Tag: Japanese

A Thousand Words: Wario Land 3

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Wario Land 3

Wario Land 4 is one of my favorite games of all time. Wario Land 3, coming out on the preceding Game Boy Color not long before, is not. This is one of those games that you could tell the developers really just needed more power and focus and it would click. With the GBA and a clearer focus, it worked. Here it didn’t.

This is less linear than Wario Land 4 and has the gimmick in that Wario can’t actually get killed (but can get knocked back and cost the player time that way). The problem with losing time instead of losing health is obvious, especially since WL4 didn’t have any absolute game overs. In fact, this game can be described as slow, slowly moving and slowly backtracking in the semi-open world. A lot of this is probably due to the 8 bit GBC’s limitations, but that only makes it dated.

Thankfully, the graphics are very good for the hardware limitations and do not feel dated, and the chiptune soundtrack is beautifully quirky and excellent. The game just doesn’t really gel and has the “misfortune” of being followed up by a classic.

A Thousand Words: Emergency Call Ambulance

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Emergency: Call Ambulance

Sega’s 1999 Emergency Call Ambulance is a perfect footnote for what the arcade would become. Released alongside Crazy Taxi that same year, it has the same basic gameplay: Drive very fast under a time limit-in this case to get the patient to the hospital as quickly as possible. Looking at it and Crazy Taxi (which was reviewed much more positively) shows the obsolescence of arcade machines by this point: By now consoles could deliver effectively the same experience at home, so arcades had to sell elaborate experiences unrelated to the actual game.

This is something I’d still have spent money on to pass time. But it’s one of those ‘post-1945 propeller fighters’ that had the problem of simply being too late. Besides, it has a pet Dalmatian that accompanies one patient and gives a subtitled thank-you speech in dog. How can you not like that.

A Thousand Words: Initial D

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Initial D

One of the most famous car racing works of fiction and the biggest reason why people know the ‘eurobeat’ subgenre of electronic music, Initial D is the reason why there are so many memes of cars and “RUNNING IN THE NINETIES” and “GAS GAS GAS”. It’s the story of ‘touge’ racing through winding mountain roads, tofu deliveryman/prodigy driver Takumi Fujiwara, and the Toyota Corolla AE86, which thanks to it has gained popularity well beyond what a mid-80s Corolla would get.

Seriously, it’s like how in Red Storm Rising the Iceland invasion was a crazy jury-rigged gamble but so much else treats it like normal and standard. The whole point is that it’s an underestimated clunker. It’s like a tank novel with an M48 or T-54 or something with an ace crew and everyone thinks it’s the tank. But I digress.

This is basically an action show/manga with cars instead of glowing superheroes. The most famous “First Stage” initial (no pun intended) anime adaptation holds this to the core: With early CG and blaring music, characters dramatically take actions graaaaaduallly and somehow have the ability to hold huge monologues and conversations while roaring through perilous streets. It honestly sounds better than it actually is, with the pattern of ‘how is this ’86 winning’ being worn down even then.

But still, that music…

A Thousand Words: Mach Rider

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Mach Rider

Like many video games, Mach Rider was a minor hit for Nintendo in the mid-1980s and then languished forgotten until Smash Bros. revived it. The game is a pretty crude but impressive-for-the-time ride along a twisting track and dodge and destroy the evil giant tricycles until you eventually fail, but it has a couple of quirks.

The first is that it was one of the first games to have a level editor, even if it was only in Japan and very limited in practice there. The second is that it has a vague story (there’s minor justifications for you fighting back against an alien invasion in the various track missions) but no ending. The third and most interesting is that the titular rider has been alternately depicted as male and female (the former being in screens showing a helmeted but clearly male figure and the Smash Bros. Melee trophy using ‘he’ while the latter is a female biker in a piece of official art and a woman in the arcade version that’s implied to be a Mac Rider). I guess the different color riders are different people.

Of course, back in the day I remembered the Mach Rider theme as an alternate stage track in Smash Bros. that I loved and nothing else. Which can be said about a lot of things.

A Thousand Words: Big Fight

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Big Fight: Big Trouble in the Atlantic Ocean

On one hand, the 1992 arcade brawler Big Fight can be viewed as nothing but a mechanically bland copycat of Final Fight and the like. While this is true, it’s also very hard to deny that the game is also a very weird and bizarre eccentric game with a premise that could have been written by Jon Land, graphics that fit said style perfectly, and translation terrible even by the standards of the day that weirdly adds to the charm.

See, the entire game takes place on a cruise ship/battleship/supervillain base called the “SKELETON CREW”. There are three protagonists with designs that aren’t anything to write home about the standard fast/strong/balanced differences. The normal enemies likewise are standard fare… but then come the bosses. They not only include a sumo-kabuki and an ancient Egyptian mummy-wizard, but the big twist is that after each defeat, everyone except the final boss becomes a playable character.

Every one has the same dialogue, repeated here verbatim: “[boss]: ‘Now I came to my sense. Can you take me into partnership? [character who beat the boss]: Sure.”

It’s not explained if they were mind controlled or whatever, but yeah. The sprites and backgrounds are not ‘good’ in terms of pure detail, but they’re bright and do exactly what they need to do. The ship has a variety of zoos, gardens, gyms, and the like to rival Spaceball One.

Is this a good game to actually play? No better than other ones of its time. Is it fun to look at? Oh yeah.

A Thousand Words: Double Dragon 3

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Double Dragon 3: The Rosetta Stone

Double Dragon basically made the brawler what it was. Unfortunately, its position at the height of beat em ups was very short lived. By the third game, an externally developed one called “The Rosetta Stone” that replaces the postapocalyptic streets with a world tour, it had been left behind by the likes of Final Fight. Really far behind.

