5.5/10
As a metroidvania is a little more dynamic and refined than the first one. The music is still brilliant.
Except for some sprites and animations, the visuals instead have worsened a lot. Most enemies are more fantasy and mythologic, colorful, and the new pixel art doesn't help making them brutal as those in the first game. Boss design is less obscure as well - some bosses, like Radames, seem to come from some generic dark fantasy anime. Same goes for the cutscenes: those of the first one were small masterpieces, here the artworks clash with the overall atmosphere and aesthetic and make it more cartoonish and pleasing.
The lore is still good but less original and coherent than before. You have martyrs, penitents, and tortures but there are also more generic places and subplots here and there - the Lovecraftian dungeon, the Victorianish urban landscape, the haunted mansion...
It may be a better metroidvania than before but it's way less interesting as both a historical and a theological game.
As a metroidvania is a little more dynamic and refined than the first one. The music is still brilliant.
Except for some sprites and animations, the visuals instead have worsened a lot. Most enemies are more fantasy and mythologic, colorful, and the new pixel art doesn't help making them brutal as those in the first game. Boss design is less obscure as well - some bosses, like Radames, seem to come from some generic dark fantasy anime. Same goes for the cutscenes: those of the first one were small masterpieces, here the artworks clash with the overall atmosphere and aesthetic and make it more cartoonish and pleasing.
The lore is still good but less original and coherent than before. You have martyrs, penitents, and tortures but there are also more generic places and subplots here and there - the Lovecraftian dungeon, the Victorianish urban landscape, the haunted mansion...
It may be a better metroidvania than before but it's way less interesting as both a historical and a theological game.