Fatal Run (Atari 7800)

 

 The Atari 7800 is a console with an identity problem. The only place it ever really had a hance to be popular is the US, where obviously, the NES was almost uncontested as far as eight bit consoles go. I guess the heavily western-skewed design philosophy and aesthetic of its games might have fit in alongside the microcomputer culture of the UK and Europe of the time, but of course, the higher price of console games mean people would have expected higher quality to go along with it. And from a nostalgia standpoint, it doesn't have the sun-baked 20th century California feel to it that the 2600 has. In my mind, the Atari 2600 fits alongside pinball tables and the sixties Batman TV show than it does other videogames.

 

But anyway, the 7800 does inexplicably have a few exclusives, one of which being Fatal Run. It's a sprite scaling (if the effect's being fakes, they're doing a good job of it) racing game with some mild combat elements. You're acing across post-apocalyptic America, delivering a vaccine to all the towns you pss along your way, and for some reason, everyone else on the road wants to stop you doing that.  (As an aside, was the 1978 Judge Dredd story The Cursed Earth the first post-apocalypse story to use this premise? This is at least the second game I've covered here with this plot, after The Tousou Highway 2)

 

So you drive from town to town, as fast as you can, and that's the most impressive thing about Fatal Run: it really does go fast! Not only that, but the roads are winding and hilly, and you see them stretch off into the distance, far enough away that it's just a single pixel line wiggling off towards the horizon. It's a simple-looking, but very effective effect. As mentioned, you'll be attacked by other cars trying to ram you off the road, and you can fight back with various guns and gasgets, though ammunition is very limited. You get points for killing enemies, but not money, so it's not really a necessity. What you do get money for is speed: the quicker you get to each town, the fewer people will die from lack of vaccine, and the more people survive, the more you get paid. This is shown via a weird little sequence that took me by surprise the first time I saw it: you drive past the ruins of the town, looking out of your side window, as various innocent-looking people either stand still or explode and turn into gravestones. It reminds me of the kind of crude illustrations on certain kinds of American punk and metal album covers from the late eighties and early nineties.

 

Also at every town, you'll go to the car shop/bar, and these are another nice little arsthetic time capsule. They so powerfully evoke the working class America of the time (or at least a stereotype of it), and there's a few different screens used for the shops, too. I especially like the one with a TV behind the bar, switching between news and sports broadcasts. It feels like something you'd see in an early Simpsons episode, that kind of wood-panelled, slightly run down, slightly seedy place. It's actually a surprise to see a game from this time, on this console, with such a distinct, unglamourous, and non-videogamey aesthetic to it. I think if Fatal Run had looked more like a typical driving game (with the sunshine and luxury of Outrun, for example), or took place in a more standard post-apocalyptic wasteland, it might have had a harder time keeping my attention in the way that it did.

 

Fatal Run is an okay game. You won't regret never having played it, but if you do play it, you'll have a pretty good time. But as I've described, it's the way it looks and feels that really make it interersting. If you want to play a game that feels like it might have been played by Bart Simpson or Beavis and Butthead in their respective heydays, it's definitely one to look into.

The Amazing Spider-Man: Web of Fire (32X)

 

 This was the final official 32X release, and coming out in 1996, I think there are two assumptions that can be safely made about it. The first is that it coming out was something of an adherence to the lost cause fallacy: possibly the publisher specifically had a license to make Marvel games only for the 32X, and they were going to do it whether it made sense or not. The second assumption is that it probably sold incredibly poorly, which is backed up by its modern day rarity and insane resale value.

 

Is it good, though? Not really. It's not terrible, either, though. Like most Spider-Man games of the time, it's a 2D platformer, you climb and swing acorss the stages, and the boss fights are against existing Marvel villains. Unlike some similar Spidey games, it does have a few stages that are designed in such a way as to allow you to freely web-swing over large swathes of the stage at your leisure. In fact, these stages are so long, that it'd probably take an absurdly long time to get across them on foot. Unfortunately, there's also a few stages that fall into the usual Spidey-traps, like being a long corridor with a surprisingly low ceiling, or being a bunch of enclosed boxes with small entrances and exits.

 

The plot concerns a plot by Hydra, who have set up a big laser net over New York (the eponymous Web of Fire), and are holding the city to ransom, plus they've kidnapped Daredevil and put him in a birdcage for some reason. After you rescue Daredevil, you can summon him to throw sticks at your enemies! So each stage ends with you fighting a villain in Hydra's employ, and destroying a laser generator, until you get to the Hydra airship/submarine/base stages. The bosses are probably the most interesting part of the game, to be honest, as the roster's made up of some absurdly little-known jobbers. People like The Eel, Thermite, Tangle, and others. 

