Airwolf — 4Q2020 issue

Let this low-flying mess stay grounded

As a child of the 1980s, there was one major require­ment I had to know: the major prime time action shows and what nights and net­works that they came on. Two of those shows were Knight Rider on Fri­days on NBC and Air­wolf on Sat­ur­days on CBS. These two shows were so pop­u­lar that Acclaim Enter­tain­ment was able to get license rights from Uni­ver­sal Tele­vi­sion to develop video games for both shows. In a pre­vi­ous issue of GI, we reviewed Knight Rider for the NES in the Tor­ture of the Quar­ter sec­tion. Could Air­wolf break this curse of pop­u­lar shows turned into hor­ri­ble games? It was time to find out.

Air­wolf fol­lows the plot based on the TV show in that you take the role of Stringfel­low “String” Hawke, who is given a mis­sion by the CIA to res­cue pris­on­ers of war from unknown ter­ror­ist groups using the top-secret heli­copter known as Air­wolf. As String con­ducts the mis­sion, he finds out that one of the pris­on­ers being held is his long-lost brother who was declared miss­ing in action dur­ing the Viet­nam War. This gives him added incen­tive to carry out his given mission.

Airwolf’s game­play is a sim­u­lated first-person view that was applied to the Knight Rider game. You have the view of Air­wolf that is clear enough to see your ene­mies and to attack enemy strong­holds such as air­craft tow­ers, pris­oner camps and repair depots. How­ever, this is the game’s Achilles’ heel. Con­trol is not flex­i­ble when you need it to be dur­ing dog­fights with enemy air­craft. You’re required to shoot first or destroy air­craft tow­ers if you don’t fire your lim­ited mis­siles with pre­cise tim­ing. The inflex­i­bil­ity rears again when you land at a pris­oner camp land­ing gen­tly and still die.

The graph­ics were OK, but they were akin to flight sim­u­la­tor games that were highly pop­u­lar dur­ing the ’80s. To give Air­wolf a frac­tion of a chance for a good review, I found the debrief­ing scene excel­lent, giv­ing me the appro­pri­ate data of destroyed ene­mies, res­cued pris­on­ers and inter­cepted missiles.

Sadly, I was ENRAGED that Acclaim could be this sloppy with a fran­chise such as Air­wolf. Don’t get me wrong, Acclaim did go on to make bet­ter video games based on pop­u­lar fran­chises, but like Knight Rider, Air­wolf failed to show me any redeem­ing rea­son for replay.

Air­wolf — like Knight Rider — are games that are rec­om­mended only for the diehard fans of the ’80s that want to relive the action-packed nights of their child­hood. While I loved both shows, unfor­tu­nately their action-packed for­mula that pro­duced major rat­ings for TV did not trans­late well into video game for­mat. Acclaim did learn well from these mis­takes, but they gave the first Mas­ter­Class les­son in video gam­ing of being care­ful with pop­u­lar fran­chises. If you want my advice, skip both games and play them on read­ily avail­able emu­la­tors; you’ll save time and hard-earned money.

Fun Facts

  • Air­wolf was cre­ated by Don­ald P. Belis­ario, who was known for pop culture-worthy shows such as Quan­tum Leap, Mag­num, P.I., JAG and NCIS, which is still air­ing on CBS.
  • The actual Air­wolf was based on a Bell 222 heli­copter designed for cor­po­rate travel, emer­gency med­ical trans­port and util­ity trans­port. A full replica of Air­wolf was on dis­play at a Ten­nessee avi­a­tion museum but has since been sold to a pri­vate col­lec­tor in Bel Aire, Calif.
  • There were numer­ous ver­sions of Air­wolf made for var­i­ous home sys­tems, but a side scrolling arcade ver­sion was devel­oped by Japan­ese devel­oper Kyugo in 1987. Acclaim released the NES ver­sion a year later, after the show went off the air four years earlier.

