Capcom vs. SNK: Millennium Fight 2000 — Issue 42

The fight of the century

Who would win between Cap­com and SNK?
That’s the ques­tion that was at the fore­front of every­one’s mind in the ear­ly 2000s. The rival­ry between the com­pa­nies was well known, and the streets were hot with love for their respec­tive fight­ing game series. When Cap­com vs. SNK was released, the ques­tion was answered, though we still did­n’t know who was bet­ter defin­i­tive­ly. There’s a sequel for that.
What CvS did get right was the ini­tial ques­tion. Take some of the best and most pop­u­lar fight­ing game char­ac­ters from both com­pa­nies and pit them against each oth­er. Mar­quee SNK names like Ter­ry Bog­a­rd, Mai Shu­ranui, King and Rugal Bern­stein face off against Cap­com main­stays like Ryu, Ken, Chun-Li, and Sagat. The full ros­ter has some­one for every­one from each com­pa­ny. If you like grap­plers, there’s Zang­ief rep­re­sent­ing Cap­com while Raiden shows up for SNK. Love fight­ing teenage girls? You’re cov­ered with Saku­ra and Yuri. The selec­tion is a nice buf­fet to choose from.
But then it gets a lit­tle more inter­est­ing. Each char­ac­ter is slot­ted into a one-to-four ratio cat­e­go­ry. Heavy hit­ters like Aku­ma and Orochi Iori, usu­al­ly hid­den boss char­ac­ters in their respec­tive games, are Ratio 4. Ratio 3 fea­tures boss char­ac­ters such as M. Bison, Geese and Rugal. Ratio 2 is for the mid­dle-class fight­er like Ryu, Ken, Kyo Kusana­gi and Mai. In the low­est ratio are light­weights like Saku­ra, Ben­i­maru, Yuri and Dhal­sim. The Ratio Sys­tem allows mul­ti­ple com­bi­na­tions so long as the ratio equals four. Build­ing your team is cru­cial because of the pow­er bal­ance impli­ca­tions and their poten­tial matchups.
The in-depth fight­ing sys­tem is not with­out its flaws, how­ev­er. The place­ment of some char­ac­ters in the Ratio Sys­tem is ques­tion­able and their movesets being pressed between EX and reg­u­lar cat­e­go­riza­tion is arti­fi­cial lim­i­ta­tions imposed at best. This is fixed in the sequel but here it’s a prob­lem that slight­ly affects game­play adversely.
In addi­tion to the Ratio Sys­tem there is the Groove Sys­tem. A two-part func­tion, the Groove Sys­tem deter­mines how the char­ac­ters per­form cer­tain basic moves like rolling and dash­ing and how super moves work. Cap­com Groove plays a lot like Street Fight­er Alpha 3 with access to Lev­el 3 supers imme­di­ate­ly with enough super meter built up. SNK Groove plays sim­i­lar­ly to the Extra Mode in the King of Fight­ers series. Here, you only get access to Lev­el 3 supers when your life meter is flash­ing, though you can charge your meter man­u­al­ly to gain Lev­el 1 supers. There’s a lot of strat­e­gy involved in choos­ing the right Groove and apply­ing its prop­er­ties to your advan­tage, which is a nice change of pace.
Cap­com vs. SNK also gets its envi­ron­ment right. The game looks fan­tas­tic, with beau­ti­ful back­grounds of famil­iar loca­tions for both com­pa­nies. Of spe­cial note is the SNK graph­ic mode for Cap­com char­ac­ters. Shinkiro out­did him­self with the stun­ning and life­like art­work. I was­n’t super famil­iar with his work before­hand because I was­n’t an SNK enthu­si­ast. But, you can con­sid­er me a devo­tee as of this game because I fell in love with his art through his char­ac­ter portraits.
And, along­side the gor­geous envi­ron­ments is a won­der­ful­ly nos­tal­gic sound­track. Sure, there are some new tracks, but the meat and pota­toes are in the old­er remixed tracks. The sound mix­es well with the action, and there are quite a few bops to be had here. The sound­track is one worth adding to the collection.
Cap­com vs. SNK is a great start for the fran­chise. It’s built with vet­er­ans in mind, but even as a new­com­er you can find a char­ac­ter to learn and devel­op. Cap­com banked on the unini­ti­at­ed tak­ing the time to learn the back­ground of the char­ac­ters fea­tured, and the result is worth tak­ing a spin 22 years after its ini­tial release. No, the ques­tion of who’s the best was­n’t answered here, but it’s one worth explor­ing in a top-notch release for the Dream­cast fight­ing game library.

