Why I Love Castlevania

Castlevania captured my imagination long before I ever played a Castlevania game.  As a kid reading Nintendo Power, Castlevania stood out to me because it combined two of the things that I loved the most: horror and video games.  The graphics looked amazing and atmospheric and the concept of hunting Dracula within his haunted castle was enough to send chills up the spine of a prepubescent boy.

I’ve always been fascinated by horror stories, and Dracula has been one of my favorites from the beginning, and I’ve never grown out of that.  Although I enjoy other tales of vampires here and there, I’ve never been a huge fan of vampires just for the sake of vampires, but Dracula himself has always been the ultimate villain.  Compelling, sometimes just a little sympathetic, but at his core he is Satan himself.  As a boy on to the present I would devour any film I could get my hands on which dealt with this aristocratic monster, and the first part of Bram Stoker’s novel, detailing Jonathan Harker’s journey into Transylvania and his encounter and subsequent imprisonment by the Count, genuinely frightened me as a child and is one of my favorite portions of any literary work.

Given that, you can see how Simon Belmont’s quest to slay the Count, who in Castlevania lore commands an army of demonic creatures, set my imagination free.  I couldn’t stop thinking about what it would be like to step out into the wilderness surrounding Dracula’s castle, journeying up to the ancient castle gates and, with no idea what to expect and knowing that your presence has not gone unnoticed, stepping inside.  The idea of challenging Dracula head-on with nothing but a whip (enchanted or not) was terrifying and exciting.

As a child I never took games at face-value; what was behind the game was always present in my mind.  For Simon to die at the hands of a zombie in-game meant crumpling to the ground while a few dark musical notes played, but I knew that death by zombie meant incredible suffering as your flesh was ripped from your bones.  To me, Simon was a total stud, a man filled to the brim with courage, striding out with confidence against incredible odds and the potential for excruciating pain.

When I finally obtained a copy of Castlevania for my NES, I was thrilled.  It was one of the hardest games I had ever played, and I ate it up.  I knew from the beginning that Simon was up against impossible odds, and I think that had the game been easy I would have been let down.  But it wasn’t just one game, and the lore of the world continued to open up for me.  Castlevania II: Simon’s Quest told how Dracula placed a curse on Simon before he was defeated, a curse that was slowly killing him and caused him constant pain while Dracula’s evil slowly poisoned the countryside.  This was a dark story where Simon’s only hope for salvation lay in collecting the Count’s body parts and personal effects, which had been stolen away and hidden by his minions, and burning them on an alter in the heart of Dracula’s ruined Castle.  The game was quite a departure from the arcade action of the first, but the music and mood were fantastic and I spent hours roaming the countryside looking for those grim relics.

Then Castlevania III: Dracula’s Curse revealed that Simon Belmont was not the first, but that the battle between Dracula and the Belmont’s had been going on for some time, with Dracula resurrecting some years after each defeat.  Finally, Super Castlevania IV brought the game to the Super Nintendo, and I was completely blown away.  Castlevania always looked and sounded good on the NES, with dark exciting music to match the visuals, but Castlevania IV was worlds ahead, with much more detail and deeper orchestrations.  It was exciting and frightening and everything that an SNES title could aspire to be.

From there the series has gone on and endured, telling an epic story across multiple consoles, even re-writing itself through stand-alone titles (Circle of the Moon) and reboots (Lords of Shadow) that have continued the tradition of the originals even as the core canon continues to be explored.  Of all the long-standing video game franchises, Super Mario Bros., The Legend of Zelda and the like, Castlevania appeals to that darker part of us that enjoys Halloween, horror movies and sleepless nights, and it will always be one of my favorite series.

Why I Love Video Games

Video games have been a constant in my life since my earliest memories.  As far back as I can recall, I had an Atari 2600 and a Commodore 64 in my room.  At four years old I was learning to pull up games on the commodore, and I can remember my dad bringing home a copy of Missile Command for the 2600 and playing it with my older sister.  I remember many other things from this period as well, typical childhood memories of playing with neighbor children, scooping the family goldfish out of its bowl and leaving him (her?) in a pile of laundry (oops), locking Ken and Barbie naked in the clothes dryer, and watching Flight of the Navigator with my family and exclaiming “What a piece of junk!” in best Han Solo fashion when the silver  blob of a spacecraft first made an appearance.  I remember family meetings, summer days and the stuffed dog I snuggled as I went to sleep each night, and, along with all of these wonderful memories, I remember video games.

