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Castlevania: Harmony of Dissonance

キャッスルヴァニア 白夜の協奏曲

06 June 2002
Castlevania: Harmony of Dissonance [キャッスルヴァニア 白夜の協奏曲] - cover art
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285 Ratings / 3 Reviews
#1,955 All-time
#78 for 2002
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2002 KCET Konami  
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JP 4 542084 000553 AGB-ACHJ-JPN
2002 KCET Konami  
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XNA 0 83717 50021 6 AGB-ACHE-USA
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Technically impressive, but the gameplay and level design leaves much to be desired...
Every time I play Harmony of Dissonance, I am wowed by how great it looks for a GBA game. Beautiful visuals, awesome animations, and wonderful backdrops. I feel like most of the efforts to this game were put towards matching a visual experience to SotN. However the gameplay just feels a little lacking. The dual castle system is a cool idea, but it isn't really implemented well. Most of the differences between the two castles are minimal at best. With enemy changes and that is pretty much it. There are also quite a few larger rooms that are just completely empty, as if they just figured to skip adding anything to some of these rooms. Ultimately the gameplay seems to take a back seat, and the exploration becomes a bit dry at the halfway point. Jumping feels unnecessarily floaty, and the hitbox for the whip is unnaturally large, allowing you to pretty much hit anything pretty effortlessly. The one saving grace is that the dash is a nice addition and allows the character to move pretty quickly. Enemy variety is much more exciting than CotM, but far less than most Igavanias. Fortunately, it isn't too long of a game, so even if it overstays its welcome, you will move through it pretty quickly. I would say HoD isn't necessarily a bad game, but just a sort of bland one that is surpassed pretty significantly by what would follow on handheld consoles. Also the soundtrack is really solid for the most part (as expected from Castlevania), but has some lulls as well.
5 - Average
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TurnerClassicGaming 2024-02-27T17:04:32Z
2024-02-27T17:04:32Z
2.5
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Castlevania: Harmony of Dissonance wasn’t any better received than Circle of the Moon was. The second entry in a series of Castlevania games on Nintendo’s horizontal handheld system was released only a mere year after Konami decided to showcase it with a title that would stamp the Metroidvania direction that Symphony of the Night established for the series in permanent ink. While this is technically the case, upon playing Circle of the Moon, could the game really be defined as either a sequel or a spiritual successor to one of the franchises most celebrated and influential titles? Argue about its subjective quality all you want, but what I’m prodding at is that Circle of the Moon did not want to walk in Symphony’s shadow. It’s readily apparent by the grittier visuals, the return of the whip and secondary items, and brutally uncompromising difficulty that Circle of the Moon sought to pave its own path while the trail was admittedly on the same Metroidvania ground that Symphony had cemented. Because Circle of the Moon was radically different from the game that was advertised, it did not sit well with the new audience that Symphony garnered. Personally, I thought the deviations from the Symphony were refreshing, but I understand why someone who was introduced to the series with a game that featured multiple weapons, grandiose graphics, and a more manageable difficulty curve would be turned off by Circle of the Moon’s repressive minimalism. Because the response from Circle of the Moon was generally lackluster, the next entry on the GBA served as an opportunity to rectify the failed experimentation and craft something more likened to Symphony of the Night. Despite their best efforts to appease Symphony of the Night enthusiasts, the oxymoronically-titled Harmony of Dissonance still didn’t satisfy them, and here is why.

We’ve reverted back to one previous century for Harmony of Dissonance when the Belmonts were still relevant, for yet another member of the iconic vampire killing clan is introduced as our protagonist: Juste Belmont. Juste’s childhood friend Lydie has been kidnapped and taken to a strange castle that has been erected on the grassy hills of whatever European village this is seemingly overnight. Upon exploring the foyer of this estate, good ol’ series staple Death confirms that the castle is indeed another one of Dracula’s new constructions (no shit). Juste splits the task of rescuing Lydie with his other lifelong best friend Maxim, who is suffering from amnesia and can’t remember what his objective was beforehand. Even though Juste has no canonical relation to Nathan Graves, apparently what binds them together as the protagonists of GBA Castlevania games is performing the grunt work of traversing through Dracula’s castle with a friend to save someone dear to them from Dracula’s clutches. Boy, I sure do hope Maxim isn’t seduced by the darkness of Dracula as easily as Hugh was (fingers crossed).

