Bloodstained: Curse of the Moon is a classic Castlevania clone, and that’s not a bad thing.
Conceived as a campaign stretch goal for the more-than-successfully Kickstarter funded and highly anticipated Bloodstained: Ritual of the Night, this is as close as we will get to an actual classic Castlevania sequel.
Though Ritual of the Night, helmed by longtime Castlevania writer and producer IGA, is meant to be a spiritual successor to 1997’s Castlevania: Symphony of the Night — the starting point for the genre now known as “Metroidvania” — its companion piece, Curse of the Moon, instead continues the original Vampire Killer movement started back when Simon Belmont first faced Dracula on the NES.
If you’ve been itching for a return to that very specific genre, this is meant for you.
Curse of the Moon is more than an obvious love letter to the 8-bit era of Castlevania games on the NES, and it has no intentions of hiding that. Not only is the cheesy haunted house aesthetic recreated to pleasing effect, many of the ghouls, monsters and other such creatures that you fight along your trek are lovingly “lifted” from Castlevania, and work really well within Curse of the Moon’s setting.
Expect to fight this game’s equivalents of Medusa Heads, Bone Pillars, Fish Men and more, all of whom look well-established within this new setting. Boss designs, however, stick out, looking a bit too “anime” compared to the everything else. This is perhaps a consequence of the game being a spinoff/tie-in to Ritual of the Night, which adopts a heavy anime aesthetic. It might not look out of place for Ritual of the Night, but it does here.
Beyond the expected dilapidated mansions, castles, and graveyards, your journey takes your fight to moving trains, icy cavernous landscapes, ruined underground sewers, and a host of other set pieces. You won’t be starved for variety when it comes to your backdrops, all of which are very vividly drawn and colored.
While the game draws direct inspirations from 8-bit Castlevania, Curse of the Moon’s color palette is far more vibrant. The darker, more serious colors from Castlevania are replaced with more 80s “Ecto Cooler”-inspired, at times goopy, splashes. If early Castlevania took its aesthetic inspirations from Universal and Hammer horror movies, Curse of the Moon takes those same inspirations and mixes them with Troma.
Musically, it’s a bit of a hit and miss. There’s clear effort put into the tunes, making them sound like homages to Castlevania, such as the amazing, flowing, mysterious score for Stage 5. While some of these attempts get a bit lost in their identity crisis, most stage themes do have good things going for them and succeed in standing on their own, beyond homage. Maybe as I play the game more and more, some of it will grow on me. It does feel like that kind of OST.
Unlike a lot of “fake-bit” games, where it seems more effort is put into nostalgia crafting via visuals than meaningful gameplay, Curse of the Moon is actually a pretty fun time. If you’re a fan of NES-era Belmont-esque vampire whipping, you’ll feel comfortably at home.
Much like Castlevania 3: Dracula’s Curse, you can take control of multiple characters, but here you have the ability to switch them at will with the press of a button. This is a major element of how you play the game; switching through characters, making use of their specific attributes and sub-weapons. It’s pretty fun and adds a new layer of strategy to what would’ve otherwise been a straightforward “clone” of a game.
While characters can die, their death doesn’t mean end for the rest of the party; the player can simply move on without that character, until the next stage or until everyone else dies. This, again, adds a bit of strategizing to which character can be risked when, as certain areas can vary greatly in difficulty depending on which character is used.
Jumping and attacking works almost exactly like you would expect it to, combining an odd mix of stiffness and responsiveness this style of game has come to be known for. You even have the classic “jump back when you get hit” dynamic, though the easy difficulty setting turns this off. I prefer it on, as it makes for a more “full” experience, in my opinion.
Speaking of which, the game has two difficulty settings to start with: “Casual” and “Veteran”. Casual, in addition to preventing the player from being knocked back, also makes everything easier and gives you unlimited lives. “Veteran” is the game’s default setting, but if you truly are a Castlevania veteran, you’ll find the game a bit of a cakewalk (albeit enjoyable at that) until the last couple of levels, which still aren’t as difficult as the games they take inspiration from. I can see someone perhaps turned off by the game’s very forgiving auto-save checkpoint system, but at the same time, the lack of it is not a challenge the game ever promises to offer.
