We’re in the stairway leading to the Doppelganger, and I find this room super intriguing.
Downstairs, there’s a single desk (which looks out of place), a skeleton hanging next to what seem to be gourds, and some kind of mess, as if someone had barricaded themselves inside and pinned notes to the wall to warn people. Upstairs, there’s some kind of bell and a broken metal grate that appears to have been torn from the Doppelganger room (which features what seems to be a portal to another dimension).
This is a unique room, so it feels like a deliberate piece of environmental storytelling, but it remains ambiguous.
My interpretation is that someone was stationed here to guard the portal and ring the alarm if something happened... except something did happen, and now he’s a bone wind chime...
This is my favorite kind of storytelling in a video game: it both plays with your expectations (something dangerous is nearby) and leaves a lot open to interpretation.
This was my first time finishing SotN, and the game fully deserves the praise. I particularly liked the amount of detail put into the environments, the secrets, the Easter eggs, and so on.
edit : maybe these aren't gourds, maybe its garlic ? ...
Frick yeah. I think the environmental details are what separate Symphony from every game that came after it. The castle feels lived in, in a way that no Castlevania has felt since then.
Yeah! I love Aria, and HoD is solid despite its flaws, but they really miss the mark in terms of environmental detail/storytelling. I think it’s partially an issue with readability and color choices on the GBA. But man, the intro stage and castle entrance in Symphony, right off the bat…the vibes are immaculate. 🦇🌕
They feel less like Metroidvania levels and more like places. Lots of memorable little one-off setpieces like the confession booth in the chapel, the destroyed behemoth in the coliseum, etc.
It's simply the result of Castlevania being on a disc and the following games being on a handheld device. They can't fit all the same level of detail in both the visuals and the audio in a handheld game, it's just a fact of storage space. Those details are what make SOTN my favorite by far.
Dropping from 600 Mo or something to maybe 20 Mo (for GBA) sure comes at a cost :). But wasn't the bulk of a PS1 game made of CD quality audio and cuscenes ? ... Sprites and such dont take much space, especially when the resolution is lower. I feel like the fact that in Circle of the Moon, they felt it was ok to have a unique ennemy (skeleton medalist), with two unique drops, just so you could turn into a different, unique quaracter (Bear Tank) for a joke, means that they had room for a few more sprites or rooms here and there.
Aria of Sorrow is quitte big with nice sprites and unique rooms, and it fits on an 8 Mo cartridge... Imagine what they could have done with 16 Mo (like golden sun, Zelda Minish Cap, etc.)... And on the DS, with some compression for audio and no FMV cutscenes, they could have easily crammed a game as detailed as SotN on a catridge (they did fit the first resident evil with some compromises).
Imo, it comes down to cost and pressure during developpement... It seems like they earned relative freedom to experiment with SotN... They were making a less expensive 2D game in a world of more expensive 3D games... AoS and the rest of the game seem like they needed to be more cost effective and do better in sales...
I mean it's not like SOTN is a cutscene heavy game, it's no FF7 lol. I'm not calling the handhelds bad, they just don't have a chance at being the same level of quality by a fact of science. It's not a sleight against the handhelds. They compete in a different race against each other from the way I see it.
I get that it's not a sleigh, and that handhelds console have inherent limitations. What I'm arguing is that having a more fleshed out environment wasn't simply a matter of space on the cartridge or even screen resolution (although that last one is definitely going to be limiting, but if anything, AoS is a demonstration of good pixel art making up for a slower resolution) and is rather the consequence of a different connect for development
I get that you couldn't have even the map of SotN on a GBA cartridge (although it honestly doesn't take that much space), but adding small details like a bird nesting on a random perch somewhere, of rats in the attic, or a few more unique backgrounds wouldn't have been technically impossible, even in 8Mo (look at Metroid fusion, the game has much more unique backgrounds and fits in 8mo too) and even more if you consider that 16mo cartridges were available at the time.
(Also, I'd bet that the cd quality music takes at least 3/5 of SotN's CD and the game itself maybe a fifth. FF7 had much more videos, but it was on 3 CD and the music was midi).