The predominant complaint that most people seem to have regarding Harmony of Dissonance is with its presentation. It proves to me that Circle of the Moon was artistically restrained as opposed to mechanically, and that the GBA was capable of rendering striking visuals. Still, considering Harmony of Dissonance’s aim was to make a mobile Symphony of the Night, their futile efforts to transport its glorious, refined pixel art to a 2.9 inch screen was interesting, to say the least. Harmony of Dissonance displays the most striking visuals ever seen across any Castlevania title. Its graphics don’t simply pop out with buoyant flair: they scream at the player with the subtlety of a wild howler monkey. The word “lurid” doesn’t even quite cut it. In their attempt to emulate the splendor of Symphony on a mechanically inferior piece of hardware, Konami have managed to craft what playing Symphony on acid would be like. Not a single piece of the background or foreground isn’t psychedelic, exhibiting that fleshy GBA color palette seen in Metroid Fusion only amped up to eleven on the intensity scale. Some of the backgrounds across the castle are simply kaleidoscopic views made to simulate the apex of drug-addled freakouts. Still, the player will have to make a concerted effort to peek over at the backdrops because I don’t know how one can keep their eyes off of Juste’s cloak which is so crimson red that it’s practically bleeding. There’s bombast, and then there is a complete overload of visual flair to the point being stomach churning, which is how many of the detractors describe how the game’s visuals upset them. It doesn’t help that the sound design is irritatingly shrill as well, really honing in on the hallucinatory feeling. Personally, Harmony of Dissonance’s presentation is its strongest aspect. The mix of the dazzling and the macabre reminds me of Giallo, an Italian subgenre of horror films whose refusal to color in the lines is its defining idiosyncrasy. As for the piercing sound design, I don’t think that was intentional, so there’s one legitimate demerit I’m going to have to mark off Harmony of Dissonance for.

Another criticism for Harmony of Dissonance I have that doesn’t seem to be as widely discussed is with its protagonist. Besides his stupid, awkward name that is hard to pronounce, Juste Belmont is an imposter. How can Konami peacefully sleep at night after such brazen lies trying to convince all of us that this man isn’t a vampire. His pale, bedsheet-white skin complexion makes Alucard look Sudanese by comparison, and Alucard has never been one to shy away from revealing his vampiric form. Alucard is so white that Aryans would worship him as their messiah. I feel that if I stabbed Juste, a translucent green goo would spill from his insides instead of the warm, organic red blood that signifies a mortal, earthly creature. On top of looking like an undead creature of the night, Juste also moves like one as well. Whenever Juste jumps as par for the course in a platformer game, his brief ascent is strangely languid, as if he’s manipulating the gravity used to bounce himself upward like oh, I don’t know, a vampire would. See the playground scene from Let the Right One In where the vampire girl hops off the equipment for reference. Juste’s less grounded movement is also annoyingly imprecise, making the player correct for the unnatural physics of a character that is supposed to be human. He does perfect the dash maneuver that Alucard introduced in Symphony to expertise, darting around every room of the castle like he’s a poncy Sonic the Hedgehog. Still, I must impress that Juste beats Alucard, who is a fucking vampire, with his proficiency of this supernatural move. Sorry to say Simon, but someone has spiked your gene pool with the blood of your enemies. I don’t like Juste’s jerkoff name, I don’t like his jerkoff face, and I don’t like the jerkoff way he carries himself on the field.

