Castlevania isn’t a dialogue-heavy series by any means, but it’s still home to one of gaming’s most compelling narratives. Equipped with only their ancestral weapon, the legendary Vampire Killer, descendants of the Belmont clan face off against Count Dracula every 100 years like clockwork (give or take). His resurrection is inevitable. Just as good will always triumph over evil, evil will rise again. Castlevania was about the cyclical nature of good and evil long before Dracula mused about the nature of humanity in Symphony of the Night. Castlevania chronicled the Belmont family’s centuries-long struggle to keep Count Dracula at bay, game after game. Of course, he wasn’t the Count Dracula– more a representation of evil– but that was as much a given as a Belmont rising up to wield Vampire Killer. Then Castlevania Bloodlines happened.
Released in 1995 exclusively for the Sega Genesis, Bloodlines may have looked like any other Castlevania game, but it marked a series of eclectic firsts for the franchise. Gone are the Belmonts and the game neither takes place inside of or involves getting to Dracula’s Castle. Bloodlines is even titled Vampire Killer in Japan, creating a bigger divide between it and previous entries, but that hardly compares to Bloodlines’ strangest contribution to the series: making Bram Stoker’s Dracula canon.
The nature of how Dracula fits into the Castlevania mythos isn’t as plain and simple as just taking the book as writ as canon, but it fits much cleaner than one would expect. Although Bloodlines may lift elements from the novel with its own embellishments, its changes are ultimately inconsequential. Quincey Morris doesn’t have a son in the novel, but he’s the only major character alongside Dracula not to keep a journal, keeping his background relatively obscured. Quincey also doesn’t sport his signature bowie knife in Bloodlines’ backstory, finishing Dracula off with a stake (instead of the Vampire Killer for whatever reason.)
There’s no mention of Jonathan Harker, Mina, or Abraham Van Helsing– and Dracula’s motives aren’t at all in-line with his novel counterpart’s– but Konami’s references to the novel make it clear that audiences are intended to consider the novel canon even if the details don’t quite match up. It seems a strange choice, especially for a franchise that was pushing its tenth anniversary by the time Bloodlines released in 1995, but it’s not a totally random decision on Konami’s part. Much like how Super Castlevania IV’s tonal maturity gave it a greater layer of depth, Bloodlines thrives off its connection to Bram Stoker’s Dracula.
If there’s one immediate benefit to tying Dracula to Castlevania: Bloodlines, it’s grounding the latter in some semblance of reality. Set in 1917, Vampire Killer was the most modern Castlevania to date– not just at its release, but until Aria of Sorrow was released in 2003. The games were never period pieces, but they were set far enough in the past where literal Universal Monsters wouldn’t keep the series from staying narratively grounded. More importantly, the series’ settings were always consistently gothic, creating a unique sense of style around Dracula himself rather than the time period.
Bloodlines opts for a wildly different approach altogether when it comes to setting, doubling down on the series’ historical elements while keeping Super Castlevania IV’s darker tone intact. Dracula feels a part of the world, rather than the world of Castlevania feeling a part of Dracula. At the same time, Bram Stoker’s Dracula helps ground the very minimal plot by giving John and Eric’s trek across Europe greater scope. John and Eric even have a personal stake in the plot, having witnessed Quincey’s death. It’s all window dressing, but Bloodlines’ assimilation of Bram Stoker’s Dracula gives the series some narrative legitimacy to rub shoulders with its high quality gameplay.
The connections to Bram Stoker’s Dracula are admittedly loose, but they’re loose enough to work in the game’s benefit. Dracula is structured as an epistolary novel with chapters divided in letters, journal entries, articles, and logs. The story is told coherently, but this approach often results in the point of view & setting changing. While uncertainly a direct reference to the novel, Bloodlines similarly allows players to switch between John & Eric whenever they use a continue on Easy mode, and each stage takes place in a different country rather than just Transylvania.
