NES, Genesis, Master System, Neo Geo, NES, TG-16, you know the deal, all console games here.
The idea of a bouncing Ostrich with a very sharp beak named Ozzie was enough for me to at least take a look at this game. Splash Lake was released by NEC in 1992 for the Turbo Grafx-16. This puzzle game features an Ostrich named Ozzie who uses his sharp beak to break holes in the bridge he is on causing his enemies to fall, into the lake, where they splash, hence, Splash Lake.
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This title boasts the usual high-quality Konami effects, many of them recognizable from their library of other NES games (try the Start/pause button in the Teenage Mutant Ninja Turtles cartridges, or notice the explosion sound of the defeated bosses), along with good background music in place for appropriate ambiance. The skillful renditions reflect painstaking attempt at optimizing what the hardware had to offer, and results in an action-oriented, multi-layered beat throughout.
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Game A is your standard 3 target shooter. This would be one of the rare times I enjoy no kind of musical track because if you’re an FBI agent trying to concentrate, the last thing you want is bouncy chiptunes blasting in your ear. There are 3 types of townsfolk in the sim you can shoot and 3 you can’t or else it registers as a “MISS!” and your game is over at ten. The tricky part is that the professor is colored just like a baddie and the grunt with the shotgun is colored like the stand-alone ‘stache sporting policeman, so it does take a bit of skill not to accidentally send Professor Sad-Shit to hell.
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The gameplay is tough! If you really want an old school 8-bit challenge, then this is it! Look no further unless you want something even more difficult like Battletoads. You’ll be trying to beat this game for hours, days, even weeks! Once you do, you’ll feel so accomplish and will never want to play through it again!
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About halfway through the third stage a small frog comes a-leaping at you. As with any enemy, you prepare to unleash a kick. But unlike the other enemies, which are knocked back a little and destroyed when hit, when you kick a frog they fly like a missile across the screen, taking out any other enemies that appear in their path. It is one of the most hilarious things I have ever seen.
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In our student house at uni we’d often play through games together, or we’d play the same game but using different saves. Not long after I started playing Code Veronica, Paul, my housemate, began playing through it too. We’d swap stories about good bits in the game, and I’d drop excited hints about what was coming up next. All was fine and dandy until right near the end of the game, when I inadvertently uncovered a bug that made finishing the game all but impossible.
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What is interesting is the scope of the Castle, every part feels different which makes it easy to remember where you are, and where you’re supposed to go (the map helps too). Half-way through the game however (if you use a special item during what seems to be the final battle) the castle will flip over and you’ll play through the castle again (upside-down) while collecting more cool items and defeating more bosses. There are many endings; I didn’t go through them all, but those I witnessed were interesting and worth the playtime.
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The combat is also a lot faster and smoother than the first NES game. They also have a decent control set-up where one button hits/kicks opponents on one side, and the other button takes care of the other side. It’s a shame some of this is ruined by awkward platforming. It’s a shame to lose one life because you got too close to an edge, or messed up a jump.
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Like many Japanese games, this one is based on an anime series, albeit a shortish and relatively unknown one, even in Japan. Both the anime and the game star a fellow called JJ who is a member of the medieval-sounding White Knights, a peacekeeping force who are out to destroy the evil Noza Empire’s base which is located on the 50’s sci-fi-sounding ‘Planet X’. At the start of the game, the White Knight’s mothership has just landed on Planet X leaving JJ to infiltrate the underground base, rescue two captured comrades, and set the base’s mainframe computer to self-destruct. Sounds simple enough!
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Bible Buffet is a hybrid game that forms a juxtaposition between the board game category and the overhead adventure games as well. With up to four human players (someone can even play alone if they wish to undergo the quest solo), each person sets out across a board with a rather lengthy track, over 100 spaces. A six-sided die is rolled to determine how far a player moves their token on their turn, with certain spots enabling a shortcut forward several spaces, a bonus roll, or even losing a turn.
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There are other factors as well, such as terrain and if your leader characters have any gear equipped (at the start of each level, a scenario is given to you and you have a chance to spend your hard earned gold on different kinds and quantities of soldiers, and that is also when you can choose to put a piece of equipment on a leader character). I recall getting so good at the game that I could go through the first couple of levels or so without buying any soldier units, to conserve money for when I would need it more in subsequent levels.
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The game has very good graphics. The 3D is very detailed but of course it would’ve been a lot better with some more work. There are times where objects disappear but it rarely happens. The different battle fields are OK at the most. They do resemble parts of the anime series but somehow always fall flat. A little more animation would’ve helped a lot. Overall, just OK graphics and character animation is good at most. The voice acting does help but not as much.
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Don’t get me wrong, Twilight Princess is an absolutely brilliant game, but whereas Wind Waker was a breath of fresh air that drew me in from the very beginning, Twilight Princess feels a little samey and derivative. The designers have obviously done their best to throw in a few new gameplay elements, but many of them fall flat – the sections where you play as a wolf, for example, just aren’t as much fun as playing in your human form, and of course they pale a little in comparison with the wonderful Okami
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Some elements of the game are surprisingly well implemented for example. The enemy tracker nestled at the bottom right of the screen tells you roughly where aliens are, with small bloops alerting you to their increasing proximity. This can result in some brilliantly tense encounters.
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The real-time environment also plays out in character interaction. What Blade says and does to each character will influence his future interactions with them or their friends (or enemies). This can have devastating effects on game play as a snide remark that seemed so appropriate at the time can limit Blade’s access to important game areas, and make the game’s ending untenable. Again, it’s best to save before any character interaction to avoid running into a dead end (or use the hint book…but I digress).
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Each Bomberman game has little things which differentiate it from the one previous. Bomberman 3 was quite innovative in that it had the Louies (Rooies), who were kangaroo type characters that you could ride. When blown up, some of the blocks in the level would reveal an egg you could collect. It would hatch into a Louie & you could ride it. Each Louie has its own special ability. Yes, it’s Bomberman’s version of Yoshi, but we won’t dwell on that as the Louies aren’t in this game. They do come back in Bomberman 5 however.
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Eternal Champions would plunder its time faring gimmick from 1992′s Time Killers, a sickly exploitative brawler that pitted past & future in blood splattering conflict, enough to make Mortal Kombat whimper. Sega’s headstrong fighter would eschew colorful, explicit ferociousness, partly due to subdued hardware capabilities. Locked to 64 colors (the Sega CD port finding itself a rare 256-color mode user), Eternal Champions ran with enlarged sprites to make Super Nintendo Street Fighter characters appear trifling in comparison, yet meek with dried up purples and browns. With system exclusivity allowing for peak fidelity, Champions would still fall prey to lackluster splash in an era where saturation was an attention hook.
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