Bucky O’Hare (Arcade Review)

Bucky O’Hare was slightly before my time, though I did have a few VHS tapes of it as a child. It wasn’t my favorite, and besides the slappin’ theme song, I honestly don’t remember anything about it. It must have had a following, since when I played the NES game a few years ago, people said “oh yea, Bucky O’Hare! I remember that!” Konami had rotten luck betting on other cartoons that could have been as successful as Ninja Turtles or Simpsons. I already looked at Moo Mesa, but Bucky O’Hare was even less successful. It ultimately only had one season of thirteen episodes. Ouch. I have no idea how successful Moo Mesa or Bucky O’Hare were as arcade games. I just know that neither seems likely to ever see the light of day again. Or, maybe not. I mean, how much can it cost to license these failed properties. Because that’s what they are, right? Cynical, soulless attempts to ride another scorching-hot property’s coattails.

It LOOKS like it’s going to be fun. Oh, it’s not. It’s really, really not.

Bucky O’Hare: the NES game is a poor man’s Mega Man and very overrated itself. Bucky O’Hare the coin-op keeps the pew-pewing, but instead, it’s structured like a brawler (and probably used the same engine as Simpsons or Turtles in Time) except fisticuffs are replaced by shooting. It’s a run and gun game, but not like popular run & gunners such as Contra. No, the levels and pacing are still engineered exactly like TMNT or even Capcom’s brawlers. Waves of cannon-fodder enemies walk in and, instead of drilling them with your fists, you shoot them with your laser guns. And it’s boring. So incredibly mind-numbingly boring that I ain’t surprised they didn’t bother bringing this home.

Bucky isn’t very generous with health or hit points, but, the quick deaths allow you to bank the powerful bombs faster. When you lose a life, you get two more bombs every time, regardless of whether you used the bombs previously.

The issue is there’s no OOMPH at all to the combat. Neither the death animations or the sound design are built around making the laser escapades a fun and satisfying experience. At least in a brawler, you have the satisfaction of imagining yourself shattering the bones of the poor SOB you’re blasting the face of with an uppercut. You don’t have anything resembling that here. In fact, when you DO physically swing your arms at someone (if they’re in close range) it still underwhelms. All that’s left is to shooting with the four characters (and if there’s a difference between the four, I really couldn’t tell) and the guns just feel really weak and pathetic, even when you upgrade them.

Bosses are ultra-generic. If these come from the TV show, well, suddenly it makes a lot of sense why this never found an audience. On the plus side, they’re significantly less a chore to fight than I figured they would be.

Oddly enough, baddies aren’t as spongy as you would think. The one thing I can give Bucky credit for is the game skips along at a surprisingly blistering speed. Enemies might take as little as one shot to finish, and bosses don’t just suck up bullets either. I wasn’t expecting that. There’s also a much wider variety of moves than I figured. Like a brawler, you can jump and do jump kicks.. sometimes. I couldn’t consistently pull this off. But, I could do the “special attack” every single time with minimal issue. It’s done just like TMNT and other brawlers where you hit the jump and attack buttons at the same time. There’s no penalty for it and you can spam it as much as you want. Maybe that wasn’t so wise, as I kept doing this over and over. Bucky does very little to encourage you to play with finesse.

Don’t let the big, flashy set-pieces fool you: this is a complete chore to get through.

I was kind of peeved by Bucky O’Hare. It’s competent but so bland and vanilla that it feels like a game nobody wanted to make. And, no, I didn’t play it co-op. Co-op is NOT a cure-all for uninspired gameplay. Saying that co-op improves an experience like Bucky O’Hare is like saying turning a couch into to downhill street racer and then crashing it in spectacular fashion is better if you do it with friends or family. Of course it, because everything is better with friends. Yet, I bet if you tried telling these chucklef*cks they had a better time because at least they mangled their bodies with their friends, they might object to your definition of a “better time.”

Then, my annoyance with Bucky O’Hare, a complete nothing of a game, really went into overdrive. After five levels of pure nothingness, something happened. You hop into a spaceship and the game begins to scroll quickly, and.. hey wait, is Bucky O’Hare suddenly a space shmup oriented like a brawler? That’s new and different. And even worse.. holy crap.. IT WAS FUN! Like, very fun! That’s so frustrating because to get to the one section that’s worth playing, you have to slog through five miserable stages. Yet, that one level is one of the better times I’ve had in gaming in 2023. And it made me kind of angry.

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That should have been the whole game! Why not? At least it would have been original. Sadly, that’s the one and only level you can say that about. Thankfully, that level does last a lot longer than the car sequence from that automobile and prehistoric giant chicken game I reviewed earlier this year. But, once it’s over, it’s back to the same old walking and shooting with one pitiful upgrade to your gun. Bucky O’Hare is really a cartoony version of the 1990 Konami Aliens arcade game that was trying to appeal to the TMNT fanbase. It failed. Unlike Simpsons or Ninja Turtles, Bucky O’Hare didn’t have the slobbering fanbase that was starving for content. Yet, this game has fans. Some people just really like their games to be bland and lazy, I suppose. Imagine walking into an arcade in 1992 and the best time you have is playing Bucky O’Hare. How boring a person are you? I can’t believe such a thing happened. Especially since I figure such a person would be the type who got their lunch money taken.

Bucky O’Hare is not Chick Approved.

Bucky O’Hare was developed by Konami

How to Stay Interested When You’ve Ran out of Words

Well, it’s that time of the year. The time where I reflect on another year of playing video games, and annoying my Twitter followers with too much pinball and basketball talk. I’ve done twelve years worth of these things, and I’ve long since passed that stage of my career where I look at my review index and say “wait.. when did I review THAT?” No, now I’m to the point where some of my most popular reviews are nearly a decade old now, themselves. The Shovel Knight review that shifted my review process firmly into introspection? That’s eight years old. My Dead Cells review? It turns five years old in October. I’ve been doing this a long time. So long that I’m FINALLY no longer “that girl who reviews XBLIGs” anymore. XBLIG has been shut down for six years now. The foundation of my entire career has been shut down for half its existence.

I’ve spent the last year with a series of big projects. I’m working on a book of reviews of golden age arcade games. I’m working on a review guide to every aspect of Pinball FX, and that one’s really fun because I get to work with my friends and especially my father and sister on it. I’m also covering a lot more classic games. I mostly focus on licensed games that haven’t been re-released since their initial publishing. It might not be “indie” gaming, but it’s what fascinates and interests me. I enjoy a lot more games than people probably realize. Especially with my lack of updates since February.

I’ve always teeter-tottered at Indie Gamer Chick between overly-active to months of inactivity. At least here, properly on the blog. On Twitter, I’m more active. I have a much more broad look at gaming these days. I fully admit, I’m overwhelmed by the amount of indie games out there. It’s astonishing and awe-inspiring, but it also makes it harder for me to find stuff to review. I play a ton of games, and I might have opinions on every game, but finding fun and entertaining ways to express those opinions I’m finding more and more challenging. I’ve called it “running out of words.”