But fret not, as there is a second, more challenging “Nightmare” mode to the game (which has its own “Casual” and “Veteran” difficulty settings), which while can technically be called optional, is very much a part of completing the game. It’s more of a “Part 2” than a “New Game+”, changing things up and expanding upon each stage, its enemies and bosses as you wade through it all a second time. This drudge is rather rewarding, and the kind of “wait, there’s more” content that works really well. If you’re looking for a real, thrilling challenge, this is where Curse of the Moon shines.
Plus, there’s a third mode, as well, though this one is a bit of a secret, unlocked when certain requirements are met in the “Normal” mode. It’s pretty creative, but we’ll keep it a secret!
But what is a “Curse of the Moon”?
There is a vague story to the game’s narrative that is not worth all that much looking into, true to the spirit of 8-bit side-scrolling games. Sure, one could look into the story and delve into it if compelled, but things are kept pretty simple on the front-end of things. Yeah, band together, defeat evil, here’s a samurai guy, here’s a demon girl with a whip. Dunno. Go kill.
There’s a charm in that simplicity. As a result, what is supposed to be a spinoff to the more narrative-driven Ritual of the Night stands strongly on its own. It’s a reflection of Curse of the Moon’s tight, no-frills gameplay and makes me wish there was more.
While this package was never meant to more than just an offshoot, I’m hoping for its success, and a success that leads to a creation of a Bloodstained series of games that gives us more stuff just like this. Considering that the Castlevania series is more or less dead now, owing to how Konami operates these days, it’s our best hope for a prosperous continuation.
- Solid, 8-bit era Castlevania gameplay with great level design
- Interesting, varied stages with compelling atmosphere and loads of charm
- The character switching mechanic adds a welcome layer of strategy. All characters are unique and useful.
- “Nightmare” mode is more than just a simple “New Game+”, expanding on existing stages and offering a more challenging game. There’s a hidden third mode as well.
- Auto-save/checkpoint system makes the game a little too easy at times in “Normal” mode
- Some people might find the shorter length off-putting
‘Life is Strange 2’ Episode 5 Review – “Wolves”: A Worthy Send-off
The final episode of Life is Strange 2 may take a while to get going but it does offer a solid conclusion to the Diaz brothers’ journey.
Life is Strange 2 hasn’t made any bones about being a political game over the course of the last year. The 5th, and final episode, “Wolves”, doesn’t just continue with this message, it doubles down, and in a big way.
Set near the Arizona-Mexico border, “Wolves” follows the Diaz brothers on the final leg of their journey. Having escaped from the cult that held Daniel up as a messianic figure in the previous episode, Sean and Daniel are camping out in a sort of pop-up town filled with outsiders like themselves.
The location provides Life is Strange 2 with its final breath of relaxation before the story enters its high tension endgame, and it’s a much needed reprieve. Unfortunately, it does seem to go on a bit longer than the player might like, and that makes things drag a smidge.
To give you some idea of how long you’ll be spending in the village, 4 of the 6 collectibles are found here. So, yes, this starting area is the main place you’ll be spending “Wolves” in. To be clear, the area isn’t bad per se. There’s a lot to see, a scavenger hunt to go on, and a few interesting characters to speak with, including a surprise cameo from the original game. The bummer of it all is that players will be feeling the time here more laboriously simply because there isn’t much of anything happening.
In the 2nd or 3rd episode of this story it’s perfectly fine for an extended bit of down time. Episode 3, in particular, benefited greatly from allowing you to settle into the setting and get to know a diverse and likable new group of characters. However, by the 5th episode, players will be so eager to see how things are gonna settle up, they won’t be able to get out of this area fast enough.
On the upswing, once Sean and Daniel leave the village, the story moves at a pretty solid clip to the credits. As the key art and trailer for “Wolves” might suggest, the Diaz brothers do indeed challenge the border wall in the final leg of Life is Strange 2. Where things go from there, I won’t spoil, but rest assured that Daniel will absolutely go through the crisis as you’ve trained him to do.