As a kid, video games were not a substitute for reality, nor did they keep me from playing in the real world.  On the contrary, I can recall playing Wizard of Wor on the Commodore, then shutting it off and sitting down to play with my “Barrel of Monkeys” and one of those wooden peg toys with a tiny hammer.  They were no substitute for imagination; if anything, they only acted as a springboard.  I recall turning out the lights in my bedroom and firing up Asteroids on the 2600 and pretending to be Han Solo navigating the asteroid belt in The Empire Strikes Back.

This only continued as I grew older.  I often played alone, lost in imaginative worlds of my own creation, envisioning whole galaxies with myself the hero of my story.  One minute I would be running through the backyard fighting intergalactic monsters who towered several stories above me, then run into the house, sit down at the computer and continue the story through some space shoot’em up.  Soon after, I’d be back out in the backyard fighting tooth and nail against the scourge of the galaxy.

This is what gaming was for me.  Gaming was not just a fun experience, not an escape, but just another toy that my imagination ran wild with.  As I grew even older, and began the gradual, awkward shift from schoolboy to teenager, things like running around the backyard with a plastic laser gun became far less acceptable to society, but within my mind these imaginative games were just as compelling.  Even while I was outgrowing my outward expression of these pursuits, my inner life was still a rage of imaginative worlds, and so video games gradually took a larger and larger role as they became a more acceptable outlet for this sort of wild fantasizing.  In time, they became the primary outlet, and as a teenager moving into college I put away my toy guns and space ships and taken the fight to an entirely virtual world.

Today I still find myself in that place.  The same themes that captured my imagination as a young 4-year-old boy are still just as real and amazing to me.  The same struggle of good and evil, of heros and villains, of far away worlds and times long forgotten.  Magic and science, monsters and aliens…these things are all very much alive to me, even as I know they are to countless other gamers around the globe.  Certainly there are other outlets for these feelings, like literature and film, but only in gaming can we move from a state of observational wonder into a one of participation.

For me, games have always been there, fueling my imagination and giving me the opportunity to take an active part in it.  It is hard to explain to someone who doesn’t already understand, but they are an integral part of my life and thought and deeply tied to my memories.  The stories and music are as much as part of my memories of family, holidays and seasons as are the sights and smells of home cooked meals and Christmas decorations.  I can remember the first day we set foot in our just-built new home in 1996, and the first day I set foot in Hyrule a few years prior.  I can remember my first grade-school crush, and the day I asked Maria, the mayor's daughter, to marry me in Harvest Moon.  I can remember games of Euchre with my parents and playing the bonus slots in Super Mario Bros. 2.  Memories of playing video games together with my father and mother are as dear to me as anyone’s memories of games of catch or backyard football, and I would not trade them for anything in the world.

To my fellow gamers out there who may feel the occasional pressure from others to “get a life”, I offer the following excerpt from my favorite author, C.S. Lewis’ poetry collection “Spirits in Bondage”:

The friends I have without a peer
Beyond the western ocean’s glow,
Wither the faerie galleys steer,
They do not know: how should they know?

Quiet Christmas

Quiet Christmas is a game in the “Quiet, Please!” mobile gaming series released by Nostatic Software.  The series, which presently stands at four titles, is a charming and nostalgic throwback to graphical Adventure games of old; the sort where plot doesn’t always matter as you run around solving puzzles and performing (sometimes menial) tasks, but often with charm and style that makes it all worthwhile.

Quiet Christmas was released in 2012 and is a short-but-sweet adventure starring a little girl whose only goal is to go to sleep on Christmas Eve so that Santa can come.  The trouble is there is far too much going on around the house to get any slumber.  Your younger brother is racing about the house, your father is banging away at a malfunctioning furnace and your neighbor’s obnoxious inflatable Santa is “Ho, Ho, Hoing” outside your window.  Before you can slip off to dreamland so that the real Santa can approach, you must put these wrongs to right.

The art style is the first thing that stood out to me: colorful, extremely pixelated and yet easily identifiable.  It is suggestive of old Sierra or LucasArts adventures done on a smaller, more minimalistic scale.  Sound is less primitive but adds to the atmosphere and is occasionally humorous (the neighbor’s horrible attempt at Christmas caroling being a highlight).

The control scheme is simplicity itself, which is a great plus for a mobile game.  Complex controls don’t work very well on small touchscreen devices, but movement is kept to left and right with an action and item button the only other keys.  It’s all you need to interact with the world around you, and it works like a charm, making the game easy to pick up and play right from the start, no instructions needed.