 

Web of Fire is a game you mgiht want to look into out of curiosity: its rarity, status as the final 32X game, and weird villain roster are all points of interest (and what drew me into playing it). But if none of those things interest you, there's nothing else in the game that will, either. I played it way past the point of enjoyment to get screenshots, but there's no reason for anyone else to do that. And definitely no reason for anyone to pay £500+ for a real copy!

Fearless Pinocchio (Arcade)

 It had been a while since I last updated MAME, but a couple of months ago, Fearless Pinocchio caught my eye, and got me to finally undertake that minor chore. A previously unknown 2D fighting game by IGS with cute, stylised graphics suddenly appearing on the landscape would naturally get my attention. It's kind of a bittersweet game to learn of, though, as it's not actually a fighting game, but a machine for dispensing the tickets that are so important to all the depressing seaside arcades that have replaced fun games with low-quality prizes.

 

Still, it's at least pretending to be a fighting game, and there are some things worthy of mention. It's single player-only, and there's only one playable character, the eponymous Pinocchio. He's on a quest to rescue Geppeto, who has been kidnapped by Captain Hook, for some reason. Hook's the last boss, and to get to him, you've first got to fight two of his henchbeings, randomly selected from a pool of five. There's a genie, a witch, a grim reaper, the Queen of Hearts' card army, and the Big Bad Wolf. All the characters are well-drawn and animated, and full of personality.

 

The stages are also full of cool little details, even if there's only four of them shard amongst the six opponents. The woods have a little mushroom/candy house where Little Red Riding Hood and the three little pigs apparently live together, the graveyard has the witch's hut (I guess she and Death are neighbours?), plus a beanstalk with a depressed-looking giant watching the fight. Wonderland's the weakest stage, looking a lot like it's cobbled together from clipart, and Hook's ship has his pirate underlings, and far in the back, a Peter Pan who looks dangerously close to Disney's version standing around and doing nothing to help.

 

You fight using a joystick and one attack button, and while you do have specials and supers, they just seem to be activated by holding a direction and pressing the button a lot. I do really like the super where Pinocchio does the samurai movie thing where he dashes past his opponent while drawing a weapon, with the opponent taking damage after a second or two's delay, but his weapon is a big wooden mallet rather than a sword. The fights have only one round, and no matter what the situation is, if time runes out, you lose. I guess, true to its nature as "not a proper game", it just exists to have the shortest possible time between coin inputs.

 

It's really a shame there's no "legitimate" version of this game. A lot of work clearly went into designing and animated the characters, and six playable characters plus a boss wouldn't be too bad for a first entry in a series, especially if they added a background for each one, and especially if the characters looked as good as they do in the game that exists. I guess the best we can hope for is that someone rips all the sprites and puts something together in MUGEN or something. As always with this kind of shady gambling game, I think it's worth playing a few credits in MAME just to see it, though I don't think it's worth putting any money in if you encounter it in the wild. Or maybe it is? I don't know if this is some kind of emulation error or something, but every time I played, no matter how well or how poorly I did, I always got a screen telling me I'd won ten tickets. If a real machine is the same, it might be a cheap/quick way to grind for that cheap plastic tat upon which you've got your eye.

Magicus (PC)

 I bought this game a few years ago, because the PC version also comes with a download of the Android version, and at the time, my phone was still just about capable of playing games, and I was interrested to see what stuff of interest might exist in the world of pre-paid phone games (a subject I'll get back to later). It's an RPG in which the battles take the form of match-three puzzles, but there's surprisingly a lot more to it than that.

 

When you enter a battle, the enemies will be at the top half of the screen, and the bottom half wil be filled with gems. Clicking any gem makes it disappear and also deals a little damage to the enemies. Getting three or more in a row makes all of the lined up gems disappear and deals more damage. After playing a while, you'll also get spells, which have various effects like damaging the enemy, healing you, or changing what's happening in your little gempit. Each spell has an associated colour, and to charge a use of the spell, you have to click or line up a certain number of gems in that colour. Around the same time as you get spells, you'll also get special gems. These are different-looking gems, each only appearing as a certain colour, and they all have special spell-like effects when cleared as part of a line.

 

Aside from battling, the main gimmick of the game is its one-dimensional dungeon design. You traverse the overworldby just clicking the name of a location you want to go to, but in dungeings, you can go backwards and forwards. Every step you take has a chance of causing a random encounter. This could be a battle, a trap, a travelling merchant, a fishing hole, or one of a bunch of other things. So, the main point of difficulty is resource and stat management. And there are a lot of both of these things. You've got items, experience points, coins, leaves, fish, lottery tickets and more. This might sound overwhelming, but they're all introduced very gradually so you aren't overwhelmed.