Back in March, I got an early copy of a game called LUNARK. It’s based on 90s “cinematic platformers” like Prince of Persia, Out of this World (aka Another World), Flashback, etc. I’ve never been a fan of those types of games in a “whatever floats your boat but these just aren’t for me” sense. But, a critic absolutely should challenge themselves by playing games that not only aren’t their favorite genres, but actually the opposite of that. I had low expectations going in.

Surprise: I had a good enough time with it. It rights a lot of wrongs typical to its genre, like so many of the best indie tributes to classic games do. Developer Canari Games understood the problems inherent to the rotoscoped-style of action platformers and built the game around the strengths while minimizing the limitations, creating an experience that even people like me, who aren’t fans of the genre, can enjoy.

Here’s the thing: that’s my review in its entirety. You can see the problem. The worst thing a game review can be, besides unfair (if not outright corrupt) is boring. I try my hardest to write reviews that I would enjoy reading myself. Because of health issues, I’ve had to change my process. When I started IGC, I told people “never take notes when doing a review. That way, only the important things worth talking about stay with you.” Now, I take notes. I have to. In fact, I write the framework for the review, meaning the raw gameplay notes and the gags I intend to use, as I play. I also used to not seek a lot of help when writing. Now, my family helps me out. I don’t type as well as I used to, frankly, and they help a lot with keeping me on track. Even with those limitations, I think I’ve done my best work ever in 2022/23.

With LUNARK, I kept my notes. I replayed stages.. totally deliberately and not because I died a ton of times WHY ARE YOU LOOKING AT ME LIKE THAT STOP IT!!.. and started writing it. And there was a problem, because I was bored with my work. NOT THE GAME! The game was fun. I liked it. I just couldn’t translate what I enjoyed to a traditional review. I was actually not feeling physically good when I started the game, and then I ended up in the hospital for several weeks with a bowel obstruction (“you’re full of shit, sayeth your doctor!” That line from my father kills me. Love you, Daddio). Okay, maybe I just wasn’t in a mood to do reviews then.

But, nope, I couldn’t muster up an interesting review for a game that deserved a lot better than I could give it. That’s actually been a problem for me since February. Papertris? I enjoyed it. I had a LOT to say about it. I’m still struggling to get it right, though I was very enthusiastic about the game on my Twitter feed. Maybe that’s where my “work” belongs now, where I don’t have to worry about boring anyone. That’s one thing I don’t want to ever do. If I can’t have fun writing the review, I probably shouldn’t do it, regardless of how good or bad the game is.

I’m not done. In fact, I’ll be posting my first indie review here in over half a year for my anniversary. Going forward, I’m just going to have fun. And I’ll talk about games on Twitter always, even when I can’t “find the words.” Maybe I’ll start a “here’s what I’m playing now” series on this blog that gives updates to the things I’m playing. I have a full guide to Pinball FX that’s coming along really well (of course, five other people are writing it with me, which helps), and I’ve got some ideas for features.

And I’m going to try not to be mad at myself for this situation. Nobody is the same person they were twelve years ago. People know me as a game reviewer, but I’m not really. I’m a blogger who does game reviews. It’s not my job. It’s my hobby. Albeit, one that has a lot more people following it than Mom’s new hobby of learning to crochet, which she has picked up because, quote, “I’m old. I should be doing old people things now.” I tell you, you don’t know what surreal really is until you see your mother trying to knit a stocking while blasting Metallica in her ears through her phone so loud you can hear it too.

Twelve years later. I’m “running out of words” but I ain’t out of words. As my sister said, “no you’re not. You just need to sit back and learn all new ones.” She’s wise beyond her years. I don’t think I’m wise. I’m sage at best, or perhaps insightful, but not wise. I take on so many projects that I don’t finish, and one thing I want to do for this, my twelfth year, is challenge myself to go back to those abandoned works and search for the words I never found the first time around. I don’t owe it to my readers, who I cherish so much for sticking with me for twelve incredible years. No, I owe it to myself. After all, it’s my name on it.

Cathy Vice
June 30, 2023

The Little Mermaid (1989 NES Review)

Yea, I grew up on Little Mermaid. Even the direct to video sequel, which bored my poor parents to death, was something I couldn’t get enough of. Hell, my mother, despite her thick Cuban accent, would dance around singing Part of Your World. And yea, I had the poor man’s Ecco the Dolphin that was Little Mermaid II for the PlayStation. But, I’m here today to talk about the NES game. A few years ago, Capcom put out a “Disney Afternoon Collection” and didn’t include Little Mermaid. I’m not sure why not. There was a Little Mermaid cartoon series, after all. It wasn’t part of the Disney Afternoon, but come on. Functionally, they’re all the same deal. Cheapo cartoons meant to cash-in on Disney’s popularity with post-fetus, pre-career humans.

Since the NES game took me under half-an-hour to finish, I was going to also do the Genesis game Ariel: The Little Mermaid. Then I played it, and determined that my brain couldn’t comprehend its badness. I did LOL that you move faster than your own projectiles, making them functionally useless.

From producer Tokuro “Ghosts ‘n Goblins” Fujiwara comes a children’s game that has to be the polar opposite of that franchise. It’s tough for me to review Little Mermaid, because it’s so absurdly simple and easy that I beat it in about twenty minutes and change. It’s sort of like Bubble Bobble as an undersea non-platforming platformer adventure. Taking control of Ariel, you flip your tail to send a wave of air that captures fish in bubbles. How does that even work? Could scuba divers, in lieu of masks, have mermaids fan their tails at them? Or, there’s the obvious explanation of what’s happening: Ariel is farting at enemies. Do mermaids even have buttholes to fart? WELL, EXCUSE ME FOR CARING ABOUT THE LOGISTICS OF THIS STUFF!

That poor unfortunate soul is about to get crushed by a barrel. To the game’s credit, there’s lots of hidden stuff. To its determent, that stuff doesn’t seem to change the ending at all and there’s no incentive to get it all.

With Little Mermaid, Capcom was clearly targeting an audience that wasn’t weened on Super Mario, Castlevania, and Mega Man. I played with absolutely no caution and still plowed through the game without losing a single life. TWO close calls over five levels, with only the first version of Ursala putting up a real challenge. It’s not that I expected otherwise. I could beat Duck Tales or Rescue Rangers in my sleep, so I expected Little Mermaid to be a cinch. But, this is a whole other level of cinchiness. Taking damage doesn’t downgrade your attacks or speed. Once you fully power-up, even the biggest bad guys can be caught in bubbles and used as projectiles. Almost all the damage I took in the game was from level-based projectiles (IE volcanic rocks or sea urchins). I think maybe once in the entire game I took damage from an enemy, and that was me being lazy. Other than the level hazards, the hardest aspect of Little Mermaid was lining up bubbles to be thrown as attacks, especially during boss fights. That, and the fact that sometimes, during those boss fights, it would take a while for the basic enemies (that are essentially ammunition for Ariel) to become vulnerable to being turned into bubbles. Otherwise, this might actually be a contender for the easiest game Capcom ever produced.

