Dragon Beat: Legend of Pinball (Playstation)

I really like pinball games, both real tables and videogames. I think there's a lot to be learned about game design, especially for arcade-style games from playing them. It helps that most of them are pretty fun, even when they're not particularly well-designed because of some basic principles I'll get into later. Dragon Beat is definitely a useful learning experience, even among pinball games, as it's a masterclass in fundamentally bad design.

But first, I'll address a more obvious elephant in the room regarding this game: the way it looks. It's ugly. Very ugly. Everything is prerendered in a way that makes everything look very very dated. Some people talk about how the low polygon graphics seen on the Playstation and Saturn have aged poorly, and they're wrong in general, but Dragon Beat in particular is a game that would have benefitted greatly from having chunky polygon models with vibrant, brightly-coloured textures as opposed to the drab, wannabe realistic renders it has. The fact that prerendered backgrounds aren't exactly conducive to play and interaction is probably a mitigating factor in the game's mechanical faults, too.

Though it might just seem like flourish, an important part of what makes pinball fun is the constant stimulation. The whole time you're playing a pinball game, there's noise, flashing lights, numbers going up, stuff moving around and so on. For an example of this idea taken to its extreme, play Kaze's Digital Pinball series on Saturn (Last Gladiators and Necronomicon), games that constantly bombard the player with absurd levels of bombasticity, with guitar solos, booming proclamations and even surreal poetry recitations happening while the ball pings around the place.

Dragon Beat, by contrast is just plain old boring, in a way I've never seen a pinball game be before. More than half of your time is spent watching the ball just bounce off of walls, making no sound, scoring no points, having nothing happen. If you're lucky, you'll get the ball into a few holes , which will trigger events and let you see a little bit of cool pixel art and maybe also a glitchy pre-rendered sprite of a monster dancing around the table, but in the most part, this game is dull. (The whole theming of the game suggests that it was inspired by the work of husband and wife video pinball developers Littlewing, but only thematically. Littlewing's games are much more exciting, even their first, the primitive 1991 game Tristan, which you can play on the Internet Archive here.)

There's none of the audio-visual stimulation, none of the brain-pleasing numbers-going-up, there's nothing. Just a ball slowly rolling around an ugly table. And, in another bad aesthetic choice, the ball has some kind of weird sprite scaling thing going on, so that it shrinks when it goes up the screen, and grows when it comes down. It doesn't really work though, maybe due to the flatness of the tables themselves, and just looks strange.

Obviously, I don't recommend Dragon Beat - Legend of Pinball. Instead, you should play literally any other pinball game ever made, as I'm yet to encounter one that's anywhere near as bad as this.

Simple 1500 Series Vol. 30: The 1 on 1 Basketball (Playstation)

When you look at a list of arcade games, there's one name near the top that always sticks out, to me at least: 1 on 1 Government. I always notice it, because it's close to the top of an alphabetically ordered list, and it's such a strange title that gives nothing away about what kind of game it is. What it is, though, is a port to arcades of this, more sensibly titled Playstation game.

It's surprising that it was a Playstation game before it was an arcade game, as it's structured very much like an arcade game, and, like Lethal Crash Race tried to apply the Street Fighter II formula to racing games, The 1 on 1 Basketball tries to do that for Basketball. You pick a character from a pretty big selection (that includes, aong a few regular people, a monkey, an angel, and some kind of childish cartoon drawing of a person), and you go on to face the other characters in a series of basketball games. By default, the games last ninety seconds, or until someone scores eleven points. Also, I don't know if this is an actual basketball rule, but if the time ends on a draw, the game carries on for another twenty seconds. This didn't strike me as odd, but it'll keep doing that until there's a winner, one way or another.

It should be mentioned that as well a the 1 on 1 mode, there's also a 2 on 2 mode, though as far as I can tell, there's no "canon" teams, so you just throw any two characters together, and your CPU opponents will do the same, and it otherwise plays out the same as the main mode, except the stages are a little too small for it, so there's a lot of bumping into each other. Anyway, this game plays pretty well! The controls are simple enough to pick up: you move left or right across the court, with up and down moving you left or right in relation to your oppnent's position. There's also a button each for shooting, getting in your opponent's way, and trying to steal the ball. Like the fighting games it's trying to emulate structurally, it's fast paced, and easy to start playing straight away.