 

Some of you might also be thinking that this sounds a lot like a free-to-play game with dark patterns and so on, and I do agree: while playing it, I was heavily reminded of the time I've spent in the past playing Immortal Taoists. There is, however, one important difference that I've already mentioned: this is a game that you buy, and which contains no microtransactions. The problem with free-to-play games that are structured like that isn't just the cost of the microtransactions themselves, but the fact that the developers are financially incentivised to design the games in such a way as to make the microtransactions more attractive: make it possible, but tedious to make progress, give players daily login bonuses so they're hooked on comig back to the game, and so on. It's known as "Dark Patterns" in game design.

 

Using Immortal Taoists as the example, because it's the game of this type with which I'm the most familiar, the setting draws new players in, and the carrot of endless character progression is what keeps them coming back and either watching ads or paying money. It is endless, too. The "Live Service" nature of the games means they can always raise the grapes every time player get close to grabbing them (the player is Tantalus in this analogy, and the game developer is Tartarus). Magicus offers all the positive stuff those free-to-play games, but without the negatives: dying in a dungeon is a very minor setback, you're only shown new equipment when you're at least a significant part of the way to being able to obtain it, and above all: you're given a singular long-term goal at the start of the game (obtain seven magic orbs to save the land from monsters), that has a clear and definite endpoint. I kind of wish there were more games like this! There are interesting elements in free-to-play games, but they're poisoned by the psychologically harmful structure of those games.

 

There's other positive things I can mention about the game, too: its cute low polygon count graphics, your lovable companions and the slowburn bond that grows between them, the fact that though it's a first person game where your character is never shown, it's still canonical that your character is a woman, reflected in the equipment you can obtain and more interestingly (though only occasionally), in the attitudes various characters have in addressing you. Anyway, I definitely recommend Magicus, it's a unique, interesting, charming, and fun little game, and you can get it from DLSite for an absolute pittance.

Banshee (Amiga)

 It's a shooting game, and it's on the Amiga, so I'm sure many of you can predict that this won't be a positive review. I do have some nice things to say about Banshee, though, so look forward to that, at least. I'll start the slating here by stating that this game was only released on the 32-bit Amiga models, the 1200 and CD32. Why, though? There doesn't seem to be anything technologically strenuous going on here, and the 16-bit Mega Drive and SNES, and even the 8-bit PC Engine all have shooting games that are faster and more frantic.

 

That's not to say that Banshee is a bad-looking game, though. In fact, all of its positive qualities are in the visual department. But they're also all the result of some really great pixel artistry, not any special effects or graphical trickery. The game takes place in an exagerrated early twentieth century kind of setting, and all of the backgrounds and sprites are full of detail and life. One thing worthy of highlighting is the way that soldiers die. You're mostly fighting vehicles of varius kinds, but there are tiny little infantrymen running aorund and shooting at you, too. Sometimes when you shoot them, they'll fall over into a pool of their own blood, sometimes they'll crumble into a pile of bones. Sometimes, if you're quick enough on the draw to blow up the transport bringing them to the battle field, they'll flee from the wreckage, with their clothes ablaze.

 

For reasons I'll get into later, I only managed to get as far as the second stage, but it's set in the capital city of the enemy nation, and it's even more full of details. You see women pushing prams, soldiers on roofs who fall to their doom when you shoot them, or riding round the streets on motorbikes, with a gunner in a sidecar shooting at you. I could keep going on about all the cool little things I saw in the relatively small portion of the game I played, but I guess I have to get onto the reasons why all of these things represent a tragic waste of effort and talent.

 

The first problem you'll encounter is that your weapons feel incredibly weedy. Power-ups are rare, and seemingly ganded out at random, meaning a lot of the time, you'll only get useless junk (you can shoot the items to change them into other items, but each one only has between one and three possibilities, and a lot of the time, none of them will make you any more powerful. Another thing that seems to be random is how much of your power you get to keep upon death. Sometimes you'll stay at the same power level, sometimes it'll be slightly diminished, and sometimes it's straight back to the default peashooter. The second problem is one that dawns on you after you kill your first boss: the stages are insanely long. That first boss you kill, if it ended the first stage, would have represented the end of a stage with a perfectly fine and normal length. It actually represents you having gotten a third of the way through the stage, with two more boss fights to (eventually) reach and survive.

 

Another weird thing is that there's no music in the game! Not even in the CD version! I feel like shooting games as a genre are known for having great soundtracks, so one that doesn't have one at all seems very strange, and it feels a little cheap, too, to be honest. It really feels like the pixel artists for this game were let down by everyone else working on it. Looking at Lemon Amiga, this was very well received by magazines at the time, with no review scores lower than 80%. Now, the Amiga specialist magazines I can kind of see, they were clinging to a zombie system and some of the writers might not have played any console or arcade shooting games. But even Gamesmaster, a multi-format magazine, gave it a glowing review and a score of 83%! Doing their readers a disservice, all of them. I won't, though: don't play this game, it's not fun.