I’m a big fan of Castlevania games. I was in my prime gaming years (early to mid-twenties) when the Igavania games were coming out on the DS. While Dawn of Sorrow is essentially a perfect game—from gameplay to graphics, music, and controls—Super Castlevania IV isn’t flawless, but it comes close. On the downside, the game is short (it took me less than ten hours to finish). However, at its best, it reminds me of a great Igavania title without the leveling up and loot drops. Whipping enemies is incredibly fun, and when they’re defeated, most burst into a scatter of fireballs. The boss fights are never too challenging (until you face Dracula), and the music is the best in the series so far. So why isn’t it perfect? Perhaps it’s because I’ve experienced something even better; throughout the game, I kept thinking I’d rather be playing titles like Aria of Sorrow, Dawn of Sorrow, or Portrait of Ruin. Yet with SC4, the series began to spread its wings—and without classics like this, we might never have gotten the sequels I love.
One significant advancement is that, for the first time in the series, you can whip diagonally upward as well as directly upward. This makes taking down annoying foes like bats and Medusa Heads much easier. Additionally, you can halt a forward-leaning jump midair to change directions. Finally, you can swing your whip in circles or let it hang like a chain of sausage links (you have to see it in action to understand what I mean). While these changes do make the game easier—especially the upward whip—the difficulty still ramps up steadily without overwhelming you, unlike some previous titles. Enemies gradually become more challenging, from a basic skeleton to one with a whip and then to one with a sword, yet I was never in over my head.
The graphics are good, though a bit goofy. Simon Belmont, the main character, wears plated armor but also appears to be wearing shorts and a T-shirt, as his lower arms and legs are exposed. I don’t mean to be dismissive; this was a significant step forward in utilizing the SNES’s raw graphical horsepower compared to the NES. However, there weren’t many setpieces that truly wowed me—the visuals simply flow along. I still enjoy watching enemies explode into fireballs. The music is among the best in the series, and some later levels feature classic tracks that would be reused in future games for decades. In my opinion, the SNES always excelled in drums and bass, and this game is no exception. Apparently, the levels were designed by drawing maps on graph paper and revising them by hand—a charmingly low-tech beginning. Branching stages (seen in the previous game) were considered but ultimately not used.
There are only eleven levels, which is one of my major complaints. Not only is the game too easy, but its short length is also a drawback. Still, during its best moments, playing SC4 reminds me of the highlights in Dawn of Sorrow. It’s amazing how consistently the series maintained its quality over the years. This is a very good game, and without it, we might not have gotten Symphony of the Night. Developed by a very small team, SC4 sold 800,000 cartridges—a respectable figure for the SNES era. It laid the groundwork for the Metroidvania genre, and for that, I am grateful. Although it can be breezed through and doesn’t offer many secrets, give it a try if you enjoy Castlevania and don’t mind a foundational experience—a game of evolution rather than revolution.
4/5
Blimps Go 180 