Castlevania III: Dracula’s Curse — 4Q2020 issue

Drac­ula slays in thirds

Castl­e­va­nia. The name alone is well renowned to vet­eran gamers world­wide as one of Konami’s mas­ter­piece fran­chises, hav­ing expanded from the NES to var­i­ous gam­ing con­soles and a glo­ri­ous revival in anime form thanks to Net­flix. As a video game vet­eran myself, I know of the many bat­tles between the GOAT vam­pire hunt­ing Bel­mont fam­ily and the infa­mous prince of hor­ror mon­sters, Count Drac­ula. Ever since I was exposed to the first Castl­e­va­nia game, I fell under its spell, want­ing my chance to place a stake into Dracula’s chest. I finally got my chance to do so when I got my first game, Castl­e­va­nia III: Dracula’s Curse for the NES.

In Dracula’s Curse, you take on the role of Trevor C. Bel­mont, fore­fa­ther of series hero Simon Bel­mont, who is called upon to save his vil­lage of Warakiya from Drac­ula and his res­ur­rected army of dark­ness. Trevor has one small but pow­er­ful advan­tage with him: the abil­ity to trans­form into three part­ner spir­its: Alu­card, Dracula’s for­got­ten son; Grant Denasty, pirate ter­ror of the seas; and, Sypha Bel­nades, vam­pire hunter/mystic war­lord. Along with this shaper-shifter abil­ity and equipped with the mys­tic whip and Pol­ter­geist ax bequeathed by the Pol­ter­geist King, Trevor sets off into the night ready to do bat­tle against Dracula.

Game­play is basic like most action-platforming games with sim­ple moves such as mov­ing left and right with the con­trol pad, jump­ing with a but­ton, and attack­ing with basic weapons by using com­bi­na­tions for spe­cial weapons. These con­trols have spe­cial des­ig­na­tions for Grant, con­trol­ling how high he can jump and climb walls, and for Alu­card, who can trans­form into a bat. To give this team of vam­pire hunters an extra advan­tage, Trevor can upgrade his mys­tic whip to a long-ranged chain whip and can use var­i­ous Warakiya items such as the ban­shee boomerang, bat­tle ax and a pocket watch that tem­porar­ily freezes ene­mies. Sypha has her magic staff as her main weapon in addi­tion to using ele­men­tal orbs that can pro­duce fire, ice and thun­der attacks. Grant has use of the dag­ger, but he can only use the mys­tic ax as his sec­ondary weapon. Alu­card has use of a destruc­tive ball that can be upgraded to shoot three directions.

While I appre­ci­ate these effec­tive tech­niques to dis­patch the undead, there were flaws such as learn­ing to time each attack or risk falling off a stage. Also, whichever part­ner spirit Trevor teams up with, the part­ner takes dam­age, cre­at­ing a strug­gle to sur­vive in cer­tain stages. I also learned that you col­lect stone hearts to power weapons and if Alu­card is your part­ner, he would turn into a bat. That’s fine but that skill eats up your hearts and if you run out, he could turn back into human form putting him and Trevor in a MAJOR bind.

Adding to the frus­tra­tion, there is a time limit to com­plete each stage, adding either chal­lenge to game­play or mak­ing you curse and smash your con­troller to pieces.

A word to the wise: Dracula’s Curse is chal­leng­ing but LOOK hard for spe­cial items such as leg of were­wolf, which refills your life meter; and, the invis­i­bil­ity potion that also gives tem­po­rary pro­tec­tion to give you the upper hand. Also, if you must go up a row of stairs, ALWAYS press up on the con­trol pad to walk oth­er­wise you will fall and lose a life.

The game’s music is excel­lent, stay­ing true to the series’ theme of clas­si­cal hor­ror. If you heard a Castl­e­va­nia theme before, you won’t hear any­thing new here. This isn’t Castl­e­va­nia IV just yet, after all. The replay value is there although it will require you to have patience to and excel­lent strate­gic skills when choos­ing paths to take and part­ner spir­its to work with.

Castl­e­va­nia III: Dracula’s Curse is an exam­ple of how Kon­ami built a respected fran­chise in its early days with­out dis­re­spect­ing their devel­op­ment staff and let­ting them do what they do best. Dracula’s Curse is good but not with­out its quirks and flaws. If you love old-school plat­form­ing in the Castl­e­va­nia con­trol vein, jump in and part­ner up to take on Drac­ula once more.