Bram Stoker’s Dracula may give Bloodlines its foundation, but it’s that globetrotting that gives the game its identity. Stage 1 opens in Romania, the ruins of Dracula’s Castle left to time after his previous defeat. Where other games would immediately transition into the depths of Castle Dracula, Bloodlines’ Stage 2 instead takes players to the lost city of Atlantis in Greece, while Stage 3 involves scaling the Leaning Tower of Pisa in order to slay a demon at the top. There’s a grandiosity to the stage design simply not present in previous entries. Not just in terms of scope, but in actual structure.
Only six stages long, Bloodlines is the shortest of the mainline Castlevania games, but it makes up for its lack of length with longer stages overall. The main story falls on the shorter side, but the stage to stage pacing ensures that Bloodlines neither outstays its welcome or goes too soon. While a Stage 7 may have done the game some good, Bloodlines’ six stages offer some of the tightest action-platforming in the franchise. Enemies are by no means infrequent, and Bloodlines requires players to understand both John & Eric’s unique platforming skills by Stage 3, outright preventing progress should players fail to adapt.
John’s unique platforming ability will be familiar to all those who played Super Castlevania IV as, predictably, he can use the Vampire Killer to hang. This time around, however, John can whip onto just about any ceiling. Eric, on the other hand, has a charged jump that thrusts him into the air when released. Eric’s jump ignores platforms entirely, allowing him a degree of verticality Castlevania typically doesn’t give to players. Stage 3 even features a room that’s a bottomless pit for Eric, but easy platforming for John thanks to its whip. Subsequently, there’s a room where John can’t make progress due to the ceiling, but Eric can jump right through.
John and Eric’s abilities are natural extensions & evolutions of Simon’s from Super CV IV, just split between the both of them, but it’s also worth noting how Bloodlines’ more involved platforming helps to further flesh out Castlevania’s world. Bram Stoker’s Dracula coupled with the European setting did more for the series’ world-building at the time than any of its predecessors, save for Rondo of Blood. It’s not often that a video game series absorbs a literary classic into its main plot, but Castlevania handles it surprisingly well.
It’s fitting that Castlevania Bloodlines is titled Vampire Killer in Japan. At its core, Vampire Killer is a recontextualization of Castlevania. The story is still framed through the Belmonts’ struggle against Dracula, but the scope is wider, extending mediums in the process. Vampire Killer is about the legacy of the Vampire Killer and the vampire killers whose fates are sealed by the whip. Symphony of the Night may be a direct sequel to Rondo of Blood, but Bloodlines set the stage for Symphony to tell a traditional and intimate story.
More important than anything, though, Castlevania taking Bram Stoker’s Dracula and making it a part of its canon is just so outlandish that it makes perfect sense. The series that regularly featured Universal Monsters as bosses was never going to ignore the novel forever. That Bloodlines uses the novel tactfully and in a game where its presence is appropriate– intentional or otherwise– weirdly elevates Castlevania as a franchise. Castlevania isn’t just a Dracula story, it’s the Dracula story. And of all the games to make that declaration with, Bloodlines is a damn good choice.
10 Years Later: ‘Mass Effect 2’ is An All-Time Sci-fi Classic
Mass Effect 2 didn’t just nail the formula for a successful sequel, it tied together one of the greatest science fiction tales ever.
Mass Effect launched in 2007 as the boldest science fiction project ever conceived for consoles. The complex mythology, history and the many alien races, each with their own political/religious beliefs offered a depth rarely seen in the medium. Only a game as ambitious as Mass Effect 2 could not only match the pedigree of such a massive project but surpass it in every single way imaginable.
Released 3 years after the original, a full decade ago, Mass Effect 2 set the benchmark for not just sequels but for science fiction gaming as well. Few sequels are able to overcome the weaknesses of their predecessors with such perfect accuracy while also doubling down on what made them good in the first place.
