Playstation 2 Look - Ultraman

Not too long ago, I covered Hissatsu! on the Sega Saturn, a side-scroller that resides in "licensed game hell". Okay, maybe it's not curdling in the lava-filled bowels alongside the worst of the worst, but it's still in a place I'd prefer to avoid. Anyway, I'm dedicating this article to three titles that deserve a place in licensed game heaven. Going by the header image, you'd assume that at least one of them is Ultraman, and you'd be right. Released in 2004, this cinematic brawler revisits the series that started it all. Taking control of the very first Ultras, players relive classic moments from the 1966 TV series. Challenge Bemular, Alien Boltan, and twenty other Kaiju in vicious 1v1 (or 1v2) battles. More fighting action awaits in Ultraman Fighting Evolution 3. Legendary heroes and villains from across the Ultra universe battle it out across the standard array of arcade, versus, and mission modes. Last but not least is Ultraman Nexus, the customary tie-in with the 2004 TV series. It's another fighter, one with a different style and feel to it than either of its compatriots, but still very ultra.

What does it mean to be ultra? That's a question I had never considered before. Ultraman video games have been around since the MSX and Famicom Disk System, yet none save Towards the Future (SNES) ever reached the west. When I played TTF and wrote it off as a bad Street Fighter 2 knockoff, the thought that it wasn't trying to be SF2 never crossed my mind. The Ultraman franchise is nothing if not committed to its own ethos. Its games embrace absurdity by adapting all the parts that "cooler" video games would try to hide. If a fight looks it's just two actors in rubber costumes throwing goofy punches and rolling around, then it's exactly what the developers were going for. An Ultraman game that played like a Tekken or Virtua Fighter might sound neat, but it wouldn't be authentic. The authenticity is what matters most. The games I'm about to spend the day discussed are lifted to heaven by not just being quality products, but also by being true to themselves.  

Ultraman (2004)

Upon starting this, you'll quickly notice that most of the game modes are hidden behind a wall of question marks, leaving just Story, 2P Versus, and Options available from the outset. Before trying out the Story mode, you might want to change the difficulty, as the default setting is the hardest. The Story combines still-frames from the TV series, in-game cinematics, and ends with climactic kaiju encounter. Besides a couple sequences that feature the Jet VTOL blasting kaiju with missiles or Hayata firing a laser pistol, this mode is all about Ultraman. You have three minutes to wear down the opponent while building up power for legendary techniques, such as the Ultra Beam or Ultra Slash. 

While there's no tutorial, controlling Ultraman isn't difficult at all. Rapidly tap the square button to perform a punch & chop combo. Kicks are performed with the X button. While there isn't a wide array of combinations, following up a series of jabs with a powerful drop-kick is always fun. Circle is the all-purpose button that provides defensive and offensive functions. For example, if the Kaiju is about to perform a breath or laser attack and the player hits the button fast enough, then our hero will create a barrier that blocks the blast. Well-timed circle presses can also grab adversaries out of their melee attacks, leaving them disoriented or sprawled out on the ground. Actions tend to be context-sensitive and are extremely rewarding if Ultraman is in the right position. Grab a kaiju by their tail to unleash a tremendous giant swing. 

Like a good pro-wrestling match, drama is the most important part of Ultraman. It's not enough to rush straight at the enemy and attempt to slap them to death. Ultra's techniques are governed by a power meter. Any counters or special actions (like the giant swing) will fill the meter much faster than basic strikes. This means that kaiju must be allowed opportunities to attack. Obviously, taking damage is going to make things harder on the player. Successful hits drain time, and the game ends after three minutes are depleted. There is a comeback mechanic though. When Ultraman's timer is in the red, the tech meter fills at a faster rate. True to the TV series, a lot of fights will come down to the wire. Effectively balancing offense and defense is essential, as it puts the player in a better position to eke out a victory, no matter how dire the straits may be. This game's fighting system is extremely solid. It makes the most of a limited move-set by keeping each encounter close and dynamic. The swings in momentum will take time to adjust to, but it's hard not to love that rush when everything clicks into place.

The game also does a great job of giving each kaiju its own identity. Antlar spends most of the fight burrowing through the ground in the hopes of landing a sneaky attack. Overly aggressive players might get punished by Alien Boltan II's tendency to split into tinier versions of itself. The feathers of Geronimon are a constant nuisance, so pulling them straight from the monster's back could save Ultraman some trouble. Then there's Zetton, the "final boss" of Story Mode, whose talent for teleportation leads to a very unique encounter. Some foes have unique death animations depending on the tech used to finish them, which is always a treat to see. 

A successful run through Story Mode will unlock Monster World. Here, players choose one of the unlocked kaiju and attempt to win a short series of fights, culminating in an encounter with the Man himself. This is very much the equivalent of smashing action figures against one another, with the winner often being whomever has the best, most spammable attack. The extent of the strategy involves meter management, and learning the best times to perform a meter-replenishing taunt (X button). Just one playthrough is enough to unlock the next mode, but I still revisit occasionally to try out different kaiju. This isn't deep nor balanced, but it's fun.