Strider — Issue 42

The ulti­mate nin­ja warrior

Strid­er Hiryu. Best known for his appear­ances in the Mar­vel vs. Cap­com series, he has been con­sid­ered a top-tier char­ac­ter by play­ers and is con­sis­tent­ly pop­u­lar. Strid­er also appeared in a stand­alone game in 2014 for var­i­ous con­soles at the time. How­ev­er, Strid­er was already estab­lished, start­ing in 1989 with his orig­i­nal arcade release that was port­ed to the NES and to the Gen­e­sis in 1990 via Sega. It was titled, yep, you guessed it, “Strid­er.”
In the year 1998, after a series of dis­as­ters fell upon Earth, peo­ple across the globe real­ized their sit­u­a­tion and began to work togeth­er to rebuild. Four years lat­er, in an East­ern Euro­pean nation called Kaza­fu sev­er­al red dots appeared as the advance guard of the evil space being Meio. They caused imme­di­ate destruc­tion of Kafazu, Europe, and North and South Amer­i­ca, result­ing in 80 per­cent of Earth­’s pop­u­la­tion being wiped out. How­ev­er, on a small South Seas Island called Mora­los, a secret orga­ni­za­tion known as “Strid­ers” began to move to stop Meio’s reign of ter­ror. They sent their best agent, Hiryu, for­ward with the task of stop­ping Meio and his plans for world domination. 
Con­trol of Hiryu is sim­ple, allow­ing him to attack in either direc­tion, duck when fight­ing, and climb to reach high­er areas. Hiryu also has use of his plas­ma sword, Fal­chion, to assist in remov­ing ene­mies from any direc­tion on the screen. I also found that Hiryu has two reli­able tech­niques that are game-chang­ers: a slid­ing move that gets him in tight areas, and a cart­wheel move that allows you to glide from sur­face to sur­face while in a spin­ning wheel, mak­ing Hiryu unpre­dictable when he lands. Hiryu also can per­form a ver­ti­cal jump, hang­ing and squat­ting attacks with Fal­chion. Hiryu will also get some mis­sion sup­port from three bat­tle robots: Dipo­dal Saucer, which fires light­ing bolts wher­ev­er Hiryu swings Fal­chion; RoboPan­ther, which cov­ers Hiryu from frontal attacks; and, Robot Hawk, which assists Hiryu by severe­ly attack­ing air­borne ene­mies. Apart from the usu­al powerups in hack-and-slash games, there’s also a powerup that increas­es Fal­chion’s power.
The music is accept­able for each stage, match­ing its theme with a few stand­out tracks for the levels. 
As much as I love Strid­er, there are a few flaws. The chal­lenge is on full dis­play from the moment you hit start. In the options screen, you can add up to five lives for Hiryu, but you must frus­trat­ing­ly hunt down extra lives and score points to acquire the rest. You also have an obnox­ious time lim­it for each stage; if you don’t clear a lev­el in time, you’ll lose a life. I also found it frus­trat­ing that Hiryu can gain up to five life bars, but if he has a sup­port part­ner, that can be tak­en away if he suf­fers too much dam­age. That makes his mis­sion much more dif­fi­cult unnec­es­sar­i­ly at times. 
Strid­er is per­fect for any­one who wants to act out their post-dystopi­an hero fan­tasies with­out fear of pos­si­ble legal ret­ri­bu­tion. It’s an endur­ing clas­sic that has tran­scend­ed the hack-and-slash genre and made a name for itself in the fight­ing game com­mu­ni­ty via the MvC series. If there was ever a time that I wish that Strid­er Hiryu was real and ready to kick a cer­tain vil­lain­ous coun­try’s ass, that time is now. Hail, Hiryu-sama.

Mega Man 9 — Issue 41

Blue Bomber relives glo­ry days in No. 9

Ah, Mega Man and Dr. Wily. Capcom’s con­tri­bu­tion to video game rival­ries have bat­tled through numer­ous episodes in the 8‑bit, 16-bit and first PlaySta­tion era. These infa­mous icons have tak­en their bat­tle of good vs. evil to anoth­er bat­tle­field: next-gen­er­a­tion con­soles. Like many fans of the Blue Bomber, I won­dered how Cap­com would present Mega Man and com­pa­ny to a new audi­ence while keep­ing ded­i­cat­ed fans like myself invest­ed in new adven­tures. Mega Man 9 hit the spot.

Mega Man 9 is exact­ly like pre­vi­ous Mega Man games of the 8‑bit era: Easy to play. Using the PS3’s d‑pad made me feel that I was play­ing on the NES with sim­pli­fied con­trols. When Mega Man defeats a Robot Mas­ter, he acquires that boss’ weapon which — along with his Mega Buster — make up the meat of his con­trols. I have only two issues with this fea­ture: You can­not use a charged Mega Buster blast like in Mega Man 4; and, you must acquire weapon pow­er-ups to keep the spe­cial weapons run­ning prop­er­ly. Mega Man does have help in his lat­est adven­ture with his help­ful canine, Rush, and allies Eddie, Beat and Roll, who sup­ply spe­cial gad­gets in exchange for screws via their shop between stages. Sav­ing all col­lect­ed screws when pur­chas­ing cer­tain items is a smart move. 

The graph­ics in Mega Man 9 are 8‑bit qual­i­ty and nos­tal­gic, which I com­mend Cap­com for doing. It looks like Mega Man of yes­ter­year, which is always a good thing. The music was also a win since it stayed with each stage’s design. 