The bosses are the highlight, though I’m not sure where these ideas come from. Like this evil seahorse drill sergeant. Is this a thing from the cartoon series?

A lot of people probably have rosy memories of Little Mermaid as a video game. One reader noted that it was the first game they ever beat without an adult helping them. I can believe that. The levels are very simple, with no instakill, minimum enemies, and not a lot of exploration. There’s the occasional gag, like being able to push a rock or a barrel, which is usually done to open a treasure chest and upgrade your speed or the strength of your.. um.. bubble fart. The only exception to the pathway-to-victory style of design is the fifth and final level, which is a “find the right path” maze. Even that is really simple. The trick is to go through the same door three times in a row. It’s bland, and so are the rest of the levels. They all feel like filler to get to the typically-excellent Capcom boss battles.

You go straight from fighting “normal” Ursala to the final boss, which is “giant” despite being only marginally bigger than the first fight. Don’t get me wrong: good boss and a good finale to the game, but the movie ends with the horrifying death by stabbing with a boat. Which.. yea that’s how the Jaws game ended, too. It’d been weird to end Little Mermaid the same way Jaws did, I suppose.

It’s hard to judge a game that is clearly aimed at young children. Did I have fun? Not really. Little Mermaid doesn’t give you enough time to get bored by it, but there’s really not a lot to it between the bosses. It comes down to “can I recommend this for anyone” and the answer is no, I can’t. I think they missed an opportunity by being ALL mermaid, all the time. While you’re not always in the water, the moments where you exit the sea are brief and toothless. It’d been a lot more interesting if the game switched between Ariel the Mermaid and Ariel the Human. They could have done a hybrid-style game. I’m guessing they were crunched for time, but being the mermaid all the time was too limiting. Little Mermaid is a creativity bankrupt game, and while I enjoyed the bosses, even those were baffling in their presentation and the lack of stakes attached to them. BUT, if you have little kids who are interested in Mommy or Daddy’s era of games, Little Mermaid would be an excellent game to introduce them to 2D retro gaming. Say, ages 5 to 9. Everybody else, it’s a generic but brief bore. Hey, it could be worse. It could be a two-and-a-half hour long live action remake where the seagull raps for two agonizing minutes.

The Little Mermaid is NOT Chick-Approved.

The Little Mermaid was developed by Capcom

 

Pinball FX: The Addams Family – The Pinball Chick Hurry-Up Review

Pinball FX is out now on PlayStation and Xbox. We have over 100 tables to do. A full look at Addams Family is coming, but I want to start getting content up for it and I’m experimenting with a new format for that. Check out our ratings for Addams Family now over at The Pinball Chick!

Superman (1988 Arcade Review)

As I noted in Atari 50: The Games They Couldn’t Include, I love Superman. I love how boringly predictable he is. I like the concept of an overgrown boy scout with an unshakable moral compass who will always do what’s right. In a world where everything has to be gritty and shades of grey, shouldn’t there be one do-gooder who is so wholesome and true and virtuous that he makes everybody aspire to their better angels? I also refuse to believe that it’s really that hard to make a decent Superman game. The fact that the best game starring the Man of Steel came out ten years before I was born is just sad. It begs the question: what is the second best Superman game? It’s a hard question to answer. I’ve played almost all of them now, including the C64 games, and most are pretty dang bad. One was so inept that I started laughing to the point of physical pain. It’s an unreleased Superman prototype for the Game Boy Color called Battle for Metropolis. Booted it up, the very first enemy punched me once, and despite the fact that my life bar was half the length of the screen, I died and game overed. From one punch. From a normal enemy.

It broke me. I laughed so hard I thought I would collapse a lung. Then I imagined what the enemy must have been thinking to even try punching SUPERMAN, the one guy you would never try punching, and their reaction that it actually knocked him out cold in one shot, and suddenly I couldn’t catch my breath.

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Actually, the second best Superman game is certainly Shadow of Apokolips for the GameCube/PS2, which manages to rise to the level of being average. It’s fine. Not amazing. Not even really that good. It’s okay. We’re now well into the fourth decade of Superman video games and, besides the Injustice games, Superman has never starred in an unambiguously fun video game. How hard can it be? And don’t tell me it’s because Superman is overpowered. Who cares? We’ve all played Grand Theft Auto where we turn on cheats for everything and then go stark raving mad, causing unstructured mayhem and destruction. Do you know why we do that? Because it’s hell of fun to do that type of thing. JUST DO THAT, ONLY WITH SUPERMAN! For God’s sake, just make a sandbox with loose objectives that can tie into a bigger story if that’s what players want. Or let them just go on a Superman-themed rampage if they want to be psychopaths. Grand Theft Auto: Metropolis. That’s what a Superman game should be. It shouldn’t have Superman being punched-out. Superman should be able to flick enemies into the sun, but he’s constantly being beaten down. Take, for example, the 1988 Taito Superman arcade game. It’s the latest arcader I’ve reviewed that never saw re-release again. That’s probably a good thing in this game’s case.

Yea, that’s a chick fighting Superman in a rabbit suit. My Dad’s theory is this started development as an Ultraman game. I actually would buy that.

Nobody ever talks about Superman’s coin-op when they bring up how cursed this franchise is when it comes to video games. They talk about Superman 64, with its endless ring trials or unstable 3D environment. Or, perhaps they consider the bottom of the barrel to be the absolutely grotesque Kemco NES game. Yea, those are pretty dang bad. But, the NES or Nintendo 64 adventures of Kal-El can’t hold a candle to Superman: The Video Game (the official title of the coin-op) for sheer mind-numbing boredom. It’s a mindless brawler where you punch waves of bad guys, including ones in pink bunny suits. None of the villains from the franchise show up. An original villain named Emperor Zaas serves as the final boss. It’s one of many signs that everybody who worked on this wanted to be doing anything else. Zaas could have easily been Brainiac, but that would have required picking up a comic book and giving a crap.

Why would you make a Superman game and then not have a character from the comics serve as the enemy?

There’s five levels that are divided into three phases. In the first, you scroll horizontally, punching and kicking enemies. Neither move has any OOMPH, but the kick is especially pathetic. Superman’s kick should be able to reduce the Moon to baby powder. Here, it feels like he’s trying to shake a strand of toilet paper off his boots. Meanwhile, enemies only have to punch you four times to knock you, Superman, S-shield-up, lights-out. Oh, and when you or the enemies die, they de-rez into wireframes. Yea. The one and only thing the arcade game got right is that you’re not grounded and can fly without any limitations. You’ll want to fly, since when you walk, Superman looks like a Karen heading up the counter to complain that they didn’t get enough crackers with their soup. Also, since the enemies are dressed like super heroes and fly too, it kind of takes the uniqueness out of it. Why do the enemies look this way? It would be like making a Sherlock Holmes video game where all the enemies wear deerstalkers and smoke pipes.