The only Belmont signifier that Juste possesses that proves his kinship is using the family standard weapon of the whip along with the collective of secondary weapons that use ammunition we’ve been familiar with since the days of Simon on the NES. Even though Juste’s physicality is meant to ape Alucard, at least he retains the classic Castlevania in a Metroidvania environment like Circle of the Moon started to do. Harmony of Dissonance also repeats the use of deadly, screen-encompassing spells transferred over to the GBA from Rondo of Blood, which is always a neat way to quickly annihilate all enemies. While I appreciate how the essentials of Castlevania’s gameplay are preserved nicely, what innovations does Harmony of Dissonance contribute to the Castlevania formula to discern itself among the pack? Harmony of Dissonance seems to emphasize clothing and items as integral mechanics. Circle of the Moon didn’t skip using collectible wear coinciding with RPG attributes, but Harmony of Dissonance adds another layer of interactivity to them besides their offensive and defensive perks. All of the major collectibles needed to progress through the game in Harmony of Dissonance are intertwined with the items of clothing that Juste picks up around corridors of Dracula’s castle. Alternate flails for the whip are also strewn about in the same obscured settings, and a few are necessary to use to bypass obstacles around the estate. Implementing the progression items into the slew of varied clothing is bound to confuse most veterans of the series, for it's unclear when they unlock what is needed to progress. Usually, an item that is important is gathered after defeating a boss, signifying a stepping stone in progress with a substantial accomplishment. The player can determine which item they should use by reading its description in the menu, but how are they to know which one has a special attribute among the mishmash of clothing items, which are also scrambled in the menu with no organization to speak of? Also, it’s incredibly inconvenient changing from a clothing item with better stats back to the less-than-deal one to use once in a blue moon to unlock a passageway.

What is ten times more messy and disorganized in Harmony of Dissonance is the game’s interpretation of Symphony’s second half. Once Juste finds himself on the opposite side of Dracula’s castle, Death’s second wave of exposition involves explaining to Juste that Maxim has unfortunately fallen to the entrancing gaze of Dracula. Apparently, the evil aura exuding from the force of all six of Dracula’s body parts has caused a schism in Maxim’s body and mind, and the anti-Maxim created from the rupturing is the one who captured Lydie in the first place. Another grand effect of Maxim toying with Dracula’s remains is that it has caused a mirrored version of the castle to materialize in another dimension, which is where Lydie is being held captive and Dracula’s assorted parts are still radiating pure malevolence. Already, the premise of how the game’s second half came to be is a head scratcher, but wait until it’s time to enter the opposing realm and interact with it. Instead of teleporting Juste around the castle, the warp gates that are marked with a yellow square on the map will transport Juste to Maxim’s fabricated castle, which is referred to as “Castle B.” No, the castle is not twisted on its head (which would be especially nauseating in this game), but an uncanny version of the same castle with slightly tougher enemies. Actually, there really isn’t all that much difference in the design except for the most minute rearrangements that usually leads to pertinent points of progress. What “Castle B” mostly achieves is confusing the hell out of the player. Upon warping to “Castle B” for the first time, the western half of the castle is blocked off now because the shift has torn the entire castle asunder like Germany after WWII. Juste is confined to one fraction of the castle for quite a while, and there doesn’t seem to be a clear exit because this is also when all pathways to progress become hazy and circuitous. Basically, an impediment found in one dimension can possibly be dealt with in the other, which involves several back-and-forth treks to and from the warp gate. The slog of unclear progression in the fake castle is enough to give someone a headache.

I suppose the befuddling frustration I experienced upon entering Maxim’s “alternate” realm of existence was the only thing keeping me from breezing through Harmony of Dissonance. Fans of the classic Castlevania titles complained that Symphony of the Night was too easy, but only compared to the blisteringly painful difficulty curves found in the traditional 2D platformers that gave players an exhilarating rush of accomplishment. Harmony of Dissonance, on the other hand, is easy by the general standards across all video games. One could give it to a small child as an introductory peek into the series, and I doubt they’d have much trouble with it until the dimensional flip flopping takes place. Potions of varying regenerative amounts will drop from enemies fairly often, and the roast found in the cracked corners of the walls have been shifted into turkey and turkey legs to itemize the healing properties of food in varying quantities. Overall enemy damage is tepid enough, but all of the game’s bosses are laughably pitiful when they keep insisting on repeating the same languid tactics that I already evaded seconds in advance. A healing orb drops after defeating each boss similarly to the classic titles but unlike those grueling tests of skill, the damage these pathetic bosses dished out barely amounted to a scratch, the plethora of healing items withstanding. I’ve made positive claims for all previous Castlevania games that were deemed as easy before, but Harmony of Dissonance’s borderline effortlessness is enough to make me resign from my defendant post.