Dance Dance Revolution Extreme 2 — 4Q2020 issue

DDR Extreme bet­ter sec­ond time around

I’m a DanceDanceRev­o­lu­tion fan from way back when, in that time and space before the U.S. really dis­cov­ered the series and when we dealt with hastily put-together mixes that didn’t really cap­ture the feel of DDR. Ah, those were the heady days of 2002. Alas, DDR finally blew up in the U.S., and we finally started receiv­ing mixes much like Japan. The prob­lem was, we were get­ting them years after the fact, and when we did get them, they were mostly lack­ing — bro­ken, incom­plete messes that you were bet­ter off pre­tend­ing didn’t exist. That, my friends, is where we join our story already in progress with Dance Dance Rev­o­lu­tion Extreme 2.

Never mind that there is no DDR Extreme 2 in Japan. We’re going to set that aside for a minute to focus on the fact of why it exists in the U.S. DDR Extreme 2 is borne of the fail­ure of Kon­ami to do right by its fans out­side of Japan. We received DDR Extreme in 2004, a full two years after the orig­i­nal was released in arcades and for PlaySta­tion 2 in Japan. That game is absolute garbage: It’s noth­ing like what Japan received, which is a game that’s much closer to the arcade ver­sion of Extreme. We received a bro­ken and changed-for-the-worse song inter­face, miss­ing and weird songlist and grad­ing mechan­ics that were excised as of DDR 5th Mix. Now that you’re all caught up, you should see the rea­son why we needed a do-over game of sorts. That’s where Extreme 2 comes in.

Extreme 2 is a decent addi­tion to the U.S. con­sole DDR library of games. It fea­tures the song wheel inter­face and restores the 5th Mix grad­ing mechan­ics. The song list is great, too, finally fea­tur­ing at least some of the songs found in the Japan­ese ver­sion such as Car­toon Heroes (Speedy Mix), Irre­sistible­ment, Speed Over Beethoven and Para­noia Survivor/Survivor Max, which were all new to Japan­ese Extreme when it was released. It closely mir­rors the home release of Japan­ese Extreme, which meant Kon­ami was finally tak­ing the U.S. mar­ket seriously.

Because it’s so close to the Japan­ese ver­sion of Extreme (editor’s note: We reviewed this title in the 2Q2013 issue), we’re going to skip the focus on how it plays other than to tell you that the tim­ing win­dows remain loose as they always are in the U.S. ver­sions, if you care about that sort of thing. From expe­ri­ence, it’s much eas­ier for me to get an A grade on Para­noia Sur­vivor in the Amer­i­can ver­sion than in the Japan­ese ver­sion. The Amer­i­can ver­sions always have had more loose tim­ing win­dows, and it makes play­ing a lot eas­ier. The options are pretty much the same, though you will have to spend time unlock­ing songs because, as with pre­vi­ous U.S. releases, it’s miss­ing the Sys­tem Data Sup­port fea­ture found in the Japan­ese ver­sions. That fea­ture unlocks a pre­vi­ous game’s data using the cur­rent game. While this would have been help­ful in Extreme 2, it’s not so bad to have to play through the Event mode or Dance Mas­ter mode, though you will be tired of cer­tain songs after the fifth time through.

And Dance Mas­ter mode is where you may spend a decent amount of time try­ing to unlock cer­tain things. Dance Mas­ter is not a ter­ri­ble mode but some of the con­di­tions are not easy and require an inti­mate knowl­edge of DDR. If you’ve bought this ver­sion, chances are you are expe­ri­enced enough with DDR for this not to be a prob­lem, but for the unex­pe­ri­enced this might be a tedious exer­cise in, well, exercise.

And, because many of the servers are now down, we can’t really com­ment on the online modes. While active they were inter­est­ing and fun to play against oth­ers using the early pre­cur­sor to PlaySta­tion Net­work, but alas, 15 years later there are no servers for Extreme 2, so that’s a loss. You aren’t really miss­ing any­thing there because there is always the lat­est ver­sion of DDR and Step­ma­nia, which are imme­di­ately supe­rior to a 15-year-old game.

DDR Extreme 2, an anom­aly itself, is an OK addi­tion to the U.S. library. Though I fault Kon­ami and its U.S. branch heav­ily for screw­ing up DDR Extreme enough to have to do a sec­ond go-round, the well-rounded redone songlist kind of makes up for the extremely bor­ing mess that pre­ceded Extreme 2.