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After the horizontal area, you move to a section that scrolls vertically. It’s just more endless punching and kicking, only this time, you’re always flying. It makes you wonder what the point of the first section was, then. It’s like they MEANT for the first part to be grounded, so the flying parts would stand out, but then changed their minds. So weird. The third each stage is strictly flying, and now the kick is replaced with your heat vision. At this point, Superman is functionally a shmup. While you can still punch, why would you want to? The heat vision is faster, more effective, and has range. You have to shoot missiles or structures in your way (apparently Superman isn’t smart enough to fly around them) until you reach a boss. The bosses are generic shmup type spacecraft, and holy smokes, do they ever suck. They take FOREVER to fight, soaking up damage like there’s no tomorrow. Now, mind you, I changed the settings to “easy” and even then, they had attack patterns that made me question if it’s even possible to avoid taking damage. You have unlimited continues, but remember, each one would have cost $0.25 back in 1988. Easily half the playtime of Superman: The Video Game is spent letting the bosses suck up your damage and re-upping quarters to continue.

The final boss, the only big boss that doesn’t take place in a flying section, is a piece of work. The two ogres keep respawning and do all the damage while Not-Brainiac raises a shield to block your projectile if you charge it up. My punches never landed either. It’s like they designed this strictly to have an excuse for why they built a useless kick move into the game, because this is the only time I actually had to use it.

Besides being able to charge-up your punch for a projectile, you don’t really get any help. There’s one power-up, and all it does is instantly charge up the punch. A charge you lose if you take damage anyway. Superman 1988, released just as the comics were being reinvented in the Post Crisis era, feels like a product that has no love for the source material. Say what you will about Superman 64 or Kemco’s Superman, but damnit, at least they had ambition! A fondness for the source material. This is just a lazy, thoughtless, cynical quarter sucker. I’m guessing nobody talks about the Superman coin-op because nobody spent more than $0.25 on it. It doesn’t take long to figure out that it’s a dull game. It never came home, so it never lingered around long enough to leave an impression. Had that not been the case, I actually think this, and not Superman 64, would be remembered as the worst Superman game.

The most annoying enemies are the ones who trap you in spider webs that you have to wiggle out of! IT’S SUPERMAN! Why is this such a struggle?

It’s truly stupefying how boring Superman: The Video Game is. Maybe the worst overall arcade game I’ve reviewed so far, because it just offers no stimuli at all. I’ve played a lot of licensed games where I get the feeling the designers didn’t want the assignment, but this stands head and shoulders above others. There’s something really irritating about how generic it is. I want to ask the people who worked on this “why did you even get the license if THIS is what you came up with?” It’s not like Superman was scorching hot at the time. They were two years removed from John Byrne’s reboot of the comics and sales had plateaued. Superman IV: The Quest for Peace had just bombed so badly that it helped bring down Cannon Films in the process, and the Ruby-Spears Superman cartoon series only lasted thirteen episodes. In that sense, maybe this is the best Superman game you could expect in 1988: spinning its wheels, unsure what to do with the Man of Steel, and ultimately phoning it in. A fascinating microcosm of the state of Superman at the time? Sure, as long you don’t actually play it.

Superman is not Chick-Approved

Superman was developed by Taito

The viral marketing for a good Superman game should feature Bizarro joyfully playing all the old Superman games and approving them enthusiastically. “Bizzaro no understand why humans hate NES Superman! Bizzaro like super cute graphics!”

Cadillacs and Dinosaurs (Arcade Review)

Unfortunately, I’m experiencing no shortage of licensed arcade games that haven’t seen the light of day since their original release. I’m trying to bring these games to the attention of both their original fans and their publishers/rights holders. If I had to guess the two licensed titles I’m doing in 2023 that have the absolute best chance at a modern re-release, Cadillacs and Dinosaurs I think is the #1 contender, with Capcom’s Alien vs. Predator (yep, I’m doing it) a close #2. At first glance, it would seem like the complications with C&D put it out of bounds, since the creator, a comic book company, a game company, and possibly CBS own some stake in it. Even the name “Cadillacs and Dinosaurs” itself is owned by General Motors. It seems like too many moving parts, but Capcom has a knack for pulling it off. They even got their version of Aladdin into Disney Classic Games as DLC. A flow chart’s worth of rights issues or not, I never bet against Capcom, and I predict this will be re-released by the end of 2024.

Cadillacs and Dinosaurs has two fairly large problems. One is it needed a lot more dinosaurs. There’s something very satisfying about backhanding a raptor like this.

And, honestly, C&D is fine. Not great. Not bad. Another right-in-the-middle affair for arcades that requires no long-term investment or finesse. Just smack the hell out of endless waves of enemies, walk right, and do it again. Had this been in Capcom Beat ‘Em Up Bundle it would have been just barely above the middle of the pack. A YES! for sure, but nothing spectacular. Yet, unlike the more fun but also middling G.I. Joe from Konami, Cadillacs is revered. Part of that is the Sonic CD rule, where mediocrity is elevated as long as it remains just out of reach. Cadillacs and Dinosaurs never came to 16-bit bit consoles. It never was included in any compilation. After the arcade era ended, it was gone, and unless you use emulators, which the overwhelming majority of players don’t use, it never came back.

The lack of Cadillacs is the second major problem. In fact, let’s remove the “s” at the end of “Cadillacs” because, really, there’s only one section based around them in the whole game. Maybe it wouldn’t have been as fun if they overdid it, but I don’t know. Maybe they could have done other stuff with it too.

Apparently, the decision to not port this was based around the SNES being unable to handle as many characters on screen as the arcade game has. Most of the Capcom brawlers were in a similar situation and came home anyway, but in the case of Cadillacs and Dinosaurs, it would have taken away from the dinosaur mechanics. If a dinosaur is green, it’s docile. They’ll only attack if you or an enemy hit them, at which point they turn brown. It’s literally “f*ck around and find out” gameplay. They’re often just sleeping, and that’s where the one-of-a-kind hook comes into play. Enemies will come onto the screen and, instead of trying to attack you, some will walk up to the sleeping dinosaurs and smack them, waking them up and turning them aggressive. It’s a fine idea, in theory, and one that wouldn’t have worked if they had to limit the enemies on screen. It’d be too easy to stop them from waking up a now angry T-Rex. In execution, I found C&D actually takes it too far. In my solo game, I never once was able to prevent the enemies from waking up the dinosaurs. It’s a mechanic that only works if you’ve got multiple players, and those players REMEMBER TO NOT HIT THE DINOSAURS, Dad! Also, I kind of wish the dinosaurs would attack everyone on screen. It’d add actual strategy to the game if the dinosaurs attacked everything indiscriminately, players and enemies. Also, there’s just plain not enough dinosaurs. There should have been one every wave of enemies. They’re the fun part!

