Feature Review: Milon’s Secret Castle

...and from within the castle.

A view from without the castle…

Sometimes, it is easy to know where to begin with a review: what angle to take–what approach to consider. Sometimes, a game makes such a bold statement that it impresses itself firmly in the mind of the reviewer from square one and, when it comes time to pen the review, the fixtures of the mind are readily transferred to the page. Sometimes, this is the case. Sometimes–but not this time. For, as in its gameplay, Milon’s Secret Castle defies an easy review, throwing up unforeseen problems of scope and intent.

Following on the review of Zelda II: The Adventure of Link, it is initially difficult to know what precisely to say about Milon’s Secret Castle. After all, the games share a number of similarities typical of average and below-average NES games of the mid-1980s. Like Deadly Towers, both games rely upon the instruction manual to deliver the balance of the storyline; both have a limited palette for music, graphics, and sounds; both games under-deliver in their conclusions. Broadly speaking, they are similarly poor. But a closer investigation reveals that Milon’s Secret Castle is not merely poor–it is in fact a catastrophic failure. More Deadly Towers than Adventure of Link, the truth is that decisions made in the development of Milon’s Secret Castle destroy any potential for fun that originally existed in the game.

...and bonus stages are available for those who do not.

Shop prices are exactly set for those who pick up every money block…

Milon’s Secret Castle presents itself to the player as another directionless wanderfest–a Deadly Towers-esque paean to being lost in a Norman Castle with an interior designed by a cracked-out M. C. Escher. Driven to the edge of sanity after huffing pots of Crayola paint, the famed designer of Mobius staircases smashed his face repeatedly against a 1980s-era Amstrad until the system, yielding in surrender, belched forth Hudson Soft’s exploration-platformer. In the vein of Metroid, the player must explore an open game world, collecting items and defeating bosses to advance. But, unlike Metroid, the platforming lacks any sense of finesse, the weapons are inexact and feeble, and the navigation of the game world is hampered by the deadly stupidity of Deadly Towers

As in the Broderbund-published scheissegamen, maze rooms once entered cannot be exited from their entry point. The doorways disappear, and the player must find the exit elsewhere in the level. Worse still, in a nod to Deadly Towers, the exits are invisible and must be found by shooting the main character’s bubblegun until the doorway is revealed. But the bubblegun is inexact, sometimes failing to caclulate hits on targets that are struck directly. And, as if this were not enough to be getting on with, the developers of Milon’s Secret Castle evidently believed that Deadly Towers was just too soft on gamers. Therefore, even if the exit to a room is found, players must find a key (also hidden) in order to use the doorway.

Enemies cannot be permanently defeated: they respawn continuously from the places in which they met their bubble-delivered ends. There is no way to block their projectile attacks (although a shield, granted by the Hudson bee, can mitigate some damage). Moreover, many enemies simply cannot be harmed. Fast moving, and hurling projectiles which travel through walls, they can only be avoided. And, should the player be struck, then damage is incurred constantly–there is no cooldown. Here, once again like Deadly Towers, being struck in the wrong place can result in an instant and frustratingly nigh-unavoidable death.

...obviously.

In the ‘secret’ stages, protective items are very important…

Boss design ranges from winged rabbits belching fireballs, to winged bird-dragons belching fireballs, to winged griffalizards belching fireballs. The pattern of the fireballs do not change; the movements of the bosses do not change; the tactics used to defeat the bosses do not change; the rewards for completing a boss fight do not change. In effect, one boss has been reused, with a slightly different appearance, for every boss fight in the game. In another game, this would be a downside. But, in Milon’s Secret Castle, it is a positive boon, allowing the player more rapidly to complete the game and terminate the experience of suffering through such a pile of dross.

The music is reminiscent of a town fair calliope as performed on a four-channel FM synth, if it were orchestrated by the people behind 21st-century comedy double act Bieber and Gaga. The steady waltz-tempo is like a sonic drill wielded by the nemesis of Music herself. Lady Dischord, sitting down to pen a soundtrack, could scarce have created a more violently antagonising collection of ditties. –For this is what they are: not musical compositions, but jingles fit for television screens, backing talking cartoon animals who purvey insurance, laxatives, and colourful synthetic snackfoods. If the purpose of the soundtrack were to summon up an image of a nauseating and vibrantly-coloured Capitalist dystopia, then it has succeeded marvelously.

...but the feeble rewards seem fair considering that the first boss is, more or less, every other boss as well.

The rewards for completion are scant…

Even the mere recollection of the music fills this reviewer with a desire to purchase gooey green globs of arteficially-flavoured gloop. The 3/4 lyrics rapidly may be imagined: You like goop? We like goop! Want some goop? Eat some goop! As for the sounds: what sounds? Were there sounds? This reviewer’s only memory is of the British voice in his head, no doubt a product of traumatic psychosis, which directed him from floor to floor using X,Y-style coordinates unsupported by the game itself–coordinates impossible to visualise based on the limited amount of the level shown on the screen and the lack of any sort of in-game map. “Begone, accursed interlocutor!” this valiant reviewer occasionally shouted at the voice, until it finally submitted, declaring vengefully, “Okay, Lusi. I won’t be around for the podcast this weekend, but maybe we can play some Borderlands on Tuesday.”