Naruto Clash of Ninja 2 — 3Q2020 issue

Retro Naruto revis­its Chunin Exams arc

When it comes to the Naruto video game fran­chise, com­pli­cated con­cepts have never been part of the equa­tion. There’s noth­ing remotely hard about any of the games under the ban­ner and almost all are known for their pick up and play abil­ity. So, it stands to rea­son that the Naruto: Clash of Ninja series is easy to start and get into it, and that rea­son­ing is cor­rect. Clash of Ninja 2 con­tin­ues the acces­si­bil­ity that the series is known for.

Naruto is a great long-running starter series if you’re just get­ting into anime. The basic premise of the anime is the basis of Clash of Ninja as well: A strong-willed boy from a world of nin­jas strives to be the best he can be and one day become the leader of his vil­lage. Because of a dev­as­tat­ing attack on his vil­lage the night he was born, Naruto is orphaned and ostra­cized by his fel­low vil­lagers while host­ing a crea­ture known as the Nine-tailed Fox. He grad­u­ates from his village’s acad­emy and is placed on a team fea­tur­ing his crush Sakura and his rival Sasuke while learn­ing team­work and the ways of nin­jutsu. Clash of Ninja 2 fol­lows the first half of the series, with Naruto work­ing with his team­mates through the Chunin (first level) exams that the ninja acad­emy grad­u­ates face.

Clash of Ninja 2 does an admirable telling the begin­ning part of the story of Naruto, story-wise. Because the begin­ning of Naruto is sim­ple to under­stand and fol­low, the punch of char­ac­ters and addi­tions aren’t over­whelm­ing, and it’s easy to keep up with the action and char­ac­ter moti­va­tion. Every­one is rec­og­niz­able from the anime and it’s easy enough to actu­ally fol­low the story and learn more about the anime with­out the filler that the series is known for.

Graph­i­cally, Clash of Ninja looks just like the anime, which is a bonus in its favor. The game is gor­geous and bright, and it accom­plishes the goal of mak­ing you feel like you’re play­ing the anime instead of a game. Like­wise, the music and voice act­ing are great and feel and sound like they were pulled directly from the anime’s soundtrack.

Mov­ing around within Clash of Ninja 2 is a solid expe­ri­ence. It’s easy to pull off moves and com­bos, and coun­ters are easy to under­stand and get the hang of with a lit­tle prac­tice. My only prob­lem is that every­one seems to play the same way, so there’s not much vari­ety in the movesets. The char­ac­ter you choose is merely cos­metic with the movesets and mechan­ics not chang­ing from char­ac­ter to char­ac­ter. Other than that, the abil­ity to jump right in and get to work is a wel­come and refresh­ing change of pace in a cat­e­gory of gam­ing known for its sometimes-challenging mechanics.

Even though there have been more games released in the Clash of Ninja series and other Naruto fight­ing games added to its lengthy reper­toire, Clash of Ninja 2 is just where you need to start if you’re want­ing to get into fight­ing games and have a love for anime or Naruto. With a wealth of modes, great visu­als and facil­i­tated abil­ity to ease into game­play, this is one well-regarded ninja.

Retro Replay — Vampire Darkstalkers Collection — 3Q2020 issue

A bit­ing good collection

Col­lec­tions come a dime a dozen these days. Every­one wants to have a pack­age of their best fight­ing games and then upsell them for the next cou­ple of gen­er­a­tions since the cur­rent con­sole might not have back­ward com­pat­i­bil­ity. Cap­com is no stranger to this, hav­ing released sev­eral Street Fighter col­lec­tions over the years. The final game series to get this treat­ment was Dark­stalk­ers aka Vam­pire in Japan with the Vam­pire Col­lec­tion.
For those who are unini­ti­ated, Cap­com does make fight­ing games beyond Street Fighter: Vam­pire doesn’t get as much due and press as Street Fighter but is just as good. But let’s get into the meat and pota­toes of why you’re here: Is the col­lec­tion any good? I can resound­ingly answer yes. It’s every­thing you’d want of the Vam­pire series, includ­ing games that never made it to the U.S.

Mak­ing up the col­lec­tion are Vampire/Darkstalkers, Vam­pire Hunter/Darkstalkers 2, Vam­pire Savior/Darkstalkers 3, Vam­pire Hunter 2, Vam­pire Sav­ior 2 and what Cap­com calls a hyper ver­sion of Sav­ior 2, which pits all ver­sions of the char­ac­ters against each other. In those five games is a deep fight­ing game engine with great mechan­ics and an inter­est­ing sto­ry­line that invokes mon­sters of mythology.