If Final Fight has fluid controls that only seem slightly worse or clunky now than they did over thirty years ago, this feels like someone at the time who played both would have noticed it. The characters just move like they’re pieces on grooved slots (maybe it was even programmed like that). On top of it, being able to buy power ups with real quarters made this one of the first games with microtransactions.

So yeah, there’s a reason why Double Dragon fell out of favor. It didn’t make good games, and this was definitely not a good game.

A Thousand Words: Hitman Absolution

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Hitman Absolution

The Hitman series of stealth video games involves super-clone assassin Agent 47 hitting various men (and women). The games are centered around disguises. 47 can be a master of disguise despite being a bald near-albino with a barcode tattoo on his head who’s tall enough to be a viable basketball player. It’s just video game logic. Anyway, Hitman Absolution is regarded as one of the worst in the series, albeit in a way that spawned the absolute best let’s play series I’ve ever watched:

There’s far more focus on story in this game, which would be interesting if it was good, but it isn’t. So let me explain just one series of events:

  • 47 goes to “South Dakota” (the Danish IO Interactive devs do not know what South Dakota is and have apparently mistaken it with Texas). He’s there to pursue a genetically modified girl/hitwoman-to-be who’s been kidnapped.
  • 47 on the streets of the South Dakota town kills several anachronistic greasers who are the friends of the man who kidnapped her. The connection is incredibly tenuous.
  • 47 counter-kidnaps the kidnapper and kills him.
  • 47 goes through an amazingly precarious entrance in an Uncharted/Splinter Cell hybrid that’s nothing like previous Hitman games. He goes this way to get to a supervillain lair.
  • 47 kills three mad scientists in the supervillain lair, only one of which has the most tangential connection to the kidnapped girl.
  • 47 leaves the lair and kills the giant hulking man who doubles as a luchador MMA fighter. While up to the player, he potentially disguises as the man’s opponent, beats him in a semi-fair cage fight to death, and then like every true master of disguise, takes off his mask in front of a large crowd.
  • 47 stays at a hotel and fights off a group of hitwomen dressed as latex fetish nuns.
  • Finally, in an actually sensible plot plan, 47 finds the girl is in the hands of the sheriff and goes to the courthouse/prison/whatever to find her. In this part of the mission you can disguise yourself as a judge and beat people with a gavel.
  • This cannot last for master assassin 47 is (out of player control) surprised and captured by a creepy ineffectual sheriff. Instead of killing them the antagonists leave him tied to a chair like every good supervillain.
  • 47 then escapes (SPOILER ALERT) and battles/sneaks through a wave of stormtroopers sent by the assassin agency. He pursues the sheriff, who has been wounded by said stormtroopers, to a church and finishes him off.
  • Finally 47 leaves “South Dakota” for the final showdown. And thus ends the arc. Somewhere Jon Land is going “uh, I think that’s too absurd”.

All this is punctuated by some of the worst cinematography ever, long after most games had figured out the basics. This gets to the point where one of the lets players reasonably called a cutscene in it the worst ever. What makes this strange is that publisher Square Enix basically invented the use of cinema in games. Or at least perfected it.

As for the actual game, it is a strange combination of cargo culted stealth movement through levels, occasional platforming, and a simplified, often made too easy version of the Hitman formula. It’s not unplayable or broken, but if you want Hitman, either the earlier Blood Money or the later remakes are vastly superior.

A Thousand Words: Warriors of Fate

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Warriors of Fate

Capcom’s Warriors of Fate is a Final Fight-type beat em up set in ancient China. Err.. except the American translation set it in a fictional place that just happened to resemble ancient China. And the simple and easy Chinese names got turned into complex Mongolian-inspired names. Yeah, it was a little weird.

That being said, it’s a Final Fight successor that plays like a Final Fight successor and has the fun of a Final Fight successor. Unlike Captain Commando, mounts (horses in this case, not mechs) actually are useful and usable. It doesn’t quite reach the heights of Battle Circuit in terms of pure technical ability, but there is a lot more depth than many other games of its ilk and it makes up for it in terms of spectacle.

Not a bad slightly forgotten arcade game.

A Thousand Words: Eco Fighters

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Eco Fighters

Capcom decided to make an arcade “shmup” with an environmentalist science fiction theme. The result was Eco Fighters, a very well made game with one massive flaw. And no, the massive flaw was not the environmental theme. The massive flaw has to do with how you aim.

See you control a spaceship that has a rotating arm/turret. It sounds good, but in practice it’s a gimmick that’s hard to work and control. This and the fact that you’ll often unavoidably run into a weapon change that you don’t want (which gets rid of something you do) sours it a little.

But only a little. It’s still a good side scrolling spaceship shooter, and the graphics and music are typically excellent for the time period. It just tried something distinct and fell short in that regard.

Review: Hell to Pay

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Hell To Pay: Operation Downfall and the Invasion of Japan

With the atomic bombing in the news thanks to the Oppenheimer movie, I figured I’d had to take a look at D.M. Giangreco’s Hell to Pay, an analysis of what would likely happen if the dreaded invasion of Japan was likely launched. Spoiler alert: Hundreds of thousands of Americans and over ten million Japanese would have almost certainly been killed.

With clear and concise arguments that cite primary sources from both sides, Giangreco makes the case very convincingly. With their backs to the wall and years of experience and preparation, the Japanese would face a strung-out American fleet. This book certainly gives credibility to the statement that the atomic bomb was actually the most humane choice.

Those interested in WWII or alternate history should definitely read this book.