I felt that as an old­er gamer, Mega Man 9 was not only sim­ple, but also fun. I didn’t have to wor­ry about time lim­its or oth­er friv­o­lous things that would induce rage quit­ting. Every­thing was Mega Man ori­ent­ed, just as it should be.

Mega Man 9 is a game for not only Mega Man fans, but also for those who want to expe­ri­ence 8‑bit gam­ing on a next gen­er­a­tion con­sole. Who­ev­er said that gam­ing clas­sics can’t keep atten­tion like new­er triple‑A titles obvi­ous­ly have not played a clas­sic series like Mega Man and cer­tain­ly haven’t run into Mega Man 9. 
Car­ry on, Blue Bomber. Car­ry on.

Street Fighter V — Issue 41

Don’t call it a come­back: SFV cleans up after launch

I’m going to be intense­ly per­son­al for a minute: My life by the time of my mid-30s was not fun. It was a time of change, reboots in near­ly every area (part­ner, career, school again), loss and learn­ing from the mis­takes of my 20s. I’m good now, but it wasn’t with­out strug­gle and pain.
And the old­est entry in the fight game can com­mis­er­ate with me because they know what that time is like. Street Fight­er V is sit­ting at the bar with me, drown­ing its sor­rows because it and the series, too, went through it in its mid-30s and like me is doing much bet­ter than one could expect after the struggle.
SFV didn’t start out as mag­i­cal as it has become. The launch was mired in prob­lems and things just weren’t where they should be. The game’s sto­ry mode didn’t launch along­side the actu­al game and the net­code was ter­ri­ble. But what a dif­fer­ence time makes. 

The sto­ry, while still not as engross­ing as past entries, has improved. It moves the SF world mythos along and makes sense if you know the series’ past. Tak­ing place between Ultra SFIV and SF3: 3rd Strike, Char­lie wakes up in a tomb and is guid­ed to steal an item from Guile, which would help him defeat M. Bison. Third Strike boss Gill dri­ves the plot over­all, tying up the loose ends between SFII and the endgame of 3rd Strike, which is the known end of the series sto­ry­line-wise. I love that Gill is tied into this as it always seemed like he was out of place as the end of SF lore. I nev­er ful­ly under­stood why he was the boss of that tril­o­gy of games except as some­thing new for Cap­com to try because every­one was sick of M. Bison by that point.

While I’m impressed with the sto­ry, I’m more impressed with the pre­sen­ta­tion. Much like its pre­de­ces­sors, SFV looks gor­geous. The back­grounds are beau­ti­ful as are most of the char­ac­ter designs. Even the menus look good. Some­times, when I start the game, I take a sec­ond just to mar­vel at the main menu and how the modes are pre­sent­ed. And let’s talk about the sound­track for a sec­ond. The music is all-around amaz­ing. Every time I get in-game, I dis­cov­er anoth­er track that I feel like I haven’t pre­vi­ous­ly heard, and I fall in love all over again. It’s so good that it’s worth track­ing down and adding to your music collection.

While I love the game, there is a big sec­tion I don’t care for: the play style. I’m an Alpha purist, specif­i­cal­ly SF Alpha 3. That’s my Street Fight­er style and has been for years. How­ev­er, SFV plays kind of stiff — a lot like SFIV — and that’s hard for me to grasp. It’s playable, obvi­ous­ly, but it’s not my style of Street Fight­er play. And that’s OK. It real­ly doesn’t detract from the game’s abil­i­ty to shine or be Street Fight­er, but it’s not my per­son­al pref­er­ence to play. It is a lot of fun to watch being played pro­fes­sion­al­ly, though.

Street Fight­er V has come a long way as the most cur­rent entry in the series. Game ele­ments have got­ten a lot of pol­ish, whether it’s fix­ing the net­code or expand­ing the ros­ter with old favorites and skins allud­ing to long-dor­mant char­ac­ters. It’s now the flag­ship game it should have been, and it’s still rul­ing the fight game roost while every­one waits for the announced Street Fight­er 6. 

Some­times, with the strug­gle comes the rewards and SFV has more than earned its life fight money.