By this I mean, you will see the final results of your choices throughout the game, and they’re pretty impressive. With 4 possible endings, and 3 possible variations on those endings, Life is Strange 2 can ultimately play out in a variety of ways. How yours plays out will, of course, depend on the choices you’ve made and how you’ve influenced your brother throughout your journey.
Either way, though, Life is Strange 2 closes off “Wolves” with an emotionally satisfying and generally fulfilling conclusion to your journey. It might be a necessary evil that the events can’t be intense the whole way through, being that this is not an action or combat-focused game, but the fact that things take so long to get going in the final episode is a bit of a problem.
Still, fans worried that Life is Strange 2 might fail to stick the landing can rest easy. “Wolves” might not be the best, or most satisfying, episode of the series but it does what it needs to do and it does it well, particularly in the back half.
‘Yaga’ Review: A Bittersweet Fairy Tale
Some games feel perfectly suited to their genres, as if they fulfill every ambition that their genre could promise. On paper, Yaga from the developer Breadcrumbs Interactive, should be one of those games. This roguelike RPG is meant to bring traditional Slavic folktales to life, and its procedurally generated structure allows the game to change in every playthrough, just like how the ancient fairy tales it’s based on can change in every telling. Yaga immediately shines on a conceptual level, but as a game, the most important question remains: will this fairy tale be enjoyable to play?
From start to finish, Yaga uses the rich source material of Eastern European history and folklore to create a vibrant, fantastical world. The entire game is framed as three elderly women telling the story of Ivan, a heroic blacksmith who has been stricken with the curse of bad luck. These women spin a fanciful yarn, one in which Ivan is constantly plagued by horrors from traditional fairy tales such as the hideous One-Eyed Likho, along with more realistic foes, such as a corrupt, overbearing Tsar. The game thrives on this balance between history and fantasy. Its world is filled with peasants who face daily, universal struggles with war and agriculture, while massive ogres and goblin-like Vodyanoys haunt the surrounding wilderness. This mixture creates a strong setting that finally gives Slavic history and mythology its long-overdue representation in games.
“Take the presentation and story together, and Yaga becomes a playable portrait of the lives and superstitions of Eastern European peasants.”
The frame story always remains the same: Ivan will always have to serve his Tsar while avoiding bad luck in every playthrough. However, beyond these core details, the old women are extremely flexible storytellers, often switching events around or changing story beats entirely. In some playthroughs, you may discover a woman raising an enormous chicken; in others, you may instead encounter a band of thieves waiting to rob you. You will frequently face important decisions to make that will dramatically impact the outcome of your quest. yes, you can always break into monster hideouts with hammers blazing to slay every creature before you; but more often than not, you are also given the opportunity to peacefully talk your way out of these toxic situations. Even more dramatically, oftentimes the game will zoom out to the old women storytellers and allow you to choose how they tell the rest of Ivan’s story. Yaga is at its best when it doubles down on this player freedom. It makes every moment engaging and allows its stories to truly come alive.
Yaga’s writing and presentation only serve to make this world even more striking. It features a distinctly dark sense of humor – for instance, a man may ask you to push a boulder into a well behind his house, but he will neglect to tell you that he has also thrown his wife into the bottom of that well ahead of time. Much of this dialogue is even written in rhyme, enhancing the otherworldly, fairy tale atmosphere. On top of that, nearly all dialogue is fully voice acted, with most voice actors delivering some eccentrically charming performances that make the game feel as if it’s a playable Disney film. The visuals look like they’re taken straight out of a Russian children’s book of fairy tales, while the music incorporates traditional instruments and language into an electronic, hip-hop fusion soundtrack that captures the cultural heritage that Yaga focuses on while connecting it to modern culture. Take the presentation and story together, and Yaga becomes a playable portrait of the lives and superstitions of Eastern European peasants.