Anyway, yeah, I recommend playing this (or the arcade version, since as far as I can tell, there aren't really any differences between them). For various reasons, I keep getting more curious about arcade sports games these days, and it seems like a lot of them are pretty good (this one being no exception).

Bomb Boat (Playstation)

This game's title, in isolation, might lead you, like me, to assume that it might be some kind of military simulation game, or maybe a nautically-themed shooting game. It's actually some thing completely different, and, some would say, slightly unoriginal: Bomb Boat is a maze game about a hungry yellow blob eating stuff while avoiding ghosts.

That is a little harsh, actually, as Bomb Boat does have a couple of its own little gimmicks, and they're right there in the title, even: bombs and boats! The mazes of which each stage is composed are weird little docks, with solid stone parts connected by flimsy wooden bridges. Your means of defence against the ghosts is to drop bombs, bomberman-style, on the ground. On solid ground, the bomb's blast will just stun any nearby ghosts for a couple of seconds, which is useless. However, a bomb that explodes on a bridge destroys the bridge, as well as any ghosts standing on it, scoring you points and getting a ghost or two out of the way for a short time. Furthermore, the bridge will reappear a few seconds later with an item upon it! These are usually just points-granting fish, but there's a few power-ups in there too, like speed-ups, temporary invincibility, and so on. I'm not sure if there's any relationship between simultaneous ghost sinking and the quality of items that appears.

The boats are a lot simpler, though. Each stage has a bunch of them dotted around in pre-determined places. You step onto one and it'll take you in a straight line until it hits another bit of path. Assuming the levels have been designed with enough care, theoretically, someone with a lot of patience might be able to figure out the best route around each stage, to maximise ghost killing and boat-riding for the quickest, most efficient way of getting through the game. I highly doubt anyone has ever been so dedicated to a mediocre Japan-only budget-price Playstation game released at the end of the console's life though.

Bomb Boat isn't a bad game, but I still can't recommend it. There's just no excitement, no hook, nothing to it at all. It would have been a forgotten also-ran if it had been released in 1982, let alone 2002.

Bunmei Korokoro Game Egg (Playstation)

It's really amazing that even though the Playstation is one of the most popular consoles of all time, and even though it's one of the systems that's been featured on this blog most of all, there are still weird obscure little gems to discover in its incredibly vast library. Of course, Bunmei Korokoro Game Egg is one such gem (the title, I believe, translates to something like "Civilisation Rolypoly Game Egg", in case you're wondering).

So the basic premise of the game is that you control some kind of cosmic god-egg, that rolls across flat, barren plains, leaving civilisation in its wake. Of course, you aren't alone in what I assume is a young, fledgling universe, as each plain also has another, differently-coloured egg rolling around in it. A cool little touch is that each colour egg has its own architectural style for the buildings that spring up whereever it goes, and they range from styles based on various realworld civilisations, to futuristic sci-fi type settings, bio-organic growths and even brightly coloured abstract solid shapes.

I haven't been able to play the Versus mode, so unfortunately I can't tell you about that, but the single player mission mode sees you taking on your rival eggs in a series of battles, each with different objectives, like an olympic games for ovoid dieties. But let's not get ahead of ourselves: first, let's describe the basic mechanics, or at least, as much as I've been able to figure out of them.

So, the game is turn-based, and you move your egg by selecting a direction, then chosing your speed on a moving power bar, like the kind you get in old-style golf or bowling games. Most of the time, when you move, you cause buildings to sprout up behind you, but not always! There are five options you can choose from before you move (though the offensive options aren't always available): the egg is the standard movement that lays buildings, the signpost lets you turn already-laid buildings into protective barriers over which your opponent can't roll, the ocean wave and sunrise both cause massive destruction in the surrounding area where your egg stops rolling, and the coloured zig-zags work similarly to the egg, except they cause earthquakes in your wake instead of growth.