The primary objective in “Castle B” is finishing what Maxim started by reobtaining all six pieces of Dracula scattered across the twilight zone of his castle. Doing so will unfasten a mechanical door situated below the floor leading to the underground chamber at the center of the gothic architecture where an unconscious Lydie is stashed. Because I played Symphony and know that this game is doing its damndest to ape it, I knew there would be additional requirements to fight Dracula that the game wasn’t going to inform me of. Upon performing extraneous research, the caveats to facing the Dracula once again were to wear both rings representing the two friends of Juste upon entering the boss arena and arrive here from the alternate castle. Juste will first subdue his corrupted male friend before the dark lord erupts from Maxim into the shape of something so hideous and malformed that it would make David Cronenberg say, “what the fuck?” In the optimal ending, Juste escapes the crumbling manor with Maxim and Lydie. Lydie is fine, but it’s implied that the evil form of Maxim bit her on the neck, which would mean that this happy ending carries complications. However, even a Maxim possessed by Dracula was never a vampire, so all that might occur is him getting slapped with a sexual assault charge at most. Considering that I barely broke a sweat fighting Maxim and Dracula back to back and I don’t care for these characters, I don’t think it was worth the additional effort beforehand to ensure the best outcome.

What Circle of the Moon expertly avoided in translating Symphony’s Metroidvania design to a handheld system was distancing itself as a prospective “Symphony on the go”. I think it’s obvious that a system that primarily plays 2D games would serve as a perfect hub for the Metroidvania genre, but Symphony made such a colossal impact that it set such a high standard that the GBA couldn’t compete with. Harmony of Dissonance is the result of acceding to everyone who did not appreciate Circle of the Moon’s maverick decisions by coming as close to Symphony of the Night as feasibly possible, and apparently only I had the foresight to know this wouldn’t work. It actually amends every problem across Circle of the Moon, but it’s when it tries to differentiate itself from Symphony while also tracing Symphony’s template where the game falls flat. Symphony’s graphics were exuberant, so Harmony’s attempt resulted in an acid-laced attack on the senses. Symphony’s difficulty was more manageable than any classic Castlevania title, so Harmony dumbed itself down even further to the point of being braindead. Symphony’s reversed castle section fundamentally worked to pad the game, so Harmony’s version of this without outright copying it amounted to a roundabout disaster. Any game that dips back into an idea from Simon’s Quest is desperate to discern itself from the pack, which is really what the developers should’ve focused on again instead of the fool’s errand that fueled Harmony’s development. Besides the eye-popping visuals, there isn’t much to recommend regarding Castlevania: Harmony of Dissonance.
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Erockthestrange 2024-02-24T09:23:07Z
2024-02-24T09:23:07Z
6.0
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Let's get this out of the way first: it's good. Far better than Circle of the Moon and not much worse than Symphony of the Night. I'd even argue that I had more fun playing this than SotN. But let me explain first how grateful I am that this even exists. The GBA is my favorite console of all time and this game is just a really solid and fun Metroidvania. And now we know for real that this is the direction the series is going to take from now on as it is the 3rd game in a row in that style. (discounting that fucktard of a game called Legends oh and 64 lol if forgot). However something is off about this title and I'm trying to find my words for what it is.

So another Castlevania another random ass Character trying to... I honestly don't remember what he's trying to achieve. Get a girl or something at least that's what we rescue in the end of the game. Weirdly enough the last boss is not Dracula or maybe I missed something so this is odd- Enough of the story the first thing we notice is that this game looks infinitely better than CotM. Beautiful large sprites replace the weird small cartoonish manner of the last game. We even see alot of familiar enemies from SotN which is welcome and makes the whole thing feel more connected to the OG.

