Capcom’s 1990 Carrier Air Wing is a fairly standard side scrolling plane shooter. Except for one thing that elevated it massively in my eyes. That’s the surprisingly detailed and (in a visual sense) accurate depiction of military hardware. You can control either a Hornet, a Tomcat, or an Intruder (which is marked as an A-6F. Wonder if they knew of the never-was upgrade or if it was a happy coincidence because they chose the next letter after E.)
When I saw Tu-22 Blinders as enemies in the first level, I was in love. When I saw Yak-38s in a later stage, I was even more in love. This is quite possibly the most Fuldapocalyptic shmup there is, and I loved playing every second of it. Yes, there’s the sci-fi superweapons (such as a final boss that includes a Buran shuttle) but it’s otherwise very grounded-looking compared to other games of its time and nature.
This is basically a video game adaptation of a Mack Maloney novel. What’s not to like?
What do you get when you push an inherently limited genre as far as it can go? Probably something like Progear, a 2001 Capcom arcade “shmup”, the classic Gradius-type arcade game where you control a little spaceship moving around on a scrolling field. Only this “spaceship” is a World War I-type fighter plane, and the game has a very dieselpunk theme that I like. The graphics are very good, being (or at least looking like) beautiful sprites in an age of polygons.
The story is utter nonsense, and I have to wonder how much of it is due to iffy translations and how much is due to just limited information. Basically a group of young pilots have to fight off a conspiracy of posh Victorians led by a lion-man, and I’m not making that up. It feels like you only got ten seconds of a thirty-minute show and had to piece everything together from there. But this is a classic video game where such stuff was par for the course.
The gameplay is nothing to write home about, as it’s the same “fire away, use limited power ups, and try and dodge at least some of the impossibly large number of projectiles heading your way” formula. But that’s a fun formula for a reason. And whether by accident or design, one boss seemed to mock the formula. In a game where your ship faces right and only right, the boss tries to counter by…. moving to the left of the screen. Too bad you have homing missiles.
This is not a deep game, even by the standards of arcade classics. It’s not the most polished or fair game. But it is quite the fun game, and a sign of how far “handmade” graphics could go.
Mega Man and Street Fighter are two of Capcom’s legendary franchises. Perhaps fittingly, they followed the same pattern: Breaking out with a rightfully praised and successful second installment after a less-than-ideal first one. And in both cases, the way they were clunky were the same: The very basics of what would make them so great were there, but they were incredibly rough around the edges.
Mega Man 1 thus has everything the later games have: Platforming, shooting, and defeating bosses to use their weapons. And in 1987, there wasn’t that much of a comparison. The problem is the second game two years later utterly obliterated it in terms of usability, difficulty, ease of play-everything, basically.
So in Mega Man 1, you have only six Robot Masters compared to the eight of pretty much every later game. But the game is overloaded with the kind of “cheap difficulty” even by the standards of the time. Spikes explain this very good. In later Mega Man games, falling into spikes kills you instantly-but if you were knocked onto them by an enemy and still had your brief recovery frames, then you had a small chance to escape if you jumped right away. Not so here-if you come into contact with spikes, goodbye.
There’s also no real good starting boss/level, and in true 1980s game fashion, the game is unwinnable unless you get a “secret” item in one stage. You could do worse for other vintage platformers, but you could also do a lot better. Like, say, one of the nine direct sequels.
My first Steam guide is now up. It’s about creating custom units in Nuclear War Simulator. This is, like all internet guides, a work that could very well be updated and/or changed. But I still hope even in its beginning form, it helps players use one of the simulation’s greatest strengths.
Nuclear War Simulator, a detailed simulation of nuclear war (obviously 😀 ) on any scale from “one missile” to “one destroyed world”, of any type from “meticulously placed real units and real locations” to “hypothetical custom clashes between two countries that never historically developed nukes at all” is now out.
Surrounded by all kinds of danger, a threat can come out of nowhere and kill you. This describes war, but it also describes roguelikes, the kind of deliberately unfair randomized video games that have occupied a niche for decades. Naturally, someone had the great idea to combine them. The result was the Armoured Commander series, with the second installment being the subject of this review.
