving beyond the camera field of vision. Also, subweapons can be now upgraded, by picking another subweapon of the same type, you already have with you. For example: lightning will strike in the place, where Axe had fall, if you pick up two Axes in a row.

The game have four playable characters: Cornell, Henry Oldrey, Reinhardt Schneider and Carrie Fernandez. Initially only Cornell is playable. Henry will become available only after you finish the game as Cornell. To unlock other two vampire hunters, you will need to complete certain objectives as Henry in his specific quest. This review will focus on the Cornell and Henry modes only, since Reinhardt and Carrie modes are pretty much the same as in CV64. They just use redesigned levels from Cornell's mode and have few new bosses.