It should also be noted that when an area of blank squares is completely surrounded by your buildings, that area will then completely fill up with your buildings too. The first time this happens in a stage, a strange spinning, swirly tower will also spawn. This tower will get taller and more elaborate the more area on the map you've taken over, too. Your egg can take damage, either by bashing into the walls around the edges of the map, by rolling other enemy territory, or by being bashed into by the opponent's egg. I'm not 100% sure on how healing works, but it seems that you slowly heal by rolling over and stopping in your own territory, and sometimes if you stop in a particularly large piece of your own turf, a big cryogenic chamber thing will appear around you, and you'll have healed a lot by the start of your next turn. But like I say, I'm not totally sure on how accurate these methods are, or exactly how to make the chamber appear. Your tower is something of a weakpoint for your empire, too, as if the enemy bashes into it, it'll shrink a level or two, and a whole bunch of your land will disappear.

Now on to the actual missions. I don't know how many missions there are in single player mode, but I got up to mission five, the objective of which I couldn't figure out at all. Each mission takes about 20-30 minutes to get through, as turns go by pretty slowly, and you usually have a pretty hefty task ahead of you. The first two missions are both simple enough to figure out: take over 30% of the map, and bash your opponent's egg until they crumble to bits. Mission three is a little more complex, as the mission is to wait until your opponent has built a tower, then destroy their tower. I had the most success on this stage by eschewing any kind of defensive tactic, and just going straight in to bash their tower down. Waste too much time, and you risk breaking your own shell before you've knocked their tower down. The fourth mission was interesting, but very easy: build your tower up to the maximum height (level nine), which you do by simply claiming a lot of land. The AI was really terrible on this stage, as they seemed more interrested in rolling over very tiny portions of my land to cause me almost unnoticable amounts of damage, while I just went about my busniess claiming more than half the entire map.

So that was a good few hours I got in on this game, and I definitely intend to play more of it, and hopefully get others interested in doing the same so we can all learn more about this strange and original game. Of course this means that this review is ending in an unquestioned recommendation, so go and track it down and play it at the earliest opportunity!

Punch the Monkey - Game Edition (Playstation)

This game's got a pretty strange title, but it's there for a reason, as it's a pretty strange idea. Punch The Monkey was an album released in 1998 which featured a bunch of remixes of songs from the various animated adaptations of Monkey Punch's universally-beloved character Lupin III, and this is a videogame adaptation of that album, released in 2000.

Of course, it's a rhythm game, and it's an incredibly simple one at that: the song plays, an animated FMV is shown in the middle of the screen, and Playstation face buttons travel across the bottom of the screen. In the middle of the screen at the bottom, there's a little crosshair, and when a button reaches it, you press the button. There's also a set of colours at the top of the screen, showing how well you're doing, ranging from red (the worst) to blue (the best). At certain points in the song, if you're not in green or blue, you fail and have to start again. It's so simple, it's the kind of thing that you'd see as a minigame in an RPG or something, rather than its own whole game.

Simple doesn't mean easy, though, and it took me about six attempts to get past the first stage. It seems that this is a question of balance, rather than overall difficulty, though, as I breezed through the next few stages without problems. There are some other odd decisions besides the stage order, too, like how you don't actually get to hear most of the songs you're meant to be playing along with, as your button presses all make very loud noises that drown everythig else out, from bullet ricochets on some stages, to doorbells and animal sounds on others. Interesingly, the general presentation of the game is very much a part of a certain aesthetic things in the late 1990s/early2000s had when they were cashing in on 1970s nostalgia. Some of the fonts and swirly background patterns seen at certain points in this game are very reminiscent of the UK VHS and DVD releases of the 1970s Japanese TV show  Monkey/Saiyuuki that came out at around the same time.

Unfortunately, there isn't much more to be said about the game itself, though. There are apparently a series of minigames, unlocked by completing the main game on all difficulties but the easiest, and through those minigames, FMV clips can be unlocked to watch at your leisure, but it's just not worth playing through such a simple and unengaging main game. So all I have left is this little bit of trivia: it was developed by the company Kaze, who I associate more with their two excellent pinball games on Saturn, Last Gladiators and Necronomicon. Two years later, they also released Akira Psycho Ball, a very experimental and strange pinball game on PS2, which, like this game, was licensed from a popular classic anime, and also featured heavy use of FMV clips in little windows. How interesting!