You can even be Pigmon (it dies in a single hit).

The next couple modes are mostly just cute extras. Monster Grave allows players to check out the stats of various kaiju, but only after they've been defeated in Story Mode. Violence Rock is a bit like shot put. Red King, the rock expert, must hurl a large stone as far as possible. There's a "sweet spot" that'll take several attempts to discover, but doing so is necessary to achieve the world record. You'll play this to unlock the next set of features, and potentially never return. Still, the failure animations are fun to see.

Eventually, the main menu will make mention of the NEW Story Mode. This alternative route features several new Kaiju battles, including one with the aptly named Pester. I don't get this weird bulky bat-thing, but whatever. More battles are always nice to have. Also, this might be a good time to try for the non-canon ending. Beating Zetton without the Ultra Beam is one of the requirements for "Ultraman Returns" mode. If you can't seem to unlock it even after doing everything else, then you might have to quit the game and "return" to it later (that's seriously how it worked for me). This leads to even more Kaiju, with the added caveat that players will have to start from the beginning if Ultraman is defeated by any of them. 

Survival Mode is the final unlock. Here, players can choose from four Ultramen. Then they're given the usual three minutes to defeat as many monsters as possible. Consider this the final test. Meter is very easy to come by, but getting hurt will drain it. The basic idea is to land just enough attacks on a Kaiju so that the Ultra Beam will finish it off, conserving precious seconds for the next bout. Spacing and positioning matter a lot here, so there's plenty of optimization for the professional Ultras out there. 

All in all, this is just a wonderful tribute game. I love how weighty every action feels, and the fights still look fantastic over 20 years later. High impact moves are always thrilling to land. This just might be the ultimate evolution of earlier titles like Towards the Future; a cinematic action-packed extravaganza with just the right amount of depth. A must-play for tokusatsu fans.

Game Boy Color Look - Kid Icarus: Of Myths and Monsters DX

Kid Icarus: Of Myths and Monsters has an introduction so simple that every attempt at putting it to words has caused intense mental anguish. Angel Land needs a hero. Pit answered the call. Palutena is all like "Okay, cool. Let's start with a simple training exercise." She then orders the kid to seek out the three legendary treasures. What follows is typical hero-in-training stuff. Pit hops and sometimes hovers through a series of stages. Hounding his every other step is a multitude of creeps that crawl, fly, or spit some manner of projectile. Each land's 4th and final stage is a labyrinth that's explored Zelda 1-style. While all of this is happening, Pit must build up his strength. Collect hearts to buy essential items. Defeat foes to increase maximum health. Follow clues and investigate suspicious walls to uncover valuable weapon upgrades.

There's a pretty good chance that you've already played this game, and I'm not just saying that because it's 35 years old. The handheld edition of Kid Icarus was formed from the same clay as the NES original. However, this is not a replica. Labyrinths, for example, no longer house warriors who'll help Pit with the next boss if he frees them from their stone prison. The layouts of each stage, as well as the bosses themselves, are quite different. Another aspect worth mentioning is the aspect ratio. The Game Boy's smaller screen size means there's quite a bit more scrolling, even in the vertical stages that "wraparound", as if the kid was circling an invisible tower. I know it's done merely to compensate for the limited hardware, but I actually really like this change. The additional scrolling creates a more adventurous spirit, as secrets are less liable to be out in semi-plain sight.  

What really sets the Game Boy title apart from its predecessor is that it isn't a piece of shit. Okay, that's rude, I apologize.... psych! Kid Icarus on the NES can swim in a dumpster fire. Nothing good has ever come from spending nearly 2/3rds of a game in vertical stages where everything below the protag is a bottomless abyss. Pit also moves like he embraced inevitability ages ago. I mean, sure. Bad controls weren't exactly uncommon in 1986, but combining them with a fail-state that follows like a shadow? Sheesh. Alright. I think the moment has passed. Way back in the day, I rented Kid Icarus NES only to never see past the second stage. Outright removing the chance of instant death turns Kid Icarus GB into an enjoyable romp. I also really appreciate the crisp controls and ability to hover. It's extremely limited, but quite optional, so every successful use creates a sense of satisfaction. 

If you're the sort of gamer who prefers being on the edge of controller-cracking mania, then I'm afraid you'll have to pass on Myths and Monsters. There's one instance of potential frustration; a surprisingly tanky first boss. Otherwise, staying healthy and happy isn't too hard. If you still want a taste of suffering, there's always the option to refrain from saving your progress. Dying causes Pit to give up one of his two credits. If you're saving after every completed stage, then getting kicked back to the title screen is no big thing. If you prefer setbacks, then hey... have fun. These and a handful of other self-imposed challenges help give the game some replay value, though I'd sincerely question anyone who attempts a pacifist run. Unlocking even a microbe of Pit's full potential requires some killing. Bosses are only going to get exponentially tankier if one forgoes the weapon upgrades.

Oh, I guess a word needs to be said about this DX port. It's a romhack that adds a splash of color as well as a small suite of features. Pretty nice, I think. Give it a look, stick to the unaltered original, whichever you prefer; just as long as you make time for the game. Kid Icarus: Of Myths and Monsters makes good on the ideas present in the original. Solid stuff from Nintendo R&D 1.

