Showing posts with label Genesis. Show all posts
Showing posts with label Genesis. Show all posts

Friday, October 23, 2015

Jimbo Goes to the Movies: “Goosebumps” (2015) Review

Not only is it a loving, faithful homage to the beloved R.L. Stine series, it’s also the closest we’ll probably ever get to a live-action Zombies Ate My Neighbors movie.



By: Jimbo X
JimboXAmerican@gmail.com
@Jimbo__X

I never read any of the Goosebumps books when I was a kid. Sure, I may have skimmed a few chapters here and there, but frankly, as a grade schooler already weaned on Michael Myers movies, there just wasn’t much there for me to get too excited about. 

I have fonder recollections, however, of the old Fox Kids television series. It’s inherent campiness made it a much more entertaining offering than Are You Afraid of the Dark?, and the cornball acting (complemented by a near microscopic budget) made each episode feel like something of a G-Rated Full Moon production

Goosebumps, the slightly higher polished 2015 big-screen redo, is both a heartfelt homage and semi-caustic deconstruction of the Stein cash cow (which, frankly, hasn’t been relevant since prior to the advent of Viagra.) Instead of taking the Creepshow/Tales From The Crypt anthology approach, the movie more or less tosses in every single Goosebumps offering into a blender, hits puree, and gives the liquefied mess to the world’s most rambunctious fifth-grader … who just so happens to be coked out of his gills on Monster and Ritalin. As the analogy would lead you to believe, rest assured, this movie is indeed all over the damn place. 

Alas, that pell-mell mentality actually works in the movie’s favor, giving today’s Avengers-addled adolescents probably the closest thing they’re likely to experience to a modern day Gremlins. It’s a film that takes the Birdman-ian “apocalypse porn” template and transplants it to a smaller, almost rustic scale; in that, its quaint and cozy “end-of-the-world” thematic makes it feel almost like a Them! or The Blob for the iPad Generation. It’s good old fashioned, B-monster movie cheese through and through, proudly imitating the kind of joyous, post-Atomic Age horror hokum that really hasn’t been en vogue since the Civil Rights era. 

The film begins, as do virtually all tween-targeted offerings these days, with our heroic, hunky young stud muffin moving (ever so reluctantly, of course) into a new town with his freshly widowed mama. Right off the bat, he catches the eye of the sneaky Manic Pixie Girl next door, whose super overprotective father  (Jack Black, doing his best snooty, Orson Welles impersonation) doesn’t want her going anywhere near him. We’re introduced to the supporting cast -- probably the most important are the main character’s man-hungry, Bedazzler-obsessed aunt and an annoying, Duckie-like best bud named Champ --and we’re immediately thrust into a subplot that indelicately touches upon the topic of child abuse (complete with an honest-to-goodness paedo joke from an inexperienced female cop.) Eventually, our protagonist and his dorky new pal decide to just up and break and enter into their next door neighbor’s house, where it is soon revealed that -- in addition to keeping bear traps all over the place -- he also seems to possess every single Goosebumps manuscript ever written (it takes an agonizingly long time, however, before the dimwitted duo comes to the realization that Jack Black actually is R.L. Stine.) The manuscripts, however, are padlocked, and for good reason, since each and every rough draft actually contains the spirit of some foul demon, ghoul, phantom or overgrown supernatural beast. This being a lite-horror romp, you can take a wild guess what happens next, and it ain’t long before the Abominable Snowman of Pasadena is eating vending machines whole at hockey rinks and virtually unkillable, homicidal lawn gnomes are trying to bake people alive in gas ovens (an oblique nod to the classic made-for-TV offering Trilogy of Terror, I take it?)

Things get really hairy once Slappy -- a pun-loving, sentient ventriloquist’s dummy with an inflection that sounds an awful lot like a certain Tenacious D frontman -- breaks free from his folio prison and goes on a cross-town book-burning spree, unleashing hordes of ghastly (but still suitably PG) creatures on the poor, unassuming denizens of exurban Delaware. With all of the reasonable, responsible adults all zapped into a quasi-cryogenic state by freeze gun-toting Martians, it’s up to our trio of dauntless teens and the miserly young adult author to save the local high school from an armada of giant grasshoppers, killer clowns (who may or may not be from outer space) and of course, a torrent of grisly, gruesome and presumably greasy Monster Blood (think, an evil behemoth Jell-O mold.) 

The all-out monster jamboree certainly merits a comparison or two to The Monster Squad, the cult-classic Fred Dekker flick from the 1980s which saw a gaggle of moppets doing battle with a couple of palette swaps of the old Universal Studios horror mascots. It wasn’t until halfway through the film, however -- I believe it was the sequence in which our heroic quartet battled a gym-shorts-bedecked werewolf in an empty grocery store -- that the film’s true inspirational source presented itself. This film may be called Goosebumps, but at heart, it’s essentially a stealth adaptation of the classic SNES and Genesis video game Zombies Ate My Neighbors -- right down to the utilization of soda pop and unorthodox silverware as anti-Lycanthrope weaponry

Of course, all of the ghouls and carnivorous plants and gigantic mosquitoes in the world don’t add up to a hill of beans if the characters being chased around and all over aren’t interesting, and thankfully, Goosebumps provides some fairly intriguing -- if not appropriately one-dimensional -- fodder for the hell beasts. Clearly, this is Jack Black’s movie, through and through, as he absolutely owns his performance as an exaggerated, excessively dour R.L. Stine (apparently a good sport about the self-deprecating depiction, the real Stine has a split-second cameo at the tail end of the movie.) Black’s catty back and forth banter with his daughter’s suitor provide the film with its most entertaining exchanges -- particularly, the bit where Stine is “mocked” as a Stephen King wannabe (to which Black fires back that he’s actually sold 50 million more books, which, much to my exasperated surprise, is indeed God's honest truth.) 

Of course, not everything the film throws at us is necessarily well-executed. There’s an out-of-left-field supernatural twist involving Stine’s daughter revealed halfway through the film, which itself leads to a groan-inducing copout in the movie’s dénouement. Furthermore, the slam-bang conclusion -- a climactic Monsterpalooza throwdown held in an abandoned carnival oh so conveniently located in the middle of the forest -- feels a bit too clichéd and forced, even for a movie that more or less succeeds at lovingly ridiculing the source material. 

Alas, for every misstep the movie takes, it lands at least two or three almost perfectly. In addition to the copious creepy crawlies and Black’s inspired performance, there are also hilarious odes a plenty to other horror properties (a nod to The Shining generated perhaps my cinema’s loudest laughs) and the movie’s final “twist” is satisfyingly subtle and surprising. 

Alongside M. Night Shyamalan’s The Visit -- yet another superlative non-hard-R genre offering from earlier this fall -- Goosebumps represents something of a mini-resurgence in semi-family-friendly horror. Unlike Scream or Cabin in the Woods, it is a reverential mockery of the genre, as opposed to being smarmily, fashionably ironic and irreverent. It’s just a fun, unpretentious homage to not only the 1990s multimedia brand, but really, the old-school, watch-it-with-your-parents hybrid fantasy flicks of the ‘80s, a’la Explorers and The Goonies

Simply put? In a pop-cultural landscape glutted with insincere nostalgia, it’s nearly impossible to enjoy something this paradisiacally unpretentious. 

My Score:




Three Tofu Dogs out of Four.

Monday, September 7, 2015

Five Horrendous Horror Games on the Sega Genesis!

Looking for a few unsung 16-bit horror games to get your Halloween season rolling early? Well, here a few hidden (and horrific) gems for Sega’s beloved console


By: Jimbo X
JimboXAmerican@gmail.com
@Jimbo__X

When it came to horror games, the Sega Genesis absolutely pummeled the SNES. The “Splatterhouse” trilogy, a console-exclusive “Castlevania” that was even better than the hallowed “Super Castlevania IV,” and of course, quite possibly the finest “Ghosts ‘N Goblins” game ever all called the Genny home. Throw in semi-genre related titles like “Altered Beast, “Alisia Dragon” and “Mystic Defender,” and you had quite possibly the greatest console library ever for horror enthusiasts.

With so many high-quality games featuring ghoulish monsters, supernatural themes and buckets of pixelated gore, of course, a couple of unheralded gems were bound to fall through the cracks. Today, I’d like to draw your attention to five above-average to freakin’ great horror offerings on Sega’s venerable 16-bit unit that -- bloody tears a plenty -- you may have never experienced back in the day.

Consider this a two-for-one special: not only do you get a nostalgic taste of overlooked retro gaming goodness, you also get a glimpse at five titles positively perfect for getting you in the mood for some All Hallow’s Eve hokum. So plug in your lima-bean controller pads, shut off the lights and spark up a pumpkin spice scented candle -- it’s time to get Clinton Era freaky, folks.

Dragon’s Fury (1992)
Developer: Technosoft
Publisher: Tengen


Yeah, this is basically nothing more than an upgraded version of “Devil Crush” on the TG-16 -- but at the same time, it’s an upgraded version of “Devil Crush” on the TG-16, ya’ll!

