Turrican II remains one of my favourite platform games on the Amiga, so I was quite excited when I learned of the project to create an enhanced version for the AGA chipset. Essentially a conversion of the 1994 PC DOS release, the principle developer behind the endeavour is Alastair Murray (AKA Sonic Sloth). Various demos and pre-release versions have been available, but I wanted to wait until the final release before trying it for myself.
The obvious change between this new AGA version and the OCS release is the graphics. It incorporates the art assets from the PC DOS release which, being a VGA title, supported more colours and higher detail. The redesigned player sprite, with it's bulbous helmet and wedge-shaped boots, represents one of the more divisive changes from that version, so it's cool to see Alastair also included an option allowing players to choose between the PC and Amiga versions of the Turrican suit.
Of course, looks aren't everything, so I'm pleased to report that the game plays exactly as I would expect. I don't know how much of the original code was used, or to what degree of re-engineering was required to get this running, but it plays exactly like Turrican II should. I used an A1200 WinUAE config to play this and, aside from a few occasions where the framerate dips when things get really busy, it's pretty much flawless. There are also some quality-of-life improvements, including the ability to look down (reduce the need for blind jumps), sound enhancements and optional control tweaks
Perhaps my favourite addition is the inclusion of new secrets. Each of the platforming levels contains three special crystals, which can only be retrieved by finding hidden drones. The little blighters are invisible and only appear when shot, although they do emit a noise when you're in the vicinity. This is gives seasoned Turrican II players who already know the game inside out another reason to revisit the game and do battle with The Machine and it's space-faring minions.
Overall, Turrican II: AGA Edition is a great release. The strapline for the game over on Alastair's itch.io bills the game as "The best way to play the PC version of Turrican 2 is on the Amiga", and I couldn't agree more!
The download includes standard ADF disk images, a WHDLOAD package, plus a version compatible with the recently released A500 Mini console.
News broke on December 25th 2022 that computer programmer and designer Archer Maclean had passed away. He was 60 years old.
Archer had something of a Midas touch when it came to the Commodore 64. DropZone, a clone of the Defender coin-op, was an early technical showcase for what could be achieved with the machine, and Maclean would build on this success with International Karate and, even more famously, IK+.
As far as tributes go, International Karate + is a complete no-brainer simply because it's really the pinnacle of fighting games on the C64. The game retains the precision controls and fighting mechanics from its predecessor, but the secret sauce is the addition of the third combatant. This karateka threesome might seem like a really bizarre idea, but it adds a surprising level of dynamism, pace and enjoyment to a base design which was already rock solid. The fact it has a kick-ass Rob Hubbard musical score only adds to the enjoyment.
Something else which made Archer's games special was the irreverent and mischievous humour which crept into his games in the form of hidden Easter eggs. It didn't take long for the secret key combo to make the fighter's drop their pants to show up in the cheat sections of magazines.
RIP Archer Maclean - thanks for all the happy childhood memories.
Developer: Archer Maclean Publisher: System 3 Year of Release: 1987
This game cropped up in my Twitter feed, with some extremely positive comments about the soundtrack. I'd always considered the NES Ricoh sound chip to have a pretty distinct sound which didn't necessarily result in the same level of melodic composition to feature on the Commodore 64, so I was pretty intrigued to check this out. What's particularly interesting is the game had, apparently, been slated to be a license based on The Terminator. The license wasn't awarded because the game opted to focus on the "Future War" aspect of the franchise, rather than following the plot of the movie; the post-apocalyptic backdrops and mechanical enemy design certainly play into the Terminator aesthetic, so this could have been truly huge with the weight of the move behind it.
Any preconceptions I had about the capabilities of the NES chip went out the window as soon as the title screen music kicked in - the whole OST is a masterclass of chiptune goodness. Although the title sequence features a great piece of music, my personal favourite is the stage 1 track; it's such a strong opener for the game, with a thumping drum beat and zinging synth lead which makes for such a strong opener; simply superb.
Fortunately, the actual gameplay is equally solid. It's a fairly standard run 'n gun affair with platforming, but it has great pacing, really tight controls and is just a well-crafted experience. The objective is to blast your way through each stage in turn, then take down an end-of-level boss to add a new weapon to your arsenal. These guns are supposed to add some utility when it comes to dealing with the various enemies, but I found the standard pistol to be more effective than most of the stuff I picked up, so I really just stuck with that.
Overall, this is a fun game with an absolutely awesome soundtrack; go check it out!
Developer: Sunsoft Publisher: Sunsoft Year of Release: 1990
One of the earliest games I owned back when I got my C64, Flip & Flop was one of the very first games I longplayed when I started my channel back in 2012. At the time of recording that particular longplay, I'd assumed incorrectly that the game had no ending when, in fact, it does. It turns out there are 40 levels in total and the game simply ends once the last one is completed. In my original video, I quit after 19 levels, which meant that the longplay was incomplete - there are additional cutscenes I missed. This new longplay includes all 40 levels and cutscenes.