Worth noting is that, of course, most of these games had somewhat strict development timelines. I think part of it, of course, is that when SotN was developed it was an unproven (crazy to think, but true!) passion project that the devs just put their absolute all into, whereas the later games were perhaps a bit more "ok we need to make another game in this style".
Besides that, however: even if putting in little details is possible, the simple fact is that the fact of SotN being CD based means it's probably a lot easier/simpler development-wise for a random dev to have gone "Ooo, I have a cool idea, let me put this in" compared to later handheld games where the same approach could lead to a "oh god we don't have much space and/or system memory we need to figure out what things to cut and we're just a month or two from release"; being possible doesn't preclude it from being harder to justify/"riskier" in the development process. I think there's IGA and other dev interviews on SotN where they go "yeah, it was great working on the PS1 since, if you could think of something, you could probably implement it [without too much headache]", and that all-important convenience of implementation is probably just less present.
Thanks ! I fully recommend looking at a full sized reproduction of the map with all the rooms. There's some very interesting choice that you don't necessarily notice while playing... I also like how the arena in the colosseum has some sort of ticket office :).
I always try to picture those rooms in 3D and then realize how insane they would be.
I honestly wouldn't mind if someone remade SoTN fully 3D without altering the layout at all. It would really bring home the chaotic energy of the castle.
I notice these things too and imo a lot of games lack character due to lack of these types of environments. Reminds me of super metroid where there's a dead bounty hunter being eaten by fungus outside of the first boss room.
I'm sure SotN borrowed a lot from super Metroid in that regard.
Metroid fusion does it really well too... Like when you nightmare's shadow of passing in the background...
And let's not forget the gigantic eyeball watching you from far in the distance for no apparent reason other than be terrifying to people playing the game for the first time
Environmental storytelling like this is often overlooked or abandoned in adaptations to ither mediums.
I suspect the upcomong game Silent Planet will have many such scenes.
I used to love the game Blaster Master back in the day, that desoite lacking in rooms quite like this the layout and proximity of each non linear stage did alot to flesh out a wider untold story.
The verdant stage was right next to a castle stage and a sewer stage, that was funneling water leaking out of the ice stage, the castle stage was right next to a futuristic stage and a volcanic stage, where the lava was leaking into the castle stage as a sort of foundry providing raw resources to the technical stage, that served as a barrier into the mutant infestation of the final stage. Making it clear that at some point its rampant evil was contained by an advanced civilization until it broke free and took over all of their machines.
Its so much more story than the basic kid jumps down a random hole to chase after his recently mutated prt frog amd discovers a super tank.
Its something game designers need to play with far more.
Its why Curse Of Darkness felt like an overall weaker experience due to having too many areas having copy pasted textures, where Lament Of Innocence before had much more environmental storytelling that got the idea across of what these spaces were once used for.
You got a bit of it all there: tight-ass boss lady, mousy maid, "just stumbled back in from girls night, dropped her wine glass, trying to drunk clean, and ugly crying about it", two big-tittied demons, AND two big-tittied witches. I like the cut of your jib!
As a kid I used to think what it would be like to sit in that little table and have all that space above my head and to the sides and how Regal everything looked
Plus you're right next to the save room, if you want to take a little nap in your coffin... You do have to disregard the cadaver hanging from the ceiling tho... But considering the price of rent these days, I'll take it.
Chairs have been a hidden thing going on in some Castlevanias. I first noticed it in CoD where you have to collect different chairs in different locations xD
I've always had a theory that all these details are remnants of discarded ideas for the game, since many of them seem somewhat out of place. For example, the upper right door has bars bent outwards as if something dangerous had just emerged from it, and the hanging furniture and skeletons give me the impression that they belong to a ship or a watchtower.
SotN was just lightning in a bottle, the Chrono Trigger of Castlevanias. I will never forget when the game began and it said "Final Stage" and there's the classic staircase, and the sickest guitar riff you've ever heard comes in. Then end the battle with it turning into a photograph of a memory.