In the wake of Mortal Kombat, it feels like everybody wanted to get in on making their own digital giblets. When an explosive takes the final pieces of damage off an enemy, this happens. It’s wonderful! Not so gory that it becomes a farce. Just the right amount of goo. Honestly, C&D could have probably gotten a YES! just from the weapons alone. They’re hella fun.

Besides the dinosaurs, the only other stand-out is one all-to-brief driving section that’s too easy and ends in a boss fight where you try to knock a guy off a motorcycle. When your car takes too much damage, the driving ends permanently and never comes back. The rest of the game does mange to do just enough feel unique, even if it’s completely forgettable. Cadillacs and Dinosaurs uses the same engine as Warriors of Fate, but it’s so much better here. There’s four characters, and they all feel different enough to make a complete journey through the eight levels worthwhile. You can swap between them after you game over, and there’s merits to each one. Hannah was my favorite, as she had an unstoppable flying knee that might be the most effective move in any of these Capcom brawlers. You can pick up a variety of guns that are so satisfying use. The biggest letdown is the set pieces. C&D has a bland, drab setting with not a single memorable stage or moment, outside of the car driving section. The generic bosses and stages feel like they’re not taking advantage of the genre. It’s a game called Cadillacs and Dinosaurs, for God’s sake. Who cares if you’re limited to an obscure comic book and a cartoon nobody watched? CADILLACS! DINOSAURS! Just go completely crazy!

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That’s the thing with all these Capcom brawlers: they rarely are good at everything. Especially ones before 1994-95. If the fighting is fun, the setting is dull. If the setting is awe-inspiring, the characters and enemies are uninspired. It almost feels deliberate, too. Like they didn’t want to ever peak, because then it’d be all downhill from there and cause a falloff of their business. Or, perhaps they just didn’t want to set the bar too high. Nah, I’m sure it wasn’t intentional. In fact, I’m going to guess Cadillacs and Dinosaurs squeezed all the potential out of the CP Dash System, even if still manages to feel conservative. Eventually, near the end of the arcade era, Capcom would fire on all cylinders and come out with some of the best brawlers of the period. This isn’t isn’t one of the best brawlers of the period. Cadillacs and Dinosaurs is perfectly average and perfectly fine. Good for forty minutes to an hour of just vegging out and unwinding with some simple two-button cannon fodder cracking. Bring a friend or two along if you can and enjoy some perfectly decent, bland entertainment, which is what most Capcom brawlers are, frankly. They’re the Elvis Impersonator of video games. The Jay Leno of video games. The regular McDonalds hamburger with mustard and ketchup of video games. They’re.. okay.

Cadillacs and Dinosaurs is Chick-Approved
Cadillacs and Dinosaurs was developed by Capcom

Just ROM hack it and call it Reasonably Priced Sedans and Giant Chickens. Hell, I’d play the crap out of that game!

Indiana Jones and the Temple of Doom (1985 Arcade and 1988 NES Review)

For a franchise I love as much as Indiana Jones, it sure doesn’t have many actual products I like. In fact, I only really like two of the four movies: the first and third ones. Raiders of the Lost Ark is just about the perfect popcorn adventure flick, and Last Crusade is just about the perfect sequel to a popcorn adventure flick. Neither are particularly deep, but neither are entirely shallow, either. They’re the boilerplate action films that check every single box and are so fun. Do any two movies hold up to repeat viewing better than Raiders or Last Crusade? I can’t think of any. The rest of the Indy franchise is somewhere between frustrating or outright boring. While I don’t think Kingdom of the Crystal Skull is that bad, it certainly isn’t as fun or exciting. Do you know what the problem with Crystal Skull REALLY is? No, it’s not aliens, Harrison Ford being old, or Shia LaBeouf. It’s that it’s so cheap looking, to the point that it feels like one of those direct-to-video type of sequels that spent the whole budget bringing a couple of the original stars in. It’s vaguely like the movies I like, but it almost feels fake. Like a movie that shouldn’t exist, but someone who had no claim to the legacy somehow managed to secure the rights. That’s especially weird, because it’s made by all the same people who did the original three. The same with Young Indiana Jones, which looks cheap, fake and is really boring.

The movie Indiana Jones and the Temple of Doom has this phenomenon that I call “Chicken Syndrome.” The Back to the Future sequels introduce the idea that Marty McFly is triggered to the point of being stun-locked by being called a “chicken.” It’s the entire driving point of both Back to the Future II and Back to the Future III and practically Marty’s defining characteristic. BUT, this never once came up in the first movie, even though it feels like it could have. Well, Temple of Doom does Chicken Syndrome by having Indy’s pursuit of “Fortune & Glory” be what drives him into the main plot. It defines his character, but again, “fortune & glory” never once came up in Raiders, or any other Indiana Jones movie. BUT IT FEELS LIKE IT COULD HAVE! It feels like his catchphrase. Chicken Syndrome. It’s a thing.

And then there’s Temple of Doom, which feels like it fits in with the movies I like, only it’s just so mean-spirited and joyless. Temple of Doom might be among my least favorite Spielberg movies. He and George Lucas blame getting divorced around the same time putting them in a foul mood for Temple of Doom being so dark and twisted and unpleasant. I don’t know about that, but Temple of Doom is just such a downer that I can’t even bring myself to watch it anymore. In that sense, the Atari arcade game is the perfect movie-to-video game translation. It’s a dark, joyless game with some of the most frustrating design of its era. To its credit, it actually feels like it captures the spirit of the Indy films, and I’m not being sarcastic. They got the setting and the vibe correct. It’s so authentically Indy that if Temple of Doom had just risen to the level of being average, it’d probably have been highly regarded. But, it didn’t even make it that far. Not even close.

In this picture, you will note that one of the enemies is falling to his death. I had nothing to do with it. I’ve never seen a game with enemies that have less survival instinct than Temple of Doom. I genuinely believe that more of the guards killed themselves than I directly killed. At times, such as in this screenshot, it literally rains them from above because they just walk off cliffs.

Temple of Doom’s levels are divided into three segments. In the first, you navigate the mines looking for children. This usually involves scaling ladders and shuffling across narrow ledges. The ledges are the problem. You can fall off them, and it’s too easy to. The movement parameters are too free and loose, and the number one thing that’ll kill you is slipping off platforms. Some games make you wish they didn’t use grid-based movement. Temple of Doom makes you long for it. It’s so haphazardly done that, as seen in the above screenshot, even the enemies can’t handle the ledges and will die more from them than by anything you do. The falls aren’t necessarily lethal, but judging the acceptable drop distance is tough. What I’m trying to say is the distance isn’t good enough to be a dream drop distance. In one area, you HAVE to fall off a cliff and land on a slide, but there’s a specific sweet spot for it. So much of Indiana Jones and the Temple of Doom feels like some greedy producer said “eh, don’t fix it. Players will need to pony-up more quarters this way!”