Inspired by the likes of Q*Bert, the objective of the game is to help Flip the kangaroo and Mitch the monkey evade capture by completing a series of isometric puzzle boards. Each board features a series of interconnected tiles, with ladders connecting adjacent platforms. Flip and Mitch must bounce on tiles containing symbols, convering them to solid tiles - filling in all the tiles within the time limit completes the level.
The first few levels are simple enough, designed to ease players into the game. The only thing to worry about is getting used to the controls, navigating the grid, and learning not to fall off the edge of platforms - this happens a lot! Level 1 and all subsequent odd level numbers are played as Flip, while every other level is played from the viewpoint of Mitch. The mechanics between the two characters are identical, but the game changes the shading of the tiles during Mitch's levels to try and convey the sense that he's hanging from the grid, rather than bouncing on top of them as Flip does. In my experience, the altered perspective makes Mitch's levels considerably tougher than Flip's - even if you to train your brain to look past this, trying to keep track of which tile Mitch is occupying remains a constant problem.
The game quickly ratchets up the difficulty by throwing in adversaries which pursue Flip and Mitch, attempting to catch them. Flip is chased by a keeper, while Mitch must outwit a sentient net - both of these foes can be slowed temporarily by luring them on to the flashing squares of "fly paper", which root them to the spot for a few seconds. The same applies to the playe, however, so be very careful not to get trapped yourself.
For every four levels completed the game increases the difficulty. Levels become larger with more tiles to change and the speed of the adversaries increases. Both the player and the keeper or net must be occupying the same tile and stationary to get caught, so it's possible to move through the same tile as an enemy, provided you're both mid-jump when it occurs. The same applies to ladders, and you can use these to help put some distance between you and your pursuer.
Even after so many years, Flip & Flop remains a great little game. It's easy to pick up and play, looks great, and is fiendishly addictive - even when you've fallen off the grid for the umpteenth time, you'll find it difficult not to come back for one more go.
Developer: First Star Software Publisher: Statesoft Year of Release: 1984 Coding: Jim Nangano Graphics: Jim Nangano Music: Jerry White
One of the longplays I recorded a few years back and never got around to publishing, Leatherneck is a top-down shooter created by the late Steve Bak. It's a weird hybrid in these sense that, despite looking like a clone of Commando or Ikari Warriors, it's actually closer in design to pattern-based vertically scrolling shoot 'em ups.
The game is a "score attack" affair featuring a single level which eventually loops back on itself, and the sole objective is to earn as many points as possible until you eventually run out of lives. Enemy troops appear in pre-determined formations and move in series of patterns, shooting bullets and lobbing grenades as they move around. You have at your disposal a series of weapons with varying rates of fire and effectiveness, but these all have limited ammunition. You'll need to be extremely precise with your shots, making sure not to waste bullets and to replenish supplies at every available opportunity from the blue ammo crates left dotted around the screen.
It took me a few attempts to figure out that rushing in guns blazing, as you might feel inclined to do in military-themed arcade game, will result in almost instantaneous death. Enemy spawns are triggered as the screen scrolls, so the only way to avoid being hopelessly overwhelmed is to creep forward and ensure the screen scrolls only when the previous wave has been dealt with and you're in an advantageous position -- if such a thing exists -- to deal with the next.
I can't say this was Steve Bak's best endeavour; he'd go on to program and design far better games than this; it's punishingly difficult and often infuriating, and not a game that ever feels gratifying to play. That said, the wave-based approach to enemies does means Leatherneck isn't just another mindless button-bashing blaster - you need to take a far more cautious approach if you want to survive, which, if nothing else, makes it a somewhat interesting proposition.
Developer: Steve Bak Publisher: Microdeal Year of Release: 1988
Released in 1989, Ocean Software returned to the tried-and-test mini-game formula for their take on Brian de Palma's classic movie. It's fair to say that Ocean's track record with these games was rather hit and miss. Zzap!64 magazine awarded the game a stratospheric 96% in issue 55, so clearly this must have been one of the better move licenses?
The game commences with a hellish game of cat-and-mouse as you chase down mob henchman among pyramids of stacked crates. The idea is to shoot the white-suited goons and get them to drop pieces of evidence to help you build a case against Al Capone and the Chicago Outfit, but this easier said than done. The targets generally spawn at the opposite end of the warehouse, necessitating a constant cycle of slogging through gun-toting gangsters, scrambling up a massive stack of crates, only to rush back down again when the suspect begins to flee. Your default pea-shooter of a weapon is so ineffectual, it actually plays to your enemy's advantage; it'll knock them off the platform they're currently standing on, giving them ample opportunity to escape while you deal with enforcers scrambling up from the crates below you and getting in the way.