The game­play style didn’t change too much between games but it’s unique and has char­ac­ter enough to encour­age even the most hard­ened street fighter to come back and learn more. There are advanced tech­niques such as Dark Force and chains to learn as well as movesets that require some con­troller gym­nas­tics to mas­ter. The char­ac­ter design in each of the collection’s games is a bit wonky from the age of Capcom’s over­styl­ized car­toon­ish era of hand-drawn sprites but it doesn’t look terrible.

The best thing about the series — other than the game­play — is the sound­track. Hunter 2 and Sav­ior 2 never made it to the U.S., and Dark­stalk­ers in gen­eral didn’t do as well as Cap­com would have liked. And that’s why this col­lec­tion is a must-buy item. You won’t see this in Amer­ica, and it should be. The games are pre­sented in their orig­i­nal form with all ver­sions avail­able. This pack­age is worth find­ing and importing.

In the Groove — 2Q2019 issue

Groovy com­pe­ti­tion in rhythm game market

Just when Kon­ami thought it had the mar­ket cor­nered on rhythm games along came In the Groove. The series took the for­mula of timed arrows, music and dance charts and finessed it into bet­ter charts and sen­si­ble rat­ings; or, you know, things Kon­ami lacked after eight games. In the Groove didn’t nec­es­sar­ily per­fect the mar­ket prod­uct but it intro­duced com­pe­ti­tion in a nice pack­age that still holds up today.

ITG has the same for­mula as Dance Dance Rev­o­lu­tion: Arrows are timed to a song to rise (or drop, depend­ing on the song mod­i­fi­ca­tion used) to meet hold­ers. You’re judged on the tim­ing of your steps and either pass the song or fail based on the cumu­la­tive score and effect of your tim­ing. Let’s not get it twisted, though: DDR and ITG are the same thing. Given that ITG cribs a lot of its ele­ments from the orig­i­na­tor of the rhythm dance game genre, you aren’t likely to see any­thing new or mind-blowing when it comes to ITG.

Where ITG shines par­tic­u­larly, how­ever, is the inter­face and the song choices. There’s a lot to like in those dif­fer­ences. The song wheel inter­face — which presents songs for play — is crisp as are the song titles. The graph­ics appear to mimic the best parts of the DDR inter­face, which is help­ful since DDR made an ill-advised change to its look shortly after. It’s also the intri­cate details such as being able to see a song’s BPM while choos­ing song mods.

In the Groove’s musi­cal selec­tion is no slouch, either. Many songs sound like some­thing in DDR’s cat­a­log; for exam­ple, there’s a series of remixes that imme­di­ately calls to mind the Para­noia sig­na­ture series of DDR. There’s a lot to like with a vari­ety of gen­res represented.

ITG shines also in its acces­si­bil­ity: If you can play DDR, you’ll be able to pick up ITG. It’s not hard to under­stand since it’s using the same engine as DDR. How­ever, the main playa­bil­ity draw comes in its song charts. ITG’s song charts make sense and are intu­itive and aren’t hap­haz­ardly done or pun­ish­ing. The dif­fi­culty sys­tem also makes sense — intro­duc­ing charts with a higher dif­fi­culty than the stan­dard 10 level sys­tem that DDR used at the time — which is a must have in a danc­ing game.

While ITG is a wel­come change of pace from DDR, there are some nit­picks that bother me about the series in gen­eral. First, some of the song mods avail­able aren’t the most help­ful. I’m not keen on silly mods like mines being a default in songs. Thank­fully, there’s an option to turn off the mod, but it shouldn’t be a default part of songs at any dif­fi­culty. And, like­wise, the use of three and four arrows simul­ta­ne­ously — which requires a hand to hit at all arrows at once — is obnox­ious. If a song requires it, I usu­ally steer clear of it. That’s not good for the song list and replay value if I’m skip­ping tracks, and it’s damp­ens my enthu­si­asm for an oth­er­wise great soundtrack.