Playstation 2 - Look at Silent Hill 3

Today's look is at...nothing really.

I've decided against a Silent Hill 3 review. Writing anything half-decent about it is far beyond my pay grade. I did upload a bunch of screenshots to my other blog. You're welcome to check them out (just be aware of spoilers).

Saturn Look - Cyber Doll

In the early 21st century, a scientist by the name of Maria Rylius created a cure for AIDS. Almost as if it was personally insulted, the planet responded with a new disease. MLD, or Muscle Loosening Disease, causes a person's muscles to rapidly deteriorate until there's nothing left of them. This catastrophe, surely a sign that the human experiment was coming to an end, was averted by Maria. By replacing infected flesh and organs with cybernetic implants, one's life could be prolonged for... the rest of time. That Rylius, I tell you what. In just a few short years, she managed to cure AIDS, MLD, and death. Of course, throwing out nature's lifecycle like a proverbial baby with the bathwater has created new problems. World Leaders were deposed for even suggesting that a patient's cybernetic implants - their immortality - should be replaced with flesh once they've recovered from MLD. As for Maria, she passed away shortly after ushering in the cyborg revolution, though her brain would live on in the supercomputer MARIA. 

In the years that followed, nearly half of Earth's population had become cyborgs. MARIA was placed in Heaven's Tower, a spire in the heart of ZERO-City that essentially became the new world's government. Not long after, a new catastrophic had struck, this time affecting those outfitted with cybernetics. Something infected their mechanical bodies, turning them into "Dark Visitors". This new epidemic was the most violent yet, as DVs were essentially psycho killers with indestructible bodies. Honestly, I'm not at all surprised by this turn of events. A cyborg's heart is actually a sentient creature, the result of countless bio-engineering experiments. Think about it. In order to avert mankind's destruction, Rylius created a living organism that would have to spend an eternity imprisoned inside of a human body. Oh, and this prisoner is responsible for all of the body's functions. I'm not well-versed in themes, metaphors, and the like, but it isn't too hard to see that our tendency to subjugate others in order to maintain the illusion of society would lead to this. If a creature that was forced to be my beating heart decided to revolt and take control, then who am I to say, "Wait that can't be right."? 

Pictured: Your heart. Take good care of it!

Nevertheless, something had to be done about Dark Visitors. This is where you come in, Debugger. You represent the de facto police force of Heaven's Tower. Hunt down the DVs, deal with anyone that would threaten MARIA's dominance, and make a token effort to protect the innocent. No doubt the corporations sponsoring your advanced cyborg body would benefit from good PR. 

Nearly 30 years after its original Japan-only release, Cyber Doll for the Sega Saturn received a fan-translation. This is a game that has fascinated me for quite some time. I've owned a copy since 2004. In fact, next to Riglord Saga 2 and Wachenröder, it's one of the few Saturn games I still have a physical copy of. Fingers crossed those two get fan-translated eventually. Anyway, since my first attempt at a playthrough didn't make it past the third mission, I've spent the past couple weeks settling unfinished business. Now that it's all over, I'm left feeling somewhat dissatisfied. Yes, this game occupying some corner of my mind for over two decades has likely contributed to a level of hype that'd be impossible to satiate, but there's more to it than that. Of course, this being a review, I can't just tell you what it is right now. Stew in the suspense for a bit while I rattle on about what makes this RPG an RPG.

After deciding on the Debugger's name and viewing a couple story scenes, you'll be teleported into a district of ZERO-City called the Pleasure-AREA, known for its many bars and clubs. Your mission is to investigate a series of killings and hunt down the DV responsible. It might not seem like it at the moment, but each AREA of Cyber Doll is a dungeon. The first and most important thing to do is find the man with wires in his head having a smoke. He saves progress. Next, look for the nearby building with a neon sign that says Medic. Recovering from life-threatening injuries requires slightly more than a nap. Afterwards, head southeast to reach the weapon and item shops. Get used to seeing the proprietors within each of these three buildings, as they'll show up in every area/dungeon for the remainder of your cyberpunk adventure, plying their services even when random encounters are just a few steps away.

Combat is handled similarly to a scaled-back Front Mission. On the left side is the protagonist. His opposition, of which there is never more than two, is on the right. Battles are turn-based, and yours is often spent firing at the enemy with one of three types of guns. Pistols, semi-automatic rifles, and laser cannons can be aimed at any of the enemy's five body parts. Aim for the arms to reduce their offensive capabilities. Target legs to prevent them from moving. In fact, if you know which limbs to destroy, you can leave an enemy without the means to attack, rendering them helpless for the remainder of the battle. Keep in mind however that some cyborgs have weapons attached their heads or bodies, so they might be able to maintain an offensive, just as long as they're within the range that they're weaponry is suited for. In any case, destroying their heads or bodies will end the battle. 