However, this leads to the gameplay. Quests may be randomized each time you play, but nearly every one of them takes the same general format. One character will request help, and then Ivan will have to venture out into the world to fight some demons or recover an item. Worse yet, the levels are just as randomized in their procedurally generated design, and not in a particularly clever way, either: most of them likewise follow the same formula, being little more than arenas full of enemies connected by copy-and-paste environments. Many paths in each environment lead to nothing more than pointless dead ends. The combat has a satisfyingly simple basis, with basic moves like long- and close-range attacks, roll dodging, items to use, and a variety of different weapons to equip, although his trusty old hammer is generally the best choice. However, while this simplicity makes the combat enjoyable on its own, there is very little depth to it, and the inherently repetitive design of the mission only serves to highlight how paper-thin combat can be. Most battles involve little more than hacking away at enemies until they die, which becomes increasingly repetitive by the end of the roughly ten-hour campaign.
At the very least, the robust customization system helps add a little intrigue to the combat. As a blacksmith, Ivan is naturally gifted with the ability to craft weapons for himself to use. By scavenging parts and items from fallen enemies and treasure chests around the world, Ivan is able to create the most powerful weapons. Crafting is simple to use yet extremely ripe for experimentation, requiring only one base item and a handful of accessories to create unique new items. With dozens of components to discover and use in your forging, there are plentiful opportunities to create the best possible weapons.
“All told, Yaga achieves a bittersweet ending: it’s bitter as a game but sweet as a fairy tale.”
The crafting system would be the standout aspect of the moment-to-moment gameplay if it weren’t foiled by another one of the game’s systems: Bad Luck. Ivan has been cursed with perpetual Bad Luck, which grows constantly throughout the game – whenever something good happens, Bad Luck is sure to increase. Whenever the Bad Luck meter fills all the way, Likho will appear and strike Ivan, generally breaking one of his weapons or stealing his money.
On paper, this mechanic makes sense, since it prohibits the player from becoming too overpowered and also fits into the folklore style off the story. In practice, however, it is an infuriating limitation on player progression and invention. It effectively punishes players for putting thought and care into their weapon crafting and character-building – at any moment it can all be washed away in bad luck, so what’s the point? Considering how enjoyable the crafting and combat systems are, it’s a shame that Bad Luck seems to exist solely to diminish the very best parts of the gameplay, leaving the game feeling like it cripples itself.
Your enjoyment of Yaga depends heavily on what experience you want out of it. If you’re looking for a deep and satisfying RPG, then it likely won’t deliver. Although it features satisfying combat and customization systems, the frustrating randomization of its level design and Bad Luck system only serve to foil these good qualities. If you are instead looking for a faithful, fleshed-out image of Slavic cultural heritage, portraying both the harsh realities of peasant life along with its fanciful folklore, then Yaga is a clear triumph thanks to its emphasis on player choice, its excellent writing, and its beautiful hand-drawn visuals and inventive soundtrack. All told, Yaga achieves a bittersweet ending: it’s bitter as a game but sweet as a fairy tale.
‘Remothered: Tormented Fathers’ Review: I Want My Remummy
There’s merit to be had if you just want a quick bash at a quirky, indie horror game, but with so many flaws, I can’t recommend Remothered.
It feels like a while since the ‘survival horror but you can’t fight back’ genre was at its peak, especially with the recent, tradition-tinged revival of the Resident Evil series, but back in 2017 when Remothered: Tormented Fathers was being developed for PC it was all the rage. Like any indie game that’s had even the slightest amount of interest or acclaim during the current generation, Remothered has received the now-obligatory Switch port. Although its modest technical requirements clearly made a successful transition to the platform more than manageable, they don’t help to hide the game’s very obvious shortcomings.
Players take control of Rosemary Reed in her attempts to investigate retired notary Dr. Richard Felton, who is currently undergoing treatment for a mysterious disease. Oh, and he has a missing daughter that he probably murdered. The plot of the game feels a little cliché, but it’s undoubtedly its strongest facet. However, suspending your disbelief at the ropy animations and dodgy voice-acting is needed to avoid being sucked into feeling like you’re watching Theresa May running around a big mansion trying to escape from a John Cleese impersonator with his arse hanging out. Alas, I clearly failed in this endeavor.
