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Post by dareka on Jun 15, 2018 22:31:57 GMT -6
No releasedate yet. Many takes it as a 2019 release. Others take it as they are still on schedule for a 2018 release. Myself personally believe Feb 12 2019, because reasons. Yes, I think a release window between December 2018 and March 2019 is likely; then again, if they really do add everything, it might be closer to summer. There will be one special scary boss in the game, please look forward to this. IGA... it's gotta be IGA... Ether, the power to use your shards, seems to have been renamed to Mana. Correction: it's been renamed Mana Not super related, but October 21st would be a cool release date if it ever managed to be possible. 10 year anniversary of the last Igavania. So, they were coy about whether the game would release in 2018. I think there's only two possibilities here: it slipped to 2019 (most likely); the release date is particularly significant in some way, and they don't want to tip us off to it... unlikely, but if that's the case, then the date you mention may well be it. Another possibility: October 31st. PR reasons. Yet another possibility: March 20th, the 21st Anniversary of Symphony of the Night (in Japan), or October 2nd (the 21st Anniversary of Symphony of the Night in North America.
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Post by dareka on Jun 15, 2018 10:24:16 GMT -6
Sometimes you have to remember that the intended scope of things like this are for people who have no idea what they're looking at. They want to introduce these games and reach new people about them so they can become interested, and to do so they would need to ask and address obvious questions. Most of the time, the more granular and specific things (that we'd be interested in) can't be answered as it is, so that ends up just wasting time and does little to draw new attention to what the game is. This is true, though. It may be an honest question, but it may also just that they're asking them to inform the viewers who don't know about the game.
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Post by dareka on Jun 15, 2018 10:22:42 GMT -6
IGN: Man, I'm so excited for this game! So, is it uhm... like a Metroidvania? IGA: ... yes ... .......................
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Post by dareka on Jun 15, 2018 2:38:17 GMT -6
ummm "incomplete at this stage of development" Its just if the game was comin out this year it would be like 80% complete, definitely close enough to complete to not be using a phrase like "incomplete at THIS stage of development" makes it sound like the development just started or hasnt been going long at all
This is kind of off-topic, but I think the information should be out there: the % of completion has never been an actual thing in game development. It's a number company PR gives people either to make them feel the game is closer to being released, or to give themselves leeway in case they miss their internal release date. It's also a number developers might give their bosses to calm them down when the project's delayed. You might think that surely there has to be such a thing. Game development is a task, right? So if you're halfway through a task, you're 50% complete, right? Here's the thing: game development involves lots and lots of different tasks, and some of the most crucial of them - play balancing, engine optimization, asset polishing, debugging - you have no idea how long they will take until they're actually finished. If you won't know how long it takes to finish something until it's finished, you obviously can't make an estimate to how far along it is. Logic 101. It's that simple. No game company manages their project by going "we're 69% complete at this point, and we'll be 71% complete by next Monday." That's not how project management works. They'll say "we have these features pending, these features implemented, these tasks left to go, which we need to finish by this date or these other tasks will have to be delayed." And if you have an important feature left to be implemented, and, say, only one person can do it, even if it ends up being like 1% of the total man-hours for the project, it could end up delaying it by months. So maybe 99% of the game take only 60% of the time, and the other 40% is taken up by 1% of the time, but delays the game because it's a bottleneck. Which is the % of completion when that task starts? 99%? 60%? Maybe make it into an 80% to match with people's expectations based on the actual release date? Because at the end of the day, it's this last option that's normally adopted. And that's the sad truth behind the % of completion. EDIT: And here's IGA backing this up...FAMITSU: Well, I played the demo, and the game felt nearly finished. IGA: The opening portion [is what's nearly finished] - not the rest of the game. Almost all of the assets are ready, but there's still quite a bit left to do, so it's not yet finished by any means. FAMITSU: How far along is it? IGA: Well, at the end of the development cycle, is as precise as we can get. It's hell, I tell ya (*smiles*). I can practically hear [the dev team's] screams as we speak...