If the movement parameters were better, I’d credit Temple of Doom with really fun level design. At least in the “find the children” areas. They feel like a treasure hunt, which is exactly what Indiana Jones should feel like.

If I had to describe Temple of Doom in one word, it would be “sloppy.” Every single aspect of it feels like it needed a lot more development time. Even the act of whipping the enemies is garbage. The main foot soldiers don’t die when you crack them. They fall on their asses. You kill them by whipping them repeatedly until they fall off a ledge. The later NES game had a gun, a knife, and bombs as well, but in the arcade game, your only options are to either keep whipping or legging it. Running away seems cowardly, but it usually succeeds in causing the deaths of the bad guys since they behave like the Three Stooges and will inevitably self-destruct. The bigger problem is Mola Ram, aka the main villain from the movie. He teleports around and throws heat-seeking fireballs at you, and in many instances, it results in no-win situations. This became especially obvious in the third section of each level. In it, you have to swing across a platform and grab a Sankara Stone. The stone is always placed in front of a platform that opens and closes into an instakill at a high velocity, so you have to time it. But, while you wait for a clearing, Mola Ram teleports around and shoots the fireball at you AND the endlessly spawning guards will attack you. Without any practical timing factoring in, even if you react fast enough, you can’t whip everything coming at you from all sides and something will eventually make it through and kill you. Oh, then you have to also get through the right door too. There’s different doors.

The second area of each level are mine cart chases. Based on the best scene in the movie, they’re easily the worst part of Temple of Doom: The Game. They’re too fast and, honestly, I felt like I wasn’t so much making correct choices as I was hanging on for dear life. You can play them slower, BUT, then there’s areas where you need to build up speed, and since the sprites are so large, you won’t have enough time by the time you know such a moment is coming. Even then, the controls feel unresponsive, so you have moments like this, where I hit a dead end, because the margin for error is too strict while the controls are loose.

After three level cycles, the final stone stage is replaced by a stage that tries to mimic the climatic moment of film. It takes place on the rope bridge, and on any difficulty but easy (there’s adjustable difficulties at the start), this might be impossible. When I do these retro reviews, I try my best to resist the siren call of just cheating my way through them with save states/rewind. Consequently, I’d burned through all my lives by the time I reached the bridge. On it, you have enemies attacking you from the left while Mola Ram hurls fireballs at increasingly fast intervals from the right. By time I was close enough to barely see the edge of his sprite, he was throwing the fireballs so fast and the enemies were spaced-out perfectly enough that no amount of rewind or save state would allow me a chance. I just had to make it a half-screen further and I’d have beaten the game. After close to an hour trying, I determined I couldn’t do it. Even if I went backwards as far as rewind would allow me and whipped the enemies coming in, more would spawn anyway, and they were always synced just right so that something would make it through. It was just timed too perfectly. There’s no ducking, jumping, dodging, or any way to defend yourself but the whip. I think MAYBE if I’d had one more life, it would have cleared the guards out when I re-spawned and I’d just have to worry about the fireballs. But, I didn’t. Temple of Doom leaves players with one final quarter shakedown. A truly contemptible game.

Hateful and joyless. By gum, this really is a Temple of Doom game.

Go figure such a terrible, unlikable, no good, very bad game would be ported. Actually, it was ported to many platforms, mostly PCs. Atari Games, under their Tengen label, released Temple of Doom to the NES in 1988. This really seems to have understood how bad a game the coin-op was in a way most ports of mediocre-at-best arcade games don’t. You can tell, because it actually does set out to right the wrongs of the original. It keeps the core concept intact: rescue kids, only this time, you also need to find maps as well. The levels are structured similarly: there’s posts to whip off of, ladders to climb, slides to weeeeeee down. Hell, sometimes the enemies still kill themselves. On the surface, it looks like a direct port, with the graphics being the best the NES could do at the time. But, it’s not actually a direct port. More of an enhanced one. You get a knife this time! You can jump this time! The mine carts don’t suck this time! You don’t die from falling this time! There’s an even greater sense of discovery and exploration this time! Even the platforms aren’t as dangerous this time! It seems like the arcade game, only fully realized.

I appreciate the effort to break-up the monotony, but golly, this has some eye-sorish graphics.

The problem is that they replaced all the mechanical problems of the arcade game with whole new mechanical problems, along with abstract design. One of those games where I quickly abandon my good faith effort at not using any cheating or a strategy guide, then spend the majority of my playtime switching back-and-forth between the game and the guide and wondering “how did anybody ever figure this crap out before GameFAQs/WikiStrategy became a thing?” It doesn’t help that this has one of the most clumsy item selection systems imaginable. Instead of letting you select items from the pause screen, you have to do it by holding down select and fumbling through the different stuff you’ve gathered. It’d be nice if I could just press select to go from the whip to the gun, then again to the knife, then again to the bombs. I think it was done to add challenge, since the game doesn’t pause while you select. If you need the gun to permanently take out the guards instead of just whipping them off the edge, you have to fumble through the inventory. Fine for the earlier levels, but in later ones where the screen is spammed by all manner of enemies, it’s just annoying. Any of you ROM hackers out there who want to do a quality of life mod: do Temple of Doom!

To the NES Temple of Doom’s credit, it’s VERY generous with extra lives. In addition to retaining the arcade game’s score-based extra life rewards, these hats are all over the place. So, maybe calling this “Nintendo Hard” isn’t totally accurate.

There’s a lot of other issues too. In later stages, conveyor belts often have a sliver of lava at one end or in the corners, and the movement is loose enough you’ll inevitably walk into it. You’ll also encounter pathways covered by a different kind of lava. It’s an instakill if you touch it, but you can throw a bomb at it to remove it. It’s not the worst idea, but the way you throw the bombs is terribly executed. You sort of lob them, which requires you to align yourself a specific way. The blast radius isn’t big enough, so I was often clearing out only two squares of pathways that were a lot bigger. Like the arcade game, movement parameters are too loose. Even a quarter of a character length can be the difference between clearing all of the lava or leaving a still-lethal single square of it. Jump over it? Yea, good luck with that. You CAN, in theory, but Temple of Doom has some of the most miserable jumping physics I’ve ever seen. It’s hypothetically based around building-up momentum, so if you’re standing still, you can’t jump left and right unless you’re on the edge of a cliff. I think I made the jump once in my entire play session. The bombs are in short supply too. I’m not exaggerating when I say I’d feel more relief finding a bomb than I did a free life, even when I wasn’t cheating. I didn’t need more lives. I needed a lot more bombs, but the bombs are only found behind these taped-up walls that you have to cut with the knives. If they had also put them as the rewards for picking up the kids, the game would have been a lot less sloggy.