You are a tank in World War II. You can command just about any kind of tank in any campaign at any point during the war. Try and survive in a world of ASCII graphics and constant threats. The deliberately ultra-retro UI gives the game a bit of a learning curve, but I didn’t consider it too hard. A more intentional “issue” is that you get what you want. I learned the hard way that a Renault FT means you’re slow, you’re weak, you’re inaccurate, and the commander has to do a ridiculous amount of multitasking.
This is an excellent game for anyone who likes roguelikes and/or tanks.
It’s no secret that all kinds of fictional works change from their beginning to their final product. And a minor character in a classic video game embodies this very well. In the Kanto Pokemon games, Erika is the grass-type specialist leader of the Celadon City gym. Wearing traditional Japanese clothing, her characterization is that of a graceful flower lady (who has a tendency to fall asleep).
But apparently she wasn’t always that way. And some of the changes made to her were after her Gen I artwork had already been drawn.
Development and concepts assets that have emerged have shown a picture of the original Erika. She would have been placed in what would have been Lavender Town (which in the final version didn’t have a gym at all). And, unsurprisingly, she would have specialized in ghost types. The sole ghost specialist who actually emerged in Gen I was Agatha, portrayed as a normal person who just happened to use ghost types.
At least judging from her art design, Erika would, uh, not have been. Her eyes were closed and the Poke Ball in her sprite was in midair, which could be justified as her juggling it but which was likely meant to have her hovering it with supernatural powers. Finally, her clothes were folded in a way that was only used for the dead in her initial sprite. (A pretty big implication of this is that her design was changed in Yellow and all later appearances to be folded the correct way).
In other words, she was heavily implied just from the visual assets alone to be some kind of undead. Since no final text dialogue was made, there’s no 100% confirmation, but it’s pretty clear. Would this design carrying over really change much?
Probably not. Unlike a few other Gen I leaders, Erika did not become a superstar in her own right. At the time, not much would really change. Except for her prominence. See, spooky Lavender Town became a centerpiece of internet creepypasta campfire stories immediately. And having someone who was an outright zombie? Oh yeah, she’s definitely getting featured in them. So even if official media stays out, Erika the Zombie would become a star of the internet.
Since a multiverse canonically exists in Pokemon, Zombie Erika probably lives in some variant universe. Much as how creepy supernatural anime Sabrina exists alongside normal actress game Sabrina. Who knows, maybe this Erika starts conventional Fuldapocalypses as a hobby. Has the zombie sorceress been found?!?
My current People Playground mod-enabled obsession is the “Facility Escape”. The background for this RP is simple: A character from another setting is trapped in the mysterious mad science super-facility and has to try and escape, fighting their way past an army of workers, security contractors, androids, and who knows what else.
Characters from settings as distinct as Undertale and Hotline Miami have been placed in the playground. The (intentional) clumsiness of the human figures just, if anything adds to the fun. There’s nothing like jury-rigging an “epic” sword vs. chainsaw battle.
Characters who have “earned the privilege” of escaping have the final exit simulated by a black hole being created with them sucked in. This symbolizes a portal to their home setting (or somewhere else?) being activated.
A roguelike platformer based on Finnish mythology, Noita (Finnish for “mage” ) is a brilliant game of losing. You control a vague purple-robed wand-wielding adventurer and delve into one randomly generated cave after another, facing all sorts of threats and almost always getting killed.
The big gimmick of Noita, besides its huge array of customizations, is that every single part of the game world is destructible. So yes, with the right tools you can blast a tunnel down and avoid the monsters-in theory. In practice you’ll probably just break open the entrance to a lava pit or something. This is not a fair game.
But it is a fun one, and it handles well. The player character has a limited levitation “jump” that handles a lot like the jetpack in the classic platformer Cave Story (that’s unlikely to be a coincidence). It’s very smooth and precise, and thus works beautifully. Obviously not everyone will play as story-light, unfair a game as Noita, but for what it is, it’s incredible.
Fuldapocalypse Fiction 