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Post by dareka on Jun 15, 2018 2:06:35 GMT -6
Then 95% of the people who backed this game either can't read or has no brain. I doubt it, though, because it was pretty clear in the campaign from day one that the game would have been 2.5D. Also, if someone can't read "ALL IMAGES ARE CONCEPT ART, NOT REPRESENTATIVE OF THE FINAL PRODUCT" or the section where it clearly explained the 2.5D nature it's their damn problem. The FAQ section of the Kickstarter page goes into quite a bit of detail... Will the game look exactly like that concept art?Building out the custom shaders that will define this game's visual style will take some time, so we can't show you in-game screenshots just yet. We've put this concept art together just to give you a general idea of the game's feel and layout.
We'll be talking to backers all through the development process, and showing you the progress we're making. Using UE4 allows us a great deal of flexibility, and Inti Creates can't wait to show you just what they can wring out of it. Why 2.5D?Because this is an Igavania game, the gameplay and feel of traditional 2D games is non-negotiable. Even so, IGA decided to go with 2.5D for this project for both financial and artistic reasons. A 2.5D world built on Unreal Engine 4 was the right choice to balance development time, graphical fidelity, budget, and scope.
At the same time, IGA is very excited about exploring the paths a 2.5D style opens up within the classic Igavania formula. As he begins a new chapter of his career as a developer, he's looking forward to trying things that will enhance, rather than detract from, that core gameplay.
However, we would NEVER discount the fans' love for that classic style. The development team is looking forward to working with backers every step of the way to decide on custom shaders that will give the game a distinctive, hand-crafted look, so there are no surprises. Games like Guilty Gear and Strider are proof that 2.5D can be handled in a way that honors a classic aesthetic while allowing for new possibilities; that’s what IGA hopes to achieve with this project.
That said, one section of the castle will feature an area that Miriam can traverse in beautiful retro graphics. We are dubbing this section “the 8-bit level” although it may be close to 16 bit or 32 bit depending on how we mix it with the full game. While a full-blown 8-bit game doesn't fit into the full budget, backer support allows us to have fun with the development and create a little retro magic in our game.
Because this is an Igavania game, the gameplay and feel of traditional 2D games is non-negotiable. Even so, IGA decided to go with 2.5D for this project for both financial and artistic reasons. A 2.5D world built on Unreal Engine 4 was the right choice to balance development time, graphical fidelity, budget, and scope.
At the same time, IGA is very excited about exploring the paths a 2.5D style opens up within the classic Igavania formula. As he begins a new chapter of his career as a developer, he's looking forward to trying things that will enhance, rather than detract from, that core gameplay.
However, we would NEVER discount the fans' love for that classic style. The development team is looking forward to working with backers every step of the way to decide on custom shaders that will give the game a distinctive, hand-crafted look, so there are no surprises. Games like Guilty Gear and Strider are proof that 2.5D can be handled in a way that honors a classic aesthetic while allowing for new possibilities; that’s what IGA hopes to achieve with this project.
That said, one section of the castle will feature an area that Miriam can traverse in beautiful retro graphics. We are dubbing this section “the 8-bit level” although it may be close to 16 bit or 32 bit depending on how we mix it with the full game. While a full-blown 8-bit game doesn't fit into the full budget, backer support allows us to have fun with the development and create a little retro magic in our game. ... unfortunately, people don't always read the fine print... or the FAQs... or the interviews... or the disclaimers... or ... nevermind.