You really wouldn’t expect video pinball and horror to gel so well, but “Dragon’s Fury” proves otherwise. This Tengen release fuses the tried-and-true mechanics of traditional pinball with an almost “Gauntlet”-like emphasis on top-down, kill-em-all action, as wave after wave of supernatural armies march their way across the playing field and do their damnedest to block your shots and send your silver ball down the drain. Add to that a never-ending stream of projectiles and some pretty gnarly mid-boss enemies (who conveniently double as bumpers) and you have one of the more intense 16-bit video pinball games you’ll ever play.

Each playing field has three levels, plus six (count ‘em six!) bonus stages, which are basically mini-games in which you use your flippers and rudimentary knowledge of physics to survive some nasty boss fights. Presentation-wise, this game is just phenomenal, with vibrant visuals (which owe more than a nod or two to the work of H.R. Giger) and some really awesome chip tune music. Of course, the big draw here are the controls and gameplay, and “Dragon’s Fury” does not disappoint in either category. Sure, it’s structurally simplistic, but nonetheless addictive - try firing this baby up late one evening, and don’t be surprised if you don’t burn a couple of hours on the gripping (and ultra-atmospheric) experience.

Haunting Starring Polterguy (1993)
Developer: Electronic Arts
Publisher: Electronic Arts


Once upon a time, not only did EA create NON-sports or racing games, they even went as far as creating their own mascot characters, complete with their own corresponding, original titles. While most of those were rather forgettable (anybody remember James Pond?), “Haunting” is a welcome exception.

The premise of the game is very simple. Much like “The Sims,” it revolves around a  virtual family, engaging in typical, ordinary, completely banal every-day behaviors. The twist is, instead of playing a God-figure manipulating every aspect of their lives, you play a mischievous specter hell-bent on driving everyone in the house insane.

I’ve you ever played the underrated Gamecube offering “Geist,” this title is pretty much its two-dimensional forerunner. In every room in the house, there are certain items you can possess - for example, you can take over a mirror and make zombies crawl out of it, or turn the sofa into a living bear-hydra abomination. The key, ultimately, is to link together as many “scare-traps” as you can, so that the family member you’ve marked for spectral harassment gets walloped every which way he or she turns. Of course, you have to ration your ectoplasm (your lifeblood for being able to possess objects) or else you’ll get sent to hell (literally) to collect more ghost chutzpah. Granted, it doesn’t have that much replay value and the controls and slower pace take some time to get used to, but as a seasonal play, it’s really entertaining, and most certainly one of the more unique Halloween-centric games out there in Sega Land.

Mutant League Hockey (1994)
Developer: Electronic Arts
Publisher: Electronic Arts


More people recall “Mutant League Football” (if you ask me, it probably had something to do with those gruesome magazine ads in EGM), but this was certainly the better game. While the pigskin game had more than a few problems adapting the “John Madden” football engine to a fantasy/comedy/sports title, this ice-hockey spin-off benefits from borrowing the engine of “NHL ‘94,” considered by just about everybody with any sort of sense to be the best hockey video game ever.

If you like puns, you’re going to get a lot of them in “MLH” - among other high-larious bits, there are squads named the Dead Things, the Mighty Weenies, the Montroyale Cadavers and my personal favorite, the Saint Mucus Ooze. Obviously, “Mad Magazine” humor alone isn’t enough to make a great fantasy sports game, and thankfully, EA really put together something spectacular here.

All of the best gimmicks from “Mutant League Football” return. You can bribe referees to make shitty calls against the opposing team, landmines are liberally sprinkled across the rink and the puck itself has a nasty tendency to explode at the most inconvenient times. But really, it’s the small things that make this game so memorable, like being able to pull your goalie and replace him with a suicidal skull that explodes (hopefully, taking out the scorer with it) and the fact that “dead” players remain on the ice as obstacles (even cooler? When the fall through thin ice obstacles, their corpses float all over the rink for the remainder of the period.) With great visuals, nice sound effects and a hockey engine that ACTUALLY provides a real hockey experience, “Mutant League Hockey” is certainly THE sports game to break out in honor of Oct. 31. And my goodness … just WAIT until you see how the fighting engine works!

The Ooze (1995)
Developer: Sega Technical Institute 
Publisher: Sega


This was one of the last major releases on the Genesis published by Sega, and it really demonstrated the level of innovation coming out of the House Sonic Built in the mid-1990s. In a way, this game is even more innovative than the much-beloved “Comix Zone,” and thankfully? This cartridge isn’t as wall-punchingly difficult, either.

In short, “The Ooze” allows you to play as the iconic B-movie monster, The Blob. As an amorphous green slime glob, you have the ability to “punch” opponents using your viscous appendages or take ‘em out via a nice, juicy toxic loogie (best be careful, though, as you can literally puke yourself to death in this one.) Each stage is more or less a labyrinth, presented in a top-down, God’s-Eye-View, with numerous warps and secret passageways to connect your from point A to point Z. And, as expected, the stages are just gummed up with evil soldiers, robotic drones and plenty of other health hazards, including a few extremely annoying mines that are all but impossible to avoid.

Visually and aesthetically, the game is terrific, with some of the best sprites and animation on the Genesis. The level design is also great, with lots of brain-teasing puzzles, multiple paths to explore and some (for the time, anyway) impressive physics. With only five stages, it’s a bit on the short side, but there’s still plenty of stuff to hold you interest for multiple playthroughs -- including a hyper-addictive (and somewhat unnerving) “hidden” mini-game that’s anchored around gobbling up as many lab rats as you can in under a minute!

Stormlord (1990)
Developer: RazorSoft
Publisher: RazorSoft


This port of the Commodore 64 favorite is, simultaneously, a complete rip-off and improvement on the “Ghosts ‘N Goblins” formula. Structurally and aesthetically, it owes a lot to Capcom’s iconic arcade platformer, but that’s not to say “Stormlord” doesn’t throw in a few of its own ideas - in particular, a greater emphasis on exploration than linear action.

This game is definitely a lot easier than its obvious inspiration, primarily because of its slower pace. Periodically, you’ll get swarmed by a sudden deluge of enemies, but it’s nothing you can’t weather. You only have a couple of weapons in the game (including the prerequisite projectile sword and this weird, arched blue fireball thingy) and the jumping mechanics, while a little awkward at first, are certainly manageable since it’s not a terribly-platform-heavy side scrolling action game. Gameplay-wise, you will be doing a lot of backtracking, as you try to free a bunch of fairies caught in giant bubbles and unearth oversized keys needed to make your way past barriers. Making things even weirder is this bizarre “teleportation” system, in which you have to hop on these little stone pedestals and wait for humongous falcons to carry you off to your next-destination. It’s confusing, no doubt, but you at least have to give the developers a little credit for trying something different.

The stages are pretty uninspired (you get your nighttime forest level, your grey castle level, your blue underground dungeon, etc.), but the layout is decent. The graphics and music is a tad minimalist (complete with some really out-of-place boingy cartoon sound effects), and there aren’t really any boss fights to speak of. However, you do get something that very, VERY few home console games from the era featured - honest-to-goodness, 16-bit nudity in the form of bare-breasted pixie statues. “Stormlord” may not be a truly exceptional title in any regard, but as a seasonal larf? If you don’t spend at least one evening this Halloween slogging your way through this game, you’ve squandered the most wonderful time of the year in my peepers.

Wednesday, April 1, 2015

The Live-Action ‘90s Sonic Movie REVEALED!

A world exclusive look at the “Sonic the Hedgehog” flick that ALMOST got made back in the late 1990s!


We here at the Internet is in America never really set out to break any earth-shattering news. Alas, it looks like we’re the ones that are going to drop a colossal bombshell today, as we’ve gotten our grubby little paws on the top-secret script for a “Sonic the Hedgehog” movie that’s been under lock and key for almost two decades.

Yes, you heard that right. Way, way back in 1997, there were actually tentative plans for a LIVE-ACTION “Sonic the Hedgehog” movie. Of course, the Internet was still a fledgling thing back then, but I am shocked that even then, rumors about the movie never got out there. The even stranger thing? It was actually going to be a live-action “Sonic” movie produced by Sony!

Under strict confidentiality, we received not only a full working script for the film from an anonymous source, but even got a few promotional materials to go along with it. We’re talking top-line, executive level marketing blueprints, the kind of stuff we’d probably go to jail for publishing. Rest assured, however, that in the gargantuan 401 page document, there was PLENTY to discuss.

According to the documents, the film was going to begin production in 1997, with a targeted summer 1998 theatrical release. The suits at Sony Pictures were prepared to put a LOT of money into the flick, with estimates for the budget hovering between $70 to $90 million. Now, as to how Sony wound up with the film rights, you may be wondering? Well, according to the materials we received, Sega actually struck a licensing deal with Sony Pictures back in 1989, right after “The Wizard” was released. Evidently, the suits at Sega of America were hoping for some kind of similar, product placement strewn flick to herald the arrival of the Genesis in North America, but nothing looked to have come out of it. However, the deal did give Sony a 10 year exclusive deal with Sega, meaning that if any film based on a Sega property were to come to fruition, the suits at Sony would be the ones handling it. It sounds strange, to be sure, but remember: back in 1989, the term “Playstation” wasn’t even a zygote of a germ of an idea, and as the clear cut “number two” of the gaming world, a partnership with Sega seemed pretty darn reasonable, from a marketing standpoint.