ITG gets its point across with inter­est­ing game­play addi­tions, a good sound­track and crisp inter­face. With a few more iter­a­tions of the series after its intro­duc­tion, ITG is great as an alter­na­tive on the rhythm game dance floor.

Wrath of the Black Manta — 2Q2019 issue

Ninja copy fails Black Manta

Peo­ple were appar­ently wild about nin­jas in the ’80s. Really wild. I’m guess­ing this because it seems to be a mil­lion and one games about nin­jas that were made in the 1980s. These were all made with var­i­ous degrees of suc­cess in get­ting the point across about the ninja expe­ri­ence. Out of the coterie there were two that stood out: Ninja Gaiden, a time­less clas­sic in the way of the ninja arts; and, Wrath of the Black Manta. Note that we did not use any sort of kind trib­ute for the lat­ter. There is myr­iad rea­sons for this distinction.

Wrath of the Black Manta is your stan­dard adven­ture game cen­tered on find­ing miss­ing chil­dren in New York City, the appar­ent bas­tion of all evil and where the most heinous crimes take place in the video game world. A drug fiend named El Toro is hell­bent on turn­ing these chil­dren into addicts and it’s up to you and your ninja skills to make Toro get down or lay down with the War on Drugs.™

The premise is run of the mill, the con­trols con­fus­ing and clunky and the action extremely repet­i­tive. The back­grounds do change from level to level and there is a lot of ground to cover. But, all you’re going to do is walk around search­ing ware­houses for chil­dren and gang­ing up on infor­mants from the car­tel to get infor­ma­tion. What should be an absolute clean sweep is a clus­ter because get­ting that infor­ma­tion with­out being killed from ridicu­lous hits is a nightmare.

The fact that most of the action is ripped off from the infi­nitely bet­ter and more inter­est­ing Ninja Gaiden doesn’t help here because you’re going to die a lot from ter­ri­ble jump­ing and those afore­men­tioned hits from ene­mies. The sound­track also does Manta no favors as it’s just barely ser­vice­able. Even the art is ripped off from some­where else: Word on those mean streets of NYC is that some of the art was taken straight from the book “How to Draw Comics the Mar­vel Way” when the Japan­ese ver­sion was ported to the U.S. I’m guess­ing they thought no one would notice, but it goes over with the sub­tlety of a ton of bricks. Speak­ing of a lack of sub­tlety, the obvi­ous “stay away from drugs, kids, if you want to live” mes­sage and the hit-you-over-the-head irony of char­ac­ters named Tiny (a in no way sur­pris­ingly large boss char­ac­ter who tries to stomp you to death in the first level) means you’re in for a long ride with this whether you want to or not.

The key to this bat­tle is, if you want to play a ninja adven­ture just play the released at the same time Ninja Gaiden. Gaiden is far supe­rior in every way and has more appeal in terms of story. Wrath of the Black Manta is the poor man’s Ninja Gaiden and is in no way stealthy enough in its sub­tlety to earn any sort of title of ninja anything.

Mega Man X Collection — 2Q2019 issue

A mega col­lec­tion of Blue Bomber greatness

I’m a huge Mega Man fan. If allowed to, I would dec­o­rate GI head­quar­ters in every room with gear resem­bling Capcom’s infa­mous Blue Bomber. After Mega Man’s last adven­ture on the NES, I found that dur­ing the tran­si­tion from 8-bit to 16-bit gam­ing a new char­ac­ter known as Mega Man X would appear, giv­ing the Mega Man series a new chap­ter set years after the orig­i­nal. While I played a few MMX games when it was on SNES and PSOne, I real­ized that I liked the X series but won­dered if Cap­com would do a col­lec­tion for the PlaySta­tion 2. My wish was granted in Mega Man X Collection.

MMX Col­lec­tion is sim­ply as adver­tised: A col­lec­tion of the first Mega Man X games released. It con­sists of MMX and MMX2 from their SNES debut; MMX3 — another SNES game that was ported to PSOne; and MMX 4, 5 and 6, which were released for PSOne. There is also an unlock­able game, “Mega Man Bat­tle and Chase,” an exclu­sive never released out­side of Japan.