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Unlike the arcade game, I didn’t finish the NES port. I quit on the ninth wave, which has these monster things that spawn out of the lava, and you have to kill them. You can’t jump to higher-up platforms (unless you’re jumping out of a mine cart), and since there’s lava all around, you can’t move diagonally. You’ll die if you try. So you have to wait for these things to spawn to make a bridge. BUT, instead of programming some kind of reliable pattern so it wouldn’t take long, they had them spawn randomly. Oh, and there’s a time limit. Oh, and your whip doesn’t work. Oh, and you still have to fight the endlessly spawning enemies. I wanted to scream when a single gap in the bridge I was making didn’t appear for several minutes. When the last thing appeared, I breathed a sigh of relief, crossed my brand spanking new bridge.. and there was even more lava and monsters. I checked a Let’s Play, and there was a LOT more ahead of me. No, I’m good. Atrocious design, and yes, I’m aware you can warp through it. THAT’S NOT A GOOD THING, YOU KNOW! Warps shouldn’t exist to skip boring sections. They should be a fun little easter egg, not a lifeboat you need to rescue you from the RMS Tedious.

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You absolutely suck, Indiana Jones and the Temple of Doom for the NES. This franchise is cursed. Last Crusade had two completely different games on the NES and they both stunk too. It’s weird that Indiana Jones, the definitive action movie franchise, has never had a truly great action game, or even one that I consider average. Some have defenders, but I think it’s probably the love of Indy keeping nostalgia goggles on tight more than genuine love. You WANT to like these games, and they resist it. And it’s not like the movie is a film like E.T. or Back to the Future where it’s like “exactly how do you make a video game out of this concept?” It’s Indiana Jones, for Christ’s sake! It doesn’t seem that complicated! What a sad state of affairs that the best game in the franchise is a point and click adventure. The only genre that has no action! There’s also the Lego Indy games, but they don’t feel like they count. It feels like LEGO is the franchise and not INDIANA JONES, you know? One of these days, someone will make the definitive action-based Indiana Jones game. Don’t say Greatest Adventures for the SNES. It’s average at best, and that’s being VERY generous. The best thing I can say about these games is they opened my eyes to the fact that Indiana Jones is the most overrated media franchise in the world. What does it have to show for its existence? Two good movies and one decent point and click game. It’s over forty years old now and it still hasn’t had a great action game. Will someone please fix this already?

Indiana Jones and the Temple of Doom is not Chick Approved, for arcade or NES.

Indiana Jones and the Temple of Doom was developed by Atari Games

If my name was Anna Jones, then I’d be Indie Anna Jones.

That joke will never get old.

G.I. Joe (1992 Arcade Review)

G.I. Joe: A Real American Hero
Platform: Arcade
Released April, 1992
Developed by Konami
NEVER BEEN RE-RELEASED

Why the heck does Duke look like Brigitte Nielsen?

As I said in my review of the recent NES Garbage Pail Kids game, I suspect I would have made a much better child of the 80s/90s than a child of the 90s/2000s. Sure, I had my beloved Power Rangers, a franchise I love so much that I’ve secretly linked to an episode of it in every single 2023 post at Indie Gamer Chick so far and have no plans to stop doing that from here out. But, if you asked me to name my second favorite kids show of my childhood, well gosh, that’s a real stumper there. I suppose, maybe, the Fox Kids animated Carmen Sandiego show, which had me on the edge of my seat. Actually, my #1 show, even more than Power Rangers, was Lizzie McGuire, and even though I’m not entirely sure I even liked it, I never missed Big Bad Beetleborgs either. Kim Possible too (try Kim Possible 2 on the GBA! It’s great!), but I was getting too old for that kind of stuff by that point, (says the girl who still DVRs Power Rangers at 33 years of age). There was a lot more. I was a couch potato (“yes, WAS” says my sister with dripping sarcasm), but nothing stands out. UNLESS you count reruns or VHSs of 80s stuff. As a really young kid, I watched My Little Pony: The Movie and Rainbow Brite and the Star Stealer so much the damn tapes broke. Transformers and Voltron were my favorites, and since I don’t really sleep.. like.. ever, it was no problem watching them at around four-in-the-morning on Sci-Fi Channel (that’s SyFy now, because TV execs are f’n stupid anymore). I also LOVED the animated Transformers movie. I squealed with delight when Optimus said “arise, Rodimus Prime!” Yea, I’m Team Rodimus. Eat me.

Someone restored Orson Welles’ original voice to Transformers: The Movie. This is AWESOME! It’s so sad that this was his final performance, and that he was ashamed of it. Apparently the recordings were so bad that they had to use a heavy synthesizer to cover it up. When you watch this clip, try to think about how George Lucas wrote Darth Vader by imagining his lines were being spoken by Orson Welles, and the only reason they didn’t ask him was because it was felt his voice was too famous. This feels like the closest we’ll get to knowing what Citizen Darth would have been like.

Then, there was G.I. Joe, and it was, you know, fine. It was like a children’s Star Wars without the “Star” part, and the Empire replaced by snake people. Like Transformers, I really liked the animated movie as well, even though I later found out they lost their balls to Optimus Primeitze Duke and dubbed “he’s slipped into a coma” into the final cut. Yes, comas being the typical result of being stabbed in the heart and bleeding out. Hey look, someone fixed that too! Yo YouTubers, while you’re fixing everything, will someone please murder Han Solo in Return of the Jedi? Anyway, G.I. Joe wasn’t among my favorites, but I’d watch it whenever it aired. The 80s and early 90s versions by Sunbow and DiC, I mean. I didn’t like G.I. Joe Extreme. There’s a handful of games based on the version I watched, known as A Real American Hero, including one for the Atari 2600 that I’ll be playing in Part Three of Atari 50: The Games They Couldn’t Include. I didn’t care for the two NES games led by Ken Lobb, the namesake of the Klobb in Goldeneye for the Nintendo 64. But, I really enjoyed this arcade release from Konami. It’s the strangest game, because while it feels like a lot of other third-person games (Space Harrier is probably the closest comparison), I’ve also never played anything quite like it. The best way to describe G.I. Joe: The Arcade Game is an on-the-rails third-person shooter that’s structured and paced like Konami’s side-scrolling brawlers, and it plays like a light gun game that forgot to include the light guns. I really, really enjoyed it, but I can also totally understand how this completely vanished from gaming’s collective consciousness.

One big reason G.I. Joe didn’t become a legend is because it never got a home release.