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Post by dareka on Jun 15, 2018 1:35:39 GMT -6
Translated by moi. I put spoiler tags on the story bits, for those who want to go into the demo "pure." original article: www.famitsu.com/news/201806/15159187.htmlFAMITSU: Well, I played the demo, and the game felt nearly finished. IGA: The opening portion [is what's nearly finished] - not the rest of the game. Almost all of the assets are ready, but there's still quite a bit left to do, so it's not yet finished by any means. FAMITSU: How far along is it? IGA: Well, at the end of the development cycle, is as precise as we can get. It's hell, I tell ya (*smiles*). I can practically hear [the dev team's] screams as we speak... FAMITSU: Have you guys been able to lock down a release window? IGA: Well, as to that, it’ll be just a bit longer, but I think we’ll be able to provide a release date. *You could say we’ve more or less locked the release window down. *not just a release window, but a date. FAMITSU: When I tried the game out, [the play control] felt as good as I expected. What are your thoughts? IGA: It still has a little bit to go. It’s not quite there yet. There are lots of aspects I want to work on. Like, “you can’t do a backstep in this situation” and such. They’re really small details, but they’re details I really care about, so I’m not satisfied with [the play control] just yet. FAMITSU: Are you making the adjustments yourself? IGA: I’m also working on them, too, but the person who’s in charge is a game designer whom I’ve been working with for quite a long time now. We work by melding our respective ideas. FAMITSU: So what are your priorities when working on these adjustments? IGA: Well, the most important part is that you get a really good, smooth feeling when playing, but when making a game, you can’t just make it as smooth as possible. The player needs to feel some pressure. If you focus just on the smoothness, the game becomes too simple. You’ll soon end up with enemies that are too difficult, too tough. * And that’s not what I’m after. Enemies don’t need to be that tough to kill - what I’m striving for is a level of difficulty that’s just right, where you have controls that are smooth, while putting just the right amount of pressure on the player. So, one of the things is that we have different opinions on how to put pressure on the player. * By "tough" he’s specifically referring to their HP. If you can do anything you want very smoothly, the enemies need to have more HP in order to present a challenge. Rather than having enemies with lots of HP, he prefers to manage the difficulty by restricting the player’s movement a bit, which keeps the game challenging without requiring enemies with loads of HP. FAMITSU: You mean this is something you’re not willing to compromise on? IGA: Both the lead game designer and I have very strong opinions on what we want, so we argue back and forth, and what we eventually settle on is what ends up in the game. FAMITSU: Could you give us a concrete example? IGA: On the trajectory of the jump, for example, our opinions will be divided like “this should definitely go a bit slower,” “no, no, it should definitely go a bit faster.” FAMITSU: Very fine details, indeed. Will you be fine-tuning these until the very end? IGA: Well, we can’t really make big changes. I mean, if you change the properties of jumps, you end up changing how far you can move and jump. We absolutely won’t do that, but that creates other issues, so that sort of thing has to be fixed to a certain degree, but we still make adjustments on a day to day basis. FAMITSU: Another thing is I was quickly drawn into the game-world when I played it. IGA: Thank you very much. On franchise titles, it’s normally a very easy-to-grasp setup. You have a hunter and the enemy. The hunter and the hunted – a very simple premise. Or maybe something like “well, he’s doing this because he’s a hunter – so that’s his job.” But in this game, the characters have personal reasons for fighting. Truth be told, both the main character and those around the person, everyone should have some kind of objective, something that drives them. If they lose their motivation, they lose their reason for being there, and I feel like I’ve managed to maintain each character’s motivation all the way through to the end of the story, and I’m quite happy about that. FAMITSU: You mean you aspired to be thorough with your storytelling *? IGA: I wasn’t really trying to be thorough per se. All of the story elements are elements of the game itself. The most important thing is that if you can sympathise with a chacter’s motivation, then you can get into the game. That’s more or less it. * I believe he’s asking IGA if he wanted to have a polished story with no plotholes, and IGA’s like “nah, I just wanted the player to enjoy the game, and they enjoy it more if they can relate to the characters and their motivation.” FAMITSU: Is there any character that you feel went particularly well in that regard? IGA: That’s a tough question, but probably Miriam, in that regard. At the end of the day, she’s the main character, so hopefully I was able to do her justice… FAMITSU: Miriam’s voice was just wonderful. I felt drawn into the game-world just by listening to her voice. IGA: We’re lucky to have Ami Koshimizu providing the voice of Miriam – my writing sounds worlds better when performed by a talented voice actress! (*smiles*). I’m always grateful for their help. Since the old days when I was working on dating-sims , I’ve always ended up going “man, my writing’s real hackneyed.” But when the actors bring the characters to life, it gets exponentially better. FAMITSU: Really, is that right? IGA: Well, since it’s what I do for a living now, I’m always striving for a level of quality that befits a professional, but I started off as a programmer, not a writer – in that sense, I still sometimes feel like an amateur writer. FAMITSU: Well, I at least really got into the first dialogue, between Miriam and Johannes. IGA: For Johannes, I asked for kind of a sheepish feel to the character, and I’m really happy with the results. Voice acting really helps with world-building. FAMITSU: How did you go about choosing the voice actors? IGA: We provided our short-list of casting choices, to a certain extent. We made our final decision after listening to voice samples, but when I heard Koshimizu-san’s voice, I just said “she’s the one…” Based on her background, Miriam has to come off as somewhat aloof, but I wanted her to be more emotive, to have a funny, silly side as well. And she was by far the best choice to bring that out. FAMITSU: The demo build’s has quite a lot of content, doesn’t it? IGA: This demo let’s you play until almost all of the characters make their first appearance. There’s Miriam and Johannes, and then Gebel, an antagonist, appears, together with his confidant Gremory, and then there’s this girl Anne, who’s attacked, and that’s where Dominique comes in and helps. Then we have Alfred, who’s Johannes’ teacher, one of the Alchemists responsible for the incident 10 years ago, and then lastly a Samurai appears. You get to understand who the characters are and what their roles in the story are.
FAMITSU: So it’s quite a bit of content! IGA: This build isn’t actually the most appropriate for a playable demo at an event. It’s too long. But I wanted people to try out the start of the game thoroughly. You can experience the game world and setting through the tutorial, the whole thing – and that’s what I wanted people to see. I believe the demo’s been mostly well received by the people from western media who’ve tried it. FAMITSU: Lastly, a word to your fans in Japan who are looking forward with anticipation to the game’s release. IGA: This build we showed here at E3 will also serve as a free demo to backers who pledged 60 dollars or more, so they can play it and give us feedback. In other words, development is far along enough that we can do that, so please look forward to it. The demo will be distributed June 21st. If anyone finds another article in Japanese they'd like translated, you know where to find me...
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Post by dareka on Jun 14, 2018 10:46:34 GMT -6
Awesome... just, awesome!
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Post by dareka on Jun 12, 2018 18:36:04 GMT -6
My favorite by far ins't listed: it's bloody tears, from Castlevania II's Bloody Tears.
It's amazing how well the 8-bit famicom/NES version holds up to this day.
I guess you could call it Simon Belmont's second theme?
There's a reason why it's been featured so much throughout the series - it's so iconic people don't even associate it with Castlevania II anymore, but rather with the series in general.