The controls are super tight and instead of the tedious double tap run we immediately start with the ability to dash left and right. This not only is super fun to use but it also makes navigation super fast and easy. In theory. See this is where the game does its biggest misstep. The layout of the Castle is complete ass. The new enviroments are iconic and beautiful but the Castle is made in a way that you constantly run into deadends. It's also designed in a way that you have to backtrack long stretches without anything new to discover. It*s a chore to get through.

All areas of the Castle are weirdly separate and no longer interwoven into each other. After the first section you reach a teleport and enter a far away part of the castle. Later on in the game you learn that this place you teleported to was a completely separate castle that is a 1:1 copy of the original. Never in my life was I so confused in a game untill my brain understood what's going on. So it goes like this. You explore castle A, teleport to castle B explore caslte B for a bit teleport to a completely separate part of castle A again and then you learn that you can swap between A and B but you never learn that you've been exploring both castles all along. DOes this make sense to you? Probably not.

After my confusion cleared I realized the treading thing that I have to explore the same castle twice but with different enemies. It's like the inverted castle but neither is it additional and optional nor is it fun to explore. Everything you'll see you'll see twice. It's annoying. What isn't annoying is the new Item System and LVL progression. Finally most of the things you could find in SotN are back in the game. No longer will you just find pointless stat upgrades. You will find various items with different specialties I never found myself using any of it though but hey, maybe someone else is a little bit more experimental.

I mostly spammed the new spells that replaced the DSS system I guess. You can find spellbooks that upgrade your sub weapons and then you can cast powerful spells and you'll never use the sub weapons again. Great, There's a huge design error in here but somehow they didn't realize what they did. Or maybe they did you never know lol. All the bosses are super easy anyways. In addition you can just buy infinite Potions at the shop and never fear running out of health. The problem is that there is no super expensive Item I want to buy so I can just spend all my money on potions.

So after I found everything in both castles I went to the centre and killed the last boss which is our possessed friend or something. It took me around 30 secs. And we got the girl the castle disappeared and I'm left with a feeling of not really achieving anything. It was fun while it lasted but at the same time I felt like fighting through an obnoxiously designed watered down SotN. It's wonderful that a game like this is home to the console of my dreams but then I'm missing a lot of things. I still whish there would be more weapons than the whip. And I desperately want them to think through the design of the castle a bit more thoroughly, completely scrapping the 2nd castle Idea. As it is I feel like this is the transition to something great that finally nails the whole thing as we have one more GBA Castlevania to endure.
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JoahannisBaerStrysl 2024-02-15T19:36:17Z
2024-02-15T19:36:17Z
3.5
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Após a salada que é o Circle of the Moon, Igarashi e companhia resolveram dar uns passos para trás e trazer um jogo que é praticamente um irmão menor de Symphony of the Night. Parecido no level design, HoD copia até algumas ideias específicas do jogo de PS1, como a de ter dois castelos em um.

Essa similaridade funciona em prol do jogo, mas também contra, uma vez que comparações são inevitáveis e ressaltam quão melhor é SotN.

Meu grande problema com HoD é a forma mal equilibrada em que o mapa se abre ao jogador. Houve mais de um momento em que me senti sobrecarregado de possibilidades para explorar, fora as dezenas de vezes que tive de voltar por estar restrito a uma porta trancada ou obstáculo qualquer.

Mas mesmo com seus problemas, HoD é correto e bem mais prazeroso que seu antecessor.
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gabrielctps 2022-12-24T11:04:50Z
2022-12-24T11:04:50Z
3.5
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So it seems that after the fairly simplistic, different sort of metroidvania experience that Circle of the Moon provided, that they decided that the next GBA game would be far closer to Symphony of the Night. In theory, this sounds like a cool idea, essentially having a portable reimagining of such a classic title, but in the end, the game falls flat, as it seems that the designers thought that SOTN was a good game because of mind numbingly easy difficulty, the main character having a trail behind them as they walk, and having 2 castles. I find it quite unfortunate that a game with such potential ended up being one of the weakest main games in the series for seemingly being unable to do anything particularly decently.

