Certain things have remained constant throughout the series- in all but a couple of Castlevania outings, the main protagonist (in this case Juste Belmont) brandishes a whip. Secondary weapons are also available. Again these weapons are the same as those in all the previous games- the cross, holy water and axe are all present. Each successive Castlevania game has also attempted to lavish depth on the platform game foundation. In Castlevania 2: Simons Quest for example, the acquisition of certain items enabled the player to enter previously inaccessible areas.
It was also innovative in its use of time. If the player entered the town during the day, it would be populated with villagers that could be spoken too. If the same village was entered during night time, all the doors would be locked and the village would be full of enemies. Castlevania 3 added a level branching dynamic to the series. Players could play as one of three different characters. Depending on which was chosen, different routes could be taken through the levels. Castlevania: Symphony of the night (PS) is widely regarded as the pinnacle of the series. Throughout the game, items will be visible, but just out of reach. Later on, Alucard learns the ability to turn into a wolf, a bat and a cloud of mist. This allows the player to obtain the previous item, or access a new area.
The first sequence of the game is highly atmospheric and is reminiscent of the opening to Castlevania: Symphony of the Night on Playstation. The player takes the role of Juste Belmont, the latest in the Belmont blood line of vampire hunters, however he is visually more similar to Alucard from Symphony of the Night. A conversation takes place just outside Draculas castle. Juste steps towards the gates, and a full screen size knight gives chase. Juste escapes into the castle and the doors shut behind him. It is both visually impressive and a splendid introduction to the game.
The graphics in White Night concerto are superlative throughout. The backgrounds are beautiful and varied; sprites are impressively drawn and animated. There is not a hint of slowdown, not even when facing the enormous boss characters. The chase by the Knight mentioned above is only one of many impressive sprite scaling and rotational effects. Another fantastic effect occurs around halfway through the game. Juste walks into a darkened room, and suddenly a bat flies out of the centre towards the outside. As it does this, it colours in a streak of the room. This is repeated by several bats, until the room is fully visible. It is clear that a lot of care and attention have been lavished on the graphics. This is without doubt the most visually impressive title available on the gameboy advance. Curiously, the only negative assertion that can be made relates to the main character- Juste appears garish and and simplistic, especially when compared to the enemy sprites.
As ever, the objective of the game is to ultimately destroy Count Dracula. The game is a platformer at heart, though items must be obtained in order to progress past certain barriers. Juste begins the game with just a whip. Abilities are gradually acquired, including the double jump, and a whip that can destroy stone barriers. The player can also level up in traditional fashion, and increasingly more powerful armour and accessories can be equipped as the game progresses.
The controls are fluid and responsive throughout the game. Although the secondary weapons are virtually identical to those found in other Castlevanias, once the character finds a spellbook (of which there are five), a third magic based attack is granted. The form of this attack depends on which secondary weapon the player is using at the time. This affords a good level of variety to the attacks, and many combinations are possible.
Unusually for a Castlevania game, the design of the castle itself is highly flawed. Frequently the player encounters "dead-ends" such as a ledge too high to reach. The player must return to these later in the game once new abilities are acquired. However, it is often the case that these lead to bonus items, such as more energy, rather than new areas. The game involves frequent backtracking, as these areas are spaced long distances apart. It can also lead to frustration- spending several minutes returning to an area only to find you only get a chair for your troubles, or worse still, finding that you don't have the required power up yet, can be very annoying. In fact with the exception of the double-jump (found very early in the game) the entire game can be beaten without even bothering to look for any extra equipment or bonuses.
Such extras are thus superfluous to the main game rather than integral to the experience. As a result the game feels like a basic platform game with a few messy RPG elements tacked on, rather than a coherent whole. Purists may argue that it's an old school platformer and none the worse for it. This is a fair point- taken on these terms, white night Concerto is not a bad game. However it does follow the blueprint of a 15 year old game almost without deviation. Fans are likely to be disappointed by this, especially in view of the depth of experience offered in the previous two games.
In conclusion, Castlevania: White Night Concerto is a massive disappointment. It feels as if the series has taken a huge step back in terms of playability and design. Fans are likely to gain some enjoyment from the game, but this is only due to its familiarity. Anyone not an ardent Castlevania fan is advised to think hard before purchasing this game.
Words by: Christian Kemp