The Punisher — Issue 40

The Pun­ish­er makes good in dig­i­tal crime cleanup

Before Mar­vel vs. Cap­com became a rel­e­vant name to gamers, the com­pa­nies col­lab­o­rat­ed on oth­er games. Those games became essen­tial clas­sics to devel­op gamers who spe­cial­ized in sin­gle-com­bat titles. In 1994, Cap­com and Mar­vel brought a Final Fight-style game to the Gen­e­sis that starred comics’ most infa­mous anti-hero: Frank Cas­tle aka The Punisher.
The game fol­lows the sto­ry­line of the clas­sic Mar­vel comics series. Frank Cas­tle, a dec­o­rat­ed vet­er­an Marine, was enjoy­ing a day in the park with his fam­i­ly when they unwit­ting­ly became wit­ness­es to a mob shoot­ing. As a result, Cas­tle and his fam­i­ly were mas­sa­cred, him being the only sur­vivor. Cas­tle became deter­mined to get pay­back by any means nec­es­sary. With fel­low war­rior Nick Fury (of S.H.I.E.L.D.), Cas­tle begins his war on crime against mob boss Wil­son Fisk aka King­pin, who caused the death of his fam­i­ly and many oth­er innocents. 
The game plays sim­i­lar­ly to “Final Fight” and “Cap­tain Com­man­do.” You can choose to play as either Cas­tle or Fury and can team up in mul­ti­play­er. You start off with the basics, pro­gress­ing to com­bos and var­i­ous weapons such as hand­guns, auto­mat­ic rifles and katanas. There was lib­er­al food and oth­er pow­er-ups such as cash, gold bars and dia­monds that increased my score and restored health since the amount of ene­mies com­ing at me was nonstop. 
The graph­ics were pleas­ant enough, although they attempt­ed to copy arcade cab­i­net-qual­i­ty with lit­tle suc­cess. I will give Cap­com cred­it for mak­ing the graph­ics comic­book-like. it was like read­ing an actu­al issue of the comics includ­ing cap­tions “BLAM!” “KRAK” and BOOM!” instead of play­ing a rushed paint job of a pop­u­lar com­ic series video game. The music of each stage was also decent as Capcom’s sound team deliv­ered, keep­ing things close to what the Pun­ish­er feels like. 
With the work Cap­com put in, the atten­tion to detail made me want to pick it up to play as a return­ing com­ic book fan who knew about Cas­tle and Fury but want­ed to learn more about the King­pin and oth­er Mar­vel vil­lains such as Bush­whack­er and Bonebreaker. 
The Pun­ish­er is the first suc­cess­ful par­ing of Capcom’s know-how with Marvel’s leg­endary vig­i­lante who wastes no time dis­pens­ing his brand of jus­tice on crim­i­nals. Play­ing through this isn’t exact­ly punishment.

Marvel vs. Capcom Infinite — Issue 38

Mar­vel vs. Cap­com now infi­nite­ly frus­trat­ing series

The Mar­vel fight­ing game scene is well known by now and well worn. Pret­ty much, any­one who’s any­one in the Mar­vel com­ic uni­verse and movies has been in a Mar­vel Ver­sus game. This is noth­ing new by now. You’ve seen these peo­ple before and, if you’re a Cap­com fan, you have seen their side of the ros­ter in oth­er games before you got here. So, what exact­ly are you get­ting out of play­ing the lat­est iter­a­tion in the long-run­ning Mar­vel Ver­sus Cap­com series? Not much, but Cap­com already knew that. They just hoped you wouldn’t notice.

If you’re invest­ed in the Mar­vel Cin­e­mat­ic Uni­verse but don’t know any­thing about the comics, MvC: Infi­nite serves as a start­ing point for under­stand­ing the comics side of things in prepa­ra­tion for Avengers Endgame. Oh, yeah, there’s some Cap­com sto­ry set up, too, as an after­thought. Real­ly, this is sev­er­al sto­ries mashed togeth­er: From Mar­vel, you get the Infin­i­ty Saga and Age of Ultron sto­ry; from Cap­com comes Sig­ma and Mega Man X’s sto­ry and some of Vam­pire Savior/Darkstalker’s 3 arc deal­ing with Jedah Dohma. The sto­ry kind of makes sense in a mashed-up way. It’s not half bad, giv­en that the pre­vi­ous efforts of Mar­vel vs. Cap­com 3 to give a cin­e­mat­ic team up was decent and miles ahead of any oth­er title in the series to date. Most­ly, the Mar­vel Ver­sus series has fol­lowed an estab­lished com­ic book arc — Mar­vel vs. Street Fight­er was most­ly Apoc­a­lypse and the first Mar­vel vs. Cap­com focused on Onslaught — and this is no dif­fer­ent. Where it fal­ters is oversimplification.

The Infin­i­ty Saga is nev­er tru­ly fin­ished in the comics because Mar­vel con­stant­ly returns to it over the years to explain a lot of things. Also, think­ing crit­i­cal­ly about what this is real­ly based on, the sto­ry of the Infin­i­ty Saga real­ly took about 18 of the 22 MCU movies to tell its sto­ry. You can­not tell this sto­ry in two games — Mar­vel Super Heroes being the first to tell this arc. Infi­nite tries to and winds up half accom­plish­ing it with some weird, forced Cap­com sto­ry side fool­ish­ness thrown in for good mea­sure, because hey, Cap­com is also in the name.

You get the sense that if Capcom’s angle of things was removed, this would be just fine, and Infi­nite would be OK with­out it. That does not help Cap­com at all here. Imme­di­ate­ly, it destroys the need for a new team-up game and ren­ders Capcom’s side of the ros­ter unnec­es­sary. I do not feel Ryu or Chun Li are use­ful in any of the sit­u­a­tions pre­sent­ed in the sto­ry mode.

The ros­ter is actu­al­ly not bad, but with the few new addi­tions locked behind a DLC pay­wall, you’re kind of left to won­der would Infi­nite be just a tad bit bet­ter if the more note­wor­thy char­ac­ters were avail­able from the start. The base group is basi­cal­ly a retread ros­ter from MvC3, and the new addi­tions should have been in the series; the fact that we’re just now get­ting Black Wid­ow, Black Pan­ther, Jedah and the Win­ter Sol­dier is a crime that only Cap­com seems to like committing.