The first task that fell to Bioware was to refine the combat. The original game had more of a strategic angle to it but that strategy meant the game was constantly stopping and starting, stuttering the action and ruining the flow of the game. By streamlining the combat into more of an action RPG experience (emphasis on action), Mass Effect 2 created a much better sense of tension in battle sequences. Aiming, using techniques and issuing orders also flowed more smoothly with these changes.
Another major change was the removal of the Mako, an exploratory rover the player drove around alien planets with. While a novel idea, the Mako often lead to aimless wandering as the player sought out resources on the many planets of Mass Effect. Instead of driving to their destination, players were now warped directly to the area they would be exploring. Resource collection was overhauled as a result.
While few players will talk about the thrill of spinning a globe around and aiming a reticle in order to collect resources in Mass Effect 2, the simple speed by which this process was streamlined offered a hefty margin of improvement over the original game. Resources that might have taken a half-hour to collect in the first game could now be found in 1/10 of that time. Resource collection, while a vital part of the game, was never meant to be the time sink it was in the original Mass Effect, and by speeding up this process, Mass Effect 2 allowed players to get back to the meat of the game: doing missions and exploring the galaxy.
Of course, these aren’t necessarily the most significant changes that players will recall from their time with Mass Effect 2. The story and character roster were also expanded considerably from the first game, and these are without a doubt the biggest improvements that this sequel is able to mount.
While Mass Effect had seven playable characters, Mass Effect 2 expanded that to twelve. Not only was the amount of characters an improvement, though, the quality of the characters on offer was also much stronger this time around. A full nine new characters were introduced for players to utilize in combat, strategize with and get to know throughout the game. Among them were badass assassin Thane Krios, dangerous convict Jack, morally dubious Miranda Lawson, and hivemind robot Legion.
In fact, the cast of Mass Effect 2 is so good that it has rightfully become a benchmark for the creation of a compelling cast of characters in RPGs, and video games, in general. The sheer diversity on display in the looks, personalities and movesets allowed for the cast is awe-inspiring, and this is without even considering the trump card that Mass Effect 2 flashed throughout the experience of playing the game.
The monumental suicide mission to raid the Collectors’ base and save humanity is the impetus for the entire plot of Mass Effect 2, and the reason for which the player is recruiting the baddest mother fuckers from all over the galaxy in hopes of success. It isn’t just a suicide mission in name either, many, or even all, of the cast can die during the completion of this mission, adding a layer of suspense and finality to the final stage of Mass Effect 2 that few other games can match.
To this end, players were encouraged to get to know their crew through loyalty missions specific to each cast member. By undertaking these optional missions and completing them in a way that would impress or endear themselves to the character in question, players were able to ascertain the unquestioned respect and loyalty of that character, ensuring they wouldn’t go rogue during the final mission.
Still, even passing these prerequisites with flying colors wasn’t a guarantee for success. Players also had to pay attention to the strengths and weaknesses of the characters when assigning tasks and making split-second decisions. Who you would leave to recon an area, repair a piece of equipment, or lock down a path, could make the difference as to who was going to survive the mission. Further complicating things, the characters you wanted to take with you to final branches of the mission might be the very people best suited for these earlier tasks.
“Mass Effect 2 isn’t just one of the greatest science fiction games of all time, but one of the best science fiction experiences in any medium, full stop”.
Getting everyone out alive is a truly Machiavellian task, requiring either a guide or multiple playthroughs in order to get it precisely right. To that end, my feeling is that it’s better to go at it honestly the first time around, dealing with the requisite losses that this experience entails. After all, it isn’t really a suicide mission without a couple of casualties right? Even with all of my preparations and foresight, I lost Tali and Legion in the final mission, but for the fate of the human race, these losses were an acceptable cost.
Even outside the strength of this fantastic cast and the monumental undertaking of planning and executing this final mission, there were other key characters and elements introduced as well. The Illusive Man, voiced by the great Martin Sheen, emerged as a necessary evil, saving Commander Shepard from death but asking morally complex decisions to be made as the cost of doing business. The relationship with, and the choices the player makes, in regard to The Illusive Man have far-reaching consequences for the remainder of the series, and as he emerged to become a primary antagonist in the final game of the trilogy, the considerations to be made were vast and insidious by their very definition.