Prototype fast food tie-in premiums sketches were also included. in the
leaked materials.
It’s pretty easy to put two and two together. Although Sega and Sony were indeed competing brands in
1997, Sony Pictures, by default, were to hold onto the Sega film rights for another two years. With the license about to expire, the suits at Sony decided to go ahead and film a movie before the rights reverted back to Sega, who could probably have sold off their licensing rights at a much higher price than that paid by Sony back in ‘89.

After spending the better part of the year poring over the materials e-mailed to us, I’ve determined that the documents have to be authentic. There’s just so much nuance and depth, with the highly detailed materials spelling out things to a tee. Oh yes, there was a script and marketing strategies included, but there was so much more, including a good 40 pages of executive notes on who the studio wanted to direct the film and who would star in it.

As for the script itself, it is … well, not really what you would expect out of a “Sonic the Hedgehog” movie. As many liberties as the filmmakers behind the “Super Mario Brothers” flick took, the “Sonic” screenwriter seemingly went as far as he possibly could to deviate from the established series mythos. I mean, the characters are there, but as to how they are portrayed in the film … well, you’ll see.

The script was written by someone named “J.R. Duff,” which has to be a pseudonym. According to the IMDB, no such person has any major screenwriting credits, and since Sony was willing to bankroll so much money into the production (with advertising costs factored in, well over $100 million in pre-Lewinksy dollars!) it seems almost implausible that the suits would place the fate of the picture in the hands of a first-timer. Alas, considering the strange similarities the script shares with some MIGHTY popular films a few years down the line, I have my guesses as to who the mysterious penman actually was.

As far as the production team, however, Sony were really dead-set on a specific crew. The only directorial name attached to the feature in the associated memos was Stephen Hopkins, the same guy that directed “Blown Away” and “Predator 2.” He had just wrapped up “The Ghost and the Darkness,” and at the time at least, seemed poised to be one of the next big Hollywood filmmakers.

As for the cast, it was pretty damn stacked. Playing Sonic was none other than Keanu Reeves, who was still a hot item following the surprise success of “Speed” a few years earlier. Portraying Dr. Robotnik was Danny Devito, which in hindsight, is pretty much the ideal casting choice, something as obvious as asking Patrick Stewart to play Professor X. And rounding out the supporting cast, we had Steve Buscemi as Tails and emerging Hollywood leading man Vin Diesel, taking on the role of Knuckles. Unfortunately, those are the only characters in the film that actually exist in the canonical “Sonic” world we all know and love, although there are a few additional characters in the script who seem to be oblique nods to other supporting Sonic characters.

Now, as for the script itself, it’s absolutely bizarre, owing more to “Stargate” than “Sonic and Knuckles.” It also has a general plotline that seems almost impossibly similar to “Avatar,” with more than a few “The Matrix”-like themes chunked in there.

In the screenplay, Sonic isn’t actually a hedgehog. In fact, he’s a flesh and blood human character, named Steve “Sonic” Harris, who is some sort of experimental fighter jet pilot. The initial setting of the movie, if you can believe it, is Area 51, where the U.S. government is hard at work on some sort of extra-dimensional portal (the script explicitly refers to it as a “teleportation platform” but that’s not exactly what it technically does, you see.)

In the script, the product placement for Franco American was especially
pronounced.
Harris is the top pilot in the air force’s top squadron. He’s flanked on ground control by Tom “Tails” Proctor, a former top-tier fighter pilot that lost the use of his legs in an experimental aircraft crash. Overseeing the program is Dr. Ivan Robotnik, a Russian immigrant who is on the verge of a huge extra-dimensional travel breakthrough.

And here’s where things get a little complicated. The script never explicitly tells us where this extra-dimensional plane is, so it could be some kind of alternate reality world or a faraway alien planet or even some kind of computer-generated nether-realm. Wherever it is, it’s a very jungle-like place, where humans apparently evolved from shrews instead of apes. The world, which is never explicitly named, is also home to an abundant resource called RING, which stands for “radioactive isotope neutralizing grain.” For the shrew-people inhabitants, it’s the most common source of nutrition, but in OUR world, it also has incredible nuclear energy capabilities. At about the 30 minute mark, the portal to this other world is opened, and Steve/Sonic enters it.

From here, the movie kind of turns into “Planet of the Apes,” with Steve (who is wearing an absolutely bizarre metal suit, complete with razor sharp spikes on his back) is captured by shrew-people. In an underground cavern, he meets their leader, a red echidna named “Knuckles” who, for some reason knows English. Instead of killing him, he helps him find a portal back to our world, although he advises him to never, ever return.

After that, there’s a lengthy bit about Robotnik “shutting down” the portal experiment for safety reasons. However, Sonic decides to snoop in on one of Robotnik’s late night sessions, and he uncovers a horrible secret: the army is actually sending armored platoons into the shrew-world to collect RING, completely razing their world in the process!  If that wasn’t enough, Robotnik is actually a Soviet turncoat, who plans on giving RING to the former USSR military so they can use it as a weapon against the Western World!

After some convincing, Sonic manages to convince Tails and two other site officials -- a love interest named Melissa and a 300 pound soldier named simply Biggsy -- to don the experimental armor and hop into the other world so he can prove once and for all that Robotnik is a no good sonofabitch. It takes some goading, but eventually they all make it into the shrew planet and, sure enough, the thing is in rubble. Robotnik -- who we learn left hundreds of similar portals throughout Russia -- has pretty much taken over the entire planet, appointing himself ruler of the land. The shrew people are enslaved and forced to mine for RING, and he oversees the realm aboard a gigantic flying device. The good guys are spotted by Robotnik’s troops, and they end up having a massive lazer gun(!) battle; eventually, the four heroes get sucked into an underground cavern, where they are rescued by Knuckles.

The amount of transphobic content in the screenplay,  however, is quite
surprising. 
While the robo army makes their way underground, Knuckles explains to Sonic what the fabled “Chaos Emeralds” are. Apparently, they are some sort of crystals containing the spirits of all of the great shrew planet warriors of yore. Harkening back to the Arthurian legend, he tells Sonic then when the planet needs them the most, they will select an “alien warrior” to save the entire race. This leads to another underground clash, with Knuckles getting killed. In his dying breath, he gives Sonic a red emerald, which he said will help guide him to the “Chamber of the Immortals.”

Thankfully, said chamber is really close by, and Sonic comes face to face with five warrior ghosts, who say he his been selected by the shrew gods to save them from Robotnik. The five gems start circling around him, and he turns a radioactive orange color -- “A Super-Sonic state,” the script describes it.

This leads to the grand finale, in which Super-Sonic and Dr. Robotnik (who is commanding an 80 foot tall mech) duke it out. Using his super speed abilities, Sonic ultimately shreds Robotnik in two, finding a hand-dandy time-reversal nearby that completely disrupts the space and time fabric and leaves shrew world just the way it was before Robotnik started meddling with it.

Back on the base, nobody except Steve/Sonic has any recollection of the transdimensional portal or the war, and apparently, the finale zonked Dr. Robotnik completely out of existence. Now, there’s a new lead researcher onsite, a mustachioed German physicist named -- and I shit you not -- DR. MAGNUM WILY. Of course, he’s a no-good sonofabitch that’s working on the same device Robotnik was, only this time, we learn he’s secretly planning on using the portal to start the Fourth Reich!

The film ends on an upbeat note, with Steve and Melissa snogging and Biggsy and Tails making fun of them. And then, in the film’s final scene, Steve asks his pals how they want to spend the rest of the evening, to which Tails responds “I don’t know. Want to go play some Sega?”

You don't really need me to tell you that the script, for lack of a better term, was really, REALLY out there. It may have taken some EXTREME liberties with the license, but at the end of the day, in the hands of a capable production crew, it probably wouldn't have been half bad. After reading through the script a second time, the almost hard sci-fi bent actually seemed to grow on me -- if nothing else, it certainly would have been worlds better than utter garbage like "Street Fighter" and the second "Mortal Kombat" movie.

It's mere conjecture on my part, but I am almost certain the screenwriter was Akiva Goldsman. The dialogue and description of the costumes seems almost uncannily similar to the 1998 "Lost in Space" movie, which I am pretty sure is what the script was eventually recycled into. That, and the rodent-people behave in a fashion similar to the zombies in "I Am Legend," and the vehicles, in hindsight, sound an awful lot like the rides in "I, Robot." And yes, a few bits of "Batman and Robin"-level, groan-worthy camp dialogue makes it in there, as well.