Megatudo 2096 (Playstation)

The first thing I want to say about this game, before I actually say anything about the game itself, is that though there's no Japanese text ingame as far as I can tell, the title itself is somehow mistransliterated, judging by the voice on the title screen. That voice calls it "Megatude 2096", which is actually a worse title than the one written down, as it sounds like the dominant personality trait of a 90s platformer's main character.

Anyway, this is a 3D fighting game, in which all the characters are giant robots, rendered with glorious gouraud shading. It works especially well, too, as it makes them all look exactly like unpainted plastic model kits. The backgrounds are more traditionally textured, but they look pretty good, too. Despite all that, there's still something about Megatudo 2096 that just feels incredibly low budget, especially on the title screen and menus.

Another thing in its favour, though, is that it does try to do a few unique things mechanically: rather than just having normal, mundane side-stepping, the game takes advantage of the fact that its characters are robots with the "linear dash", which is essentially a very fast kind of strafing on rocket-powered roller skates. It's also an early example of a projectile-based fighting game, like the Psychic Force or Senko no Ronde series. It's still a bit primitive, though: for example, you don't automatically switch between projectile and melee attacks based on the distance between the two fighters, but instead there's the slightly clunky inclusion of a weapon change button. As far as I can tell, you'll never actually want to use you melee weapon anyway, since the best strategy in this game for beating any opponent is to just linear dash in circles around them while constantly shooting.

There's not really much more to say about it, though. It's a kind of cool-looking, kind of cheap-looking experimental fighting game that you might find interesting for half an hour or so. Maybe more if you play against a human opponent, which I haven't had the opportunity to do, though I'd be interested if it's more tactically interesting when you're not playing against a stupid AI. Another interesting fact is that there's one FAQ for this game on gameFAQs, and it was written in 1996! I always like finding games that have really old FAQs on there. Anyway, if you're curious, give it a shot, but if you don't you're not missing much. Play Psychic Force 2012 instead.

Iblard Laputa no Kaeru Machi (Playstation)

It's another one of those ~aesthetic~ Playstation games, like previous Lunatic Obscurity entry Kaze no Notam, and while Kaze no Notam was vaguely inspired by the work of artist Hiroshi Nagai, Iblard Laputa no Kaeru Machi is explicity and specifically based on the work of artist Naohisa Inoue, right down to his paintings appearing in some stages as clues.

Besides being an artistic showcase, Iblard is also a first-person adventure game featuring simple puzzles, which are mainly solved by using the right item in the right place. It's actually a lot like a version of Yumemi Mystery Mansion, but set outside and with realtime 3D graphics instead of prerendered FMV fakery, and it is actually from the same developer as both Mystery Mansion games. There are seperate stages, and each one only includes a few items to use and a few items to work with, meaning that all the puzzles are very easy to solve: even if you somehow don't figure them out, it won't take long to get through with trial and error. Another nice thing is that though there's some text and spoken dialogue, there's very little, and you don't need to understand any of it to get anywhere (at least, not in the few stages I've played through).

A quick image search for "Naohisa Inoue" brings up lots of paintings of incredibly idyllic fairyland gardens overflowing with flowers, and those are the environments you'll be exploring in this game. Although there are some minor hazards, they're both easy to avoid and very unlikely to kill you, and they seem to be there simply as some kind of token gesture towards being a traditional videogame. The visuals and music and lack of real threats combine to make a very safe-feeling environment, and everything's very cosy and dreamlike. If you've ever been in either a very verdant garden or a very overgrown bit of forest on a sweltering hot summer afternoon, this game's got a similar feel, to the extent that you can almost feel the pollen going up your nose.  I think the low-poly models and low-resolution textures really help that feeling, and that this would be a very different game were it made at any other time in the advancement of videogame technology.