With so many factors working in its favor, Mass Effect 2 is the rare game that is so perfectly designed that both its predecessor and sequel suffer by comparison as a result. While the improvements of ME2 make it hard to go back to the original game, the scope and ambition of an entire cast that could be alive or dead at the end of the journey also neutered the third game, causing many of the best characters in the trilogy to be excised from the final leg of the trip.
Truly, Mass Effect 2 isn’t just one of the greatest science fiction games of all time, but one of the best science fiction experiences in any medium, full stop. Like The Empire Strikes Back before it, Mass Effect 2 is the best exemplar of its universe and what makes it compelling and worthwhile in general.
PAX South 2020 Hands-On: ‘Speaking Simulator,’ ‘Iron Danger,’ and ‘Wildermyth’
PAX South brought an extremely diverse lineup of games to San Antonio, and in this next roundup, it’s time to look at another diverse assortment of titles. These include Speaking Simulator, the surrealist take on the art of speaking, Wildermyth, a beautiful new RPG based on D&D, and Iron Danger, a surprisingly player-friendly take on roleplaying.
When asked why he was inspired to develop Speaking Simulator, the developer promptly responded, “I don’t know!” That was exactly what I felt while playing its demo at PAX. It left me mystified, amazed that it exists, overwhelmed by its complexity, and delighted with its absurdity. Speaking Simulator follows a highly advanced android tasked with assimilating into human society in order to gain world domination – and to do that, he’ll need to learn how to speak first. Players are thus tasked with controlling every aspect of this android’s face and guiding it through increasingly difficult social situations.
Speaking is an awkward art for many people (including myself), and Speaking Simulator is just that: awkward. You can control nearly every aspect of the android’s face. You can move its tongue with the left stick and its jaw with the right, while manipulating its facial expression, eyebrows, and more with other buttons. This leads to a delicate balancing act where complete control feels just barely out of reach so that you must always be alert and able to sufficiently direct your mechanical face.
During each conversation, you’ll have so many different moving parts to consider. You’ll have to follow prompts about where to move your tongue, how to adjust your mouth, how your face should look, and so on. The more complex the conversation, the trickier it is to speak. Scenarios during my demo included a date, a job interview, and the most normal social situation of all, speaking to a man while he’s using the toilet. And of course, if you don’t perform adequately in these conversations, then your face will start to explode – which is only natural for awkward conversations, after all.
Speaking Simulator is the definition of controlled chaos. It shows just how difficult it really is to be a human – controlling the face alone was far more than I could handle, as my frequent face explosions during my demo showed me. Playing Speaking Simulator was an equally hilarious and surreal experience, one that I can’t wait to experience in full when it releases on Switch and PC at the end of January.
Iron Danger was one of my biggest surprises at PAX South. When I arrived at the Daedalic Entertainment booth for my appointment with Iron Danger, I didn’t expect to enjoy it half as much as I did. As a western-styled, point and click RPG, Iron Danger was outside my comfort zone. Yet the game is explicitly designed for players like me, who can feel intimidated by the immense amount of strategies and decisions that the genre requires. This is thanks to its core mechanic: time reversal. Perhaps this mechanic isn’t entirely unheard of in RPGs (Fire Emblem: Three Houses comes to mind as a recent example), but the way it’s implemented in Iron Danger makes all the difference.
It begins simply enough for an RPG. Your village is under attack, and as you attempt to escape to safety, you have the misfortune of dying. But death is only the beginning: just as you fall, a mysterious being blesses you with the ability to rewind time at any moment you’d like. That means that if you ever make a wrong move during combat, then you can reverse that decision and try something else. Time is divided up into “heartbeats,” which are measured in a bar at the bottom of the screen. If you want to go back in time, simply click on a previous heartbeat. There’s no limit on how often you can use this ability: battles become a process of trial and error, of slowly rewinding and progressing as you discover what works. If you end up walking into an enemy trap, simply click back to the heartbeat before the ambush, and try a different strategy.