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Post by dareka on Jun 8, 2018 21:54:52 GMT -6
Here's an odd question I've been wanting to make for a while now: Would you be willing to implement a feature wherein gaining experience points from enemies may be turned off ? Like, you equip a shard or go to the config menu and suddenly you're not getting experience points from enemies anymore, until you unequip the shard or turn the feature off. Here's my reasoning: it's fun to level as little as possible when playing the game to get a real challenge; it's also fun to kill countless enemies until that rare shard you're looking for drops. The problem is you can't do both at the same time: by killing enemies to obtain rare shards you run the risk of over-leveling, taking a lot of the challenge out of the game. So it's a feature that I feel is easy to implement and would add a lot to the enjoyment of the game. Now that I think about it, it could also be done as a shard that slightly increases the drop rate while eliminating experience points. Oh, and just in case you guys ask the question: here it is in Japanese, to make Mana 's life easier (since I know how difficult translating accurately on the spot can be, especially when the question needs an explanation). 経験値の取得を オフに出来る機能のご検討を、お願いできますでしょうか? 例えば、 特定のシャードを装備すると、敵を倒しても経験値が出ないとか、ゲームコンフィグの設定で単に経験値の取得をオフにする項目を入れるなど、そういった仕様のことです。 理由を説明しますと、なるべくレベル上げしないでクリアを目指すのは大変面白く、レア・シャードを狙って次々と敵を倒していくのもまた面白いんですが、今までのIGAVANIAの仕様では両方やるのは不可能です。というのは、レア・シャードを求めて多くの敵を倒してしまうと、その分経験値を稼いでしまい、オーバーパワーなレベルまで成長してしまうからです。 恐らく簡単な実装の割に、ゲームを楽しめる幅が大きく広がるのではないかと思います。 考えて見れば、 シャードのドロップ率を少しだけ上げてくれる代わりに、経験値が出なくなるシャードで実装するのも面白い気がしてきました。
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Post by dareka on Jun 1, 2018 22:22:42 GMT -6
if we could get a confirmation for valkyrie and succubus i totaly would wait till those dlc are out to play the game with them Vampire, Succubus and Valkyrie do appear to be 1, 2 and 3 with players... That doesn't mean they'll be included (dlc or otherwise), but we can hope! Also: I personally hope they do implement as many outfits they can as dlc ... they won't (directly) make any money on mods, and I want this game to make the most money it can.
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Post by dareka on May 21, 2018 0:44:51 GMT -6
Dunno if I should post this on this thread, but... here's some info on Curse of the Moon straight from Inti Creates... . 15 min of video footage. Info from the video: Language OptionsThe demo shows them selecting between Japanese and English, but the full version will automatically select your language according to your system settings. Stage namesStage 1 (played last in the stream) is called 月光に誘われて Direct translation: Invited by the MoonlightStage 4 (played first in the stream) is called 天を穿つ冒涜の証 Direct translation: Proof of the blasphemy which carves into the heavensFrom the Instructions- Once you get companions, you can switch between them using L/R.
- Every character has pros and cons. By choosing the right character at the right time will enable you to take paths you otherwise couldn’t.
- When faced with different paths, you should take the one most likely to be a shortcut. If you’re having trouble telling which one the shortcut is, try picking the one pointed to by the bones of fallen adventurers.
- Each character has a separate life gauge, and as such it is best to swap characters when their life is depleted.
- Finally, the sub-weapons that drop from destroyed lamps each have a character they correspond to. Characters who cannot use a given sub-weapon are unable pick it up.
Tidbits from Aizu’s conversation with the journalists- The numbers next to the word weapon represent your sub-weapon stock.
- Items that drop from lamps:
- Items which replenish your sub-weapon stock.
- Items which replenish your hit points.
- Items which increase your score.
- Sub-weapons themselves
- The focus of the game is on getting a high-score.
- Characters share a sub-weapon gauge. Alfred’s sub-weapons, for instance, use it up very quickly.
- Once a character dies, they’re gone for good until all the rest die, at which point you lose a life.
- Once you lose all your lives, it’s Game Over. You can continue all you want, but your score is reset each time.
- There’s sub-weapons hidden in the walls, but no meat like in Castlevania.
- You can’t direct your jumps in the air, in keeping with the style of games such as Castlevania and Ghost’s & Gobblins.
Remarks on the technical side by Aizu
- Makes it clear that it’s not a Metroidvania – it’s a game where you clear stages linearly. He also says it’s meant to evoke 8-bit games, but they’re obviously ignoring the actual, technical limitations of the hardware. People who’ve worked on actual famicom games go “you wouldn’t get that many (sprites)”, but it would look cheap if they kept to the famicom’s actual limitations.