In addi­tion to the gener­ic over­sim­pli­fi­ca­tion of the sto­ry, the pre­sen­ta­tion is just as gener­ic and bland. The Mar­vel Ver­sus series has always had strong pre­sen­ta­tion, and to be frank, this ain’t it, as the kids say these days. The back­grounds are good, but some of the char­ac­ter designs have an oof lev­el the size of Ultron Sigma’s final form. They are, quite frankly, ter­ri­ble a lot of the time. There seems to be an attempt at real­ism but not, at the same time, because some of the Mar­vel char­ac­ters look like their MCU coun­ter­parts, but then when you look clos­er, there’s a detail that keeps them from look­ing exact­ly like the actor or actress that plays the character.

For exam­ple, look at Cap­tain Amer­i­ca and Cap­tain Mar­vel. Cap­tain Amer­i­ca, from far away, looks exact­ly like MCU Win­ter Sol­dier-era Cap­tain Amer­i­ca as por­trayed by real-world Cap­tain Amer­i­ca stal­wart Chris Evans. Up close, how­ev­er, Cap looks just enough dif­fer­ent for you to real­ize that Evans prob­a­bly didn’t con­sent to his like­ness for the game. Same for Cap­tain Mar­vel and actress Brie Lar­son. It’s a small but notice­able quib­ble I have here. And, some of these Cap­com char­ac­ters look atro­cious. Ryu’s face on the title screen is hor­rif­ic. The sprites look ter­ri­ble here but in game, he looks fine. It’s a shame because every oth­er game in the series has been OK in terms of the graph­ics. Sure, they weren’t award-win­ning, but they reflect­ed the series’ growth. Infi­nite looks like it took about 10 steps back in a lot of respects.

The music is just as bland. Each iter­a­tion of the Ver­sus series has had some bangers on the sound­track — even the much-maligned Mar­vel vs. Cap­com 2’s sound­track was mem­o­rable if not catchy. Here, there is absolute­ly noth­ing note­wor­thy. It’s the first Ver­sus game where I don’t have some­thing from the sound­track saved, which is not good at all. As I played through the sto­ry mode, I kept wait­ing for some­thing to jump out at me, and I got noth­ing. I was not impressed.

The con­trols didn’t impress, either. There has been a not­ed trend, since MvC3 was released, to sim­pli­fy the game sys­tem for the Ver­sus games to make them more accessible.

While I’m always a fan of draw­ing in the casu­al fan for these types of games, I’m not a fan of ruin­ing a good thing. MvC2 was still acces­si­ble to even the most casu­al fight­ing game play­er, and this is even worse than the ton­ing down of the con­trols between MvC2 and MvC3. There is no depth to the com­bo sys­tem now, and that doesn’t help Infi­nite in any way.

I’m under­whelmed when it comes to Mar­vel vs. Cap­com Infi­nite. Noth­ing plays in its favor, noth­ing makes any sense, and the team-up crossover event is show­ing its age in every facet of the game. There’s noth­ing new here to make me say wow or push me to play as I did the oth­er games in the series. If Cap­com were to lose the Mar­vel license again, it wouldn’t be a shock­er or unwarranted.

 It’s time to admit that the series is not an infi­nite source of amuse­ment. Unfor­tu­nate­ly, at this point, it’s mere­ly a finite source of fight­ing game goodness.

Final Fight 2 — Issue 38

Cap­com brawler takes fight worldwide

As a child of the ear­ly ’90s, Final Fight not only increased my addic­tion to arcade games, but also intro­duced me fur­ther to Capcom’s sky­rock­et­ing rise as a game devel­op­er. I dived into Final Fight 2 to relive my arcade glo­ry days.

In Final Fight 2, time has passed since Mike Hag­gar, Cody Tra­vers and Cody’s friend Guy defeat­ed the Mad Gear gang, restored peace to the streets of Metro City and res­cued Haggar’s daugh­ter Jes­si­ca from the Mad Gear’s leader, Bel­ger. That peace is short-lived when the rem­nants of Mad Gear return under a new leader and kid­nap Guy’s fiancée, Rena, and Guy’s sen­sei, Genryusai.

With Cody away on a trip with Jes­si­ca and Guy away on secret train­ing, Hag­gar is joined by Rena’s sis­ter, Maki, and Haggar’s friend Car­los Miyamo­to on a world­wide quest to crush the Mad Gear and res­cue Rena and Gen­ryu­sai. FF2 has a lot going for it; it’s a direct sequel nev­er released in arcades with a lot of new mate­r­i­al despite no new gen­er­al mechanics.

FF2 has an expand­ed bat­tle­field with Hag­gar, Maki and Car­los start­ing their jour­ney in Hong Kong and end­ing that jour­ney in Japan. The main pro­tag­o­nists make their way through sev­er­al locales in Europe in their search for Rena, all the while sur­round­ed by improved graph­ics over the first game. The back­grounds are high qual­i­ty, and the sprites are well-drawn and crisp for each char­ac­ter with a lot of atten­tion to detail.