Flamethrowers, SMGs, and rockets deal what can be consider random damage. Once fired, they'll hit various parts of the cyborg. With any luck, the same part will be hit multiple times at once, instantly destroying it. Unfortunate Debuggers might just miss their opposition entirely. To further dissuade players from relying too heavily on randomized damage, Cyber Doll ties stat-building to the acquisition of enemy parts. When a battle has ended, any body parts left undestroyed have a chance to drop. Players can then visit the medic to swap these parts out or sell them like unwanted junk. During battle, the Search command details every part an enemy cyborg is capable of dropping. It's simultaneously a treat and a nuisance meeting an unknown enemy and discovering they have a full suite of new parts to acquire. It'll take several fights to obtain every part, and it's not guaranteed that what they drop will be better than what's already equipped. Still, I love the rush of endorphins whenever I come across a new part that improves every stat (even if it's just a +1).

Shotguns, miniguns, and missiles trade away surgical strikes for all-encompassing destruction. Along with hitting every part at once, these weapons tend to do the most damage. By the mid-to-endgame, you're liable to realize that a good minigun will simplify just about every random encounter. Combat is the most prevalent element of Cyber Doll, but it's not very deep. There is, especially at first, a real danger that enemies will target the Debugger's squishy head, ending his career in an instant. That starts to go away after you've swapped that worthless default brain out for something better. Also, money is never hard to come by, so there's little preventing you from buying a complete stock of repair-kits and other essentials. Juggling what looks like five healthbars sounds complicated, until you open up the inventory to grab one of your 99 AllRepair50s. Also, don't forget to try the S-ARMs on tough enemies. These often-purchasable items can inflict heavy debuffs.   

This is also one of those RPGs where speed rules everything. The way stats are distributed gives one the impression that they should emphasize attack over defense or - No. You'll definitely want HP and defense at the beginning of the game, but speed will soon overtake both as the most important stat. Speed effects the Debugger's chances of getting multiple turns in a row. It also increases evasion. Avoided damage means that turns aren't spent on recovery items. Most convenient of all is the fact that speed determines whether or not you need to fight a random encounter. Invest in that stat for long enough, and you'll be running through dungeons completely unbothered by slowpoke cyborgs. This is also a huge boon if you're trying to farm high-level enemies, as the chaff can be ignored with a single button-press. 

Particularly troublesome foes are either fought under specific circumstances or require the use of S-ARMs. I'd call them bosses, but I'm not sure if Cyber Doll wants me to treat them as such. Missions in this RPG function as episodes of a TV series. There is a set location where the events of the story take place, as well as multiple recurring characters. More to the point, villains tend to show up as "unwinnable" battles. I have to use quotes here, because while some unwinnables are straight-up beatdowns from an invincible foe, others have both sides trading attacks for a number of rounds. It's all part of the story I suppose but in gameplay terms, it often leads to anticlimactic encounters. There are set pieces that work extremely well at creating tension and drama. In an abandoned shopping mall, the protagonist is stalked by a killer cyborg who shoots at him with a high-powered sniper rifle before rushing in with the finishing blow. Catching glimpses of this guy shrouded in darkness while exploring the mall is scary as hell. This is one of the best parts of the game. Its atmosphere, storytelling, and game mechanics all working as one to deliver something unforgettable. I wish there were more events like this towards the end of the game. Instead, there's a second Debugger who ends up carrying the protag through numerous fights. It begins to feel like nothing I'm doing actually matters. That... that might be intentional, and acceptance is the hardest part.

I'll also point out that far too much of the game is spent in the Pleasure and Downtown AREAs. Asset use is expected in an RPG, but revisiting the same dungeons causes several missions to blur together. It isn't until the 12th mission that something interesting happens, and it's a timed mission where the protag has 25 minutes to dispose of 25 bombs located throughout the district. This was, and I almost hate to say it, one of the other highlights of the game. Gathering clues, hunting down the bombers, engaging in some simplistic hot & cold exploration; these were all -ings that I appreciated. Without this and a handful of other reprieves, Cyber Doll wouldn't be much more than exchanging body parts for stat-increases. I'm not shallow enough to enjoy that for 25 hours. Maybe 20 hours. 

In the end, this was still a worthwhile experience. Yasushi Nirasawa's designs are always a treat to see. Though it has its problems, the battle system functions quite well. Picking apart an enemy cyborg's weaponry from a distance or getting in close to shred them to scrap is pretty fun. I shouldn't say this aloud, but finishing helpless cyborgs off with a series of punches (usually a last resort weapon) feels deliciously sadistic. Plus, it's just nice to see what an alternate cyberpunk future would be like. Getting my heart replaced with a xenomorph is pretty messed up, but still cooler than data centers that produce pictures of zombified breakfast burritos. 

Playstation 1 Look - Sol Divide

Today's look is aimed at Psikyo's oft-neglected Sol Divide. Choose a hero (or heroine) and embark on a fantastical journey filled with magic and monsters. What sets this apart from every other fantastical journey is that it's a hack & shmup. Imagine the Vic Viper growing arms and swiping at Bacterium with a sword. Picture Rastan soaring through the air as orange pellets whizz past his small hurtbox. Mentally process a giant Golden Axe DNA-filled needle getting stuck in something else. Even if it wasn't the greatest idea at the time, I have to think that it laid the groundwork for Cannon Spike, and everyone loves that game (I think?). Anyway, Sol Divide was ported to both 32-bit consoles, with the big addition being a Roguelike mode. This is, sadly, the actual reason why you're reading today's article. I need semi-constant +1s to various stats in order to feel a crumb of emotion. 

