In practical terms, it wasn’t that different from having a single castle with themed areas because the player still needed to traverse the central castle anyway to find the portraits. We started to see a move away from a single-dungeon design in Portrait of Ruin, where the player left Dracula’s castle to enter themed portraits. As the last metroidvania-style Castlevania game that Igarashi worked on before leaving Konami, Order of Ecclesia is perhaps the most divergent of the bunch. Each one has unique qualities that give in merits over what came before and after. What makes this period in Castlevania so remarkable is none of these games attempted to do the same thing. Despite being well regarded by players and critics, each successive game sold less than the previous. Between 20, five “Igavania” titles appeared on GBA and DS (and a sixth if you include Circle of the Moon, though Igarashi was not involved in it). By the end of the 2000s, Castlevania (and Igarashi’s style of Castlevania in particular) had become a nearly annualized event. Once that drought ended, we were flooded with Castlevania on handhelds. "The final 'Igavania' forgets what defined it"ĭespite the blessed status Symphony of the Night holds in the gaming community, there was a nearly five year gap until we saw another game we now label as metroidvania-style. Castlevania: Order of Ecclesia (DS) review
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