The next section, if you manage to make it this far, is the first of several target shooting sections. Ness and his intrepid bunch of law enforcers must outgun mobsters in a shootout atop a bridge; your selected agent is always prone, so you'll need to roll side-to-side to move into position to take down targets, using the scope in the top right of the screen to determine when you have a bad guy in your sights. If you take too much damage, it's a good idea to roll off to the left of the screen, which allows you to sap characters. Wounded team members will regain health while out of combat, but the regeneration is very slow and you'll be eating dirt if you're not careful.
Success on the bridge sees the action move to the back alleys of downtown, where Ness and team must navigate their way between buildings literally heaving with mob shooters. It's another shooter section, with the difference being you spend most of the time hugging cover behind a wall, only popping out to shoot the thugs as they appear in the various windows and doorways ahead. As before, you can swap between team members when one gets low on health, but the never-ending legion of enemies you face mean you'll need luck and shooting skills to make it out alive.
Stage 4 references perhaps the most iconic scene from the movie, the shootout in the railway station. Ness must navigate his way down what must be the longest set of steps ever created, taking out mobsters and shoving a pram with swaddled infant ensconced within out of harms way. If the pram and it's occupant get shot or crash into the scenery, you'll lose a life and need to restart.
Scene 5 is so short it's barely worth mentioning, so we'll cut straight to the final section, yet *another* shootout section in which Ness confronts Frank Nitti on the rooftops of a high-rise. It's a duck-and-cover affair, with Ness taking pot-shots at Nitti, driving him closer to the building's edge, until he takes a little trip over the edge.
As with many Ocean games based on move licenses the production values are high, but the actual gaming content and satisfaction to be found therein is questionable. The various sequences are all rather boring, or contain mechanics so infuriating you'll be hard-pressed to raise a smile anywhere along the way. It's not the worst game I've ever played, but I honestly cannot understand how Zzap!64 awarded this such a high score, or why they decided to give it a gold medal award! Perhaps the only thing I do agree with is the 97% awarded for visuals; Stephen Thomson (SIT) really did a remarkable job here, particularly with the title screen (as seen in the thumbnail for this video). The graphics are a high point in a game which, in my opinion, isn't as great as magazines made it out to be.
Tom and Jerry: The Magic Ring was released in 2001 to coincide with the release of an animated movie with the same name. I can't say I'd ever heard of it before, although I suppose this is hardly surprising, given its poor reception. The movie was released straight-to-video, this game really should have been released straight-to-garbage, because that's about all it's worth.
The game is a very basic beat 'em up style game that's clearly aimed at a younger audience, but kids are just as discerning gamers as anyone else, and the game leaves a bad impression, regardless of age. The plot makes very little sense at all, and the mechanics are just dreadful. Neither Tom nor Jerry can do more than paw ineffectually at the multitude of enemies standing in their way, and the collectible weapons are equally rubbish, thanks to some really bad collision detection.
On the subject of collision, the Z axis calculations are really out of whack. It's possible to get hit by enemies and hazards halfway up the screen, and some of your own attacks, notably the bombs in the sewer level, actually damage the player when caught in the blast.
The only saving grace here is the animation which, admittedly, is pretty decent, but this alone fails to make up for the litany of failings elsewhere. Tom and Jerry: The Magic Ring just isn't very good and is a game best avoided.
Developer: Cave Barn Studios Publisher: NewKidCo Year of Release: 2001
Something that never ceases to surprise me when it comes to coin-op history is how many games took inspiration from Cabal. The idea of a target shooter where player's control an on-screen reticule to shoot bad guys and dodge incoming bullets wasn't exactly new, but TAD Corp's game certainly popularised the format.
Enter Riot, another Cabal clone released in 1992, and while it might appear otherwise unremarkable, it does things a little differently. What makes Riot particularly interesting is the fact enemies not only appear in the background, but also the foreground, requiring the player to hit a button to change their aim to swap between the two play-fields. The cover system works in similar fashion, with some items providing cover from enemies which pop up closest to the camera, whereas other objects provide protection from enemies in the background. The result is a game which can get pretty frantic very quickly, and you shouldn't be surprised when you get overwhelmed; the key to success comes from learning where and when enemies appear and getting into position early to deal with them.
So the game has some neat ideas and is technically proficient, but the execution and pacing is, perhaps unsurprisingly for a coin-op, too punitive for its own good. Sure, arcade operators want players to keep dropping coins to continue playing, but this ends up being one of those titles where my interest would definitely wane after the first credit.
Developer: NMK Publisher: NMK Year of Release: 1992
The original Rolling Thunder was something of a trendsetter. It's use of upper and lower play areas proved to be an inspiration for the likes of Sega's Shinobi and Shadow Dancer, Data East's Bad Dudes and more. The sequel, Rolling Thunder 2, was more of the same, but added extra weapons, a second playable character, and expanded on what made the original game a success.