The atten­tion to detail also shows up in the con­trols. Over­all, con­trol is sim­ple even though each char­ac­ter has a unique fight­ing style. Hag­gar still has his pro wrestling moves, Maki makes use of Nin­jit­su and Car­los prac­tices mar­tial arts and sword skills. Though they are gener­ic in exe­cu­tion, it’s fun to see how each char­ac­ter oper­ates dur­ing the fight.

Pow­er-ups are still obtained via smash­ing var­i­ous objects and range from steamed Chi­nese buns to a pair of shoes that can increase health or score points. Find­ing either a Gen­ryu­sai or Guy doll will give an extra life or invin­ci­bil­i­ty. As for the music, it is arcade per­fect just like its pre­de­ces­sor. It’s a nice sound­track of ear­ly Cap­com brawler, and it fits the action per­fect­ly in each of the game’s locations.

As much as I enjoyed FF2, the game does have some flaws. While each char­ac­ter has their own awe­some spe­cial moves, using them does cost health. That’s annoy­ing when you’re try­ing to use more pow­er­ful moves to defeat boss­es and try­ing not to die at the same time. Also, dur­ing the timed bonus stages, con­trol is hit or miss when strik­ing objects; if it’s not done per­fect­ly, you lose the bonus points. I also got frus­trat­ed when I couldn’t take the weapons I found into oth­er areas. That cheap­ens the use of the weapon and makes it use­less short­ly after pick­ing it up. And, the chal­lenge lev­el is ridicu­lous. I need­ed a cheat code just to get to the real end­ing in expert mode. It’s too easy to die and tak­ing hits from off-screen ene­mies is terrible.

Final Fight 2 placed the series in the ranks of Capcom’s top-tier fran­chis­es. While it hasn’t seen the lev­el of push of say, Street Fight­er or Res­i­dent Evil, the beat-’em-up is fond­ly remem­bered as one of Capcom’s crown­ing achievements.

Chip ‘N Dale Rescue Rangers 2 — Issue 38

Fur­ry duo return in sol­id fun

In a pre­vi­ous issue, I reviewed Disney’s Chip ’n Dale Res­cue Rangers for the NES. I reviewed the game as a nod to the times of the late ’80s and ear­ly ’90s where you knew the ins and outs of your favorite shows, includ­ing the open­ing and end­ing theme songs. With the arrival of Dis­ney+ and Capcom’s re-release of Dis­ney After­noon-themed games for cur­rent con­soles, I heard that Disney’s dynam­ic duo had anoth­er game for the NES. I reviewed Chip ’n Dale Res­cue Rangers 2 to see if it would jump start my care­free kid memories.

Res­cue Rangers 2 starts off with our fur­ry heroes and their com­rades enjoy­ing a well-deserved rest after stop­ping their noto­ri­ous arch neme­sis, Fat Cat, in the first game. How­ev­er, like most great vil­lains, Fat Cat was able to mas­ter­mind his escape from prison and acquire the leg­endary Urn of the Pharaoh to re-launch his fiendish plans. With Fat Cat on the loose and hav­ing evil spir­its at his dis­pos­al, the Res­cue Rangers are the only ones stand­ing between Fat Cat and world peace.

Res­cue Rangers 2’s game­play is exact­ly like the orig­i­nal; you can choose either Chip or Dale to bat­tle through sev­er­al lev­els to do bat­tle against Fat Cat’s legions of hench­men who are deter­mined to stop our heroes from sav­ing the day. Chip and Dale can jump, duck and used pint-sized box­es to throw either hor­i­zon­tal­ly or ver­ti­cal­ly to defeat ene­mies. These box­es have var­i­ous pow­er-ups, such as acorns, to replen­ish health, extra lives or Res­cue Rangers plaques that can earn Ranger icons. These icons will give the char­ac­ter of your choice an extra heart.

The con­trols also remain the same from the first game. Res­cue Rangers vet­er­ans will be famil­iar with the con­trol lay­out, but new­com­ers will go through trial 
and error until they are comfortable.

All the lev­els and back­grounds were done with great care, mak­ing me believe that I was play­ing an actu­al episode of Res­cue Rangers. I com­mend Cap­com for let­ting Dis­ney ani­ma­tors work their mag­ic on heroes and boss char­ac­ters, ensur­ing that the boss­es pro­vid­ed a chal­lenge with­out los­ing Dis­ney elements.

As much as I enjoyed Res­cue Rangers 2, it’s not with­out some flaws. I stat­ed ear­li­er that con­trol­ling either Chip or Dale would take prac­tice; that is impor­tant since dur­ing stages, you can­not go back to a low­er lev­el to pick up items with­out los­ing a life. That makes things unnec­es­sar­i­ly tough. Also, the Res­cue Rangers’ roles were dras­ti­cal­ly from the first game. The first game incor­po­rat­ed Mon­terey Jack, Gad­get and Zip­per into find­ing hid­den paths, scout­ing for ene­mies, and back­up and reach sup­port; they’re now reduced to back­ground scenery with lit­tle screen time.

