Scott has excellent takes on a wide range of topics important to gamers and the gaming industry as well and he does not just fire them off from the comment section of a website, he gets out there and debates them against a public that often only knows the stereotype of gamers that has been written and handed out to the masses.
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The game features a similar set-up to other 3D wrestlers, but with the addition of power-ups such as donuts to make you faster. It also featured original dialogue from the cast of the show, and many of the characters that don’t show up to wrestle can be seen in the audience.
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The game play is, um, varied to say the least. A couple of mini games which consist of painting a wall and bowling, intercut with a driving game and rounded off with some platform action (Ed – I wouldn’t really call it action). With such a rich source of material that is The Flintstones cartoon series, that can be applied to a multitude of genres, you wonder how they could have failed. It’s a pure and simple case of “what were they thinking?”, or maybe they just weren’t thinking at all? Why did they think painting a wall would make a great game? Domestic chores, really? Even more frustrating is that if you don’t finish in the alloted time, the game resets and you have to start from scratch, with Wilma basically calling you useless and lazy.
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This is a puzzle game so story is pretty bare bones… You play as two different characters, Lil and Laarg, two strange ink people who are for some reason imprisoned by a guy named Bakugan. Considering that no one ever speaks in this game (although you do hear Bakugan getting upset once and a while), there’s no personification to speak of, and it’s sort of not the point, like in any puzzle game that isn’t Portal, the Story isn’t the focal point.
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Whomp ‘Em looks great. The enemy designs are fun and varied, while some of them even move smoothly in interesting ways – check out the floating hands in some of the vertically oriented portions. The levels are lush with colors, but better graphical signals could have been used, such as with the bizarre “electric” clouds on the final stage. Also, this game does suffer from some flickering. The pixel artists was skilled, but the execution was not quite fully polished. For instance, that jump animation looks super weird.
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In an uncharacteristically dark story for 1985 Nintendo, the setting is a post apocalyptic Earth in the year 2112 after an alien invasion of the evil Quadrunners. Whether the programmers were Rush fans or randomly picked that year is a mystery that may never be solved. Mad Max’s pixelated brother in spirit, Mach Rider, is the protagonist who rides like the fury of vengeance on the aptly named Mach Bike to different parts of the Earth. His main goal to begin with is simply finding a new spot to call home but along the way finds other humans that need assisstance being liberated from the alien’s tyranny.
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An atrocious tutorial is a simple video, not one tailored to your chosen control scheme. The mechanics, such as ninja powers, are never explained. It creates a learning curve that forces the player out before they can be drawn in, something that makes a supposedly accessible melee brawler out of the reach of many. Mirage artists craft cinematics tailored to mimic the art style of the original comics, but also clashed with the in-game visuals capitalizing on the recent animated cartoon film. The comic drawings also appear rushed, with oddly proportioned characters and limited detail.
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The story is excellent. Fans of the series will not be disappointed on that front. Both of your main characters are well-written and very different protagonists who have very distinct roles in this twisting story. At first their paths are completely disparate, but by the time you reach the last portions of the game, they are interwoven very nicely. There is also a good deal of freedom of choice and some of these decisions do nothing more than change conversation branches, but most seem to have some tangible impact on things like whether or not a character will be around to talk to later in the game.
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The wonderful Psychonauts, on the other hand, has an embarrassment of riches when it comes to originality and story. In fact, it almost goes too far in the opposite direction – basic things, like the controls (which are ridiculously floaty), seem to have been added in almost as an afterthought, such is the focus on telling the sublimely ridiculous story. I won’t go into the details of the plot here (you can read the Wikipedia entry for that), suffice to say that at one point you get trapped inside the mind of a giant mutated lungfish and lay waste to an imaginary city – populated by tiny little mutated lungfish.
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Even on a huge television this dot is tiny – but once you figure out where it is (it’s at the bottom in the middle of the screen in the picture above) you’ll be fine. Each level has four rooms for you to explore, which you enter using white doors. At first entering these rooms is easy, but the further you progress in the game the more aggressive the green squid-beasts that patrol the corridors become. One touch from them and you lose a life, so when you exit rooms you have to be very careful not to immediately bump into them. There’s no way to fight back against them either.
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Sales were very soft that first week, with only 4,000 copies sold; no advertising and no fanfare had its expected result. However, word-of-mouth was as powerful in 1987 as it is today, and sales jumped to an impressive 250,000 copies sold. The game even managed to garner the Software Publishers Association’s Best Fantasy, Role Playing or Adventure Game of 1987. It was eventually released on several platforms, including IBM PC (MS-DOS), Apple II, Atari ST, Commodore Amiga, Apple Macintosh, and the TRS-80.
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The main character is a 15-year-old girl who has wandered into a huge mansion in search of her father and sister. Together with four trainee exorcists sent by their master to uncover the mansion’s mysteries, the girl must use a number of seals (similar to medallions) to survive numerous Japanese-style monsters. An action title with a ghost story theme, Kuon allows the player to assume the roles of several different characters in an effort to explore a multitude of plot threads.
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This is a dark game and definitely not for the young gamers, with the ‘M’ rating truly being earned. Killing bad guys with a gun is your typical shooter fare, but taking someone out stealthily gives many different variations of executions with your knife. These are all brutal, but some can seem extra disturbing. Plunging a knife downward into the back of a bad guys neck, knowing you just severed his spinal cord, is a pretty effective way to take someone out, but very graphic in nature.
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In addition to all of this is a wealth of content including a championship mode for every belt that had dialogue, branching paths and even choices you could make to influence alliances. A survival mode – where you were charged with defeating forty opponents without getting knocked out of the ring, custom multiplayer tournaments and one hell of a create-a-wrestler mode. I would spend hours crafting a character to my liking before loading it onto my memory card and heading to a friends place to take them on.
Read MoreYour sister is a slut and by slut I mean she gets laid on the regular and since you do not, you hate her. Since you are the only woman alive who cannot get laid going to a drunken party you have signed up to an online dating site. You are also the only woman in the world who does not have one good picture of herself so you used the one your mom took of you at the family Christmas party four years go. You hope he will like you for you.
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The “Sorry I’m Dead” monster is more of an in-game joke than a “boss”, as it’s already dead when you get there, and you get a little question mark power up from it (usually) for doing nothing. But the other bosses in the game, with only one real exception, you actually have to fight. Some aren’t so bad. Others, like this Jerk O’Lantern above, can take some real effort (and patience) to beat. He in particular jumps around the room and shoots tiny pumpkins at you in various directions. The bosses in this game vary wildly, and most are weird as hell.
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There are some variations to break up the question and answer format, such as the wheel of fortuitousness (where if you land on a certain section you get a points bonus or are allowed to play an extra bonus game) or a pressure round – where if you get enough questions right a huge anal probe/drill is rammed up Cartman’s…well, you can guess where. As you might expect, the mini-games are where the most fun is to be had, and most of the challenges are incredibly simple but perfectly suited to simultaneous competitive play.
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