Before getting to that barrel of laughs, let's talk the Arcade game. Typical of Psikyo, each stage consists of 30 to 45 seconds of minion-blasting, after which the big boss-fight ensues. Minions have two to four legs and require either a prolonged series of bullets to the face, or a good solid combo. Generally, the winning strategy is to go with the flow of combat. No matter their size and shape, baddies will fire projectiles from afar, then rush in to land some devastating melee attack. Dodge whatever flies out of them, cut off their approach with hacks & slashes, then grab the power-up they leave behind. 

Among the spoils of the recently-deceased are magic scrolls. These bequeath spells to the chosen hero (or heroine). Meter management is another aspect of Sol Divide's identity, as magic will provide both damage and respite, but can't be used frivolously. The most basic fire spell casts a stream of flame that extends the length of the screen. Its main purpose is to push foes into an ideal location. Players will quickly realize that true to hack & slash nature, positioning and manipulation are everything. The more foes that get clumped together, the easier it becomes to crush them with a combo. Advanced spells carry heavier costs, with the heaviest being one-time use grand magics that do boss-annihilating damage. Since mana potions aren't common enough to really matter, replenishing meter often requires laying into foes with a series of thwacks or slashes. This is, naturally, a huge risk, especially against bosses that can erase health-bars with their own melee attack. However, it has to be done in order to use magic with any consistency. The magic meter tends to be the most affected by which difficulty setting the player is on. "Children" and "Monkeys" can effectively trap bosses in spell-loops. Cast Frost or Slow magic, pummel the boss, repeat. The non-disparagingly named difficulty settings throw this strategy out the window, so don't hang onto it for long.

A mechanic of the game that all players will have to respect is interruption. Basically, an enemy's attack can be interrupted with the swing of a weapon. This won't work all of the time but is a huge part of dictating the flow of battle. Keep in mind however that the hero (or heroine) can be interrupted as well. They can't swing their weapon if they're busily wincing from the projectile they ate an instant ago. Just to be clear, there's no "powering through" anything. If the player tries to maintain an offensive after taking damage, then they're just going to get beaten down further. Retreat and reassess or fall over and die. This mechanic contributes to Sol Divide's long-term depth. Players will continually take bigger risks in order to obtain the meter necessary to unleash boss-wiping spells. The importance of learning patterns and striking at optimal moments are effectively communicated. 

My biggest problem with the game is how truncated it feels. Even by Psikyo standards, this is one short shooter. There's maybe seven minutes of adventure followed by a three-minute finale. Also, the finale's huge difficulty spike almost guarantees either a Game Over or a maddening series of failed attempts. I eventually start feeling like the only stage that really exists is the last. Everything else could very well fade away and disappear. 

Luckily for me, there's the Roguelike mode. In order to save the kingdom, players must traverse 15 floors of danger. Quite unlike the Arcade mode, these floors feature several minion encounters, wave after wave, until a boss finally makes their appearance. On the player's side is all the RPG trappings they could ask for. Defeated baddies award experience and will occasionally drop a treasure chest. These contain a wide swath of items, or keys to unlock silver & gold chests. Since the magic meter is nowhere to be found, scrolls have become usables. Save them for a desperate situation. 

Since conquering the entire dungeon in one attempt is out of the question, players can expect to spend the majority of their time building a hero (or heroine) up with stat-improving items. I can't lie. This makes for a very addictive gameplay loop. Building strength, revisiting stages with a guy who can erase dragons with a couple of combos, it's all quite compelling. Kashon - the winged guy with the spear - also has the strongest melee capabilities. Hacking through a school of monsters with one big combo causes pleasurable jolts to penetrate my skull. Inventory management is a mild annoyance at times. Having tons of chests but no keys (and vice-versa) can happen. 

However, though the game tries to incorporate some "lite" elements in their Rogue, the fact remains that death is cataclysmic. If someone falls in battle, then not only is their entire inventory cleaned out, but their attack and defense power is dropped by half. Level isn't affected, but woop-dee-freaking-doo. In order to return to the sanctuary and save the game with everything intact, I need a magic gem. These are the rarest of rare items. Getting two in a single dungeon attempt felt like something I could brag about to lottery winners. 

Magic gems being both the rarest and most essential turns this mode into a chore. The monsters receive a significant power boost every few floors, hence the need for multiple attempts the dungeon. If I don't find a magic gem during an attempt, then any and all upgrades aren't going to matter. The rarity is likely intentional, as it encourages players to use what they have to push further into the depths. Maybe they'll overcome both the odds and their limits. It's a neat idea, until reality hits like a massive axe. I don't like to have my playtime arbitrarily extended by failed attempts, but I can only blame myself. Fuckin' roguelikes, I'll never understand why I keep playing them. "Just one more.", "This attempt will be better than the last one.", "You might get lucky!", all things I've told myself over and over, game after game. Yet I'm always back at the beginning, slipping further into a hole that has no bottom.