Iblard Laputa no Kaeru Machi is a game that's completely devoid of excitement, and isn't interesting mechanically, either. However, it is a perfect example of how a game can still be good and worthwhile while not being "good" in any kind of traditional sense. It perfectly creates an atmosphere and the simple puzzles are in there for two reasons: firstly, they give you a reason to fully explore each stage, as solving the puzzles will mean going to each part at least once. Secondly, they create a (very mild) feeling of being a little bit lost in a nice, though strange, place, a feeling which is helped by the fact that the map works like an actual map: there's not movie "you are here" dot, and instead you have to look at certain landmarks on the map and then look for them in the stage to get your bearings. Though it might not be the easiest game to track down, I strongly recommend that you do.

Lightning Legend: Daigo no Daibouken (Playstation)

There was a nice little trend in the late 90s, of 3D fighting games being released on home consoles with no prior ties. That is, they weren't related to existing games franchises and they weren't ports of arcade fighters. Most of them never got much attention beyond small cult followings, maybe a geocities fansite here or there, and as a result, most of them never got sequels and are mostly forgotten. Daigo no Daibouken is one of those games.

As far as I can tell, it's a completely original creation: no anime license, no arcade version, nothing. But you wouldn't guess if you weren't told, as the presentation on all levels is amazing. Not only does the game itself look great (a point I'll get back to later), but it's a total package that must have either had a pretty high budget or been a labour of love for the developers. It starts right from the outset, with the game having probably the best character select screen I've ever seen, depicting a room with a large window with a cliff outside, and all the playable characters just hanging out in the room (and on the cliff). Then there's the gallery, where each character not only has a bunch of the usual character design art and so on associated with them, but bizarrely, they each also have a selection of lovingly drawn food items. It's just a great, complete package that makes the game feel like it's a part of an existing series, despite being a one game wonder.

As for how the game actually plays, you have to remember that a lot of these games fell into obscurity because while they were enjoyable enough games, they just weren't in the same league as the games coming to consoles from the arcade. Daigo no Daibouken is no different in that regard, but it does combine a few nice little touches from other games (some of which actually came out years after it) that give it its own feel. It uses a 3-button control scheme similar to more modern fare like Marvel vs. Capcom 3 and Blazblue. It also has an anime-style super meter that has to be charged manually by holding the taunt and strong attack buttons together. You can also easily put together cool-looking normal combos by mashing the weak and medium attack buttons. Blocking is a weird one in this game: as well as holding back to block, it seems that holding forward also blocks, and possibly also pressing an attack button at the exact time of impact ala Asuka 120% Burning Fest.

Going back to the in-game graphics, they're excellent. This little subgenre of fighting games has been getting attention in some circles recently, because of their colourful aesthetics and crazy character designs. While most of the characters in this game aren't as out-there as in other games, it's definitely very colourful, and the character models themselves look great. I don't know whether it's a case of excellent modelling, well-drawn textures or maybe both, but they look amazing.

All in all, Lightning Legend: Daigo no Daibouken is a pretty good game. It won't set your world on fire, but it's enjoyable enough, and a lot of love clearly went into making it.It's definitely worth a shot.

Net Yaroze Round Up Vol. 10!

Dot Kuzushi
You can probably figure from this game's title that it's a Breakout clone. I can only assume from playing it that it's also a very unfinished one,as it has almost everything wrong with it, both mechanically and technically, that can be wrong with a game of this type. Firstly, it seems that every brick requires multiple hits to break, and since each brick (in the first stage at least, though I gave up on the game after fifteen minutes of neither progressing or failing) represents a pixel in an old arcade sprite, there are lots of them. To make matters worse, the ball behaves strangely in various ways, all of which are to the game's detriment. It moves very, very slowly  and never speeds up, and rather than travelling in straight lines, it moves in kind of fluttering zigzags. Worst of all, the ball will sometimes just harmlessly pass through the blocks as if they weren't there at all. It is without ambiguity that I strongly recommend never wasting a second of your time on this game.

Come Baa
This is a game that could probably only have been made in the UK, as it adapts a sport/occupation that was once, long long ago, a televised event that drew millions of viewers here: sheep herding with a dog. Come Baa has you controlling a dog in a 3D field, trying to chase sheep into a pen. It's very fiddly though, and after a few minutes of playing, I'd only made the sheep spread out all over the field even more, and had to give up. It's an original idea, and it looks pretty nice as Yaroze games go, but unfortunately, it's near-impossible to actually play.

