There’s no equivalent in Curse of Darkness to the hallway leading to Lament of Innocence’s first boss: dim, agitated by a slight red glow, and echoing with the loud footsteps of a creature you can’t yet see. Now lost, though, is how Lament’s fixed camera was often positioned far enough away from surfaces, or angled in such a way, to lend textures a handsome appearance and give your progression through rooms a directed flow. ![]() You can better see incoming threats, whether they’re projectiles or the enemies themselves. ![]() Unlike Lament of Innocence, Curse’s camera is controllable. This makes Lament’s absence of leveling up and its restriction of primary weapons to a handful of whips, one of which you use for the majority of the game, all the more surprising. This is a peculiar view of game design which sees progress as linear as long as the mechanics’ quantity is retained and/or increased. Like the 2D games starting with Harmony of Dissonance continuously hanging onto the sliding mechanic after Circle of the Moon introduced it, Curse of Darkness has a double jump seemingly because the developers thought that omitting it would be a backstep. ![]() Your conduit for running, running, and running through Wallachia’s overcast zones is Hector, who has retained the ability to double jump from his console forebear Leon Belmont, even though the mechanic has no real combative/tactical application and is never – or almost never (there may be a ledge or two that can only be grabbed onto with a double jump) – demanded by the environment.
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