So yeah, Sol Divide. It's a funky game. 

Arcade Appreciation - Alien Vs Predator

One of the inadequacies that hounds my review is the lack of time. As you've no doubt noticed, a couple of hours is the most I'll spend on a written article. Worse, the time I dedicate towards playing the subject of the review is usually not much more, and sometimes even less. Conclusions, when I actually bother to write them out, are formed from however long it takes to see the credits roll. This might work decently enough for RPGs, as even the most expedient of them can take close to a dozen hours. When I say, "I don't want to see this shit ever again." about some piss-poor Dragon Quest clone, then you know it's a confident statement with plenty of backing evidence. Today's pick is Alien Vs Predator, an arcade game where it takes 45 minutes to reach the credits, and weeks if not months of nonstop playing to achieve a one credit clear. You know I didn't spend months, weeks, or even days to make this review happen. I have no achievement to share, so everything I'm about to say deserves to be scrutinized. 

Then again, I can't imagine many would argue that Alien Vs Predator isn't one of the greatest beatemups ever made. Sure, it might be a big statement coming from me, a tourist easily wowed by fancy moves, pretty pictures, and excessive body counts; but genre experts with their decades of research should agree that Capcom put out a masterpiece. What makes it so phenomenal is probably easy to explain, though I intend to make it difficult for myself. After all, I still have 1 hour & 50 minutes of review-writing time left. 

Would you trust an AvP review from a guy who can't 1CC past the 4th boss? Don't answer that.

Let's start with something essential: player expression. The genius of this game is that its hostile encounters are not the overdesigned products of a hundred tinkerers. They are often no more than a horde of aliens or humans. Sure, there are a sizable variety of foes, all with their own methods of attack, but they are not intricately placed to the last detail or designed in such a way that the ensuing battle feels rehearsed. No, you get a horde and all the messy moving parts that come with. Treat it like a blank canvas, a slab of marble, because everything you're about to do to your enemies is art. Trust me when I say that your creation is going to be beautiful and special. It might not seem that way at first, especially if you're as bad at the game as I am. Keep it in your mind that Alien Vs Predator demands its players create miracles while standing on the needle's point. There is nothing you're about to do that isn't great.

Let's continue running with this hypothetical that you haven't already played the game to death since its release in 1994. The artistic endeavor you're about to undertake will be a reflection of your character; the summation of your experiences, learned skills, and personality. Naturally, you'll want an avatar that you can squeeze into like a second skin. First up is the Predator Warrior. Choose him for his balanced abilities, a combistick that combines solid reach with speed, and some wicked mobility. Warriors don't leave a lot of openings, since even their down-up special keeps them fairly low to the ground. This coupled with his flying leap makes it easy to quickly shift from offense to defense. The Hunter uses a Glaive (Naginata?) and exchanges a bit of speed for additional strength. His down-up is a flying uppercut. Big damage in the right situation, but a massive commitment in every other. Both Predators have shoulder cannons. A well-timed shot can disorganize enemy forces and knock several of them down. They overheat easily, so try to keep from firing more than once every few seconds. Don't overlook their ability to fire from almost any state. A midair shot will clear a path to land or punch a hole in the horde. 

Then there are the cyborgs Linn Kurosawa and Dutch Schaefer. Dutch is, as you'd expect, a big dude who deals crushing blows to anything that gets close. The smart gun implanted in his mechanical arm will see a lot of use, as its pushback is essential for clearing space. Take advantage of it after a down-up special whenever possible. Also, don't worry too much about that slow walking speed, as he covers ground quickly with his slide and dash-attack. Finally, Linn is a technical monster. Her jab has a surprisingly large hitbox, making it an important poke. Jump-kicks, down-stabs, and air-throws, the hyphenated trifecta, allow her to dominate a wide space. Linn's handgun is insanely versatile, with tons of midair applications to bully the opposition with. You could have her gun down everything from afar, but she's getting clipped the instant she has to reload. Seriously, the one alien left standing could be way on the other side of the screen, and it'll still get to her before the reloading animation finishes. Point is, each hero has a ton of moves to work with, and using all of them is required to get anywhere.

Since the days of Final Fight, Capcom has established themselves as one of the masters of how a beatemup should feel. That delicate blend of hit-stop, sound design, and the way fists hit flesh repeatedly. They figured it out ages ago, so it's no surprise that Alien Vs Predator feels amazing to play. It goes beyond the already perfect controls. I can't praise enough how each hit links into each other. The way Linn and the Predators effortlessly shift from their magic series to a down-up special. Sliding after a big combo to scrape a couple OTG hits. There is a flow that travels through every combat instance. Getting into "the zone" has never felt so easy. For me at least, all it takes is for Linn to fly across the screen, landing multiple strikes with her down-stab, and then executing that air-throw. A handful of attacks actually cause dramatic slowdown when they're performed, and it's fucking amazing. 

