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Flintstones: The Rescue Of Dino & Hoppy looks pretty, sharp, and pretty sharp. The animated sprites are drawn well, the enemy designs are competent, and the levels vary widely in their appearance. Even the signature style from the show is used for Fred’s walk animation, with his exaggerated leg movements. The way Fred can creep along while holding B for a club strike is enjoyable. Yet among the strengths are a couple noticeable flaws: Primarily, the one-color backgrounds in some bits, startling when jumping across a broad chasm; and, in the game’s ambition, there are some minor flickering issues when dealing with the larger foe creatures.

This game looks okay. There are some still frames that look like characters from the movie, and one particularly creepy face shot of Beetlejuice that is reused every time something happens. But the actual gameplay graphics are not indicative of a producer that cared about its product, as the insect enemies look a little worse than generic and even the bosses are uninspired and bare-minimum. The highlight may be the infamous “snake” villain, which is truly frightening; though, this could just be because it is impossible to kill.

This can be a difficult game to master, especially some of the boss fights, but once you get the hang of the patterns of the infinitely generated hordes of enemies, it becomes a fun little romp. Victar can collect different power-ups; some that increase his life or respawn, others that change his speed or the speed of his darts, one that shortly allows him to throw darts in four different directions at one time, and keys that open special areas that reward miniboss-beatdowns with devastating special spells.

Each “level” of this “game” is actually a dream that Barbie is having, which is a convenient cop-out way to explain the ridiculous elements in each stage. Nonetheless, Barbie is armed to confront her adversaries with projectiles that never seem to hit anything, despite their somewhat potentially interesting mechanic of traveling a certain distance dependent on how long the player holds the B button. It is a shame that the potential of this degree is play control is wasted on such garbage of a video game.

One other quirk applies. Each side has a magician; for the Light side, a wizard, and for the Dark, a sorcerer. Not only are they powerful in combat, with a very strong projectile attack, but they can also cast a spell on the player’s turn instead of moving a piece. These spells range from Teleport, which moves a piece (of either allegiance) to a different space on the board; to Revive, which brings a previously defeated piece back onto the playing field; to Heal, which recovers a piece’s health, since drops in health do stay in play, unless the piece is allowed a few turns to heal naturally; Summon Elemental, which basically attacks an opposing piece with a one-use powerful being in hopes of earning the kill; and a couple others, all of which are good for one use.

This is a brutal video game, but brutal because the computer is relentlessly unwaveringly tough, the move set boils down to only a couple of effective options at most in any given situation despite the expanded repertoire, and there is no real saving grace to make up for the shifts upward in difficulty, as even the weapons seem fewer and far between. Some side-scrolling action NES video games such as Battletoads, Mega Man, and Ninja Gaiden are notably difficult, but for reasons of tight stage design, a mix of precision-jumping puzzles and enemy encounters, and bosses that gradually ratchet upward on the difficulty scale.

Of all the tweaks to the original Bomberman NES game, major and minor, the most noteworthy is probably the visuals. From the in-your-face title screen to the overhaul of the main quest looks,Hudson shows off their artistry with crisp, colorful, cool pixel pieces from beginning to end. Every eight-stage Area has a different theme, which determines the color and appearance of the soft blocks, permanent blocks, border, and background color. There are still-frame cutscenes between each areas, showing Bomberman’s continued progression to true freedom. Many of the enemy designs from the original game return fairly faithfully but with an appropriate touch-up. While other elements shine as well, like the fantastic frame-by-frame explosion animation, there is definitely a bit of slowdown when a lot is going on at once on-screen. This is unfortunate, especially later in the game.

Considering the patterned movements of many of the enemy obstacles, this already creates the inherent issue of requiring the player to undergo trial-and-error gameplay techniques in order to conquer the game, which provides a very repetitive, unenjoyable time. Even when Amagon is able to transform into the much (much, much) more powerful Megagon, it is still for a limited time, and ultimately a cartridge cannot rely solely on a single appeal in order to make a great game.

Way back in 1988, Hal Laboratories, who would still be churning out quality titles in later decades, released a quirky little cartridge for the Nintendo Entertainment System called The Adventures of Lolo. The colorful opening scene depicts fun, cartoony characters as Princess Lala gets captured in dramatic fashion and is whisked away through the sky from Lolo.So, as Lolo, the player must certainly control a valiant hero across epic landscapes and use a mighty sword to brutally dispatch of repulsive enemies and enormous bosses, right? Not quite – this title, with its round blue main titular playable character sporting big eyes and a cute little tail, throws a monkey wrench into the traditional adventure game.