Remothered is essentially a game of ‘go there, fetch that, bring it here, use it’ with an added element of ‘don’t let the annoying old man kill you in the face with a sickle’. Yeah, one of those ones. The story takes place almost entirely within Felton’s huge mansion, and navigating the ol’ girl is by far the game’s toughest element. It’s made especially harder while you’re constantly on edge, trying to avoid the stalking lunatic without a map, weapons, or a proper objectives system. Be prepared for your bearings to be quite considerably lost.
There are a couple of ways to avoid that face full of sickle. There’s a dodge button (provided Rosemary isn’t too tired to actually dodge), a run button, distraction items, and defense items that will automatically be used to escape a grab attack if you have one equipped at the time. Remember those crappy bits in Resident Evil 4 where you had to play as Ashley? This is like that… for a whole game.
While a little tired in 2019, there’s nothing inherently wrong with the formula of the weapon-less survival horror game – it’s just that in Remothered, it’s not implemented all that well. Enemy AI routing is weird, which should be grounds for an unpredictable fright-fest, but leans more toward the annoying and/or hilarious. It seemed like the stalkers would either sit directly outside the room I needed to enter – barely moving and refusing to be distracted for longer than a few seconds before returning immediately to their original spot right on my current objective – or simply bugger off to another floor and never come back.
Even with his penchant to completely vacate the area, and despite his advancing years, Dr. Felton possesses supersonic hearing. It seemingly doesn’t matter how far away you are – if you run in this game, he will hear you. To make matters worse, the sound design just doesn’t make sense. With every press of the run button, enemy dialogue would instantly change to indicate they’d heard you and then loud footsteps would permeate every room you enter as if they were right behind you, when they most certainly are not.
It’s either a cheap scare tactic to give the impression of enemies constantly being within touching distance, or the fallout from a combination of naff sound design and the limitations of my Switch’s Pro Controller not having a headphone port. What makes it worse is that everything is so campy that it’s seldom scary in any tangible way. When the man trying to murder you is constantly shouting about how he hasn’t got anything to eat that isn’t moldy while you hide in his cupboard, it’s not exactly bone-chilling.
As a result of the big-eared murderers and their impeccable radar tuned to the sounds of running, I spent almost the entirety of the game… well, not running. Unfortunately, Rosemary walks slower than an asthmatic ant with heavy shopping, and this made exploring the mansion a monotonous chore – especially when getting caught and subsequently having to run up and down floors to hide before slowly sneaking back to restart the investigation.
Puzzles are that old school type of obtuse where you’re tasked with finding everyday items to fix problems. The puzzle itself lies in realizing the item the developer decided should work, finding it in the giant four-floor mansion, and slowly returning to the its intended area of use without dying. For example, in order to get into an attic, you have to search rooms at random to find an umbrella to pull down the door’s previously-out-of-reach cord. It’s such a shame that Remothered eschews any type of self-contained puzzle for a string of confusing fetch quests, as everything feels more tedious than taxing.
It feels a little unfair to bemoan the lack of polish for a two-year-old indie game, but Remothered is full of niggling issues. Animations are janky, lip-syncing is non-existent, and the camera wigs out after the QTEs to fight off enemies have finished – always pointing you in the wrong direction. I also encountered a couple of game-breaking bugs where Rosemary did her door-opening animation without the door actually opening, and I couldn’t enter the room without rebooting the game. Lastly, and I don’t want to be too harsh to an Italian developer, but the in-game English is pretty abysmal, and lots of the game’s expositional notes and articles border on illegible through their poor translations.
There are some people out there who can’t get enough of the whole hiding under sofas schtick, but I like my survival horror games with better psychological tension, a (limited) means to fight back, and coherent puzzle-solving. There’s merit to be had in the game’s labyrinthine setting and short length if you just want a quick bash at a quirky, campy indie horror game in the Haunting Grounds model, but with so many flaws and such a frustrating gameplay loop, I can’t recommend Remothered: Tormented Fathers outside of anything other than morbid curiosity.
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