This review contains spoilers from the first Lord of Shadows game and Mirror of Fate.
Mercury Steam, developers of the Castlevania: Lords of Shadow series, deserve a lot of credit. They took a well-established franchise – a daunting task considering the tendency for internet backlashes – without much current-gen presence, and made everyone take notice of their credentials. While there were those pockets of forum dwellers who still decried this reimagining, the rest of us were graced with an excellent action game, full of grand boss battles and lush scenery. Not much was expected upon its announcement, which certainly added to the reception it received on release. With Lords of Shadow 2, Mercury Steam looks to build upon this goodwill and craft its final entry into the Castlevania canon. With a lot of attention focused on the newest generation of consoles, the likes of LoS2 and Dark Souls II being released only on the 360 means there is now pressure to deliver and help keep the console relevant.
LoS2 picks up right where the previous game left off. Not the first LoS, mind you, but Mirror of Fate, released on XBLA in October. In a tantalising glimpse of what to expect, we are given control of Dracul – formerly Gabriel Belmont – at the height of his powers, facing off against the Brotherhood of Light, a holy order determined to put an end to the Prince of Darkness. After thwarting seemingly all attempts on his life, he faces off against his son Trevor, now known as Alucard after being killed by his father. Gabriel enters into a deep slumber after this encounter, and reawakens in modern times, drained of his former power and reacquainted with Zobek, the titular Lord of Shadow. Zobek requires Gabriel to help in prevent the return of Satan, and promises to end his centuries of pain and despair.
It’s with this exposition in tow that the game can begin proper…sort of. The first couple of hours essentially equate to a tutorial, though it’s well hidden. For newcomers and veterans alike, it will most certainly be welcome, as the amount of combat options are extensive. The default weapon is the Blood Whip, made from the claret flowing through Dracul’s own veins. It has the best range of the three weapon types and packs a fair wallop for something so liquid. Mapped to the left of the controller (LB and clicking the left stick) is the Void Sword: this is used to replenish health and also fires an ice projectile, useful for freezing speedy enemies to the spot and getting past fiery obstacles. On the right-hand side are the Chaos Claws, required to smash through armour and also capable of producing Chaos Bombs. Both of these need to be kept topped up regularly as their resources are finite. This can be done during battle by remaining unharmed while attacking with the Blood Whip, or from magic ‘wells’ dotted throughout the levels.
This brings up an interesting dynamic during fights, switching between the three weapons and figuring at which will work in each scenario. Visual clues will point to the correct choice, with the game even being as blatant as to provide an on-screen message about what will work best. Combat will take time to be mastered – each weapon has numerous unlockable skills, many of which can be upgraded. There is also a mastery system, which is added to by using combos frequently. This encourages you to keep your fighting style fresh in order to receive maximum reward; there is always the temptation to stick to just a handful of moves. As important as the offensive manoeuvres are, these must be balanced by dodging and blocking. Dodging will soon become second nature, zipping in between multiple enemies, not only to avoid unblockable attacks, but also to move yourself back into the fray. Synchronised blocks, meanwhile, leave enemies vulnerable to a devastating counterstrike.
Platforming plays as much of a part as the combat does, and provides a welcome period of respite in between gruelling boss fights. A cloud of bats points the way to objects that can be climbed or clung too, with some light puzzles thrown in for good measure. However, platforming also produces one of the games minor pitfalls: stealth. Much maligned outside of games where it is the sole focus, here its attempts to offer a variety of gameplay only serve to highlight its failings alongside the better parts of the game. While not too frequent, this means you may forget the options available to you, which I did at one point, forcing me to turn to a walkthrough to jog my memory. It is not executed poorly, yet one of a few unnecessary additions to an otherwise enthralling game.
Collecting experience from destroying objects in the world seems unnecessary; why not just award more after defeating an enemy? It’s little moments like these that pull you out when you’re fully immersed in the game’s Gothic world. Combine that constant reminders to check out the artwork you’ve collected or how to select items with the D-pad, and you wonder why Mercury Steam seems so keen to pull your attention away from such a deeply imagined and detailed world. The modern day setting also does stand up to the grandeur of Dracula’s home, with too many dull metal interiors. You’ll find yourself desperate to escape back after a prolonged spell inside industrial buildings. Minor frustrations such as these never threaten to ruin your enjoyment of the game, though they remain wholly unnecessary.
Lords of Shadow 2 is an excellent conclusion to a fantastic series. It is commendable that Mercury Steam have ended the game on their own terms: knowing that the game has been received so well throws up the possibility of trilogies and beyond. It certainly won’t be the last we see of Castlevania as it will inevitably make the move to the one. Whoever is given the reins will have the tough task in following what has come before it. With a satisfying and deep combat system, intuitive platforming that also rewards exploration and some gloriously realised locations and grotesque bosses, LoS2 is a great example of what the 360 has to offer.
What I’ve learned from LoS2: Dracula is a fan of elevators, which is convenient because for whatever reason, there’s an abundance of them, in both settings.
Try this if you like: the first Lords of Shadow, God of War, Devil May Cry, Bram Stoker’s Dracula, being really evil.
