Castlevania makes its big leap to 16-bits with Super Castlevania IV and the results are… I mean, yeah sure man it’s ok! From what I understand this was an early release for that newfangled Super Nintendo Machine, and it’s within that context that this game makes the most sense to me. This is a hardware showcase, which explains the emphasis on technical spectacle and the fact that it’s a sorta-retelling of Castlevania 1 but with a shiny new coat of paint and all-new all-different playstyle. And in that respect, it’s very impressive! If I played this in 1991 it would have undoubtedly rocked my socks off. This ragtag bunch of programmers did a lovely job and their mothers should all be very proud, etc. etc. etc. It’s just a shame then that playing it now, after seeing what else the series has to offer, the most I can really muster for Super Castlevania IV is tepid indifference.
I guess we’re just diving in then. Let me address the elephant in the room and tackle this game’s most controversial element first: the play control. Our main man Simon is back, and he brought some swanky new moves with him for his 16-bit debut. Belmont can now whip in 8 directions, his chain extending much farther than ever before, with the added benefit of being able to control his jumps in mid-air. This is a HUGE shakeup for a series originally built around a stiff, limiting control scheme, but it’s a shakeup I don’t necessarily mind. While I adored the classic controls precisely because of their inflexibility and strongly disagree with the idea it was anything that needed to be “fixed”, I also don’t think there’s anything inherently sacrilegious about wanting to make an entry in this series that’s focused on being more empowering and comfortable to use. Lots of characters had their movesets expanded and streamlined in the transition to the SNES, often to great success. Hell, Megaman X is basically an entire sub-franchise based on this principle and I adore those games, so fuck it, we ball. I’m fine with the Belmont clan trying something new, and excited to see what fresh opportunities that may open up for the overall game design.
But that’s kinda where my beef with Super Castlevania IV lies: its disinterest in really examining those opportunities. Aside from a few (admittedly cool) grappling sections, this is by and large the same shit, different whip, without any real thought put into how that difference dramatically changes the way Castlevania feels. Enemies and stage layouts do little to account for the incredible amount of range and maneuverability your new octo-directional god-flail provides, resulting in a game that’s less concerned with deliberate positioning or thoughtful movement as it is pressing B to steamroll and Belmont-struttin’ to the finish. I still died plenty, sure, but when I revived I was never asked to change up my strategy, since plowing forward head-first was almost always the most viable option. I wasn’t even looking at my heart counter for most of the game, because your whip is just so absurdly useful it makes bothering with subweapons entirely pointless. The call for precision does start to pick up eventually, but only in the last third or so, and mostly by means of really fiddly platforming and a lot of instant-death spikes with weird hitboxes. It’s just…sloppy, and that’s the last word I thought I’d associate with Castlevania.
Let me be clear, because I’m worried this might be misconstrued: I’m not bothered by the fact Super Castlevania IV isn’t as rigid or challenging as what came before, as much as I’m bothered that it’s simply so much less engaging to play. I got hooked on Castlevania because it was the kind of game you couldn’t just mindlessly brute-force your way through, you had to take your time and think through your actions if you wanted to improve. It was tough but always fair, always intentional, and if you were willing to meet it on its level it was an immensely satisfying experience to learn and master each stage. Super Castlevania IV is not disappointing because it’s different or easy, it’s disappointing because I’m doing the same thing I’ve been doing for 4 games straight but more brainless than ever. It’s not exactly a bad time, it feels good enough to play in the moment, but it isn’t really rewarding or memorable long-term, and the fact that it’s three times the length these usually go for really highlights its shallowness.
All this might be excusable if the presentation was better but honestly I’m not feeling that either, man. There’s a few good backgrounds here and there and the exuberance that it explores the SNES hardware with is hard not to be somewhat charmed by (Mode 7 hallways, cool as fuck dude) but most of this looks really muddy and bland to me. It lacks the goofy cartoon monster mash aesthetics of its predecessors but hasn’t quite arrived at the gothic anime look of what’s to come, so you get this weird middle child without much visual personality of its own. Music is also a real letdown, you’d think a console as well-suited to absolutely fucking shredding as the SNES would be packed full of new rockin’ Castlevania bangers but it’s mostly a very ambient, atmospheric affair. Which I could maybe get behind if it was done better but a lot of this just sounds kinda dinky and lame, returning favorites like Vampire Killer and Bloody Tears notwithstanding. Honestly this rendition of Bloody Tears is SO good on its own I’m almost willing to let everything else in this paragraph slide. Almost. Simon’s Quest truthers stay forever 🔛🔝!
