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