- When the train starts, and the screen fades out in the stage 1, he comments on how in an actual famicom game, the effect would have had to have been done by manipulating sprites and would have caused a horizontal flickering effect. Talks about how the effect where the character legs can be seen below the table would have required switching the rendering order of sprites half-way through drawing the screen.
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Post by dareka on May 20, 2018 16:07:26 GMT -6
If you were one of those who tatooed Miriam's glyphs on your butt, IGA now literally owns your ass.
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Post by dareka on May 20, 2018 14:00:52 GMT -6
dareka Dammit now I'm more curious... I have to ask him what the runes on Mirams breast mean as well while I'm at it. Those may initially seem to be similar to runes, a bit like Armanen runes maybe... But they bear more resemblance to Enochian language (Dee & Kelly), the supposed angelic alphabet. Likely. Alfred is said to be searching for the Liber Loagaeth, which is said to be written in Enochian (by the Japanese Wikipedia). Bloodstained takes a lot of inspiration from actual occult stuff.
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Post by dareka on May 20, 2018 0:11:46 GMT -6
The official site has got an update about character unique attacks for any that want to see... curseofthemoon.com/en/characters/Can anyone translate what the patches on Zangetsus arm say? Best ask Angel-Corlux to ask IGA to ask the guy who wrote them what they're intended to mean... 'cuz they look like some tenshotai (proto-kanji, so to speak) mixed in with ... I dunno, some sanskrit? It's not modern Japanese, in any case. It's an amalgam of ancient symbols from the Far East. I can tall you one thing, though: I can tell you Zangetsu means Slashing Moon.
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Post by dareka on May 17, 2018 10:25:47 GMT -6
Curse of the Moon is going to have alternate endings, right? I dig the idea of different cheat codes being rewards for different endings. Digimon Battle Spirit for the GBA did a similar thing, where finishing the game on single player would give you a code to unlock a character in Digimon Rumble Arena for the PS1. I second this idea and hope (but somehow doubt) they thought of it in time to implement it! It would be great, though - gives you incentive to purchase Bloodstained if you already bought and played Curse of the Moon.
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Post by dareka on May 17, 2018 1:33:41 GMT -6
4) I'm looking forward to it, though that's admittedly coming from the bias of someone who: A. is generally fond of NES games, and B. is a backer and will be getting a Curse of the Moon code anyway. I can imagine a non-backer looking at the $9.99 price tag and saying "I got Undertale for $9.99; why don't I just go and buy Castlevania III for $4.99 instead?" 5) This might not be what you meant by "presented," but I absolutely love the way the main four look. Their sprites have such an authentic NES Castlevania aesthetic, right down to the colorful outlines. My only complaint is that they seem to clash a little bit with the look of the bigger enemies and bosses, who remind me more of Shovel Knight than any actual NES game. 4) I say why wouldn't you buy BOTH Dracula's Curse and Curse of the Moon.... And Castlevania... and Dracula X Chronicles, Bloodlines, Portrait of Ruin... etc. 5) I totally agree! The only time you saw bosses that would take up the whole screen on NES (Contra, Chip n' Dale) was when they were practically static, these guys flashy graphics and speed and movement combined with the design and color palettes are very much screaming Shovel Knight. (Not that I'm complaining) Well, the thing with the over-sized (moving) bosses and enemies is that it's probably what'll get people to spend $10 USD on Curse of the Moon rather than $5 USD on Castlevania III instead - that, and casual mode. So while these are not 100% NES-y, they probably make the game more market-viable. On the other hand, one of the things with Cartridge-based systems like the NES is that you could add hardware to them - that's why later NES games, like Castlevania III, games looked and sounded a lot better than first generation ones. Nowadays it's always because the developers have found new ways to use the hardware, or developed new software technology. Back in the day, though, there just wasn't much you could do with the hardware, so publishers would basically just mount new hardware into the cartridge and use the console as essentially an I/O device (reads input from the controller, pushes the graphics over to the TV). The result is that people (our parents) were paying around 80 USD per game in 1990, which would be about 150 USD today... can you imagine people paying 150 USD for a new game today? They won't even pay 80 ... uh, what was I saying? Oh yeah - let's just pretend they mounted new hardware on that NES game that allowed the system to handle sprites of that size... and the illusion's complete! Also: anyone notice Castlevania 3 was subtitle'd Dracula's Curse, and this one's called Curse of the Moon? It's on purpose, I tell you!