As for the ultimate fate of the picture, I'm not entirely sure what happened. There was a TON of promotional plans included (the packet e-mailed to me largely consisted of advertising plans and prototypes for tie-in products, like fast food premiums) so something really major had to have happened with the Sony brass for the project to be abandoned. I can't confirm anything, but it may have had something to do with the console wars heating up -- after all, why pimp your number two largest competitor, even if you take in most of the money from the flick? Ironically enough, with Sega exiting the hardware arena, talks of another Sonic live-action film have been bandied about, with Sony yet again set to produce it.

Much like the ill-fated Burton "Superman" flick and the version of "Elm Street 3" where Freddy turns into grandma monsters and says semi-racist things while eating black children, I reckon this here '90s "Sonic" is something we'll just have to imagine in the multiplex of our heads. More than anything, I am just shocked that project was kept under wraps for as long as it was -- apparently, Sony's electronic security was WAY better during the Clinton years than it is today.

It may not have been the "Sonic" movie we all dreamed of, but for what it was (and wasn't) I don't think it would have panned out that horribly, either. I mean, it was a movie starring Danny Devito as an evil Ruskie fighting mutant echidnas and Neo in a cyborg battle suit -- at the very least, it would have been as good as "Wild, Wild West," wouldn't it?

Sunday, January 11, 2015

“Toilet Kids” on the TurboGrafx-16!

It’s the most scatological video game ever made … and on top of that, it’s a darn competent little shooter, too.


The TurboGrafx-16, known in Japan as the PC Engine, is one of the most underrated consoles ever. Coming out just a few months before the Genesis, the TG-16 was NEC’s rejoinder to the Nintendo Entertainment System, and despite having an utterly awesome library -- complete with one of the best console launch line-ups of all-time -- the unit was pretty much dead in the dirt by the time the SNES made it stateside.

Although titles like “Bonk’s Adventure” and “The Legendary Axe” may not have had the same consumer appeal as Sonic and Mario, there’s no denying the TG-16 had some damn great software, especially when it came to its selection of shooters.  With downright awesome games like “Super Soldier Blade,” “Blazing Lazers,” “Psychosis” and a version of “Salamander” that kicks the dog shit out of the watered down port we got on the NES, many old school gamers consider the console to be on par with the Genny in terms of quality 2D SHMUPS -- if not even superior.

Alongside much-revered side-and-vertically-scrolling gems like “Parodius” and “R-Type,” the TG-16 was also home to a ton of awesome, under-the-radar genre offerings, too -- many of them proudly boasting  such utterly absurd titles as “Psycho Chaser” and “Violent Soldier.” While the console was no doubt home to many weird-ass shoot ‘em ups, one game stands head and shoulders above them all, not only as the weirdest genre offering on the system, but really, one of the strangest video games ever made.

Ladies and gentlemen, I give you … “Toilet Kids.”

Oh,  goodness, where do begin on this one? The mere name alone is enough to make most non-registered adults recoil in horror, and I assure you … the execution is far, far more unnerving than the already-cringe-inducing premise.

You KNOW it's low-brow material when a snot-rocket launching
dragonfly is one of the game's SUBTLER adversaries.
Interestingly enough, the game begins with something of an introductory cutscene,
which is crude in several connotations of the term. A kid heads to the toilet, drops trou, sits on the pot, gets shot up in the air by a gush of septic water and splashes down inside the commode.

Literally one second into the game, you’re bombarded with some of the most low-brow visuals in the medium’s history. Commandeering a hybrid toilet/space ship, you’re immediately assailed by a bunch of ass monsters who propel shit globs at you. And also, there are miscellaneous golden turds dotting the landscape, which you can bomb for extra points. Yeah, this thing makes “Boogerman” look like a subdued minimalist masterpiece by comparison.

As the first level progresses, things get even more juvenile, if you can believe it. After being attacked by a fleet of sandals, you encounter a giant urinal that shoots multidirectional turd balls at you, and then, a gaggle of half-ass, half airplane contraptions that, wouldn’t you know it, spray fart gas on you.

Then there’s the armada of horse flies, and giant mobilized turd piles that, fittingly enough, shoot pieces of themselves at you. The stage itself is really short, probably only about a minute long, before giving way to a ridiculously long boss fight against a trio of spiders (with pronounced bungholes, of course,) who spit doo-doo at you.

Level two is more or less the same stage, with the same green backdrop, albeit with a new enemy … a flying poop drop, that I believe fires pee-pee at you.

Yeah ... all of that is in the game, I am afraid. 
I think now is a good time to remind you that yes, this is indeed a real SHMUP, and a rather challenging one at that. Half the enemies can only be killed by direct aerial fire, while the other half can only be killed by carpet bombs, and a lot of times, it’s pretty hard to tell which type is in front of you and which type is beneath you. I wouldn’t call the game a bullet hell offering, necessarily, but there’s no denying its one of the more difficult games of its type on the console.

The second boss is a giant dragonfly who shoots snot globs and bubbles at you. It’s actually a much easier boss battle than the first, although it does tend to drag on far longer than it probably should.

The second level is kind of a desert oasis type arrangement, with many of the same enemies we’ve already encountered. There are some new foes present however, including some hippos that belch at you and caribou who walk up, turn their cheeks towards you and proceed to fire projectile poo. Oh, and just wait until you see the animations on the gorillas who chunk their feces at you … it really is something to behold.

The third boss battle is against a helicopter with a human ass, which fires deadly poots in addition to its standard missiles. This one is actually easier than the first two boss battles, but as before, it goes on far longer than feels necessary … like the programmers were trying to find a way to extend the length of the game without adding anything substantial to the core gameplay. Imagine that; poo-poo and pee-pee jokes alone aren’t enough to carry a full-fledged, commercially -released video game!

And so, the desert level continues. New enemies include, but are not limited to; farting lions, flying pig heads that sneeze shit at you somehow, and farting skunks. Or maybe they are just emitting natural skunk odors? It’s really kind of hard to tell which bodily function is which in a game like this.

Fun fact: in Japan, people don't leave the anal stage until they
turn 45. 
Boss number four is utterly ridiculous, and I mean that in a menagerie of ways. A giant elephant-Hindu god (complete with a shit scepter), is flanked by mounds of projectile spewing shit balls, and if that wasn’t enough, a flying pig head keeps re-appearing, to make the firefight even more frustrating. At this point, most gamers would just give up, but the social scientist I am, I managed to push through, solely for your sake, dear reader. You’re very welcome, ingrates.

Well, stage three is your token underwater level, and you will never guess what sort of enemies are in this one. If you said shitting squids, farting lobsters and guppies with human legs who literally shit out eight foot long turd bars, you sir or madam, would be right … and probably, someone who needs to be locked up in a mental institution.

Boss five is a submarine urinal, and outside of being shaped like a ceramic pisser, it doesn’t employ any truly scatological attacks whatsoever.  Despite some pesky heat-seeking missiles, this battle isn’t too difficult. You know, the sad thing is, the developer of this game probably could have made a great serious SHMUP if they wanted. Sigh … I reckon that cartoony scat demographic is just too sweet a market to give up, no?

There’s not too much to mention about the rest of the level, outside of maybe a couple of turd statues resting upon some giant seashells. Boss number six is a pink whale with turds for eyes; it’s probably the easiest boss in the entire game … and clearly, the least inspired. I do like how its turd pupils splatter when you beat it, though. That was truly a nice touch.

The final level is kind of a Mesopotamian temple, complete with poop-centric hieroglyphics and scorpion warriors who fart on you. The sub-boss are these two snake-like urinals, which are so easy to defeat that I wonder why they were even included in the game at all. After easily dispatching them, you get to the game’s final boss, which is some sort of genie who pees lighting at you. Compared to some of the game’s earlier bosses, he isn’t too difficult.

After besting him, you get a message from some white haired dude, who is flanked by two cherubs. Since I can’t read Japanese, your guess is as good as mine as to what he’s saying, but judging from the rest of the material in the title, I highly doubt he’s pontificating on anything too profound.

So, uh, what do you think they call this religion? Is it SHIT-toism, or
Hindu-DOO?
As stupid and juvenile and idiotic as “Toilet Kids” may be, there are some elements of a good game to be found within it. If you strip away all of the pee and poo and farts, it actually is a pretty challenging SHMUP, with audiovisuals slightly above average for the console. Perhaps unsurprisingly, the game was developed by a company that’s had its hands on the oh-so-fabulous “Cho Aniki” series, as well as the abysmal SNES fighting failure “Ballz” -- so yeah, this stuff pretty  much is their forte, I guess.

Aesthetically, the gross appeal of "Toilet Kids" is apparent, but believe it or not, there actually is something resembling mechanical substance underneath the crude visuals. It's not the best shoot em up out there -- or even among the top 40 or so to make it to the TG-16 -- but as a weird-beard diversion, you could probably do a lot worse.

And hey, did I mention it had a two-player mode? Evading shit-flinging monkeys, dodging piss-colored lightning, bombing golden turd shrines ... what better way to bring the family together on a rainy afternoon, no?