Unlike the previous games in the series, Rolling Thunder 3 was not released in the arcades and was exclusive to the Sega Genesis. Having played through the game, this feels like a "straight-to-video" release from a franchise which had at one time been noteworthy and influential, but was now just being milked for a few last pennies before being consigned to the trash.
The only real additions added in RT3 is the ability to select a special weapon with which you start each round, plus a couple of chase scenes involving bikes and a jet-ski. The rest of the game is just more Rolling Thunder: shooting cybernetic clones, swapping between platforms and entering doorways to search for extra ammo and power-ups. Although I get these are the core design principles of a Rolling Thunder game, it really needed something extra to warrant the attention of gamers in 1993.
The plot involves a continuation of themes established in the previous games, with the World Crime Police Organization taking on the forces of shadowy terrorist syndicate Geldra. With agents Albatross and Leila otherwise engaged, it's up to newcomer agent "jay" to pursue one of Geldra's leaders and put a stop to whatever evil machinations are being concocted. The story plays out in a series of cutscenes which, in my opinion, seem rather amateurish, and it just gives more evidence to suggest the game was more about raking in some cash, rather than an attempt to expand the franchise.
I guess if you like Rolling Thunder then you might find some enjoyment here, but I found the whole thing boring and uninspired. The weapon selection really doesn't add any variety to the gameplay, especially when some of the items are pretty useless, and there's little to recommend this when there are far better arcade-style games on the system.
If there's one genre with which SNK can be relied upon to deliver consistently, it's the versus fighter. The Neo Geo is practically awash with them, each jockeying for position in what, even by 1994, was a crowded marketplace.
To SNK's credit, Savage Reign is another fine example of the genre. The game boasts a roster of colourful characters with various fighting styles, impressive sprite artwork, plus combos and multiple different special moves to master. There's an emphasis on using your character's weapon in conjunction with more customary punches and kicks, which allows players to employ additional strategies with which to encounter their opponent. The character dialogue screens which precede each bout feature sassy exchanges between the various tournaments, which is a nice touch.
Unfortunately, with franchises such as Fatal Fury, Art of Fighting and Samurai Shodown already established by this point, Savage Reign struggles somewhat to forge its own identity. There isn't really anything here which similar games of this period don't do equally as well, if not better. This might be reflected in the fact the game received only one sequel (Kizuna Encounter: Super Tag Battle) in 1996.
Ultimately, I guess Savage Reign is a victim of SNK's own success - it's an accomplished game, but when the bar has already been set so high, making a splash becomes increasingly difficult. Even so, if you enjoy fighting games, this another fine example, one which I recommend checking out for yourselves.
Developer: SNK Publisher: SNK Year of Release: 1995
Given that Xeno Crisis has featured on Xbox Game Pass and other digital download platforms, I suspect that a fair number of retro fans will already be familiar with this excellent arena shooter. For those who aren't, Xeno Crisis is really a love-letter to arcade classics Robotron: 2084 and Smash T.V. The DNA of Eugene Jarvis courses through the game's pulsating, slime-filled veins, as players engage in close-quarter battles with a whole bunch of alien scum, lab-grown monstrosities, not to mention more than a handful of rogue scientists.
I picked up the Xeno Crisis Neo Geo ROM as part of Bitmap Bureau's Black Friday promotions for £10, which I really don't consider bad value, especially given the quality of the product. For those with deeper pockets and a desire to play the game on original hardware, you could pony up for the eye-wateringly expensive AES or MVS cartridge versions (with optional high-quality repro case and inlays), but the downloadable ROM version was perfect for me.
The reason why Xeno Crisis garnered so much attention, other than the fact it's a spiffingly fun game, is Bitmap Bureau released versions for the Sega Genesis, Dreamcast and Neo Geo. I covered the Genesis port a while back and was mightily impressed, but the Neo Geo version is even better. The enhanced hardware really gives the game room to stretch its legs. The audio quality is hugely improved, particularly the music, and there's also digitised speech which I don't recall featuring in the other versions I've played. The graphics also feel on par with the modern incarnations of the game; Henk Nieborg and Catherine Menabde did such a great job on the artwork - Xeno Crisis bears the hallmarks of a classic 16-bit game of old, but with modern flourishes and touches that help keep things fresh.
As for the gameplay, it's pretty simple. Choose a character, annihilate the bad guys, dodge the bullets and grab the loot. Upgrade your equipment at the end of each level after defeating a hideously grotesque boss, and just try and survive as long as you can.
The game supports dual analogue controls on modern platforms, and it's really a twin-stick shooter at heart. Fortunately, the gameplay doesn't really suffer on the "retro" releases; the difficulty feels like it has been tweaked to account for the control scheme, and everything feels very slick.