Audio-wise, the music sounds dialed-in like the music from “1945,” show­ing that Capcom’s devel­op­ment starts strong but becomes weak in cer­tain areas. Final­ly, the chal­lenge lev­el is high, but I advise play­ers to have spe­cial cheat codes enabled if they want to fin­ish this game. You shouldn’t have to use them, but they are a must here.

Chip ’n Dale Res­cue Rangers 2 has deliv­ered, keep­ing intact all the ele­ments that made it a Dis­ney favorite but, unfor­tu­nate­ly, keeps some of Capcom’s bad habits as well. The Dis­ney After­noon lives on in this small but sol­id sequel.

Devil May Cry 5 — 4Q2020 issue

Fifth time’s a charm: DMC 5 hunts down payoff

Dev­il may cry.” To some, it sounds like the lat­est quote from one of Hollywood’s biggest action stars. To me, it’s one of Capcom’s biggest fran­chis­es that does not involve “Street Fight­er” and “Res­i­dent Evil” that is a labor of love to play. Nero and Dante are back along with some new faces to raise more demon­ic hell across next gen gam­ing con­soles with the hack and slash style of gam­ing that put it on the map. I wait­ed five years to play the fifth install­ment of this series and the kick-ass pro­mo­tion­al song “Dev­il Trig­ger” helped move that wait right along. In April 2019, me and EIC Lyn­d­sey were on a spur-of-the-moment gam­ing shop­ping spree and not only did we pick up a PlaySta­tion 4 Pro, but also we picked up a boun­ty of games includ­ing DMC5. Could it sur­pass pre­vi­ous suc­cess­es that defined the series?

In DMC5, years after the events in DMC4, Nero has got­ten Dante’s bless­ing to jump in the demon-hunt­ing busi­ness but one May night, Nero is accost­ed by a famil­iar foe who has not only tak­en the demon sword Yam­a­to, but also Nero’s demon­ic arm. Vow­ing vengeance, Nero pur­sues the foe to Red­wood City where he is intro­duced to a new evil known as Urizen. He, Dante and fel­low demon hunters Trish and Lady are swat­ted instant­ly by Urizen. Now hav­ing a HUGE chip on his shoul­der, Nero returns with a new arm and part­ner in crime, Nico, and sets out on his sec­ond adven­ture filled with old and new allies and ene­mies while mak­ing his name as a mas­ter demon hunter to sur­pass his infa­mous uncle.

Game­play in DMC5 fol­lows the same high-speed action for­mu­la found in pre­vi­ous games in the series. Con­trol­ling Nero, Dante and the newest char­ac­ter V is per­fect. Nero still has his trusty sword Red Queen and revolver Blue Rose, but instead of his Dev­il Bringer he uses a pros­thet­ic arm called a Dev­il Break­er, which was devel­oped by Nico. It has extra punch than the Dev­il Bringer and can be upgrad­ed after bat­tles with var­i­ous bosses.

Dante has his dual pis­tols Ebony and Ivory as well as his usu­al swords Rebel­lion and Spar­ta, but also has five addi­tions: Cav­i­lare (a motor­cy­cle that when sep­a­rat­ed, becomes a buz­z­saw-like weapon); Bal­rog (yes, THAT Bal­rog), gauntlets and boots that increas­es Dante’s melee pow­er ten­fold; KalinaAnn2, a mod­i­fied ver­sion of the Kali­naAnn used in DMC3; and, Dr. Faust, a hat that shoots out red orbs when worn.

V has some tricks up his sleeve with his famil­iars Grif­fon, a demon hawk capa­ble of fir­ing light­ning bolts and pro­jec­tiles; Shad­ow, a pan­ther-like famil­iar that is melee com­bat ori­ent­ed, using its body to form blade and nee­dle weapons; and, final­ly Night­mare, a golem-famil­iar that moves slow­ly, but packs a MAJOR punch against giant ene­mies. I should also note that Night­mare can change his height to titan-lev­el and use a huge laser beam to destroy ene­my boss­es, which allows V to use his Roy­al Fork cane and its copies to land the fin­ish blow.

Anoth­er fea­ture I liked in DMC5 was the train­ing ses­sion that allows you to learn and prac­tice avail­able skills before pur­chas­ing them, allow­ing you to decide whether to buy or hold off.

The RE5 engine brings every detail to life, com­ple­ment­ing Dol­by Atmos sound’s abil­i­ties, which made me think I was play­ing a 3D movie instead of a video game. The voice cast is a mix of well-known and new voice actors led by Reuben Lang­don, John­ny Yong Bosch and Daniel South­worth repris­ing their roles as Dante, Nero and Vergil, respec­tive­ly. Stephanie Sheh returns as Kyrie but in voice form only. I also give kudos to Bri­an Han­ford for voic­ing V and Faye Kingslee as Nico. Brad Ven­able as Grif­fon stole the show, and Kate Hig­gins (Bleach, Code Geass) and Wendee Lee were excel­lent as Lady and Trish.