In each MMX game, you take con­trol of “X,” a new ver­sion of the Blue Bomber cre­ated by Dr. Light years after the orig­i­nal Mega Man. X is a more pow­er­ful ver­sion of our blue titan but with free will. 100 years later, after Dr. Light’s death, X was found by Dr. Cain, a robot­ics expert who devel­oped robots based on X’s design known as “reploids.” How­ever, this began a rise of rebel­lious reploids, known as mav­er­icks, which led to the for­ma­tion of a group known as mav­er­ick hunters to stop them. Alas, the mav­er­ick hunter’s leader Sigma became a mav­er­ick (and the series’ main vil­lain), forc­ing X to team up with another mav­er­ick hunter named Zero to stop Sigma’s plan for global domination.

Con­trol of X is sim­ple as any reg­u­lar side-scrolling game, espe­cially with the option of switch­ing between the ana­log sticks or direc­tional but­tons. X’s main weapon, the X-Buster, and other weapons he acquires from a level boss can be pow­ered up in addi­tion to find­ing upgraded boots, hel­met and armor via secret areas in each level. Using a sub screen, I appre­ci­ated that it was under­stand­able and sim­ple in orga­niz­ing items and weapons since, in other side scrolling games, look­ing for needed items is time con­sum­ing and morale-draining. Zero is also playable in MMX 4, 5 and 6 where con­trol­ling him is a guar­an­teed good time as he is not only equipped with his own Buster weapon, but also his sig­na­ture Z-Saber cuts ene­mies down to size.

The graph­ics have been refreshed, ensur­ing that a thought­ful bal­ance of action-adventure and anime-styles ele­ments are intact. Capcom’s music depart­ment did an awe­some job remix­ing each game’s sound­tracks. With the amount of detail put into this game, the replay value is high, espe­cially if you’re want­ing to get deeper into the Mega Man lore.

The Mega Man X Col­lec­tion is the per­fect answer for a devoted fan­base of the Blue Bomber. While the MMX series may be in ques­tion, I hope Cap­com hears Mega Man’s fans’ calls to con­tinue his leg­endary return to gam­ing as the MMX col­lec­tion is a great way to con­tinue Mega Man X’s hunt.

Cool Spot — 2Q2019 issue

A refresh­ing platformer

Every so often there will be a licensed game that’s actu­ally worth some­thing. It will have a great sound­track and decent con­trols and not be so obnox­iously unplayable that legions of older gamers remem­ber it with a cer­tain hatred that burns deep within their soul to be passed down through gen­er­a­tions to come. Cool Spot, licensed from Pepsi part­ner 7UP, is the excep­tion to the norm. If you’re expect­ing a half-baked idea of plat­form­ing solely because it’s a mas­cot, think again. This romp to release sen­tient lit­tle red dots is actu­ally not half bad and has genre-redeeming qualities.

Cool Spot starts off innocu­ous enough. Spot must res­cue its friends, who are trapped through­out 11 lev­els in cages. Why its friends are trapped, we’ll never know but it’s up to Spot to res­cue them and lec­ture you about not drink­ing dark sodas. Spot’s tra­ver­sal through these 11 lev­els is noth­ing short of amaz­ing despite the ram­pant prod­uct place­ment. It’s sur­pris­ingly good, with solid con­trols that don’t make con­trol­ling Spot a chore, and com­pe­tent sim­ple mechan­ics that don’t get in the way: It’s mostly jump­ing and shoot­ing mag­i­cal sparks at ene­mies and barred gates. The life sys­tem — hilar­i­ously denoted by an ever-peeling and dete­ri­o­rat­ing pic­ture of Spot — is more than gen­er­ous and there are helper power ups galore to get through lev­els. The lev­els them­selves have a lot of depth and are timed just right with enough time to explore or get the bare min­i­mum expe­ri­ence in the search for Spot’s miss­ing friend.

While Spot might be on a prod­uct placement-filled jour­ney, it’s a lushly drawn trip. Cool Spot is no slouch when it comes to the audio-visual depart­ment. The back­grounds are drawn with Spot mov­ing through an obvi­ously human world at about 25 per­cent of the size of every­thing else. It isn’t big at all but the world sur­round­ing it is and it shows in the sheer scale, though my only gripe with the game comes here: The back­grounds, while beau­ti­ful, are recy­cled except for a few stages. At least the first three stages are repeated and reused, just with new stage names and some recol­or­ing in spots.