I dunno. This review is a mess. I don’t like being this mean towards a game I’m this lukewarm on, but I also can’t lie and act like this was a real showstopper in any regard either. It’s far from bad, but nothing about it really compels me, which is a shame. It’s the biggest, grandest Castlevania yet, and I’ve already forgotten most of it. I can respect it, I can appreciate it, but I think this one is just a swing and a miss for me personally.
I guess we’re just diving in then. Let me address the elephant in the room and tackle this game’s most controversial element first: the play control. Our main man Simon is back, and he brought some swanky new moves with him for his 16-bit debut. Belmont can now whip in 8 directions, his chain extending much farther than ever before, with the added benefit of being able to control his jumps in mid-air. This is a HUGE shakeup for a series originally built around a stiff, limiting control scheme, but it’s a shakeup I don’t necessarily mind. While I adored the classic controls precisely because of their inflexibility and strongly disagree with the idea it was anything that needed to be “fixed”, I also don’t think there’s anything inherently sacrilegious about wanting to make an entry in this series that’s focused on being more empowering and comfortable to use. Lots of characters had their movesets expanded and streamlined in the transition to the SNES, often to great success. Hell, Megaman X is basically an entire sub-franchise based on this principle and I adore those games, so fuck it, we ball. I’m fine with the Belmont clan trying something new, and excited to see what fresh opportunities that may open up for the overall game design.
But that’s kinda where my beef with Super Castlevania IV lies: its disinterest in really examining those opportunities. Aside from a few (admittedly cool) grappling sections, this is by and large the same shit, different whip, without any real thought put into how that difference dramatically changes the way Castlevania feels. Enemies and stage layouts do little to account for the incredible amount of range and maneuverability your new octo-directional god-flail provides, resulting in a game that’s less concerned with deliberate positioning or thoughtful movement as it is pressing B to steamroll and Belmont-struttin’ to the finish. I still died plenty, sure, but when I revived I was never asked to change up my strategy, since plowing forward head-first was almost always the most viable option. I wasn’t even looking at my heart counter for most of the game, because your whip is just so absurdly useful it makes bothering with subweapons entirely pointless. The call for precision does start to pick up eventually, but only in the last third or so, and mostly by means of really fiddly platforming and a lot of instant-death spikes with weird hitboxes. It’s just…sloppy, and that’s the last word I thought I’d associate with Castlevania.
Let me be clear, because I’m worried this might be misconstrued: I’m not bothered by the fact Super Castlevania IV isn’t as rigid or challenging as what came before, as much as I’m bothered that it’s simply so much less engaging to play. I got hooked on Castlevania because it was the kind of game you couldn’t just mindlessly brute-force your way through, you had to take your time and think through your actions if you wanted to improve. It was tough but always fair, always intentional, and if you were willing to meet it on its level it was an immensely satisfying experience to learn and master each stage. Super Castlevania IV is not disappointing because it’s different or easy, it’s disappointing because I’m doing the same thing I’ve been doing for 4 games straight but more brainless than ever. It’s not exactly a bad time, it feels good enough to play in the moment, but it isn’t really rewarding or memorable long-term, and the fact that it’s three times the length these usually go for really highlights its shallowness.
All this might be excusable if the presentation was better but honestly I’m not feeling that either, man. There’s a few good backgrounds here and there and the exuberance that it explores the SNES hardware with is hard not to be somewhat charmed by (Mode 7 hallways, cool as fuck dude) but most of this looks really muddy and bland to me. It lacks the goofy cartoon monster mash aesthetics of its predecessors but hasn’t quite arrived at the gothic anime look of what’s to come, so you get this weird middle child without much visual personality of its own. Music is also a real letdown, you’d think a console as well-suited to absolutely fucking shredding as the SNES would be packed full of new rockin’ Castlevania bangers but it’s mostly a very ambient, atmospheric affair. Which I could maybe get behind if it was done better but a lot of this just sounds kinda dinky and lame, returning favorites like Vampire Killer and Bloody Tears notwithstanding. Honestly this rendition of Bloody Tears is SO good on its own I’m almost willing to let everything else in this paragraph slide. Almost. Simon’s Quest truthers stay forever 🔛🔝!
I dunno. This review is a mess. I don’t like being this mean towards a game I’m this lukewarm on, but I also can’t lie and act like this was a real showstopper in any regard either. It’s far from bad, but nothing about it really compels me, which is a shame. It’s the biggest, grandest Castlevania yet, and I’ve already forgotten most of it. I can respect it, I can appreciate it, but I think this one is just a swing and a miss for me personally.