Provided you don't mind a stiff challenge, I'm pretty sure you'll find Xeno Crisis right up your alley.
Following the conclusion of Gekido, Testuo returns to his Sensei's house, only to discover humanity faces a new threat. Demons and undead have started appearing under mysterious circumstances, terrorising nearby villages. Tetsuo is despatched to discover the source of the trouble and to put a stop to it.
Released in 2002 for the Gameboy Advance, Gekido Advance is a follow-up to Gekido, a 3D beat 'em up released back in 2000 for the original PlayStation. Gekido was notable for the fact it featured a soundtrack with music from the likes of Fatboy Slim and received reasonable reviews at the time of its release.
Being a hand-held console with less power, Gekido Advance is a far more traditional 2D brawler -- think Final Fight and Streets of Rage. The game features only a single playable character this time around, namely Tetsuo from the previous title, who is sent on a mission by his sensei to unravel a mystery involving demons and zombies which seem to be terrorizing the populace of nearby villages.
Whereas most games in the genre simply involve moving to the right and battering enemies which appear (and there's plenty of this to be done), levels in Gekido Advance are made of disparate zones, accessible via doors in the foreground and background. These are often locked, which require the player to find the appropriate key, hit the correct lever, or something similar. In addition to constant waves of enemies, many of these scenes feature rolling log traps, falling debris, crushers and other environmental hazards. These are really difficult to avoid, and most players will experience a fair degree of frustration trying to navigate these areas.
I wanted to like Gekido Advance. There's actually a kernel of a really good beat 'em up here - it's fast-paced and the combat system feels pretty satisfying. Unfortunately, the meandering level design, endless precession of palette-swapped enemies and 10 second music loops mean the whole package is just rather boring as a result.
To conclude, Gekido Advance might look like a delicious club sandwich, but on biting into it you discover that the filling is just more bread, with butter that has been spread rather too thinly. Gekido Advance could have been a really great hand-held brawler if it just had more flavour!
Developer: NA.P.S. Team s.n.c. Publisher: ZOO Digital Publishing Ltd. Year of Release: 2002
Set 3 years after the events of the first game, Earth has been invaded by an
alien menace. Three surviving monsters from the original game now face off
against this new threat, ironically becoming the saviours of a planet they had
pretty much destroyed by themselves.
It's pretty hard to find a game on the Neo Geo which disappoints visually, and
King of the Monsters 2 is no exception. Thanks to its striking art style and
roster of kooky Kaijou combatants, this was always going to be a game to turn
heads.
Thematically, KOTM 2 doesn't stray too far from the template set out by its
predecessor, although this is closer in design to a sideways scrolling beat
'em up than its prequel. Your chosen monster must fight to the death against
an increasingly absurd series of alien warriors, all whilst fending off Earth
defence forces none-too-pleased at having two super-sized gladiators tussling
in the middle of downtown.
The thrill of two giant monsters battling each other across beautifully
realised pixel art cityscapes, ripping up and stabbing each other with
skyscrapers while leaving little but smoking craters in their wake is
undeniable. Those opening moments of KOTM2 are the best in the game bar none,
but it's all downhill from there.
The first signs of trouble come when tackling the game's many boss monsters.
The initial thrill of grappling with your opponent and tossing them around
gives way to puzzlement, as you'll suddenly find it impossible to win these
clinches. There's really no way to influence the outcome - the game is
programmed to throw the player a bone by allowing the first two grapples to go
your way, provided you don't fall asleep at the controls. From there on out,
your opponent will toss you around with impunity; dying will reset this, but
since this would be costing you money on the real arcade machine, it's
unlikely that you'd want to try this strategy. What follows is a laborious
process of chipping away at your foe's health with a series of punches, claw
swipes and special moves, all of which inflict relatively little damage.
This is largely bearable during the first couple of levels, thanks to the
beautifully drawn cities, but these are a distant memory by stage 3, and all
you're really left with is a series of increasingly protracted boss battles.
The amount of time and effort required to best these creatures grow
exponentially -- the Sea Slug fight being the worst of these -- and becomes
just plain tiresome. The real kicker comes during the final level, where the
player must fight all 6 bosses again in quick succession, before tackling the
seventh and final boss. Considering the game is effectively a boss rush to
begin with, this just feels rather cheap.
I really wanted to like King of the Monsters 2, and I still do, at least to
some extent. The artwork and general design of the characters is truly superb,
and it's easily one of the most recognisable games on the system. If only the
designers had opted to make the combat more interesting and the bosses less
tanky, this would have been a real classic.
If ever there was a Commodore 64 game which felt ahead of its time, it would be Samurai Warrior.
