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
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