Gloomy visions of the future weigh heavy, a promised Armageddon from which there can be no possible escape. There can be no preventing of these apocalyptic events, for they have already come to pass. This is our doom. The seal is opened. Come and see.
Author Archives: Martin F
If you’re strong
You can fly
You can reach the other side
Of the rainbow…
There are those that think of Sonic CD as the great ‘lost’ 2D Sonic game, who look at its relatively forgotten status when compared to the canon of Sonics 1-3 (& Knuckles) as some huge miscarriage of justice. Certainly, it was on these terms that I first ever encountered descriptions of the game’s existence, some years after I’d already become intimately familiar with all of the Mega Drive trilogy. And while it had a lot of work to do to supplant Sonic 3 & Knuckles at the top of the pile, I was definitely predisposed towards a positive outlook on it, especially after watching the intro cutscene. Read the rest of this entry »
There’s simply no way that I can approach Mortal Kombat without acknowledging Phil Sandifer’s fantastic essay on the game in his Super Nintendo project. It’s not the first time we’ve overlapped, but talking about Super Mario World, Link to the Past, and especially Lemmings, I found plenty of unexplored terrain left to uncover. But what can I possibly add to the Mortal Kombat discourse when the world already has “These days, there’s plenty of people whose spines I’d like to rip out, but that’s just called adulthood”? It’s impossible. He makes a compelling argument tracing a direct line from Mortal Kombat to the birth of Gamergate, and I can do nothing but nod and agree. It’s a tremendously ugly game, in all senses of the word, and I want nothing to do with it. Read the rest of this entry »
In the intro video for Lemmings 2: The Tribes, a grizzled old lemming tells an enraptured youth a tale of The Guiding Force, a figure of ancient legend who shepherded their people through the hardships of their time and brought them to prosperity, and of her prophecised return, before both turn to look directly at the camera like they’re on The Office. This reclassifying of the original Lemmings into the realm of mythology is presented with tongue firmly in cheek, and yet, in its critical and commercial success, the game was an absolutely monolithic presence in the world of gaming in the UK, and the enormity of the task of producing a true sequel (as opposed to a mere expansion) really could not be overstated. Read the rest of this entry »
Iain wrote this one.
Have we done a cyberpunk dystopia on AAA yet? Turrican was cybermetal; something as bare and isolating as Metroid doesn’t quite fit either half; Impossible Mission II came closest but has its own idiosyncratic niche (plus: too damn suave). So I guess the lovingly detailed high tech gloom of Syndicate was something new to many gamers. Its suit-encased guards and harsh architecture, its world of garish advertising screens and missions for corporate saboteurs presented in medi-scan silhouette with green lines to data, was novel and, more importantly, cool.
Developed by Nintendo in conjunction with British company Argonaut Software, who impressed with their 1986 Amiga release Starglider, and released in Japan and the US as Star Fox, the title was changed to Starwing for European audiences due, apparently, to concerns that there might be confusion with something called StarVox and not, as one might assume, anything related to either the 1987 Spectrum/C64 release Starfox or the 1983 Atari 2600 release Star Fox (ranked 7th in a list of the worst Atari 2600 games!). Though Starwing, as a name for a space-based shooter, seems about as frightfully generic as one could get, a cursory google suggests that, by contrast, it stands in conflict with no other games, or anything else save for a “boutique management agency specializing in sports and entertainment” founded in 2011. It does, however, skirt somewhat close to being the same name as Star Wars: X-Wing, a game to which comparisons in this post were already essentially mandatory. Read the rest of this entry »
In every artistic medium, there are works that defy the limitations of the conditions in which they were made to become timeless classics, creations that hold every part of their appeal countless years later. And then, on the opposite end of the scale, there are things like The 7th Guest. I’m not sure there’s a single game that we’ve covered on this blog so far that has aged as poorly as this. Like Predator and Tower of Babel before it, it suffers mightily from the issue of its primary selling point being the showcasing of shiny new technology that is now hopelessly outdated. But with The 7th Guest, the problem is exacerbated further by the technology in question being the wonders of CD-ROM and its ability to put actual real humans onto your computer screen, which the game then uses to present the world’s hammiest actors in the most cliché-ridden haunted house story known to man.