Developed by Beam Software and published by Firebird in 1988, the game features Stan Sakai’s comic book character, Miyamoto Usagi, an anthropomorphic rabbit travelling the length and breadth of feudal Japan in the guise of a ronin and occasional bodyguard-for-hire. The game offers a compelling blend of adventure, role-playing and visceral combat, with Usagi engaged on a mission to rescue daimyo Noriyuki from the clutches of the nefarious Lord Hikiji. With Hikiji responsible for the death of Miyamoto Usagi's father, the mission is as much about revenge as it is rescue.
The game world of Samurai Warrior is comprised of various interconnected sections, each containing a multitude of characters -- both good and bad -- with which he can choose to interact with or even engage in combat. Certain screens feature branching paths, giving the player a choice as to where to travel next, resulting in a different experience with each playthrough.
Fundamental to the game's core systems are two forms of currency: Ryo and Karma. Ryo is basically cold hard cash, used to purchase provisions, pay tolls, or curry favour with the local peasantry. Thieves and bandits defeated in combat might leave a few coins behind, while engaging in a spot of gambling at the local inn could reap rewards if lady luck is on Usagi's side. The fearless ronin is hardly a rabbit of means, however, so it pays dividends to keep some coin handy for those occasions where it's safer to simply smile and cough up when threatened than risk several inches of cold steel being embedded in some flesh part of one's anatomy.
As for Karma, this is something altogether more esoteric. In basic terms, Karma can be thought of as numeric representation of Usagi's honour and moral fibre, and it's just to have plenty in the bank as it is physical coin. Bowing to peasants and those of higher standing than yourself will increase Karma, while attacking or approaching travellers and townsfolk with drawn sword will typically result in them attacking, as well as a swift reduction in Karma for such impudence. Should Karma ever reach zero, Usagi will commit ritual seppuku, ending the game instantly.
I may have over-exaggerated the effects of the Karma system to a degree, but one of the coolest things about the game is the fact players can make certain choices on how to deal with situations. Being a paragon of society isn't much use if you're dirt poor, and who would suspect one as fine and upstanding as Usagi of engaging in a stint of highway robbery now and then? You still have to pay the bills, after all.
Unfortunately, not everyone in the world shares Usagi's moral code. You'll frequently clash with bandits, bounty hunters, not to mention various black-clad ninja who lay in wait at roadside, waiting to pounce on an unwary traveller. None of these foes can be reasoned with, so unless Usagi wants to find himself with a kunai wedged between his shoulder blades, it's best to keep one hand on your sword and two eyes on the horizon at all times.
Should trouble arise (and it will), Usagi can draw his weapon to defend himself. Three different combat moves can be executed by depressing the fire-button for varying periods of time. The briefest of taps performs a parry for deflecting attacks and projectiles, whilst holding for longer will execute a cross-cutting slash at chest height. Keeping the fire button held for longer will cause Usagi to raise his sword over his head in preparation for delivering an over-head chop, the most devastating move in Usagi's repertoire. Likewise, your enemies are equally adept at cleaving your head from your shoulders, and fights quickly descend into a frantic waggling of joysticks and pounding of buttons as you try to fend off your opponents.
The core mechanics and game design provide a solid foundation for the game, but the presentation, aesthetics and presentation deserve equal praise here. The artwork created by Russel Comte isn't tremendously detailed, at least not in the traditional sense, but every pixel breathes life into the world, making it seem far bigger than it really is. The snow-capped peaks, oriental pagodas, lush farmland and brushy scrub of forest wilderness feel oddly alive, which is no mean feat for a computer often mocked for possessing a palette comprised almost exclusively of brown. You're genuinely excited to see what's around the next corner, which is certainly one of the game's most endearing features.
There are also little nods to the oddly dark humour from the original comics, such as the phantasmal skulls and spirits depart from a recently deceased body, or the way an opponent's decapitated head bounces along the ground with a suitably weighty thud. Those unfamiliar with the source material on which the game is based probably wouldn't have understood the references back then but, thanks to the internet, it's very cool to see just how many of these little flourishes the developers tried to incorporate.
As for the game's soundtrack, I think this is possibly Neil Brennan's best work. The tunes are suitably atmospheric, trying to incorporate undertones of the Orient, which is no mean feat. The fact that drawing Usagi's sword caused the music to shift from peaceful musings to something far more intense and aggressive is a great touch and is one of the earliest examples of dynamic audio that I can remember being used in a video game.
Given that Beam did such a great job with the game makes the fact it's so short all the more disappointing. Despite feeling expansive, a dedicated player can complete the game in under 30 minutes, especially if they've had sufficient practice. In an interview with Retro Gamer Magazine, the designers revealed that the original game was supposed to be larger and more complex, with more branching paths, locations and dynamic encounters for the player to find, but memory limitations and time constraints prevented this from becoming a reality.
For however brief the game is, Samurai Warrior remains one of my favourite titles on the Commodore 64. Somehow, it manages to convey the sense that the player is part of a living, breathing world, one in which your actions have consequences. The ideas and designs shown here, however basic, undoubtedly form the basis for the likes of Mass Effect, The Witcher and similar franchises. It's a superb game in so many respects, one which I recommend any serious retro fan to check out at the earliest opportunity.