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Post by dareka on May 15, 2018 23:59:12 GMT -6
My own question (obvious to those who are on discord): Who is this bose and when will we get its name and lore? Whoever he is, he's clearly related to Scrooge McDuck.
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Post by dareka on May 15, 2018 1:59:12 GMT -6
1) Gremory seems to be a very important enemy in the game, if not the final boss. It shows up in the trailer and at the moon. There has been several speculations of Gremory being the villain's sidekick on the main game, maybe the equivalent of Castlevania's Death. Considering it seems to be the main enemy on Curse of the Moon, do you think that possibility is even higher?
Yes. 2) The 8-bit mini-game was promised to be a prequel, whose plot would be 10 years before the main game (when Miriam was sleeping and Zangetsu was probably already battling the first wave of demons). IGA made an executive decision and changed "prequel" to "spin-off". That means that Curse of the Moon doesn't have any connection to the main canon of Ritual of the Night. Did you liked or disliked such decision?
I don't know that it doesn't have any connection to the main cannon of Ritual of the Night, but I don't mind either way. It's an 8-bit style game, so gameplay first. 3) The playable characters are Zangetsu, Miriam, Alfred and Gebel. Would you had prefered other characters as playable? Who would you substitute / choose?
I thought it was really clever that they chose Alfred instead of, say, Dominique. In a 3D/High-Res game I would prefer to have Dominique instead, though. 4) It has been stated that the game has no special upgrades or things like that and it is mostly focused on hard stages that must be beaten and you can find shortcuts by using specific characters. What are your thoughts over this? It surely makes the game more "classic" but it may be a downside for today's gaming standards.I think people will be accepting/forgiving in this regard precisely because it looks 8-bit. They simply won't be held to the same standards as a 3D game, and that's fine, I think. It means people will approach it with an open mind and hopefully learn how fun those games can be. I mean, I've played way more 8/16 bit games than modern ones, if for no other reason than they each take up less of your time. Not every game has to last 50 hrs. 5) Would you change anything on how each character was presented? Considering their skills and abilities revealed for the game?Nope. Well, maybe I would have liked it better if Gebel turned into something other than a bat. I understand they made him like CV 3 Alucard, but he's not a vampire, after all. 6) Although it was revealed that Curse of the Moon is a spin-off, do you still expect it to have SOME connection to the main game's plot? Such as multiple universes / realities or something?Yes.
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Post by dareka on May 14, 2018 23:26:26 GMT -6
Circle of the Moon - The one GBA/DS Castlevania with no involvement of IGA, to my knowledge. I'm think he actually worked as producer on the localization ... so, not on the game itself, but on the localization. It was done in Konami's Kobe office, if I remember correctly, and Iga was in the Tokyo office. It was really good, nonetheless. Kick-ass last battle!
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Post by dareka on May 13, 2018 12:58:24 GMT -6
Busterific Pure Miriam dareka I am not so sure, based on those 2 screen shots alone Miriam gains 2 pips in the health bar. From 10 to 12. Maybe it is just for mock up reasons, but it seems to imply you can get more health. Edit: It also appears that unlike health bars, all characters share a weapon bar count, which also increases. We see it /20 and /30 at different points. Maybe you can, but - going by the description's suggestion that you won't miss out on any power-ups by taking short-cuts - if that's the case then it would be by some other means, rather than collecting items.
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