Iron Danger takes the stress out of roleplaying. RPGs are all about making decisions, and typically, making the wrong decision comes at a high price. But thanks to the time-reversal mechanic, Iron Dungeon gives you the room to experiment without consequence. As the developers at the booth explained to me, the ability to undo your actions turns Iron Danger into more of a puzzle game than an RPG. It’s all about evaluating your situation, the abilities at your disposal, the locations and actions of different enemies, and so on. And if everything goes wrong, then there’s nothing to worry about.
That doesn’t mean that Iron Danger will be too easy, however. Current indications point to the opposite. After I played through the tutorial, the developers took over and showed me an advanced, extremely complex level from later in the game, filled with deadly enemies and dynamic environments to consider, with fields that can catch on fire and explosive barrels to throw at enemies. You’ll have to constantly skip forward and backward in time only to survive. This combination of player-friendly mechanics and hardcore roleplaying combat is an exciting mix, extremely appealing for someone like myself who loves RPGs but doesn’t enjoy the stress that often comes with them.
In addition to video games, PAX South also had a substantial portion of the exhibit hall devoted to tabletop games – including, of course, Dungeons and Dragons. But if you wanted to experience D&D-style action without leaving the video game section of the expo, then Wildermyth perfectly fit the bill.
This new RPG is a hybrid between DnD storytelling and worldbuilding with XCOM-esque combat. Like D&D, it allows players to forge their own adventures and stories. Decisions during story events can impact everything from the way the larger story plays out to the weapons your character can use in each battle. Story sequences play out randomly, with events occurring differently depending on which enemies you’ve faced, which characters are in your party, which regions you’ve explored, and so on. It’s an extremely variable story, but with such adaptable writing, each story sequence feels natural, despite its apparent randomness. Instead, it should encourage replayability, to experience every possible story beat there is.
Combat plays out in a grid-based strategy style, similar to games like XCOM. Each character is decked out with unique abilities of their own, and can interact with their environment dynamically. My favorite ability to experiment with was with the mage character, who can imbue environmental objects with magical abilities, such as attacking enemies who get close or inhibiting nearby enemies with status debuffs. I loved exploiting my surroundings and constructing the best strategies during my demo, and cleverly using special abilities like these will likely be key to strategically mastering combat later in the full game.
Like so many other games at PAX, Wildermyth also boasts of a visually distinct art style. The entire game is framed as a storybook; narrative sequences play out in comic book-like illustrations, and environments and characters consist of flat paper cut-outs in 3D surroundings. Pair this with a muted color palette and a simple, hand-drawn style, and Wildermyth has a quaint, comfortable art style that really supports the fairytale feel of the whole game. Currently available on Steam Early Access, the full game is set to release later this year.
Indie Games Spotlight – Pastels, Parenting, and Pedestrians
Check out five of the most creative and compelling upcoming indies in the second Indie Games Spotlight of 2020.
Indie Games Spotlight is Goomba Stomp’s bi-weekly column that shines a light on some of the most promising new and upcoming independent titles. Though 2020 is already scheduled to have several of the most anticipated indie releases of the last few years, this time we’re going to focus on games coming out in the immediate future. From vibrant brawlers to daughter raising simulators, you’re bound to find something that tickles your fancy in the coming weeks.
Be John Wick for a Day in Super Crush KO
The neon-tinged shoot ’em up Graceful Explosion Machine quickly became one of the best indies on the Switch in 2017. Almost three years later, the same crew at Vortex Pop is back again with Super Crush KO, a fast-paced brawler set in a vibrant, near-future city. Despite the change in genre, however, it’s clear that Vortex Pop haven’t lost their design sensibilities in the slightest.