I know I already called them perfect, but those controls... wow. Turning the jump button into an all-purpose evasion tool was a brilliant decision. Forward + jump to hop or dash, down-forward + jump to slide, up-forward + jump for a high jump. Inputs are kept light to the point that every move is instant. Besides (very easy) down-up specials, the execution barrier doesn't exist. Furthermore, it's impossible to perform an unwanted move, ensuring that nobody dies because of an accidental QCF or a forward-back-forward or a 214 or... you get what I'm saying. Despite everyone having an insane toolkit, all actions are handled with a simple three-button setup. Also, it has to be stressed that the considerable mobility options aren't just exciting, but also essential.

Alien Vs Predator is unquestionably tough, a stark reminder that the player can be given everything and still suffer immensely. Seeing as how our heroes can inflict serious damage and fly across the screen with hardly an effort, it only makes sense that they'd be made out of tissue paper. Healing items are common enough to never be an issue, but the severity of a single hit - let alone a combo - is shocking. One xenomorph lands a headbutt, the other a tail-strike, and suddenly that health bar looks like it ate back-to-back supers. Going through long stretches of the game without a scratch is very doable, but once that scratch occurs... bleugh. It ain't pretty. Also, beatemups where players have only two lives to work with are everywhere, but I still feel like I'm getting pranked by this one treating the second life as an extend. In the end though, I can't really complain. If the Predator loses 98% of his health to a single grab, then that's on me for allowing him to get grabbed. The evasive options are numerous, and I could've just done an attack + jump special. A negligible loss of health beats dying horribly.

Linn's charge-attack also kicks ass.

I know it gets said a ton in these beatemup looks, but knowing the enemy's capabilities is required. Xenomorphs come in several flavors, all with differing attack ranges. Never assume they're too far away to land a hit. I'll say that despite their similar body-types, it's easy to tell Aliens apart, and pick out the especially troublesome ones from a crowd. Combat encounters with humans tend to be a bit simpler, since they won't attack without a weapon in their hands. They also tend to leave plenty of guns lying around, providing plenty of opportunities to shoot through them without a second thought. The frequent shifting between alien and human battles keeps the second half of the game really exciting. 

As far as the bosses go, let me just say that I'm glad Razor Claws is only fought once. Even in pairs, Royal Guards and Chrysalis aren't too much to handle. Razor Claws though... I'm surprised that he's only the second boss. Damn thing has nasty reach and a propensity towards axis-shifting strikes. The rest of the bosses tend to rely on adds (either human or alien) and/or some moves that erase health-bars like they never existed. Still, boss arenas often provide a pulse rifle or some other weapon(s) that deal huge damage. Navigating the horde and killing their leader is handled well. I'd even go as far to say that AvP is one of the standards for boss + add encounters. They're appropriately balanced, with adds dropping in at the proper intervals. 

I believe I've used up more than my allotted time, so let's wrap this up. Alien Vs Predator is an immaculate gold crown decorated with gemstones. It manages to be both extremely harsh and extremely fair. Players are given all of the tools to create something incredible, even as the slightest mistake hurls them directly into the abyss. The depth is also unreal. Easily the sort of game that can last for decades. Play it again sometime.

2026 Special - Silhouette Mirage

You don't need me to tell you that Silhouette Mirage is one-of-a-kind. Back in 1997, Treasure released an action game so mechanically dense that it would be impossible to iterate on. There could never be a sequel no matter how stars and planets aligned. Once again, I'm left staring at the pale abyss, as the words that'd sum up both this lovingly bizarre creation and my thoughts on it are dancing just out of reach. Perhaps I should start by pointing out that this game only works when you allow yourself to get lost in it. Multiple playthroughs are required. A second or even third visit to the tutorial is highly recommended. Most of all, you have to treat every move as a conscious decision. Something as simple as the direction the player-character faces changes the entire trajectory of her next interaction. Failing to weigh the consequences of a single button-press or tap of the d-pad will result in more than just lost health. The pillars of order and chaos will collide in a stunning explosion, setting up a chain of catastrophes that one may never recover from.

Like so much of Treasure's output, this game adheres to the core principles of feng shui. In order to reach Edo and reboot the world to what it was before the apocalyptic "Day of Parting", Shyna Nera Shyna will have to be receptive, not reactive. Both the Silhouettes and Mirages refer to her as a messenger of destruction. As such, attempting to operate strictly as an opposing force will bring a world of hurt upon the heroine. Enemies tend to have an innate element that's either red or blue. Fire opposite-colored bullets at them to inflict damage, or like-colored bullets to drain their spirit. Seeing as how Shyna's projectiles are determined by the direction she's facing, players have to approach every encounter with heightened awareness. In other shootemups, it doesn't matter where we stand, just as long as we're not in imminent danger. Having such a simple concept irrecoverably altered will take quite some time to adjust to. Since you can't fight against it, you just have to adapt, become one with the world and its denizens. 