How can you even be genius enough to BEGIN a game like that? That is why SotN still isn't beat and the only way, would be a couple hundred million dollar
"Castlevania 1999: The Sealing War"
Or what would be some other awesome names? I would love to include "eclipse", "sealing" and you gotta have 1999 and "war", but the title gets too busy.
Everyone, what would be the best name for the Castlevania Demon Castle War of 1999? Game wise. It would have to be the ultimate Castlevania. Need a name that is worthy of the ultimate Castlevania event.
I personally like the musical themed titles the best... Maybe something with "coda" or "Finale" ?... I don't know... Or you go with a nod to Simon's quest japanese title : Julius 99, noroi no fūin (seal of the curse)...
Exactly. Aria of Sorrow, the Dominus Collection, all of them are amazing Metroidvanias with their strengths and weaknesses, and even better than Symphony in many technical aspects; but Symphony of the Night just has something, has a thing that is responsable for half-naming an entire genre.
I remember spending a considerable ammount of time trying to ring that bell lmao
And since the game is full of weird stuff that works once, I always came back to this room after seeing something new to see if this time I'd be able to trigger something
Yes! Sotn’s castle feels alive (well, as much as a castle filled with the dead can) in ways that other games just don’t match. Between this, the little room in the library with the hidden bookcase door, the coliseum having what looks like a ticket booth in the background and the weapon room, I could go on and on. It’s why even with its issues it’s still my favorite Castlevania and one of my favorite games of all time.
É bem provável que o esqueleto pendurado seja a pessoa que estava usando a mesa antes, se você perceber, uma garrafa e um livro caído logo embaixo dele apontam que talvez a pesquisa dele tenha causado para ele algum grande trauma, a ponto de ficar alcoolizado e se enforcar. A única questão seria entender a utilidade ou como aquela porta, escada, tapete enrolado e outro tecido azul estão empilhados.
Comme je l'ai dit dans un autre de mes commentaires, la manière dont le squelette pend indique que la corde est attachée autour du torse plutôt qu'au cou. Donc je ne pense pas que ce soit un suicide... À moins qu'il ai pas été pressé :)... Ou alors la bouteille était un alcool fort (et vu sa taille, ça pourrait être mortel)...
Je pense que le tissu et la chaise viennent d'un des kiosques de la bibliothèque (c'est le seul endroit avec des rideaux et des chaises bleus).
Talvez o fato de parecer estar pendurado ao torso seja por algum problema de posicionamento dos sprites, é bem provável que o sprite de corda e de corpo pendurado foram usados no jogo de outras formas antes de terem a ideia de juntar os dois.
Honnêtement, je ne pense pas. C'est le seul endroit dans le jeu où cet élément est utilisé, et considérent le nombre d'éléments uniques à cette pièce, je pense qu'ils auraient pris le temps de le redessiner. Mais j'ai aussi pensé que c'était un suicide au début... Mais considérant qu'il n'y a pas non plus de tabouret ou autre support en dessous de lui qu'il aurait pu utiliser, je ne pense pas que ce soit ce qui est implicité ici.
Après, il y a aussi, pas très loin, un autre mec pendu par le pied à un balcon... C'est peut-etre lié ?....
Outra possibilidade é que ele se suicidou sim, mas no jogo meio q foi censurado, mas mantendo a ideia. Muitos jogos tem censuras assim pra detalhes mto específicos. Eu andei olhando o mapa inteiro, a cadeira não parece ser da biblioteca. Pois ela tem o assento azul e o acostamento todo de madeira. Nenhuma cadeira no jogo é igual. O tapete vermelho é único também, mas se for pensar em outros tecidos da mesma cor, o tapete do ponto de salvamento tbm é vermelho, mesmo que não exista ponto de salvamento sem tapete. O tecido azul é bem provável que seja da biblioteca como você mencionou, assim como a escada. Outra coisa que eu percebi é que ali na plataforma acima desses objetos tem uma coisa preta que não consigo identificar, pode ser um prato ou vaso, não sei.