Hardwire
This is a Tetris-style shape-arranging puzzle game, though it lacks a certain elegance and simplicity that make it hard to figure out at first. The walls and floor of the pit have lots of wire ends, and each block in every tetromino has a piece of wire, either cross- or L-shaped.To make blocks disappear, you have to connect two of the wall/floor pieces and make a circuit. The catch is that the direction of the powerflow can only be changed by the L-shaped wireblocks. It's less compliated than I'm making it sound, honestly. Though Hardwire is a technically sound game that does make sense once you've figured it out, it's not actually very fun to play. Gorby no Pipeline Daisakusen does a similar idea, and it does it much better.

Databugs
Easily one of the nicest-looking Yaroze games I've seen, I'm surprised this one got the tiny bit of extra polish it would have needed to be released on magazine coverdiscs. What it actually is is a slot car-style racing game in which the cars are little technological minibeasts, and the track is the insides of a computer. Like I said, it looks great: it's got cute little low poly models and great use of bold, bright colours on a black background. The only problem with it is that it's too accurate an adaptation of slot car racing, by which I mean that it's almost impossible to keep your car on the track without slowing to an absolute crawl when approaching corners. Worth a quick play for the great graphics, but not much more.

Kuru Kuru Panic (Playstation)

It's yet another colour-matching competitive puzzle game! This time, it's on the Playstation, rather than arcades, and it seems to have been made by a very small team, who proudly put all their names on a screen preceding the title screen, which sounds like it would be annoying, but it actually gives the game a feel of being the product of a ragtag bunch of enthusiasts. According to GameFAQs, they only did two other games, one of which was part of the Atelier series, and the other is the Dreamcast version of that visual novel thing starring Samurai Shodown's Nakoruru. Which is a bit sad really, isn't it?

Anyway, the main gimmick this game uses to stand out from the crowd is that rather than rectangular pits, you have coloured blobs falling towards the centre of large wheels? Though it might not be obvious at first, the effect this has isn't just aesthetic, but also has a few effects on gameplay. The first is that the wheels mean that unlike most games, your playing area is much wider than it is tall, so while piling on the blobs in one place will kill you quicker, you have more places in which to drop them. There's also the fact that you move the wheel itself round, rather than moving the blobs round it, which takes some getting used to at first, and allows the game to do another thing: set up blobs to fall in at different locations at the same time (or at least, in very quick succession).

The fact that you're almost constantly bombarded with blobs to place, and that you have such a wide area in which to place them makes Kuru Kuru Panic a fair bit more stressful than other puzzle games, even before it starts speeding up. It gets a little better once you realise this fact, and concentrating on just setting up little chains here and there when you can, and not getting too caught up in trying to build up one big chain. The fact is, you don't always have total control over where every blob, so you just have to do what you can to manage. Writing it like this makes the game sound like it's mostly luck-based, and not very good at all. And to be honest, I don't feel too bad saying that.

Every time I review a puzzle game, I always seem to end up talking about how it's good enough, but it has nothing to allow it to stand up to the giants of the genre. But in this case, I think it's more a case of that I desperately wanted this game to be better than it is, but it's just not. It's not a terrible game either, though: it's well-made and well-presented, but more important than all that is the fact that it's just not a very fun or interesting game to play.

Korokoro Post Nin (Playstation)

It's a trite, lazy and annoying thing, when someone describes a work by calling it a mix of other works, but I'm going to do it now anyway: Korokoro Post Nin is like a combination of elements from Cameltry, Paperboy and Sonic the Hedgehog. This really is a description of it at its basest level, though: it's a game where you rotate a maze to move a character inside, and that character is not only tasked with delivering small packages to mailboxes, but her movement speed is also heavily dependent on the slope of the surface on which she's stepping, and the momentum she's built up.