Further complicating matters is the fact that both Shyna and her enemies can reflect like-colored projectiles. Reflected bullets become neutral and are dangerous to either element. Needless to say, Shyna could blow herself up if you're not paying attention to what the enemy is doing. Bear in mind also that while destroying the enemy outright might sound like the ideal choice, choice is something of a luxury. Shyna has to be facing the enemy, on the side of them that allows her to inflict damaging shots, and in a position where she isn't at risk of a dreadful counterattack. It's times like these that weakening the enemy and removing some of their special attacks from the equation can be pretty helpful. Also, it might be a good idea to rush in for a grab, pound their face for some extra coins, and then toss them in a direction that favors you. Most notable fights are 1v1s and are very dynamic, with momentum that can turn on a dime. 

The game's adherence to feng shui can also be felt in how Shyna moves. Part of the reason positioning is so important is because the heroine's walking speed is very... normal. She isn't the anomaly that zips all over the screen, ignoring the actions of others as time dilates around her. I seriously almost want to use the word methodical, because the messenger's slow movements often force players to act defensively. Dashing, sliding, and energy tackling are all moves available to the heroine, but there's at least one limitation tied to each. The energy tackle, which crushes enemies with a tremendous burst of speed, requires one to double-tap down and then double-tap forward. If you have Tekken-level execution, you could probably perform it very quickly. However, it's still a move that requires sequential inputs, and can't be relied upon as some instant escape. Slides only go a short distance and dashes tend to be the point A to point B move. These limits emphasize the importance of Shyna's reflect, a move also incapable of solving every problem. After all, it does no good if one is facing the wrong direction or is the wrong element while it's in use. Treasure committed to making a game where every single action is significant. There's always a cost. 

Admittedly, this does mean that it's taken me quite some time to discover an appreciation for what they were going for. The heroine's triple-jump is very cool, but without an air-dash, she often ends up a floaty target. Movement in games is something that I tend to take for granted, so getting smashed by a giant mech that probably could've been outwalked was a serious wakeup call. Several enemy attacks require that one understand good positioning over mere reactions. Megiddo, one of the late-game bosses, has a move where he dive-kicks into the ground and then uppercuts his way out. The kick is easy to avoid because of its long travel-time. Conversely, the uppercut is either a close-dodge or a well-executed reflect. I say well-executed, because if Shyna is too close, she'll take a hit through her shield and lose some spirit. A lot of thoughtful work was put into the encounters, and they often present problems that aren't solved with a little "Oh. I'll just walk over here and avoid it entirely." Count on multiple playthroughs, as it'll take quite some time for all the details to lock into place.

Don't worry if any of this sounds the slightest bit overwhelming. Silhouette Mirage is first and foremost a teaching game. Its lengthy tutorial and frequent bosses that demand Shyna's entire skillset ensure that the player isn't left behind and scrambling for a clue. Also, provided that you've taken advantage of the wealthy, the protag will usually have enough cash to refill both health and spirit. It's not too hard to gain an advantage either. In the caverns of area 1, there's a group of specters that'll respawn if you step into a nearby hole and jump out. This is an exploit that the developers are actually aware of, as they included a hidden shop that sells a level 6 Slotha for 900 bucks, and nobody aside from the farmers of that specific room have that kind of dosh. If you are that person, then congratulations. You now have a weapon that'll crush a good chunk of bosses.

Ah right, the weapons. Something that the cutesy art-direction tends to hide is that the inhabitants of the world tend to be cybernetic abominations. Shyna herself has these weapons called parasites. With names sounding awfully like the seven sins, up to three of these cuddle-wuddlies can be purchased, equipped, and swapped between. Seeing as how parasites are practically the sole means of dealing damage, you'll want some that fit your playstyle... or at least do a half-decent job. My personal favorite is Pridy, because boomerangs are awesome. Glattony is a solid laser that has its uses. As for the rest... well... eh. Some of them just seem too situational or require a heavy investment to be functional. Slotha at anything less than level 6 is hardly worth messing with. I'll also add that the choice of parasite as well as the current spirit level can have a compounding negative effect on boss-battles. Endgame fights with underpowered weaponry tend to drag on for a long time. 

Still, I'd say it's best to approach Silhouette Mirage with an open mind. I mean, that mind has to be wide open. This is a very playful game. Its willingness to take ideas and just toy with them is very reminiscent of Dynamite Headdy. There's a good chance you'll discover a new interaction each time you replay it. Each boss, even those that get crushed with overpowered parasites, has a niche. You can learn the patterns, know exactly where to stand at all times, and still discover something new about them. In essence, this is less a boss-rush and more a very thoughtful series of events. In spite of her protagonist powers and status as messenger of justice/destruction, Shyna is as much an inhabitant of this world as everyone else. There's a level of back-and-forth to every battle that isn't often seen in the action genre. It's a very confident game, never showing hesitancy let alone fear. The dense mechanics and cavalcade of ideas have created something rich, something that can't be imitated. 

Oh, and for the sake of everything, do not ever mess with the Working Designs version. The Saturn original received a lovely fan-translation, and you can always play the Japanese PS1 port if the extra content interests you. WD's gameplay changes built a ruinous shithouse that could very well cause players to shelve the game for decades.