Developed in 1997 by Konami for the Sony PlayStation, Castlevania: Symphony of the Night was a unique title at the time, adopting classic 2D Platforming sensibilities on a system marketed for 3D gaming. Despite its low sales upon release, Symphony obtained a cult following and has since been noted by critics as one of the mainstays of the PlayStation’s gaming library.

The majority of the game takes place five years after the previous game Castlevania: Rondo of Blood. You assume the character Alucard, a Dhampir (half human, half vampire) and son of Dracula, who strongly opposes his father tyrannical rule and has sided with humans to prevent his father’s resurrection, causing the enslavement of mankind.

The first striking aspect of the game would be the 2D graphical preference which contrasted the frantic obsession to showcase the PlayStation’s 3D processing power at the time. Yet with the extra processing power available, what we get are detailed environments and character palettes that are drawn and animated with precision and intricacy that could be compared to an artisan level. The presentation is beautiful, with a visual maturity attributed to the art designer Ayami Kojima which resonates with 19th century gothic fiction.

The music is also wonderfully composed with a diverse soundtrack that perfectly denotes the set piece of the 18th century castle where the game takes place. The music contains beautifully delicate orchestral nocturnes; with occasional segues into heavy metal that marks a tense confrontation or a frantic boss battle.

The gameplay adopts Platforming and RPG mechanics from successful titles of the 16-bit generation such as Super Metroid and Final Fantasy, managing to keep the gameplay solid without diluting the game’s depth. So many variables affect how you play, such as the type of items you equip, magic spells and unique weapons, with varying strengths and weaknesses that can be used to overcome situational difficulties. All of these options serve to offer a preferred playing style for each different type of player. The game also adopts Super Metroid’s non-linear map system, allowing the player to approach each objective in any order they wish.

While the game hits the right notes for the most part, there are a few criticisms. The voice acting is mawkish to the point of ridicule, but is not too intrusive and does not completely affect the overall presentation. The magic inputs, while generally easy to execute, can be quite awkward at times, and in the more desperate situations, will render quick inputs cumbersome and unreliable.

The game also does not direct the player in any clear manner, and at times will cause the player to get lost. There is also a crucial turning point in the game where certain objectives need to be met in order to officially complete the game, otherwise further progression becomes blocked off.

Often hailed as a hallmark of the Castlevania series, Symphony of the Night lifts several game mechanics from successful genres of the 16 bit era and amalgamates them into a solid game.

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