While you’re soak­ing up the beauty of it all, how­ever, the sound­track is rock­ing in the back­ground. Cool Spot is one of the best sound­tracks for the Super Nin­tendo and should be in every gamer’s library. Mag­nif­i­cent pro­duc­tion val­ues, crisp audio and nice, deep bass lines make for some inter­est­ing tracks that don’t sound like stan­dard 16-bit audio. Tommy Tal­larico, pre-Video Games Live fame, put obvi­ous love and care into the audio and it shows. It’s one of the best sound­tracks for its time.

Cool Spot has a lot to offer in the way of good ’90s plat­form­ing. If you can work around the prod­uct place­ment and shilling for the 7Up brand, you’ll find an uncom­pli­cated hop-and-bop with depth and a bang­ing sound­track that’s sur­pris­ingly refreshing.

1942 — 2Q2019 issue

Pacific bat­tles fly in 8-bit form

Capcom’s warfight­ing 1940 series reminds me of the good times when arcade gam­ing ruled my week­ends and I was for­tu­nate to find some rare gems that later became gam­ing clas­sics. Dur­ing that time, I played 1942 in the arcade and on the NES and walked away from this expe­ri­ence with some valu­able infor­ma­tion: 1. The first game in a series may or may not guar­an­tee future suc­cess; and, 2. The cre­ators of some of our favorite games had to cut their teeth on low-tier games before they received the big breaks that made them what they are today. One of those games is 1942.

1942 is a vertical-scrolling shooter that takes place on the Pacific front of World War II. You take con­trol of a P-38 Light­ning plane assigned to go to Tokyo and destroy the Impe­r­ial Air Force fleet.

Game­play of 1942 is sim­ple: You can move either ver­ti­cally or hor­i­zon­tally. Con­sist­ing of 32 stages, the P-38 will be chal­lenged by Ki-61s, A6M Zeros, and Ki-48s with a long-range bomber known as G8N as level bosses. To give the P-38 Light­ning a fight­ing chance against these planes, it can do air rolls or ver­ti­cal loops. If you time your attacks right, some planes will drop upgraded fire­power or an escort team of two smaller fighter planes to com­bat the relent­less assault from planes that WILL attempt to knock you out of the skies, espe­cially if you’re just tak­ing off from your air­craft carrier.

While I liked 1942, there are some issues that annoyed me. Tim­ing of move­ments, includ­ing the ver­ti­cal drops and air rolls, must be pre­cise because of the high chance of being shot down by enemy planes. Also, you must watch for attack­ing planes in front and behind as the Ki-48s are mas­ter­ful at get­ting the unsus­pected into close-area shootouts, which will reduce the num­ber of lives quickly.

The music qual­ity of 1942 is an acquired taste as the repeated use of a snare drum made me think that Cap­com phoned in a lack­lus­ter drum beat, which made me turn the vol­ume down to con­tinue play­ing. The chal­lenge is decent since you will be on your toes to avoid enemy fire non­stop. It has strong replay value and would be a great time-killer as a nos­tal­gia trip for arcade vet­er­ans. Also, it’s a great exam­ple for those who want to know how side-scrolling games played a major impact in the gam­ing world.

1942 serves not only as an icon in gaming’s hall of fame but also dou­bles as one of Capcom’s entries into the gam­ing world. It helps that 1942 was the start of look­ing at Cap­com as an up-and-coming game com­pany want­ing to expand beyond its home of Osaka, Japan.

Fun facts:

    • The P-38, Ki-61, A6M and Ki-48 were actual war planes used heav­ily in the Pacific Con­flict between the U.S. and Japan. The com­pa­nies who built them — Lock­heed Mar­tin, Kawasaki, and Mit­subishi — are well-established in the defense indus­try and con­tinue to play vital roles in var­i­ous areas of aero­space tech­nol­ogy.
    • 1942 was Yoshiki Okamoto’s debut game for Cap­com. He was also the orig­i­nal game designer of Konami’s Gyruss. Because of inter­nal dis­putes involv­ing pay, he was fired from Kon­ami. After 1942’s suc­cess, Okamoto remained at Cap­com where he played an impor­tant role in pro­duc­ing Final Fight, Street Fighter II and Biohazard/Resident Evil. He retired from game devel­op­ment for con­soles in 2012 and is cur­rently devel­op­ing games for var­i­ous mobile devices.