The only neg­a­tive thing I have about the game is the cam­era con­trol. It has improved GREATLY, but it still takes some time to mas­ter­ful­ly plan a character’s next move. The pow­er-up sit­u­a­tion that occurred in DMC4 was fixed, but you still need to con­serve your red orbs, espe­cial­ly if you use Dr. Faust.

DMC5 is wor­thy of replay because of its excel­lent blend of action, dra­ma and envi­ron­ment. Cap­com is doing this series right again and while I don’t agree that milk­ing a fran­chise is the best busi­ness deci­sion, DMC fans can begin to for­give Cap­com for its lack of judge­ment for DMC: Dev­il May Cry. Let the heal­ing begin.

Fun facts

  • Reuben Lang­don, John­ny Yong Bosch and Daniel South­worth have a con­nec­tion to the Pow­er Rangers fran­chise. Bosch was the sec­ond Black Ranger in Mighty Mor­phin’ Pow­er Rangers and the Green Ranger in Pow­er Rangers ZEO and Pow­er Rangers Tur­bo, while Lang­don did stunt work and South­worth played the Quan­tum Ranger in Pow­er Rangers: Time Force. All have pro­vid­ed voice and motion cap­ture work for the DMC series.
  • South­worth and Wendee Lee had dual roles as Urizen and Eva, Dante’s and Vergil’s mother.
  • If Red­wood City looks like Lon­don, you are cor­rect. Cap­com sent the DMC5 devel­op­ment team to Lon­don — specif­i­cal­ly Mid­hurst in West Sus­sex, Rochester, Kent, Can­ter­bury and Leeds Cas­tle in Kent — for inspi­ra­tion in design­ing loca­tions in the game. Var­i­ous mod­els and clothes were acquired and scanned in Lon­don and Serbia.
  • In addi­tion to the RE5 engine, Cap­com used Microsoft’s Sim­ply­gon graph­ic soft­ware to assist with graph­ics and the inter­mis­sion graphics.
  • The most notable song of the game, “Dev­il Trig­ger,” by Casey and Ali Edwards, has had more than 2.8 mil­lion views on Cap­com Japan’s YouTube chan­nel. Ali Edwards was also the lyri­cist and vocal­ist for the game’s end­ing theme “Lega­cy,” with com­po­si­tion by Kota Suzuki.

Super Street Fighter II4Q2020 issue

Super fight­ing fun again

Though I play a lot of fight­ing game series, I keep com­ing back to Street Fight­er. I don’t know if it’s out of habit or because I’m com­fort­able with the series’ sys­tems, but I find myself inti­mate­ly famil­iar with the Cap­com cre­ation. It start­ed with Street Fight­er II for SNES, not the arcade. As the series moved along incre­men­tal­ly, so did I and I dis­cov­ered the upgrade. The home port of Super Street Fight­er II for SNES was one of the best and that acco­lade still stands after near­ly 30 years.

Though Cap­com still hadn’t learned to count to three and Super Street Fight­er II reeks of milk­ing the fran­chise for all it was worth, it’s tech­ni­cal­ly a good port. This is the best ver­sion of the arcade expe­ri­ence before Super Tur­bo, and the SNES, despite its prob­lems with cen­sor­ship, is the best ver­sion you’re going to get. Super is where you’re intro­duced to the four new chal­lengers, who add some inter­est­ing ele­ments. Each of their fight­ing styles are already rep­re­sent­ed in the game with oth­er stal­warts, but they’re fun to play, nevertheless.

The music has hit its peak here, too. It’s the same as the orig­i­nal Street Fight­er II and Hyper Fight­ing, but it’s Street Fight­er at peak Street Fight­er. That also applies to the con­trols. It’s the Street Fight­er that you know and love but cleaned up just a tad.

My main gripe with the game is the fact that it’s not Street Fight­er III, which it would have been if not for the insis­tence of Cap­com not count­ing ahead. Cap­com knew it had a win­ner on its hands but repeat­ed­ly milked the fran­chise until there was noth­ing else to wring from it. Super would absolute­ly have been great if not for the fact that Super Tur­bo came a year lat­er and there had already been two oth­er incre­men­tal iter­a­tions of the game pre­vi­ous­ly. That cheap­ens Super to a degree all around. How­ev­er, giv­en that Super Tur­bo did not come home from the arcades for the SNES, Super gets a boost in nos­tal­gic factor.

What you need to take away from SSFII is the refine­ment of the Street Fight­er II expe­ri­ence, and this is where it shines. Every­thing about Street Fight­er II was at peak con­di­tion and refined to a tee with this iter­a­tion. Yes, this is pre-Tur­bo super moves and spe­cials but in a way that makes it the last true unspoiled Street Fight­er II expe­ri­ence. It was so good that lat­er Street Fight­er games attempt to repli­cate this ver­sion with modes that play like Super with no super moves and most, if not all, of its mechan­ics. That’s how you know it’s a defin­ing moment in a series’ lifes­pan. It’s a super fight­ing game for a super sys­tem that still holds up.