So yeah, it's some kind of (possibly post-apocalyptic?) future, and you're a delivery girl working for some kind of robot guy. You're tasked with delivering to every postbox in the area, then getting to the door within the time limit. Although, referring to the game's protagonist as "you" isn't exactly accurate, as like I mentioned earlier, you actually control the maze in which the delivery girl, postboxes and door exist. It's a mystery why this game was released for the Playstation in 2002, as it's exactly the sort of thing that would have become a beloved cult hit, had it been released on the GBA in the same period.

Playing the game is incredibly simple: R1 and L1 turn the maze left and right. If the ground upon which the delivery girl is standing is a slope, she'll walk down it. If it's a steep slope, she'll run down it (which is not only faster, but also essentially for smashing through certain obstacles). If there's no ground directly beneath her, she'll fall. The thing is, though, this game is actually a masterclass in old-school game design, by which I mean that it is entirely based around these (and a couple of other) simple rules, and the stages are all tests of both your knowledge of these rules and the precision of your dexterity in pulling them off.

On a larger scale, it also introduces new elements every few stages: first there are obstacles, both moving and stationary, which will knock three seconds off your remaining time you you hit them while you're not running. Next, there are spikes, which you are to avoid altogether, with a brutal penalty of five seconds for each violation. Further than that, I can't tell you about, as I'm just not good enough to get through more than the first couple of stages with spikes. However, that's fine, it doesn't feel like an unfair game, or an artificially difficult one. In fact, I'd love to see this game make the rounds in the speedrunning community, as each stage is obviously designed with an optimum or perfect path in mind, and I know there are people out there who would love the challenge of learning the layout of each stage by heart, and mastering the controls so that they can get through perfectly, and it's clear to me that this game was designed with that in mind.

In summary, Korokoro Postnin is a game that was slightly too hard for me, but it's also a game I can't help but respect, and I hope it somehow, someday gets the attention of the audience for whom it's truly intended. (Even if it is well over a decade too late for it to matter to the developers or publisher).

Landmaker (Playstation)

Landmaker's a Taito arcade puzzle game from the mid-90s, when Taito were putting out a load of them, presumably due to the success of the Puzzle Bobble series. In it, you play as one of eight gods, each representing a different kind of biome (forest, mountains, desert, icefield, and so on) that wants control over a continent. Control is gained by beating all the other gods in a kind of civilisation-building contest. (All these story details are pretty much entirely conjecture on my part based on what appears to happen in the game. There's not a lot of documentation on the matter, you know?)

These contests involved shooting coloured diamond-shaped blocks up a diagonal grid, and when blocks of the same colour touch each other, they become houses, and if they form squares, they form larger, and more extravagant buildings the bigger the square is. Forming big, fancy buildings garners a lot of points, and erasing them (by shooting another same-coloured block at one of the formation's downward-pointing corners) garners more points, and lowers the upper limit of the opponent's grid. Obviously, if a block falls off of the bottom of your grid, it's game over.

I really like this game, like all the best versus-style puzzle games, it's fast and satisfying, with a good match involving things constantly moving and changing state all over the screen, and there are opportunities for clever players in a bind to turn things around. The presentation seems a little lower-budget than Taito's other games of the period, with the characters lacking individual voices, and other little omissions, though there is one small touch that I really like: each character has a different architectural style applied to the buildings that they grow.

The home port also adds a single=player puzzle mode, which doesn't feature the arcade game's setting or any of its characters, and replaces the detailed building sprites for slightly plain polygon structures. The premise for this mode is that you're tasked with founding cities in various locations around the world, and the better the job you do, the higher the city's population grows, and the more it develops. More cities get unlocked as the world's total population grows.

Though it uses the same basic mechanics as the arcade game, puzzle mode is set out pretty differently: each stage starts with a specific amount of remaining space and atarting layout of blocks, and you're tasked with creating a building of a minimum size before getting a game over. You get points for every building you make along the way, and massive bonuses are available for making buildings bigger than your quota.  It's a pleasant enough way to pass some time and watch a big number gradually get bigger, but it's not a patch of the fast-paced action of the arcade game.

As will be obvious by now, I really like the Landmaker arcade game, and this port is arcade-perfect (except for the loading times), plus it comes with a mildly amusing extra game on the side. It's available dirt cheap, and I recommend you get ahold of a copy.