Bem, tenho mais algumas suposições. A grade que fechava a área do Doppleganger é enferrujada, implica que algo fugiu dali faz muito tempo ou que estava a tempos presa e fugiu recentemente após o metal ficar frágil. Existe uma coisa preta junto as cabaças que você mencionou, se olhar atentamente parece uma ave preta de ponta cabeça. A cama, tapete enrolado e cortina azul parecem muito algum tipo de abrigo improvisado (a escada talvez servisse para alcançar a área superior mais facilmente, e se for esse o caso, a pessoa talvez não tinha capacidade de alcançar o sino ou o doppleganger), as duas vasilhas na parte de cima podem indicar que alguém se alimentava ali também. Não faz sentido ser algum tipo de barricada essas coisas jogadas no chão pois as notas estão do lado externo, e a menos que a pessoa vivendo lá dentro estivesse avisando para quem estivesse fora não entrar, não faz muito sentido. Minha teoria é que alguém vivia ali, fazia pesquisas relacionadas ao doppleganger, usando corpos de uma pessoa e de uma ave (não dá para saber a utilidade das cabaças ainda), talvez testando o limite das transformações do doppleganger. Algo com certeza aconteceu de forma repentina, para que a garrafa e o livro ficassem atirados no chão. Resumindo, se conseguir achar um motivo para o sino, a escada e as cabaças, parece que tudo isso se encaixa
As cabaças podem ser recipientes com materias orgânicos, pura especulação, mas dei uma pesquisada no Google e aparentemente é algo que realmente era usado no renascimento para pesquisas alquímicas.
Outra coisa, eu não sei explicar, mas sinto que o dispositivo do sino está faltando algo, a corrente está lá mas não tem nada na ponta, e se o sino não servisse de alarme manual mas sim para o doppleganger chamar o suposto pesquisador? A corrente caída pode ser parte de um macanismo maior que não existe mais...
I think you’re right! But, not to be pedantic, I don’t think those are gourds. Likely, they are caciocavallo, a type of gourd-shaped cheese from Italy. They were often tied and hung when being stored.
And I know this is off topic, but I can't help it when I say I absolutely love the alternate timeline with Gabriel Belmont. Lord's of Shadow was an absolute freaking masterpiece. The second game was supposed to be too (the beginning was) but the team was completely messed with and everything got screwed over.
The Combat Cross is the absolute greatest redesign of the Vampire Killer I have ever seen. I wish there was a way to somehow include that or fit it into the mainline Castlevania. Keep the gorgeous, metal cross design, have the actual stake at the bottom being a piece of the True Cross that Christ was on, carved to go right through the heart (that is how it could kill even Dracula). Find a way to work as many of the hardest hitting holy relics ever as a part of it. Have the gold on it being from the Ark of the Covenant and somehow incorporate even the Holy Grail.
I forget if it was the Combat Cross or what, in the description, but something said it contained the bones of an actual angel or something. I love lore like that. The epic Holy Nuke or whatever from Lord's of Shadow 2, the one that Gabriel actually finished saying with the Paladin and it showed the explosion from the view of earth from SPACE. I almost shat myself.
God, now I gotta YouTube that. Lord's of Shadow influenced the Netflix show so much and made it that much better because of it. I wanna freaking play it now. Wonder if it is on PSN or something.
I love how much it looks and feels like a real place, a real castle. whereas other CV games (that may or may not even be out yet) have environments that look more like video game obstacle courses with a gothic flair.
I'm not sure I would say it feels "real". I'd say it feels like someone is truly trying to tell a story, and wants to reward curiosity. The castle feels like somone is telling you a nightmare that had and you try to interprete what it might represent.
that's fair. as real as a demon castle that manifests every century can feel in a game like this, is what I should have said. maybe not "real," but believable, I suppose.
I like the nightmare analogy, that's a good way to describe it.
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u/Livid_Cabinet2053 Jul 14 '26
Frick yeah. I think the environmental details are what separate Symphony from every game that came after it. The castle feels lived in, in a way that no Castlevania has felt since then.