From the moment you begin the game, it becomes immediately obvious what one of the main problems with this game is, and that’s the awkward way which the player moves, seemingly in between a state of rigidity and fluidity in all the worst ways. While Juste Belmont is able to dash forward and backwards from the very start of the game, which completely kills the feeling of gradually understanding how to optimize one’s movement as the game goes on, instead encouraging constant dash spamming to make it through basically any situation, this is contrasted by the fact that any time the player attacks in the air, their jump becomes committal, making dealing with airborne enemies awkward at the best of times. Furthermore, this is the one game in the series so far that manages to make the player feel overly floaty in all of their movements, having no real weight to any of their movements, causing the game to feel unsatisfying to play on a base level.

That said, I feel like I’d still be able to garner some serious enjoyment from this if not for the fact that this game has the worst navigation out of any of the games in the series without even being close. What this game fails to do in particular is telegraph where the player is meant to go, with many of the paths for progression being considerably more cryptic than even the most obnoxious aspects of SOTN all across the place. These issues range from having to break walls within save rooms to get key items, dash under fake walls that have no visible difference from regular ones, and having to locate a specific warp point that initially seems quite out of the way and unimportant. This issue becomes worse once the 2nd castle is introduced and the twist of the warp points taking you between the castles comes into play, showing that you’d only explored parts of the map during the journey that you initially thought was nearly over. This admittedly is executed very well, explaining why there were some places that were inexplicably locked while walking through the castle and the overall unusual feeling separation of the castle throughout, and gives potential to give another dimension to exploration, something that I consider far superior to the inverted castle which just felt tacked onto the end of SOTN for extra padding. The problematic aspect of this is the way it’s handled, instead of causing the player to feel as if they’re progressing through the labyrinthine mess of these 2 converging castles, this instead causes backtracking to become an absolute nightmare, with multiple key progression points being on other sides of the castle or just requiring extremely long, winding pathways to be traversed multiple times, making the game a slog despite me finishing the entire thing in under 5 and a half hours.

This game just feels rushed or simply poorly conceived in a lot of other ways as well that all contribute to making the game feel unsatisfying to play. The overall game balance feels absurdly off, with the opening couple of sections having extremely long, grueling areas that seem to punish even the slightest mistakes, before quickly devolving into a game that almost rivals SOTN in terms of easy difficulty, but feels far less satisfying due to not having the insanely fast, snappy and varied moveset of Alucard, instead having nothing more than a handful of spells and the slow as molasses whip attack as your tools to deal with what the castle throws at you. I also feel that the boss design for the most part ends up causing the game to feel quite incomplete, most fights only having 1 – 3 attacks to deal with, even in the late game, making for extremely simplistic encounters that end up feeling tedious and anticlimactic more than anything else, often without even a grand visual spectacle to make up for the disappointment.

In the end, this game clearly feels heavily inspired by Symphony of the Night, but without any understanding of what made that game so good despite all of its flaws. This instead feels like a game made up of parts that almost have something good going, but never quite gets there in any field, making for a game that’s painfully mediocre at the best of times. Of all of the portable Castlevania games from GBA and NDS, this is easily the game that I’d recommend the least, to the point where I’d straight up say that you aren’t missing out on much at all if you just completely ignore this.
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Kempokid 2021-06-26T08:19:13Z
2021-06-26T08:19:13Z
2.0
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Some people consider this to be the worst Castlevania game on the GBA. To be honest, its actually a step up from Circle of the Moon because at least the boss fights in this game aren't overly difficult and the game is less frustrating, but overall, it has pretty generic and dull design. It felt a bit more limited in terms of exploration than Circle of the Moon and there were no secret areas to find or explore, and the bosses and game in general is a bit on the easy side with very little difficulty. On top of that I didn't really like the whole alternate A and B castles and switching between them, it just made the game overly confusing and without a guide, very frustrating to find the upgrades and items you need. Although this game does bring back multiple endings and has a better final boss than Circle of the Moon. But overall, it is pretty bland for Castlevania, and a huge step down from Symphony of the Night and not as good as Aria of Sorrow. And really its not as well designed as Circle of the Moon and had Circle had better boss fights and better balanced mechanics, Circle would be the better game.
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jweber14 2019-10-09T06:13:54Z
2019-10-09T06:13:54Z
3.5
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Catalog