Sunday, December 21, 2014

‘90s Coin-Ops That Never Got Home Ports

Five coin-devouring classics that, for some reason, never got the SNES or Genesis treatment.


“Street Fighter II,” “Mortal Kombat,” “NBA Jam” and “Samurai Shodown” were among the finest arcade games of the Flannel Era, and thankfully, we got an opportunity to play them on a litany of platforms, from our tried-and-true Sega Genesises and Super Nintendos to our battery-munching Game Boys and Game Gears. While a ton of coin-up offerings wound up getting home translations -- including subpar offerings such as “Primal Rage” and “Pit Fighter,” -- quite a few beloved arcade titles never got ported to our living rooms. While there is certainly no shortage of arcade originals that we all wished would have made it to our 16-bit units -- Capcom’s “Alien vs. Predator,” Namco’s “The Outfoxies” and Data East’s “Night Slashers,” among them -- there are five coin-ops in particular that, despite being extremely popular, were inconceivably never sent to the SNES or Mega Drive.

Today, let us reflect on the cabinets that filled our childhoods with such wonder and splendor -- and a whole hell of a lot of confusion and frustration as to why we couldn’t play them on our home units.

Number Five:
“Title Fight” (1992)


What was it? A good decade and a half before Nintendo even thought about “Wii Sports,” Sega gave us this aerobic pugilism sim, which allowed arcade jockeys the ability to slug it out with a who’s who of completely made-up boxers. Yeah, its roster of fictitious fighters may not have had the quasi-racist appeal of “Punch-Out!!,” but it did allow two players to engage in virtual slugfests thanks to a side-by-side, dual screen set-up. And playing as virtual wireframe cyber-boxer? Damn, that was a stroke of ingenuity!

Why should it have been ported to the home consoles? LONG before Nintendo trot out their 2006 motion-activated home unit, Sega was betting a buttload on its revolutionary peripheral, the Activator. Basically, it was giant DDR pad that you could plug into your Genesis, and every time you waved your arms like a windmill, it did something or another while you played “Eternal Champions” and “Mortal Kombat.” Granted, the tech really didn’t work they way it was supposed to, and after five minutes of punching air in “Greatest Heavyweights” you’d probably revert back to your six-button pad, but still -- it was hardware designed to get you active in the den. Sega could have easily released a deluxe port of “Title Fight” a’la “Lethal Enforcers,” complete with a pair of gloves you could sock over your hands for their home consoles, and it would’ve been a perfect fit for the ill-fated Activator. Of course, it probably wouldn’t have shifted that many units, nor lead to a great home console game, but for a company hellbent on releasing as many consumer-unfriendly devices as possible at the time, you just have to wonder why the house Sonic built never made an effort on this one.

So, uh, why wasn’t it? Sega was at its business apex in 1992. With the global success of the Genesis/Mega Drive, the relatively recent release of the Game Gear and the upcoming Sega CD add-on, Sega was certainly building quite the formidable holiday season armada. With all of that stuff going on, I suppose it’s reasonable to assume the company never really considered its weird-beard boxing game to be any kind of system-mover, although it most certainly could have been adopted to the Genesis or Sega CD quite easily. I mean, shit … if “Sonic Blast Man” could somehow find its way to the Super Nintendo, there really isn’t a reason in the world why this game never got a home console translation.


Number Four:
“Lucky & Wild” (1993)


What was it? In the early to mid-1990s, there were a lot of gimmick-heavy arcade games on the market. You had light gun games like “Terminator 2,” and you had vehicle themed cabinets like “After Burner.” Well, “Lucky & Wild” was a game that decided to give you two novelties for the price as one, as it was both a driving simulation and a killing people with guns simulation. Specifically designed for two-players, one gamer drove while the other pumped hot lead into various no-goodniks. And it was also a blatant rip-off of a Sylvester Stallone movie that’s sole cultural significance is being a throwaway line in a Tenacious D song, if you can believe it.

Why should it have been ported to the home consoles? While both the SNES and Genesis had their own proprietary light gun peripherals, there really weren’t that many standout games released on either system that took full advantage of the add-ons. As one of the better rail-shooters from the early 1990s, “Lucky & Wild” certainly would have lent itself to a decent-enough Menacer or Super Scope 6 offering, and who the fuck out there wouldn’t have loved plugging a gun and a steering wheel into their home systems to play the same game?

So, uh, why wasn’t it? Honestly, there wasn’t a whole lot of depth to “Lucky & Wild.” Like most arcade games from the era, it was over in about half an hour, and replay incentives were virtually nil. The appeal of the game, then, was the novelty of clicking yourself into a mock-up patrol car and blasting like a retard for a few minutes -- not exactly the kind of gaming experience that would be worth a $65 home cartridge purchase, necessarily. That, and I’m not really sure how many quality steering wheel add-ons were out there in the early ‘90s -- in short, the market appeal of the game just wasn’t strong enough, and the adoption base for the game’s needed peripherals wasn’t there to really justify a home port. Still, a retooled SNES or Genesis game, technologically, would have been possible -- although gunning and driving with a control pad wouldn’t have been anywhere near as fun as the coin-op set-up, obviously.

Number Three:
“WWF WrestleFest” (1991)


What was it? A good old-fashioned 2D slobber knocker featuring all of your favorite WWF rasslers, circa 1990, including the Legion of Doom, Hulk Hogan and that nefarious Iraqi turncoat Sgt. Slaughter. Developed by the same folks that gave us “Double Dragon,” the brawler featured huge sprites, incredible animations and a seriously addictive Royal Rumble mode, not to mention marking the only time fan-favorite tag team Demolition was ever featured in a video game. Up until the release of “No Mercy” on the N64, it was easily the best WWF-branded game ever.

Why should it have been ported to the home consoles? Well, if you ever played a 2D WWF game on the NES, SNES or Genesis, you’d know that they fluctuated in quality from dog shit supreme to just sorta above average. Clearly, there was a need for a great, licensed WWF game, and since that game already existed in the form of “WrestleFest,” you kinda’ figured somebody out there would’ve come up with the bright idea of concocting a console iteration, no?

So, uh, why wasn’t it? I’m not 100 percent sure here, but I’d venture to say it had something to do with licensing agreements. Much to the chagrin of pro wrestling fans the world over, LJN held a tight grip on the WWF home game contract for the better part of the 16-bit era, so I’m not sure if Teknos or any other publisher would have had the legal clearance to put the game on home units. Furthermore, pro wrestling casts change pretty much every three months, so by the time a “WrestleFest” port would’ve made it to the SNES and Genesis, it would have been pretty outdated -- although, that just would’ve meant we would’ve gotten Adobo-sized Papa Shangos and Skinners instead, which would’ve been fucking awesome, too.

Number Two:
“The Simpsons” (1991)


What was it? A Konami cabinet that was more or less “Final Fight,” only instead of playing as a dude that looked like Dan Severn, you commandeered Homer, Bart, Lisa and Marge and ran around slapping zombies and sumo wrestlers with vacuum cleaners and saxophones.

Why should it have been ported to home consoles? Primarily, for the same reason “Turtles in Time” was -- because it was a fun licensed game with a great multiplayer component. Considering how good “Final Fight” looked on the Sega CD and SNES, there really wasn’t any graphical reason why the game couldn’t have made a leap to the home units, either … and did I mention it was a motherfucking beat ‘em up starring the Simpsons?

So, uh, why wasn’t it? As was the case with “WrestleFest,” I’m pretty sure this had something to do with licensing. If I remember correctly, LJN/Acclaim held the home rights to the Simpsons, and most of those games were downright shitty with a capital “S” -- go ahead, try and fucking play “Virtua Bart” sometime. Since Konami held the home rights to both arcade and home TMNT games, I reckon that’s why we saw that one on the 16-bit consoles, while “The Simpsons” remained an arcade exclusive. Strangely enough, though, the game did get a home translation of sorts, as arcade ports made it to both the Commodore 64 and MS-DOS computers.

Number One:
“X-Men” (1992)


What was it? Only the goddamned hugest cabinet ever made, that’s what. The utterly massive coin-op allowed up to six-players to band together on a two-video-screen beat ‘em up odyssey, as friends and families came to death blows over who was going to be forced to play as Dazzler. It was also released as a four-player unit with a couple of characters cut out, but anybody alive in the Clinton years probably chooses to remember this one as the sextet gaming get-togethers to end all sextet-gaming get-togethers.

Why should it have been ported to home consoles? Because it made sense all the way around, that’s why. Console owners would’ve have loved having the game on their units, and Konami would’ve made a shit load of money by creating versions for the SNES and Genesis. Also, I don’t think the “X-Men” license was locked down the way some of the previously mentioned properties were -- how else were we able to get both a Capcom-produced SNES game and a Sega-produced one on the Genesis, after all?