The game’s only downfall is the very same simplicity that makes it so charming and easy to pick up and play: it is extremely easy.  I personally was able to complete the entire thing in about 15/20 minutes.  If you’re a novice to the Adventure or Puzzle genres, it’s possible you might spend an hour or more while you wrap your mind around how such games work and the “logic” behind them, but even so it remains a very easy game.

On the other hand, the game never presents itself as anything more than a charming holiday diversion and a throw-back to simpler times in gaming.  Despite the short length and ease of the game, it was a lot of fun to play, occasionally made me laugh, and is a perfect feel-good Christmas special for the old-school gamer.  Think of it as “A Charlie Brown Christmas”: we’ve all seen it a thousand times, but it brings a little Christmas magic to the season.  If you’re a fan of retro gaming, Quiet Christmas is worth spending your coffee break on.

Toca Boo

Halloween is one of my favorite holidays, and it is at its very best when you see children having fun with it.  As a kid I loved dressing up in costumes, loved candy and loved spooks, ghouls and scary stories.  When you’re in the safety of your own home, with the lights out and a roaring fire (preferably in the fireplace), who doesn’t love sharing a spine-chilling tale, or watching Boris Karloff lurch about on TV?  These are the sort of holiday moments that I look forward to sharing with my own children, the first of which is already on her way.  Perhaps that’s what drew me to Toca Boo…or, it may just be that I’m still a kid inside and I couldn’t resist the cute icon that popped into the App Store’s “Best New Apps” section this week.  But whatever the reason and given the season I had to give Toca Boo a try.

As an adult gamer, I’m certainly not the target audience.  Toca Boca, the game’s developer, specializes in “digital toys” for young children, defining the term as a game with few rules.  In essence, their products are designed to be simple, imaginative, and fun for little kids to play around with.  Toca Boo, however, proved fun for myself, and I’ve no shame in admitting it.

Released on Oct. 23, 2014, it’s definitely the perfect season for a spooky-themed game like this, although I haven’t found anything explicitly Halloween in the time I’ve spent with the app.  Rather than tying itself directly to the holiday, it instead finds its theme in the broader realm of spooks and scares, and thus invites play any day (or night) you feel the inclination.

The premise of the game is simple: you play as a young child who dresses as a ghost using a white sheet.  In the rules of the game, much like any child’s imagination, this means you get to float about the room as a ghost rather than being confined to the floor.  Your objective will be familiar to anyone who grew up with a brother or a sister: find a place to hide, and scare the living daylights out of anyone who comes close.

The gameplay and controls are also simple and intuitive.  Touch your adorable ghost avatar and drag your finger, and he will float about to follow it.  Find a nook or cranny and he’ll tuck himself in.  There are also blue-tinted areas, openings to boxes or the covers of a bed that you can tab on to have him hide.  Most rooms also contain red tinted areas that can be tapped, and these will do things such as turn on and off lights, set off alarm clocks or turn on and off radios.  Tapping these things to switch them on and off while one of your “victims” is near will start them sweating before you ever spring up behind them and will lead to bigger, more satisfying scares.

The house is three stories and you can freely move from room to room.  There are several family members to sneak up on, from an old stilt-legged grandpa, twins co-joined at the elbow, even a headless dog (come to think of it, why would this family be scared of you wearing a bedsheet?)  The house is always dark (rooms which give you a peak outside reveals that it is a dark and stormy night) so characters walk about with lanterns, candles and flashlights.  There are room lights, but they do very little to brighten up this Adam’s Family home and are mostly there to switch on and off and spook people out.  It’s fun to see the reactions you can get by scaring people in different ways.  Manage to get someone worked up enough before you jump, and you can have them flat on their back one moment, then racing out of the room the next (you can give chase if you like).

The game is a toy in that it is completely open-ended.  No score, no objective beyond amusing yourself.  You will be caught and scolded by the other characters if you fail to sneak around carefully enough, ruining a chance at a scare, but you can always set the stage for them again so there’s no real penalty.  It’s all just for laughs, and the charming graphics, the personalities of each character, the amusing sound effects and the whole “jump out and scare people” theme keep it fun.

If it were a free title I’d say download it and enjoy a few moments of silly, childlike amusement, but as it stands, it carries a $2.99 price tag on the app store.  On the other hand, the game is ad-free (with the exception of button on the title page for another Toca Boca title that was recently made free), intended as a title for young children, and once you’ve started the game there appears to be no way to exit it short of punching the Home button.  It’s clean, kid-friendly and well-designed for its target audience.  As such, if you have young children and you let them play with apps on your iOS device, I’d say it is worth the price tag for something so well designed that you can feel reasonably comfortable letting them play without worrying if they’re going to click the wrong thing and pull up your web browser or make purchases.  It’s good, clean fun and I recommend it.

