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Chapter 148 : Bach Playing the Electric Guitar
The moment the game successfully loaded, Miyazaki understood one thing.
*Castlevania* was completely different from GAMENOVA's past works.
At least in terms of art style, it was absolutely not a work that compromised on performance.
The cartridge, embedded with an audio enhancement chip, perfectly decoded the miraculous complex waveforms that shouldn't have belonged to the 8-bit era.
Although Miyazaki hadn't systematically studied music yet, relying on his hearing, he could clearly distinguish the sound of a pipe organ.
Ё num̂ӓ . і̌d́
This peculiar keyboard instrument with its majestic, grand momentum and solemn tone was even more wonderful than an orchestra.
That classical religious flavor belonging to Europe rushed straight from the soles of his feet to the top of his skull.
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In just an instant, Miyazaki clearly felt goosebumps rise all over his body.
This was an experience he had never had in any video game in the past.
8-bit music certainly had its own characteristics; the electronic synthesized sounds combined from simple waveforms had a clear rhythm, especially suitable for equally fast-paced 8-bit games.
But in front of *Castlevania*, everything else seemed to no longer matter.
Еńum а̄
Baroque polyphony and large-scale symphony, paired with a peculiar electronic rock, gave Miyazaki the bizarre feeling of watching Bach play an electric guitar.
Yet its sound did not feel out of place.
Instead, it created an unprecedented uniqueness—filled with punk amidst the classical, yet highly traditional amidst the electronic.
Even though its sound couldn't be completely restored on the NovaBox's amplifier, and the resolution wasn't ideal.
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The emotion this piece of music wanted to convey fell clearly and unhindered into Miyazaki's ears.
"A piece with such a heavy religious flavor…"
Ẇ éb̃ ñ о̊ v̆е l̀ E.ñ ũ m ă
What did he know about Bach or Vivaldi? To this teenager, his evaluation of this piece of music consisted of only one word.
Invincible!
This was the first time he had been conquered before the game had even started, before he had even entered the title screen.
Without the need for any extra text or visual assistance, Miyazaki had already pre-conceived a dark, oppressive world in his mind.
Stripes flashed on the TV, and a pale white sun hung high in the center.
A shadow slowly approached from the lower right side, covering it into a crescent shape.
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A total solar eclipse was happening.
When the sun was completely obscured, the game's title finally emerged.
[CASTLEVANIA]
A small subtitle below wrote out the translated name in the local language: Demon Castle.
This seemed to be a coined word.
Miyazaki blinked twice, looking at this word that was both familiar and unfamiliar.
Еn̊um̊а̀ .і̀ d
He really liked reading Western fantasy novels, and it took him almost no effort to analyze the meaning of this word with a very "Western fantasy" flavor.
This was combining the two words "Castle" and "vania".
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Castle, a frequent guest in fantasy stories, obviously meant a castle.
This perhaps meant that the game's map was inside a castle.
And the suffix "vania" behind it was somewhat elusive.
If one had to find a root for this word, it perhaps came from the "vania" in "Transylvania".
Е num̀ á .і̇ d̄
This was a place name in Romania.
"Ah~ I get it, the hometown of the vampire Count Dracula."
Looking at it this way, the theme this name wanted to convey was very clear.
This was a game themed around European vampire legends!
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"Aha! I knew it!"
This exactly hit Miyazaki's hobbies.
Ẅ e b̀.ño v̂el̊ Е̌n̈ u̇m̌а̊
Although *Fire Emblem* was interesting, its story core was actually completely different from the kind of Western fantasy he truly pursued.
And the appearance of *Castlevania* finally fulfilled one of his dreams.
As he officially entered the game, the game finally officially unfolded before him.
"Let me see… A button is jump, B button is attack…"
As he pressed the B button, the character also swung a small dagger forward.
"The Start button opens the menu? Wow, there's actually so much content…"
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Unlike the concise game UI, the various contents in the menu simply filled the screen, without wasting a bit of space.
Just looking at the attribute bar at the top, this was undoubtedly an RPG work.
HP, MP, and the very common four-attribute design of Strength, Constitution, Intelligence, and Luck—a very standard role-playing template.
As for the functions below, after becoming familiar with *Fire Emblem*, there was no threshold to understanding them.
It was nothing more than conventional content like an enemy bestiary, equipment slots, and item slots.
The only thing worth Miyazaki paying a couple more glances to was perhaps the "Soul" setting.
Wе ḃ n̈о̆ vе ľ Еn ùm а
In the brief cutscene just now, the protagonist obtained a red orb of light after killing a flying skeleton.
At this moment, that orb of light was equipped in the red slot of the Soul section.
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Besides this red orb, there were also a blue and a yellow slot.
According to the description, one of these was a passive that would continuously take effect as long as it was equipped, and the other was an ability that needed to be actively triggered by pressing a specific button.
"Do I need to kill enemies to obtain their souls?"
Miyazaki seemed to have guessed the meaning of this system.
Е n̊ǔ ḿ а
It seemed that the short cutscene just now was to teach him the method of obtaining souls.
"Whatever, I'll just explore and see."
There was quite a lot of content in the menu, but the vast majority of it seemed a bit vague, even cryptic, at present.
Miyazaki simply closed the menu directly and rushed into the castle.
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"Hmm? This…"
Just upon encountering the first group of enemy monsters, Miyazaki noticed something unusual.
Ėñū m̌ a_
The controls felt too good.
This was not the thrill brought by gameplay or elements of the game itself like hack-and-slash.
But some indescribable positive feedback from the inside out.
When playing *Fire Emblem* previously, because it was a turn-based tactical game, he had never had this peculiar feeling at all.
It was as if he really was the protagonist of the game himself.
Every operation could get an instantaneous, real-time response.
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Make him jump, and he would follow the command and jump instantly.
If Miyazaki released the jump button at this time, the character would also immediately interrupt the jump and no longer jump higher.
The longer the jump button was pressed, the higher he would jump.
This kind of design, in Miyazaki's memory, seemed to have been applied in Nintendo's *Super Mario*.
But the feedback the two brought him was completely different.
"So strange, why is it like this?"
Ẅë ḃ n̆o v е̇l Е̊ n̊ ů ḿ a
Not believing it, Miyazaki controlled the character to jump around the scene a couple more times.
"Hmm…"
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He stared intently at the character moving in the air and then landing on the ground, and immediately his eyes lit up, revealing a look of understanding.
"I know! It's because of precision!"
If he had to find a word to summarize the experience this control system brought him, then perhaps the word "precision" was the most suitable.
It wouldn't be like in *Super Mario*, where Mario's feet seemed to be oiled, slipping all the way carried by strong momentum.
Ĕ ṅúm̈ӑ.. іd̀
*Castlevania*'s controller was absolutely precise.
It would only loyally feedback any of the player's inputs; stopping when told to stop, moving when told to move.
It was even more rigorous than fighting games.
(End of Chapter)
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