QuodDixi3161 キャッスルヴァニア 白夜の協奏曲 2024-06-08T13:30:23Z
2024-06-08T13:30:23Z
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xmd5a8000 キャッスルヴァニア 白夜の協奏曲 2024-06-01T00:31:28Z
2024-06-01T00:31:28Z
3.5
In collection Want to buy Used to own  
MetalForSDF キャッスルヴァニア 白夜の協奏曲 2024-05-27T20:39:25Z
2024-05-27T20:39:25Z
2.5
In collection Want to buy Used to own  
tib キャッスルヴァニア 白夜の協奏曲 2024-05-20T04:27:35Z
2024-05-20T04:27:35Z
3.5
In collection Want to buy Used to own  
the_traveler Castlevania: Harmony of Dissonance 2024-05-19T22:40:07Z
GBA • XNA
2024-05-19T22:40:07Z
63
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saturncast キャッスルヴァニア 白夜の協奏曲 2024-05-16T00:14:03Z
2024-05-16T00:14:03Z
3.0
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snow415 キャッスルヴァニア 白夜の協奏曲 2024-05-10T22:00:32Z
2024-05-10T22:00:32Z
3.5
In collection Want to buy Used to own  
leftdevices キャッスルヴァニア 白夜の協奏曲 2024-05-07T14:38:47Z
2024-05-07T14:38:47Z
1
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ranzac キャッスルヴァニア 白夜の協奏曲 2024-05-02T15:49:36Z
2024-05-02T15:49:36Z
6.5
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Azekahh キャッスルヴァニア 白夜の協奏曲 2024-04-24T16:13:35Z
2024-04-24T16:13:35Z
3.0
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dandog2142 キャッスルヴァニア 白夜の協奏曲 2024-04-21T20:53:13Z
2024-04-21T20:53:13Z
2.0
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jcselement キャッスルヴァニア 白夜の協奏曲 2024-04-08T00:13:57Z
2024-04-08T00:13:57Z
3.5
1
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  • Castlevania: Byakuya no Concerto
  • Castlevania: Harmony of Dissonance
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  • Previous comments (16) Loading...
  • DavidthePearce 2023-01-30 16:18:15.053583+00
    Played Maxim mode for the first time and it's just the superior play mode imo. Leans into the strengths of the game by increasing the speed and using a weapon more complimentary to the pace of combat, while effectively eliminating obtuse castle navigation by removing the necessity to hop between dimensions and backtrack. Maxim mode is shorter and more immediate, though again I feel this suits the combat better.
    Typically the alternate modes are a fun little side mode, but now when I revisit Harmony I'll probably just play Maxim. It does the good stuff better and largely removes the bad stuff. Highly recommend.
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  • rabbit_nabokov 2023-05-04 15:30:32.259675+00
    Not terrible and superior to CoTM in every way
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  • IgnacioMoreno 2023-06-10 00:28:23.58546+00
    Juste trying to gaslight Lydie at the end had me laughing. I think she's entitled to know wtf just happened LOL
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  • blackchantingrows 2023-06-12 09:14:53.346213+00
    Underrated OST
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  • Sunvin 2023-08-19 02:46:28.09916+00
    Underrated OST [2]
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  • Coldplaz 2023-11-20 12:37:42.928406+00
    Starts out nice, but exploring two identical castles gets really tedious.
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  • JoahannisBaerStrysl 2024-02-15 20:16:19.220335+00
    Gotta be the most confusing castle layout in the series lol
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