Harvest Moon (SNES)

Everyone has a few games that they will always love regardless of the passage of time; game like Final Fantasy VI that, despite the ongoing march of the franchise, is regarded by many as one of the greatest RPGs of all time.  For me, one such game is Harvest Moon.

Released in 1997 by Natsume on the Super Nintendo, Harvest Moon is a simple, yet charming and addictive game.  Originally titled “Farm Story” in Japan (Terry Munson, an editor for Nintendo Power at the time, is credited with the game’s North American release title), the game is a farm simulator/RPG.  You might even go so far as to consider it a kind of “life simulator” (like Animal Crossing or The Sims) if you wish.  The premise is this: you’re a young man who has inherited a small ranch and are tasked with making it successful.  Your parents drop you off at your new home and will check back in with you in two and a half years, during which time you are expected to have it thriving, or at the very least serviceable.  Starting out, it is broken down and overrun with weeds and rocks, so it will take lots of hard work to put it back into shape.

First off, the game is absolutely beautiful.  There is a day and night cycle, and a change of seasons every 30 days.  The characters, town and countryside are all charming and the animals are simply adorable.  The music is excellent as well, and changes with the seasons.

In combination with the beauty of its presentation, the gameplay makes the game a true gem.  You start off in a broken-down ranch with a few tools, and by working, exploring and talking to the townspeople you set off on your quest to turn it into something special.  You have limited energy to perform choirs each day, but can obtain some replenishment via eating or visiting the hot spring in the woods.  Once you get the land cleared, it’s time to start planting crops, selling them, even buying and caring for livestock.

Now, if the game stopped here, it would be a farm sim and little more, but Harvest Moon goes deeper to bring more charm to the experience.  In addition to working the farm, you can woo the young ladies in town.  Each has a unique personality and will respond different to choices you make or gifts you might provide.  Successfully win the affections of your chosen girl, and you can marry and start a family, having up to two kids if you keep your girl smiling.

The game also provides several town events and holidays that occur throughout the year, and as you progress and build your farm you will be able to open up secrets and small quests that will provide rich rewards, such as discovering “harvest sprites” in tunnels beneath the farm or participating in the annual Easter egg hunt in town.  These provide opportunities to win awards and upgrade your tools, as well as just being a lot of fun to participate in.

Once your two and a half years (according to the game’s calendar) are completed, your parents will return to check on your progress.  Depending on how well you built the ranch, the variety of crops and animals tended and whether you chose a wife (and how happy she is) the game will provide you with an extended ending scene showing humorous and heartwarming bits of your life on the farm (or, if you do poorly, a less-exciting scolding from your parents).

The nature of the gameplay makes it extremely relaxing and a true feel-good experience.  I have played through it several times just to change the girl I wooed and experience the differences this choice would make.  With extended, repeated plays the gameplay can begin to become a little tedious, but after time passes I find that it’s a title I keep coming back to and enjoying all over again.  The title was successful enough that it has become a popular franchise and has seen a release on every Nintendo console since the SNES, as well as each new evolution of the GameBoy.  There were even Harvest Moon games developed and released for the PlayStation, Playstation 2 and PSP.  Any Harvest Moon game is sure to be a good time, but the original is still a joy to play and will always be one of my favorite games of all time.

Batman (NES)

Batman was released for the Famicom in December of ‘89, and in America on the NES in February of 1990.  The game was a movie tie-in, following the heels of the hugely successful 1989 Tim Burton film Batman.  As such, some character design and plot points take their cues from the film, but other than matching its design and style and a very loose look at the plot, the game cuts its own territory, becoming a dark comic-book story of its own and bringing other DC supervillains into the fray.

Although film adaptations are notorious for poor quality, Batman got everything right and is not only one of the best movie adaptations ever made, but also one of the best games in the NES library.

The game was developed by Sunsoft, who had already proven their worth in ‘88 with the exceptional Blaster Master.  Batman was a less ambitious title, but brought the same quality in every area.  The soundtrack is a great example of what the NES can do, being evocative, dark and layered and doing a good job of setting the mood, even if it is an original soundtrack (you won’t find Danny Elfman’s iconic theme here, unfortunately).  The graphics are detailed, dark and gritty, perfectly fitting the dirty, gothic style of the film’s Gotham City.  The gameplay is an action platformer that is very reminiscent of Ninja Gaiden in terms of play style and control.  The game is also quite challenging, but thankful it does not bring the kind of brutal frustration and unforgiving gameplay that Ninja Gaiden is known for.  Just don’t expect it to be a walk in the park.