So, uh, why wasn’t it? You know, I have no idea, actually. Yeah, it probably would have been impossible to create a true six-player home console game, but the game definitely could have been released as a solid two-player game. Since graphics and licensing likely wasn’t the reason why the game never made it to the SNES or Genesis, I’m really stumped as to why we never got a chance to play this one in our living rooms. Maybe it had something to do with the Fox cartoon that debuted around the same timeframe? Alas, as outdated as the character sprites may have been (remember, this thing was based on the one-shot “Pryde of the X-Men” pilot, after all), I don’t think any gamer circa 1993 would’ve complained about staring down the Blob, Pyro and the White Queen with their Super Nintendo pads in hand. I reckon this one will just have to be one of those old-school mysteries that will plague gamers for eons, I am afraid…

Monday, January 6, 2014

NFL Sports Talk Football '93 on the Sega Genesis!

Just in time for the NFL Postseason: A Random Review of a Football Game Nobody Really Cares About!


You know something I haven't done in awhile? A completely random and needlessly in-depth review of something I just found laying around the house. In this case: a copy of "NFL Sports Talk Football '93," a Sega Genesis football sim that's kind of an installment in the beloved "Joe Montana Football" series, but not precisely.

Time for a 16-bit history lesson, kiddos. The original "Joe Montana Football" was a dual release on the Sega Master System and the Sega Genesis (it also got a Game Gear iteration, which was pretty much the same as the SMS version), and it was a fun little arcade title. Devoid of a proper NFL license, however, the game was certainly a backburner offering to much more enviable titles from the timeframe, namely "Tecmo Super Bowl" and the then-fledgling "John Madden Football" series from Electronic Arts.

"Joe Montana II" is generally considered a superior title, as it included a slightly modified game engine and Sega's proprietary "Sports Talk" audio feature -- at the time, running commentary in a video game was absolutely unheard of, and the sheer novelty of listening to a virtual announcer do play-by-play was more than enough to get most gamers to overlook the title's mechanical flaws and gameplay deficiencies.

"NFL Sports Talk Football '93 Starring Joe Montana," then, is spiritually the third game in the "Joe Montana" series, although as apparent by the moniker change, Sega was definitely trying to rebrand the franchise. With the 49ers dynasty on the wane and Montana K.C. bound in a years' time, perhaps developers BlueSky Sofware (oddly enough, the same folks behind "Vectorman" and "Jurassic Park) were seeing the writing on the wall already. Alas, it wouldn't be long before Sega yanked away their rights to the franchise, culminating in a series of football games that stand out as among the WORST first party Sega titles ever released.

So, in our eleventh-consecutive NFL playoff season sans Oakland Raiders presence, why don't we take a look back at this long-forgotten 16-bit offering, and see if there's anything remarkable about the title in this, the era of DRM restrictions and overpriced digital downloads?

Graphics



The title looks pretty decent, although the character models are nowhere near as defined as they are in games like "Madden '93" or "Tecmo Super Bowl III." Additionally, all of the player seem to have Papa Shango-like paint smeared all over the faces -- apparently, helmet shields were really, really hard to animate back then.

For the most part, the fields all look the same, and the environmental effects, like in-game rain and snow, leave a lot to be desired. To be fair, the designers did try to differentiate between artificial and grass turf, and the dome stadiums do look a bit different than the outdoor stadiums. That said, the extent of the aesthetic differences is pretty bare bones; some fields have dark green grass, others having blinding yellow-green, and that's about it.

While the color palette and character models are kinda' disappointing, one area where you definitely can't slight the game is its animations. The run game, in particularly, look outstanding, and watching QB's drop in the pocket and gear up for a 40 yard floater is really an impressive technical feat for the time. The game also runs quite smoothly throughout, with no noticeable flicker at any point. The tackle animations also look downright amazing considering the technological capabilities of the era -- the physics in this one, I would say, are WAY better than anything EA was producing at the same time frame.

SCORE: 6.5 out of 10 

Sound



The music in the game is pretty good -- nothing great, nothing terrible, nothing too boring, but nothing too memorable. In fact, the music itself seems a bit muted, which, considering the game's primary selling point -- the running commentary -- makes quite a bit of sense.

Unlike most football games from the era, there's not a whole lot of on-the-field sounds in this one. You won't be hearing too many referee whistles or player grunts, although you do have the ability to call QB cadence -- in case you want to try and sneakily pull an opposing player offsides. Nor are there any real noticeable collision sounds -- and considering how cartoony such tackling noises are in some contemporary football games, that's probably for the best.

Of course, the real audio appeal of the game is its "Sports Talk" feature, and the commentary here -- from beloved San Fran announcer Lon Simmons -- is downright extraordinary. The audio stitching is excellent, and very few lines of dialogue are repeated -- a feat made all the more impressive considering the impressive lack of silent interstitials during gameplay. Certainly impressive at the time, I'd go as far as to call the commentary quality in this one superior than most early Xbox 360 sports offerings -- it's easily the best thing about the game, and probably reason enough to fire up the cartridge at least once.

Score: 8.5 out of 10 

Gameplay



"Sports Talk Football '93" is really a tale of two games -- one that's really, really good, and one that's really, really bad. First: the positives.

The first game in the series with an actual NFL license, you get to play as all 28 NFL teams, with the corresponding logos and uniforms. Of course, the only "real" NFL player to appear in the game is Joe Montana, so that definitely takes a lot of fun out of the experience. You get an exhibition mode and a league mode, which is fairly solid, although the password requirements are a real pain in the anus.

You actually do get a pretty lengthy set of game settings though, which include plenty of option re-sets that fundamentally change the entire gaming experience. For example, you can play the game horizontally (like a poor man's "Tecmo Bowl") or go the more simulation-style vertical, behind-the-offense camera that was popularized by titles like "Madden." You can even play in "blimp mode," which is some downright Atari-looking shit...you literally play as dots, and its stupid as hell. In terms of play options, you do get to reverse calls with one button, and you have the ability to call audibles, but the implementation is quite clunky. And for a real unforgivable sin? You're not able to edit your team's playbooks, which means you're stuck with a finite amount of plays...which in turn, leads to certain teams being WAY overpowered.

Score: 6 out of 10 

Controls



And here's where the game gets really heartbreaking. It's not that the entire game is bad, per se...in fact, in some ways, it actually outshines even "Tecmo Bowl" and "Madden." It's just that the game has one GARGANTUAN mechanical flaw, and it really deflates the entire experience as a whole.

But first, some pros. The run game in "NFL Sports Talk Football '93" is actually really fun and strategic as a motherfucker. You actually have to read blocks and seek out wedge openings, creating a sense of realism that most 16-bit football titles never even attempted. Granted, some gamers may opt to turn off the "zoom mode," but I think it makes the running game even more fun...it allows you to spot those openings and crank through defensive weaknesses, even if the reduced field vision is kinda' annoying. Similarly, playing defense is really, really fun, and the intuitive controls makes forcing turnovers a lot easier than it is in most football games from the era. In a welcome contrast to the high scoring arcade games of the timeframe, "Sports Talk Football '93" encourages some old school, extra-technical smashmouth strategy, which, if nothing else, leads to some pretty fun -- and draining -- defense-oriented contests.

And then, we come to the game's Achilles's heel, and the aspect of the title that takes it from being well-above average football sim to just mildly-above-mediocre; the passing game. I've played some football games with shitty passing systems before, and the passing system in this game is among the absolute shittiest I've ever experienced. Like in "Tecmo Bowl," you hit one button after the snap to pinpoint a receiver. The problem is, you have barely two seconds to fire the thing off, and if you scramble, you come to a dead halt for at least two seconds, which makes you easy sack bait for any wandering defenders. Furthermore, most of the time, you're just firing blindly anyway, as you can't see more than twenty yards in front of the line of scrimmage. This wouldn't be a problem if the short passing game was worth a toot, but it's actually HARDER to pass the ball five yards that it is 50. You're pretty much limited to sideline passes and long bombs up the middle, as anything else you toss is likely to be intercepted 80 percent of the time. And if you think that's bad, just try playing the game with the pass indicator ON, in which you have to use the directional pad to "aim" your pass...not only is it frustrating beyond words, it's virtually a broken feature.

Score: 4.5 out of 10 

Replay Value



With outstanding commentary, decent visuals, an all-right league mode and really fun defensive and run game controls, you're guaranteed to get at least a season or two out of the experience, even if wrestling with the passing controls is frustrating to no end.

As stated earlier, you do get a lot of game tweaking options, so you'll probably spend at least one or two games trying out all of the variables, like camera set-ups and the miscellaneous control options. With the smashmouth football emphasis, it's also a fairly fun two player game, although it's quite likely your opponent will get pissed off at the passing mechanics and opt for "Bill Walsh '95" after the first quarter.

If you can tolerate the shitty passing mechanics (a huge "if," I am aware), you'll probably really enjoy the game, which actually forces you to play like a non-retard and do things like "go for field goals" and "punt." The attempt at creating a more strategic football sim in admirable, but the iffy execution ensures that this one ain't rivaling "Madden '94" in terms of console-slot hours, I am afraid.