Developer: Beam Software Publisher: Melbourne House Year of Release: 1988
The second game in the Magical Quest series on SNES is, by and large, an extension of the original. The mechanics are practically unchanged - Mickey acquires varying abilities throughout the course of his adventures, and it's up to the player to figure out which are best suited to dealing with whichever enemies and/or hazards lie ahead.
The artwork and animation is, to Capcom's credit, to the studio's usual high standards and the soundtrack is decent enough, but I still found it difficult to really get into the game, despite the presentation.
I think the bottom line is the game is just boring. It looks great, but the level design and platforming just feel too samey, for my tastes anyway.
Developer: Capcom Publisher: Capcom Platform: SNES Year of Release: 1994
Most shoot 'em ups put players in the hot-seat of futuristic fighter jets or space ships, but not flying cars. It was this which drew me to this intriguing arcade blaster, only to leave me thoroughly disappointed by the horrid power-up (or should that be power-down) system.
Picking up crystals upgrades your car's blasting ability, but this decays over time - flashing enemies will drop more crystals when destroyed, but the game often places them in the middle of huge squadrons of other bad guys, making then infuriatingly difficult to get to. You start to get overwhelmed as your shots get weaker and the enemies more numerous, which really doesn't make for a fun gameplay experience.
Developer: Video System Publisher: Video System Year of Release: 1991
Having recently completed a longplay and written a review of King of the Monsters 2, I realised I really ought to check out the first game in the series to understand the sequel better. KOTM 2 has its own problems, but I figured that to understand the design decisions better, I should probably go check out the original game.
Unlike KOTM 2, which is closer to a side-scrolling brawler, King of the Monsters is really just a wrestling game. Players duke it out in one-on-one battles against another monster, slapping, biting and stomping one another to the point where one becomes so exhausted, they can be pinned and counted out.
Of course, what makes the game stand out among its contemporaries is the fact the wrestlers just happen to be monsters the size of skyscrapers and the rings are cities which get totally wrecked during the course of each bout. The cities are beautifully rendered, with tiny cars, trucks and other vehicles tootling along highways, while jets roar overhead. The level of detail conveys the sense of a living, breathing city, at least to the point where you start to feel some level of concern for the inhabitants of each building which gets squashed, torched, or ripped up and hurled in your opponent's direction.
Each of the monsters can punch, claw and attack by tapping A and B buttons respectively. It's possible to jump, admittedly somewhat clumsily, by pressing A + B respectively, which allows monsters to grab planes out of the air, as well as evade attacks. Dash attacks can be initiated by double-tapping on the joystick, which are especially effective, owing to the fact these will knock opponents on their ass instantly. In a further nod to its wrestling mechanics, a downed opponent can be picked up and a grappled which, if executed successfully, will see the hapless beast tossed around like a ragdoll.
On the subject of grapples, the outcome of these is still really hard to predict. You can wiggle the stick and mash buttons all you like, but who wins the clinch still feels somewhat random. Given that grappling is such a big part of the game, I wish the developers had designed the game so that players could consistently determine the outcome, although I suspect the reason was in part to hasten the player's demise and force insertion of another coin.
And it's this point where King of the Monsters falls down for me. Being able to hurl your opponent into a building is by far the most entertaining part of the game, so the lack of predictability undermines much of the game and sucks some of the fun out of the whole thing. Similarly, the fact opponents can only be defeated on the third pin makes the whole count-out utterly pointless.
Although I love the aesthetics, the fact the game's mechanics seem to have been architected to disadvantage the player deliberately make it difficult to enjoy. The multiplayer experience might be more enjoyable, but as a single player game, there are definitely better titles.
Developer: SNK Publisher: SNK Year of Release: 1991
Set in the land of Kyrandia, the kingdom and very world itself are imperilled by Malcolm, a court jester with murderous intent. Having killed the incumbent king and queen, Malcolm seizes control of the Kyragem, intent on usurping its power for his own ends. Kallak, head of the society of Royal Mystics, casts an enchantment which seals Malcolm inside the castle, preventing his escape. Unfortunately, the potency of the spell wanes, and, armed with the full power of the Kyragem, Malcolm now seeks his revenge against Kallak and the remaining mystics.
Meanwhile, Kallak takes Brandon, unwitting prince and heir to the throne of Kyrandia, and hides in the kingdom's sprawling forests. Malcolm tracks Kallak down and turns the powerless mage to stone, but fails to find Brandon, who is out on an errand at the time. The game commences on Brandon's return to the family home, only to discover Malcolm gone and his grandfather a lifeless statue. As Brandon, the player must find a way to wrest control of the Kyragem from Malcolm and find a way to save his friends, the kingdom, and the very land itself.