Although arguably The Joker stole the show in the film, Batman is in the spotlight here.  He really feels like a superhero, from his billowing cape, strength to beat down enemies with his bare hands, and the wall-jump ability which lets you spring off of vertical surfaces like a ninja.  Batman also has use of his iconic Batarangs as well as a throwing blades and a rocket-powered spear gun, particularly useful in bringing down bosses like the Killer Moth, Electrocutioner and Fire Bug, who make an appearance as the Joker’s henchmen.  These battles are both fun and very challenging as each enemy has his own unique attack pattern.  “Have you ever danced with the devil in the pale moonlight?”  You will here, as there are often no safe zones or cheap means to bring down the bosses, just precision as you track their movements and perform a harrowing dance of death with them.

I could go on to say a lot about the gameplay, but let this suffice: Batman has had a solid share of game adaptations, and unlike a lot of licensed games, the Batman franchise as seen a good number of decent titles.  This one, however, stands the test of time both within the NES library and also within the years-spanning legacy of Batman titles.  It is unlikely that the game met its match in turns of quality and treatment of its subject until the release of Batman: Arkham Asylum in 2009, 20 years after the release of Batman on the NES.

BASIC Programming

BASIC Programming is an Atari 2600 title with an interesting history.  Although it proudly bears the moniker “Game Program” along with other 2600 releases, it was really more of a teaching tool and, due to its severe limitations, a curious toy.

The “game” was programmed by Warren Robinett, a famous name in gaming as he was the programmer of Adventure, an early 2600 precursor to graphical RPG/Adventure titles to come.  He is also credited with programming the first “Easter Egg” discovered by players by hiding within the game an elaborate method of displaying his name (in the early days Atari did not allow programmers to take any credit for their work, which was somewhat resented).  1979 was the year both Adventure and BASIC Programming were released, and shortly after this Warren left Atari and would go on to help found The Learning Company, leaving BASIC Programming the last of only three projects (the first being Slot Racers) he would create for Atari.

There is an interesting (though unverified) legend surrounding the creation of BASIC Programming which states that it was made in response to pressure Atari was receiving over the 2600 (originally titled the ATARI VCS) being labeled a “Video Computer System” since computers should be programmable and the 2600 clearly was not (well, not unless you were a developer).  The story may or may not be true.  Perhaps Atari was merely trying to branch out into more educational territory, or perhaps it is even telling that after programming this title, Warren went on to help found a company dedicated to educational software.  Whatever the reason though, BASIC Programming landed on the 2600 scene with all the grace of a cinder block.

The Basic programming language existed in many forms over the course of the early home computer wars and, although often modified for a particular platform, existed in one form or another just about everywhere.  Systems like the Commodore 64, which I grew up with, booted straight into a Basic interpretor.  Although modern eyes might assume this to be a command prompt, the effect was that in addition to telling the computer to load programs stored on disks or cassettes, you could beginning writing programs in Basic the moment the system was powered on.

In contrast to a typical home computer, however, the Atari 2600 possessed such limited memory capacity that attempting to program it at the home level was extremely impractical.  As a result, BASIC Programming, despite its name, was quite different than Basic as it was commonly known.  Simplistic in the extreme, the memory constraints of the system meant that only 64 characters could be entered over the space of 9 lines of code (although a glitch discovered in the system could be exploited to expand this to 11 lines, though still with the same 64 characters).  The result was that programs could not expand beyond the most primitive, such as having the screen display a name, play a few notes (from the 2600’s extremely primitive sound chip) or move a colored block across the screen.  Touted as an educational device to help you “write your own programming” (I’m not sure what to think of the grammar there), the extreme limitations combined with the fact that the actual programming language had only a superficial resemblance to true Basic meant that its worth as an educational tool was small.

None of this was at all helped by the lack of a keyboard for the 2600.  To rectify this, BASIC Programming made use of a keypad controller.  Very few titles used this peripheral, which was a set of buttons laid out like a phone keypad.  Two of these controllers could be connected together, and paper overlays would tell what action each button would perform.  In the case of BASIC Programming, each button had multiple different functions that had to be switched between in order to type, since the two keypads did not have nearly enough buttons to act as a full keyboard.  This made entering even simple commands an exercise in tedium.  If you do have the patience to enter a rudimentary program, enjoy it while it lasts, because the 2600 also has no capability to save any work.  This seems like the least of concerns, however, since it is unlikely one would ever produce anything via BASIC Programing that would be worth saving.