Score: 6 out of 10 

Overall Impression



There are some things I definitely like about this game, and pending you have the patience and the ability to overlook some of the title's offensive shortcomings, you'll probably enjoy it quite a bit -- it's the kind of game that makes a great rental, but I pity the poor kid that wound up dropping $49.99 on this one instead of "Gunstar Heroes" or "M.U.S.H.A." As a football sim, it's probably middle of the road; way better than most of the bullshit that came out on the SNES (ever play turds like "ABC Monday Night Football" or "Emmit Smith Football?"), but nowhere near as excellent as games like "Madden '94," "Bill Walsh '95" or "Tecmo Super Bowl III." It's a neat little diversion that does many things right -- some of which, perhaps even better than the afore-mentioned titles -- but that ultra-sucky pass game just tanks it. Had the QB controls been improved, and the playbooks been a bit more robust, and the franchise mode a bit meatier, this actually could've been one of the best football sims of the era. However, with its heavily flawed passing mechanics, this is a game that remains, at best, a mostly fun "what could've been" experience.

Score: 6.5 out of 10


Wednesday, October 2, 2013

The Many Faces of Altered Beast

Think it’s just a pack-in game with dubious audio? THINK AGAIN.


To most people, “Altered Beast” will forever be that game on the Sega Genesis where you eat orbs, turn into various manimals, and engage in boss fights that fluctuate from retardedly easy to mind-breakingly impossible. And also, it’s a game that recasts Greek mythology, turning Zeus into the God of Thunder. And of course…”rise from your gwave.” Can’t forget about that, ever.

I’ve always loved the Sega Genesis version of the game. It was short, simple, challenging as all hell, and as far as I’m concerned, the two-player mode beat the shit out of “Super Mario Bros.” Sit around, taking turns, waiting for your buddy to die so you can play a game that’s virtually identical to the single player game? Forget that, I’m going to team up with a Smurf-colored grizzly and shoot lightning balls at clam monsters and hyper-phallic wasp soldiers instead!

While the Sega Genesis iteration of the game is clearly the most well-known version of the game, there are actually a dozen different versions of the game out there, ranging from 8-bit ports that never got out of Japan to weird-ass handheld remakes to a 128-bit “re-envisioning” that transformed the franchise into a 3D “Devil May Cry”-type brawler. As it turns out, “Altered Beast” is one of the most surprisingly prolific game series out there, and I reckon it’s not a bad idea if we quickly ran down a list of every single “Altered Beast” game ever made -- and trust me, that entails WAY more software than you’d think.

Altered Beast -- The Arcade Game! (1988)



Well, the 1988 coin-op is clearly the first place to stop on our whirlwind tour of all-things “Altered Beast.” The game is fairly similar to the Genesis version of the game, albeit with better visuals and mildly more polished sound. The level design is pretty much the same as the Genesis title, and the mechanics are virtually identical. You walk around, half naked, punching skeleton demons until they explode, you kill a couple of blue Cerberuses, you turn into one of five animal-warrior creatures, and at the very end of the game, you fist fight a rhinoceros-man that slowly turns more heliotrope as the battle unfurls. In some ways, you could call the arcade original your standard beat ‘em up, although the mythological/horror vibe and limited, two-way movement certainly made it feel worlds apart from games like “Final Fight” or “Double Dragon.” It also had a two-player mode, which was awesome.

Altered Beast -- on the Sega Master System! (1988)


Before “Altered Beast” made the jump to the Genesis, it first appeared on Sega’s 8-bit Master System. Of course, the game lacked the voice acting that made the arcade game so memorable, but overall, the music here isn’t too bad. The visuals are also pretty good, and certainly better than the graphics for most of the ports that were released in the late ‘80s and early 1990s (as you will soon see.) The big difference here is that the game only has four stages -- it merges the “bear” / “tiger” cavern/palace levels into one stage -- and also, the boss fights take place in completely pitch black environments. Of course, the bosses do look a bit different than they do in the arcade version of the game, but outside of the omissions and alterations (har-har) listed above, it’s a pretty straight-forward and largely enjoyable game -- if nothing else, it’s probably the best Sega could’ve done with the hardware, anyway.

Altered Beast -- on the MSX! (1988)


I couldn’t find much information about this hyper-rare port of the game, outside of a brief YouTube video and a couple of unimpressive screenshots on Google. Judging from the first stage of the game, however, it appears to follow the arcade title rather faithfully, but for all I know, the second stage might have an “Outrun”-style driving set-up. Anybody out there with more info on this one care to share it with the rest of us, by any chance?

Altered Beast -- on the ZX Spectrum! (1988)


In some ways, the ZX Spectrum version of “Altered Beast” is both very faithful to the arcade original and something altogether different. In terms of gameplay and aesthetics, the game looks and feels quite similar to the arcade title, and the music -- although fairly primitive -- is actually quite recognizable. Of course, the Spectrum had a fairly limited color palette, but the visuals remain pretty vivid and, considering the hardware limitations, pretty impressive. You even get some cool “exploding enemy” effects that Sega’s home consoles couldn’t pull off! Where the game diverges, however, is in its length, as almost all of the stages are condensed considerably. Hell, there are even moments when you’ll see two or three blue Cerberuses on screen at once! It’s a fun game, but the controls here aren’t all that intuitive. It’s an intriguing little diversion, but as a port, it’s got more problems than positives.

Altered Beast -- on the Sega Genesis! (1989)


Really, what more can be said about this game? It’s an iconic 16-bit classic, that’s just as fun and engrossing now as it was a quarter century ago. The visuals were great, the music was terrific and the voice acting was…uh, interesting, to say the least. Since this is the most well-known version of the game, I suppose it doesn’t make sense to ramble about it to much. Just know this: it’s a tremendous game, and if you haven’t played it yet…seriously, what the hell are you doing with your life?

Altered Beast -- on the Commodore Amiga! (1989)


Now here’s a fun, rarely played title that’s definitely worth a look at if you’re a hardcore “Altered Beast” aficionado. This Activision handled port plays very much like the Genesis version of the game, with slightly improved music and voice acting. The visuals, while not as crisp as the Genesis version, do entail more arcade-like effects -- for example, when you kick a skeleton warrior to death, it literally explodes in pseudo-3D. The levels, bosses and transformations are more or less identical to the arcade and Genesis versions, although there are some slight changes here and there. For one, you get a really brief opening cut scene (don’t get too excited, though, because it’s just a human eye turning into a wolf pupil) and the player status bar has been redesigned. It may not be the best version of the game out there, but if you’ve never gotten your hands on it before, it might be a decent way to kill an afternoon.

Altered Beast -- on the Atari ST! (1989)



In essence, this Activision-handled port is more or less the same game as the Commodore Amiga version, only not as good. The graphics are just about as good as the Genesis version of the game, but some of the colors are off, and the animations just aren’t as smooth. And also, the sound here is much worse than it is on either the Genesis or the Amiga. The boss fights and animal forms are the same as in the arcade game, but some of the colors are changed up here and there. It’s playable, and it has some merits, but overall, it’s not really one of the better iterations of the game out there.

Altered Beast -- on the Commodore 64! (1989)


Sadly, this iteration of “Altered Beast” is nowhere near as good as the Commodore Amiga version, with obviously inferior visuals. Even worse, the game actually LACKS music, which is like, a million points off. As a plus, it does have all of the arcade stages, as well as the various animal forms and familiar boss fights. Considering the ancient (even at the time) hardware, I suppose it isn’t too bad, but it’s certainly one of the worst versions of the game out there, as well.

Altered Beast -- on DOS! (1989)


Visually, this one is pretty good, although it lacks some of the original arcade game's  scrolling effects. The music is decent but it also lacks sound effects, which clearly takes out a lot of the fun of the experience. For the most part, it plays a lot like the Sega Genesis version, with a few graphical changes -- perhaps most noteworthy among them being a new game over screen and the inclusion of red Cerberuses in addition to the blue ones we all know and love. Great graphics, passable sound, enjoyable (but not optimal) gameplay -- it’s an all right experience, nothing more, nothing less.

Altered Beast -- on the Amstrad CPC! (1989)



Considering the hardware limitations, this version of “Altered Beast” is actually kinda’ impressive. Of course, it looks like pure crap compared to other iterations of the title, but like I said…with hardware limitations in mind. On the surface, the title is quite faithful to its source material -- you get all five stages from the arcade game, with the corresponding animal forms and boss fights -- and the music, while warbled considerably, still feels pretty authentic. Where the game falters, however, is in the gameplay, which is stiff and absolutely plagued by periodic slowdowns. Even for the most hardcore fans of the franchise, I’d probably advise skipping out on this one.

Altered Beast -- on the PC Engine AND the PC Engine CD! (1989)


The PC Engine, known as the Turbo Grafx-16 here in the states, was a really popular (and completely underrated) Japanese console. The PC Engine iteration of “Altered Beast” never left Nippon, which is a shame, because it’s a really good version of the game that I think is almost on par with the Genesis version. In a lot of ways, the graphics on the PC Engine version are markedly superior to the Genesis iteration, with more defined sprites and smoother animations. Oddly, the color fades out during boss battles, however, and the overall sound is not as good is it is on Sega’s 16-bit hardware. The levels and animal forms are identical to the Genesis version, if you were wondering.