Released originally in 1992, Fables & Friends: The Legend of Kyrandia - Book One represents Westwood Studios initial foray into the world of point-and-click adventures. The game was released initially for IBM PCs and the Commodore Amiga, which is where I first discovered the game, and it's an impressive artistic showcase.
Following a year later, Westwood released a CD-ROM version of the game, which is the version shown in this particular video. It features full voice narration, with Joseph "Joe" Kucan -- better known as Kane from Command & Conquer fame -- in the leading role. It also features support for the Roland MT-32, arguably the "gold standard" in terms of MIDI music at the time.
In terms of interacting with the game world, Kyrandia eschews the noun-verb interaction system popularised by LucasArts SCUMM engine in favour of a simple contextual system; click on an item and an object within the game world, and provided a valid interaction exists, something will happen. It's a system which works well, reducing the amount of guesswork involved in figuring out how items should be used.
It's a shame that the puzzles and general pacing don't live up to the rest of the experience. The "birthstone" quest results in a great deal of time spent wandering endlessly in pursuit of items to solve the puzzle, exacerbated by the fact the solution is randomised on each playthrough. Worse still is the tedious "Serpent's Grotto", a labyrinthine series of caverns where Brandon must distribute fire berries throughout the caves to avoid becoming monster chow. Constructing a needlessly complex series of interconnecting screens almost becomes the game's raison d'etre, disguising the fact there's really not a great deal of meat on the bones of the core game. You should also be prepared to save often because, like so many Sierra titles, it's possible to die when you least expect it.
Although Kyrandia isn't perfect it's still a decent adventure game, one which looks and sounds excellent, even to this day. Ultimately, the game was well-enough received and sales sufficiently plentiful to greenlight two sequels, both of which I hope to cover in the fullness of time.
Developer: Westwood Studios Publisher: Virgin Games Year of Release: 1992/93
Set somewhere in small town America, author Mike Dawson has purchased a crumbling Gothic mansion desperately in need of renovation. Upon moving in, he begins to suffer terrible nightmares, plagued by visions of alien worlds and monstrous beings. It turns out that the house is some kind of nexus for a race of nightmarish inter-dimensional alien beings, which want to cross over from the "Dark World" and wreak havoc on the unwitting denizens of Earth. To make matters worse, an alien embryo is implanted in Dawson's brain and players, assuming control of the unwitting author, have only 3 days to figure out how to cross over into the alien's universe and stop them for good, as well as save his own skin.
Anyone with a passing interest in point-and-click adventure games will most likely have heard of Dark Seed. The game caused quite a stir in the gaming press at the time, owing to a collaboration between the developers and renowned artist H.R. Giger, whose exquisitely macabre artwork was featured prominently throughout the game. The combination of Giger's artistic talents and classic Lovecraftian horror should have been the perfect combination for an adventure game.
If I'm being honest, playing Dark Seed in 2022 proved to be a let-down. The lacklustre puzzles, lack of character building and inconsistent pacing means the game can't really hold a candle to equivalent LucasArts adventures of the same period, even with Giger's involvement. The inclusion of puzzles in which Mike can kill himself inadvertently leave a sour taste in one's mouth, especially when there is very little to suggest that there's any imminent danger.
Other criticisms include the fact this is yet another CD32 game which contains little the way in terms of improvements over its disk-based counterpart. Although the inclusion of the digitised speech samples and the lack of disk swapping are massively welcome, the fact the developers stuck with the grainy, low resolution OCS graphics mean the artwork lacks the fidelity of its PC counterpart.
Considering Giger's artwork was what made the game so unique, every effort should have been made to ensure the artwork was showcased to its fullest. As it stands, the AGA-equipped CD32 barely gets to stretch its legs here, which is a shame.
Developer: Cyberdreams Publisher: Cyberdreams Year of Release: 1993
The original RoboCop remains one of the greatest movies of the 80s, but its risible sequels less so.
RoboCop 3 is a dull, insipid production devoid of any of the bite, satire, or any real impact. The production values look and feel more like a network TV show, which, unsurprisingly, came next, along with a slew of action toys and other stuff to be peddled at kids.
This means that RoboCop 3 the game has some rather rocky foundations, and the resultant C64 game certainly shows it. A near-impossible shooting gallery level is followed by a bunch of boring sideways scrolling platform sections where Robo plods along, shooting bad guys as they appear; It's all terribly dull.
The opening title music by Jeroen Tel is up to his usual level of sonic excellence, but the graphics by Hugh Riley (The Last Ninja) feel oddly out of place. I'm a great admirer of Riley's work, but the tiny sprites just don't suit the whole RoboCop universe.
Given the number of platforms which received a RoboCop 3 game, this is little more than another brick in the commercial marketing wall: it's dull, insipid, and a little too "by-the-numbers" to be particularly enjoyable.