The difficulty of Milon’s Secret Castle is perhaps overstated. Deeply frustrating, it nevertheless includes the ability to freely continue–although the arcane means by which this is done (purchasing an item and then, after a game over, holding left whilst pressing Start on the title screen) is not explained in the game. That said, the game’s constantly-respawning enemies and unforgiving collision damage are harsh, even for the experienced gamers who are willing patiently to search every single block of each level, looking for keys, doors, and vitally important, life-increasing honeycombs.

There are worse games on the Nintendo Entertainment System than Milon’s Secret Castle, but although it is in many respects a stunningly inferior title, it has glaring flaws of design sufficient enough to render the experience more punishing than potentially-rewarding. As a creation of presumably rational men, it stings more of malice than mediocrity, with design choices that punish whilst adding nothing. Coupled with a soundtrack that may have sprung directly from the mind of a nightmarish clown, and with enemy encounters as uninspired as last week’s meatloaf, there is little enough to recommend Milon’s Secret Castle to any but the most curious and intrepid of gamers. In the end, the verdict is unequivocal: Milon’s Secret Castle should remain a secret.


Milon's Secret Castle Box Art

Box Art

Review Grade F

Review Grade


Game Information

Title: Milon’s Secret Castle

Genre: Platformer

Developer: Hudson Soft

Publisher: Hudson Soft

Platform Reviewed: Nintendo Entertainment System (NA)

Release Date: 1 September 1988

11 comments on “Feature Review: Milon’s Secret Castle”

  1. Money well spent, as far as I’m concerned.

    My father and I rented this in the late 80s. Now, we were not a proud people. We played all games that came into our local video store (the town was too small for a Blockbuster or other chain store), bought the good ones, and laughed about the bad ones. This game, on the other hand, was so uniquely frustrating that it probably led me to utter my first curse when, in imitation of my father, I said, “fuck everything about this.”

  2. @Lane: It was a ghastly experience. The last boss was the only semblance of inventiveness in the whole thing. But the fight took me all of 45s to complete. 45s of inventiveness in a 6-hour experience backed by NES carnival funhouse music. The ratio is not good. The game is not good.

    But next week is Ghosts ‘n Goblins.

  3. I played games like this at a forgivable age. I just figured bad games were bad because I was bad at them, not that some adults sold a borderline defective product to other people.

  4. I’m happy to say that I missed this one completely. For once, history was on my side.

  5. I had never even heard of this game before the donation drive. Was this like some random game Lusipurr had a vendetta against or something?

  6. @Mel: Now you know better. Adults in the 1980s were totally dicks.

    @Wolfe: Easily one of the worst playthroughs to watch. I think the footage from me with Imitanis is still up. I was upset with him; he was upset with me. It is such a frustrating experience that it was hard to even be rational. I ended up being rather cross with him even although it was the game’s fault for being such a turd.

    @Ashes: You’ve never heard of MSC? Really? Wow! No, it’s a pretty significant title, being a Hudson game and all. Are you familiar with Adventure Island and Bomberman? Those are some of their other major NES releases.

  7. I’ve heard of both of those I was just born after this era, I’m 20, so the only games I remember are from my dads gaming collection, popular games, and games that continued after the NES era. I tried to avoid most of the trash that came before my time hence the skipping of Zelda II as well.

  8. I have the cartridge, but barely played it and never realized it was that bad. So that’s good to know. I could never get anywhere in Adventure Island and hated that, though.

  9. I had also never heard of it until this donation drive. I never had an NES as a kid, so I missed out on a lot of these games. I bought the cartridge from a retro game store for $5 a couple weeks ago. Played 15 minutes and 100% understood why Lusi put this on the list. It’s horrible.

  10. @Ashes: That explains it! One thing which I forget (and which is painful to remember) is how quickly time gets on. I do not always remain cognisant of the fact that there are people who were born after the NES/SNES/PS1 eras and that these people are now grown-up.

    In my mind, it is perpetually ~1994. Anyone born after the NES era must be an infant. How could they use the internet?

    @DancingMatt: Adventure Island is a classic–three of them for the NES and then another couple for the SNES. Love that soundtrack!

    @SN/Bup: When it comes down to the NES, SNES, and PS1 eras, you guys know that my knowledge of games is pretty comprehensive. There’s not a whole lot that I haven’t played. Especially if it is trash. I know all about the trash. I owned a lot of it.

    In the middle of the PS1 era, I graduated High School and started working, so there was a lot that I didn’t get to play after that point. Gaming rapidly expanded, and with less free time I became more discerning about the games on which I chose to spend my time. But as a child, I played just about everything.

    MSC is a terrible game. But Ghosts ‘n Goblins is worse. Much, much worse. Vastly worse.

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