Super Crush KO plops players into a pastel world full of evil robots and cat-stealing aliens. Such is the situation of protagonist Karen when she’s rudely awoken to find her fluffy, white-furred pal catnapped. Thus, she embarks on a mission to punch, kick, juggle, and shoot anyone trying to keep her from her feline friend. Just like with Graceful Explosion Machine, the goal here is to clear levels with style, rack up high scores, and climb the leaderboards to compete with players around the world. Super Crush KO is out now for Switch and PC.
LUNA: The Shadow Dust Rekindles Lost Memories
Luna: The Shadow Dust is an absolutely stunning, hand-drawn adventure that follows the quest of a young boy who must restore light and balance to an eerie, enchanted world. This lovingly crafted point-and-click puzzle game originally began as a Kickstarter and is finally seeing the light of day after four long years of development.
Beyond its frame-by-frame character animation and appealing aesthetics, LUNA also promises to offer all manner of environmental puzzles to keep players engaged. Control will be split between the boy and his mysterious companion as the two gradually forge a bond and try to uncover the boy’s lost memories. With emphasis placed on emergent storytelling and atmospheric mastery, LUNA should be well worth investigating when it releases on February 13th for PC. Don’t miss trying out the free demo either!
Georifters – An Earth-Shattering Party Game
Genuinely entertaining party games are shockingly hard to come by in a post-Wii world. Georifters looks to fill that gap by offering a multiplayer-centric platformer centered around spontaneous terrain deformation. Players will be able to push, flip, twist or turn the terrain to overcome challenges and battle competitors in hundreds of stages in single-player, co-op and four-player multiplayer modes.
Of course, multiplayer will be where most of the fun is had here. Each character boasts a unique terrain-altering ability to help them attain the coveted crystal in every match. This makes character selection a serious consideration when planning a winning strategy against friends. To drive this point home even further, there will even be dozens of unique themed skins for players to customize their favorites with. Just like the original Mario Party titles, get ready to ruin friendships the old fashioned way when Georifters launches on all platforms February 20th.
Master Parenting in Ciel Fledge: A Daughter Raising Simulator
To say the simulation genre is ripe with creativity would be a massive understatement. Ciel Fledge: A Daughter Raising Simulator takes the Football Manager approach of letting players manage and schedule nearly every aspect of their daughter’s life; classes, hobbies, time spent with friends, you name it. The week then flies by and players get to see how their decisions play out over the weeks, months and years that follow. To keep things engaging, extracurricular activities and school tests are taken via a fascinating blend of match-three puzzles and card-based gameplay.
Just like in Fire Emblem: Three Houses, it’s easy to imagine the strong bonds that’ll form after investing so much time and energy into Ciel’s growth into an adult. Better yet, Ciel Fledge is filled out by what Sudio Namaapa calls “a cast of lovable characters” for Ciel to befriend, learn from, and grow up with. Prepare to raise the daughter you always wanted when Ciel Fledge: A Daughter Raising Simulator releases on February 21st for Switch and PC.
The Pedestrian – Forge Your Own Path
The Pedestrian puts players in the shoes of the ever-recognizable stick figure plastered on public signs the world over. From within the world of the public sign system, players will have to use nodes to rearrange and connect signs to progress through buildings and the world at large.
The Pedestrian is a 2.5D side scrolling puzzle platformer, but the real draw here is the puzzle aspect. The core platforming mechanics are on the simpler side; players can jump and interact with different moving platforms, ladders, and the occasional bouncy surface. The possibilities of where this novel concept can go will all depend on how inventive the types of signs players can navigate will be. The character is also surprisingly charming; it’s inherently fun to guide the little pedestrian man through buildings and environments he wouldn’t normally find himself in.
Whether you’re a puzzle fan or simply appreciate the aesthetics, be sure to look out for the full journey when The Pedestrian launches on PC January 29th. Get an idea of what to expect by trying out the free demo too!
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