Visually, the PC Engine CD version of the game -- which also never made it to the States -- looks pretty similar to the PC Engine version of the game, but it has some notable differences, the first being the inclusion of a really weird opening cutscene. Of course, the audio on the PC Engine CD version is an improvement over the PC Engine software, and there are even a few subtle changes to the level layout -- namely, the inclusion of some breakable obstacles in the second level. More or less, it’s the same game as the PC Engine version, just with better audio. Needless to say, If you’re a hardcore “Altered Beast” fan, you might want to track down both iterations right here…

Altered Beast -- on the Nintendo Entertainment System! (1990)



Now here’s where shit starts getting W-E-I-R-D. First off, in case you didn’t notice, this is an officially licensed Sega game, making an appearance on a Nintendo console -- that alone would be enough to raise one’s eyebrows. Even weirder, the Japan-only release was produced by Asmik, the company that would later go on to make some of the absolute best pro wrestling games ever on the N64. As for the game itself, it does have some interesting content, to say the least, including several bonus stages and animal forms that weren’t included in the arcade/Genesis version. In one stage -- which resembles a forest/park at night, you turn into what appears to be a pony-man, and you do battle with this robotic, red hippo thing that uppercuts lighting balls at you. Another NES-only stage sees you navigating an underwater temple, where you transform into a shark(!) and go fin-to-tentacle with a Kraken. In yet another stage -- which looks like it takes place on a mountain of some kind -- you transform into a flying red demon gargoyle monster and battle a bad-ass looking purple statute demon with breasts. To be fair, the designers here managed to put in a ton of content -- there’s even a neat little “Easter egg” ending after the post-Neff credits roll -- but all of that extra stuff can’t mask two unfortunate truths about the game. First, the graphics here are pretty disappointing (way, WAY worse than the Master System’s visuals, made worse because half of the screen is dedicated to a completely needless status bar.) And secondly? The game just plays pretty poorly, with stiff controls and game play that’s far from optimal. It’s an interesting diversion for the hardcore, but at the end of the day, it’s got to be one of the worst “Altered Beast” titles out there.

Super Altered Beast -- on the MSX! (1990)


Despite the inclusion of “Super” in the title, no, this isn’t an unauthorized SNES port of the original “Altered Beast.” Rather, it’s a really, really shitty Korean knock-off for the MSX, which takes some extreme liberties with the source material. The first stage takes place in a pastel colored graveyard (with your character turning into something that resembles one of those guys dressed in green stockings at NCAA basketball games), and the third and final stage concludes with your avatar doing battle with Neff’s giant head -- you know, the one that taunts you at the end of every level in most other versions of the game. Needless to say, it’s a pretty awful game, that was made by people with a pretty poor grasp of how video games work. Its amateurish design -- not to mention its sheer WTF value -- may provoke some gamers into giving it a whirl, but take my word for it; even as a novelty, it’s still a squandering of your free time.

Altered Beast -- The Tiger Electronics LCD Game! (1990)


That’s right, “Altered Beast” even got the Tiger handheld treatment! Of course, there’s really not much I can tell you about the game -- there’s a static background which somewhat resembles the first stage of the arcade game, and you navigate your blinking LCD dot beast across an endless terrain fighting other blinking LCD dot creatures. Yeah, it may not have the visual appeal or long-term quality that some of the other iterations of the game had, but as far as sheer nostalgia goes, this version is hard to top. Even more mind blowing? Tiger even released an LCD wristwatch version of the game!

Altered Beast -- The Matthew Sweet Album! (1993)


How awesome was “Altered Beast,” you may be asking yourself? Well, it was so awesome that it inspired the absolutely amazing (and criminally, stupidly underappreciated) Matthew Sweet to release an album with the very namesake in 1993. And if you haven’t heard it, for the love of all that is holy, you really ought to, as it’s far and away one of the best alternative records of the 1990s. Hey, why not play “Altered Beast” on the Genesis while listening to Sweet‘s “Altered Beast” on your iPod -- or better yet, portable CD player? I wonder if you turn into a dragon in level two right when “Devil with the Green Eyes” starts playing -- you know, like how stoned college kids think “The Wizard of Oz” synchs up with “Dark Side of the Moon” and stuff…

Altered Beast: Guardian of the Realms -- on the Game Boy Advance! (2002)


Well, it only took Sega a decade and a half, but the finally gave us a true sequel to “Altered Beast” with “Guardian of the Realms” -- on of, all pieces of hardware, the GBA. In some ways, the game is both a pretty reverential homage to the original game, and at the same time, a complete bastardization of it. In concept, the gameplay is similar to the 1988 game, with your character -- still rocking the sandals all these years later -- traversing left to right on a non-stop mission of kicking things’ asses, turning into mutated beasts, and kicking things asses while turned into mutated beasts. Some of the stages here are clear throwbacks to the original title -- the first two stages take place in a graveyard and a cave, respectively, and both entail transformations into wolves and dragons...also respectively. However, beginning with the third stage, things start to make a turn towards the unexpected, with forest, desert and swamp levels that see your character turning into electro-lizards, scorpion warriors and turtle-men that kind of look like the Incredible Hulk with a mullet. The final couple of stages get insanely difficult, but the animal forms are pretty cool, with transformations into, among other beasts, a shark-monster, an eagle-dude and, perhaps the game’s absolute coolest power-up, a very Neff-like rhinoceros gladiator. As an overall game, it’s fairly enjoyable, with decent visuals, OK music and a lot of cool tweaks to the “Altered Beast” formula -- you know, things like “health upgrades” and shields that most certainly would’ve been helpful in the original title. The only real problem with the game is the tough-as-nails gameplay, which is ultimately more frustrating than challenging. Still, it’s a good game despite its flaws, although you really have to wonder how much fun the game could’ve been sans the “Altered Beast” license.

Altered Beast -- on the Tapewave Zodiac! (2004)


While doing research for this article, there will plenty of versions I never knew existed before, but in this case, I uncovered a CONSOLE I never knew existed before. Per Moby Games, there is indeed a version of “Altered Beast” on the short-lived handheld known as the Tapewave Zodiac, which failed so spectacularly it made the N-Gage look like the Nintendo DS. Of course, photographic evidence of the game’s existence is pretty hard to come by, with nary a single video of the title on YouTube, nor a single Google Image Search return. Did this game ever actually exist? For that matter, did the Zodiac ever actually exist? A mystery for another day, I suppose…

Project Altered Beast -- on the Playstation 2! (2005)



A 128-bit, action-adventure remake of “Altered Beast?” What could possibly go wrong there? This Sega re-imagining completely rewrites the “Altered Beast” mythos, eschewing the Greek thematic for a more sci-fi tinged, “Matrix”-like storyline that involves some generic military experiment guy as he goes on a quest to figure out why he’s turning into a werewolf at random intervals and uncover some government secrets and stop a tyrannical man-beast from taking over the world and shit. As the case with many PS2/Xbox/GC era games, there’s perhaps a bit of plot overdose here, which at least distracts from the pretty bare-bones gameplay -- it’s your standard hack and slash title, at heart, although the monster power-ups are a neat diversion from the genre norm. At certain junctures in the game, you’re character transforms into your classical “Altered” forms -- a dragon, a werewolf, etc. -- as well as some updated forms, which includes, among other things, a yeti and a bald eagle. A lot of people rag on the title for being uninspired (because it is), but all-in-all, it’s not really a horrible game, per se. The real tragedy here is that North American gamers never got to experience this one, as for some reason, Sega decided to keep the game a PAL and Japan exclusive.

Altered Beast -- on the iPhone! (2010)



With the app revolution taking the gaming world by storm, it’s probably not surprising that Sega released a Genesis-port of the title for iOS systems. Basically, it’s the exact same game as the 16-bit classic we all know and love, albeit with a much less fluid control setup…sorry, Apple, but I just can’t enjoy a game using a triangular control pad scheme. I mean, kids nowadays have fat fingers and everything, but was it really impossible to give us a virtual “lima bean pad” setup on this one?


Of course, I left out quite a few compilation discs, which all contain the Sega Genesis version of “Altered Beast” on them. As far as the future of the franchise is concerned, it’s somewhat unlikely that we’ll ever see a full-fledged Altered Beast remake/sequel any time soon, although the odds of some high-definition permutations hitting the marketplace are rather likely. Allegedly, a 3D version of the game has been in the works for the 3DS for quite some time, and considering the game’s surprising presence in “Wreck-It Ralph,” it seems pretty sensible to assume that the franchise will be resurrected in some form -- maybe a special racer in the next Sonic racing game, perhaps? Considering today’s hyper-nostalgic retro market, you never know; the venerable series might just be rising from its gwave any minute now…