Actually, about halfway through, I figured out G.I. Joe was basically an extended version of the third-person stages from Contra. In fact, I wouldn’t be shocked if this had, at some point in its development, been put on the drawing board as a Contra spin-off. Which, hey, those third-person levels in Contra are fun while they last, and so is G.I. Joe. While it lasts. That isn’t very long. Maybe third minutes, all-in, even if you’re playing solo. How come nobody talks about this game? Because it’s short and released about a decade after the height of the franchise’s popularity? Maybe. I have a few other theories. I don’t think it’s necessarily the gameplay. In G.I. Joe, you run at the screen shooting wave after wave of enemies. As an on-the-rails game, all the progress is handled automatically, and so you only have to worry about moving left or right. You’re controlling one of four Joes that play identically, but you’re also controlling the crosshairs that you aim with. The game spams the screen with endless cannon fodder, mostly foot soldiers and their vehicles. There’s no jumping, no special movements, no ducking, and any obstacle you have to dodge can just as easily be blown-up. Maybe G.I. Joe was forgotten because the gameplay is too limited. There’s only one power-up: rapid fire, which simply removes having to mash the button. If you get hit once, you lose it, and boy is that annoying. G.I. goes bonkers with enemies and their projectiles, and we’d often have rapid fire for less than a second. It’s too stiff a penalty.

Although Konami paced and structured the game like their arcade brawlers, it’s sort of like the opposite of them. The endless generic enemies are the best part, and the bosses are the weak link. It’s so damn strange, you know? You would never expect that from a Konami game from this era.

The only weapon besides your basic gun are rockets. The game is too generous with them. You get three per life, and they’re constantly dropped when you take out various scenery and debris. You can carry up to nine of them, but you’ll be using them to clear out the screen every few seconds and will usually have one or less. They contribute to the kaboom-bang-bam nature of the game, but they’re also as good as it gets. I think that might be why G.I. Joe has vanished historically. While it’s short enough to not wear out its welcome, and a damn good time while it lasts, there’s nothing at all memorable about G.I. Joe. No jaw-dropping weapons. No stand-out set pieces. I just played the game twice in the last twenty four hours and I can barely remember anything about the bosses except that they’re not that interesting. The only one that stood out was Cobra Commander, the last boss, and even then, it felt like it was memorable just because I was like “wait, that’s it? That’s the whole game?” The rest are just not satisfying to battle. There’s no OOMPH to them, since they lack even that Contra-like chiming ping when you score a hit, so really, it just sort of feels like they’re absorbing your bullets until they start to blink and die. You don’t expect the weakest link in an early 90s Konami arcade game to be the bosses, but alas, that’s the case here.

You get three rockets every time you die. Since you presumably will have unlimited credits, and since you’ll die a lot, you’ll be spamming them right back at the spammerific enemies. G.I. Joe is Spamalot, only without the musical numbers.

I don’t think I’ve played an arcade game that I enjoyed this much that has so little going for it. When I say G.I. Joe is non-stop fun, I genuinely mean it, but at the same time, it only has to keep that going for thirty minutes. After that thirty minutes is up, shocking as it is that the game is already over, it also feels like they squeezed every bit of potential out of G.I. Joe. What more could they have done with the engine they used? I honestly can’t think of anything. I almost wish they had ignored the crosshairs and just made this exactly like an extended version of those third-person Contra levels that G.I. Joe kind of reminded me of. Free the player to jump and to duck, which might add a little finesse and urgency to the action. This is almost less a game than it is a theme park dark ride type of experience. The screen is too busy to dodge anything. The enemies are too large to miss anything. There’s too many rockets to let you linger on any area too long. And, whatever basic enemies you don’t shoot, you sometimes run right past them without consequence, which pretty much breaks the immersion. It makes you wonder if they’re like “that person I was supposed to kill just ran past me. Do I turn around and shoot them in the back? I am a bad guy, and I do still have a gun whether they see me or not! Eh, screw it, I’m going for a beer. COOOOBRALALALALA!”

Cobra Commander’s fight has one of the most ineffective fake-outs in any game. Even worse: he’s not voiced by Chris Latta. It sounds NOTHING like the raspy, hissy, perfectly-cast cartoon voice. Seriously, it’s weird that Cobra Commander and Starscream have the same voice, but that voice just makes more sense for Cobra Commander to me. HOW THE HELL DO YOU MAKE A G.I. JOE GAME IN 1992 WITHOUT THAT VOICE?! AHHHH!

The most strange thing of all about G.I. Joe is that it’s not memorable, not deep, barely lasts longer than an episode of the cartoon that inspired it, has mediocre-at-best bosses.. and yet, it doesn’t feel at all like a guilty pleasure. And it should, right? Here I am, saying that no aspect of G.I. Joe stands out, and yet, I’m recommending it to thousands of people, because it’s really fun. This is yet another licensed game I’ve done in 2023 that seems unlikely to ever see the light of day again, and that’s disappointing because I really want indie developers to give this one a play. I think there’s a valuable lesson to be learned in G.I. Joe. That sometimes, the middle of the road is okay, as long as you walk away knowing that players will enjoy the experience. To make a game that will rarely, if ever, come up in casual conversation. But, when it does, people will say “oh yea, I remember that one! It was pretty good!” There’s a place in gaming for veg-out, enjoy the show type of action games, and it’s okay for your work to be short, stupid, mindless fun-and-done experiences. Thirty minutes of pitch-perfect escapism. I can’t imagine how this wasn’t a mega-hit in arcades in 1992, because this really is sort of the perfect 90s arcade game. Something that never came home, because, at the time, it didn’t belong there. It belonged in the place the generation before me would go to get away from the real world. A game that requires no commitment or emotional investment. I really wish there were more games that aspired to that today. I know that it sounds weird to hear someone like me tell devs “it’s okay to not aim TOO high.” But, sometimes it’s okay to remind yourselves that the middle is where the bullseye is at.

G.I. Joe is Chick-Approved

G.I. Joe was developed by Konami

Vs. The Goonies (1986 Arcade Game Review)

The Goonies II is one of my favorite NES games. A genuine lost treasure, and one of the best games on the console. The “II” confuses some people. Is it implying the game is the sequel to the movie? No, actually there was a video game Goonies I, or just Goonies, or in the case of this: Vs. The Goonies. Made by Konami and promoted in arcades by Nintendo as part of their Vs. System line, the Goonies is a game that left me dumbfounded in 2020. I was constantly saying “wait, why am I enjoying this, again?” to myself. And not in a euphoric “I CAN’T BELIEVE HOW MUCH FUN I’M HAVING!” type of way like I did with Mario Odyssey, but “I can’t believe how much fun I’m having” type of way. The Goonies is so mediocre and abstract that it was stunning I was having any fun at all. I’d tried it before that session and didn’t like it. Having played it again just now, only this time the arcade version, I’m shaking my head and saying “yea, maybe it’s almost barely kinda sorta fun once.. if you use a guide.. and have nothing better to do.. and you’re recovering from dental surgery and the nitrous oxide hasn’t worn off yet.. but I was being VERY generous before.” Goonies is a bad game that quickly answers the question of why this never came out in North America for the NES.

This weird karate kick move is one of the most weak, unsatisfying attacks in video game history. It has no weight to it at all. The sequel would have a very satisfying yo-yo, and I wish they could ROM-hack this and add that in.

You play as Mikey, and the object is to collect keys and save the entrapped Goonies from the Blues Brothers. I know they’re supposed to be the Fratellis, but they’re in suits and ties and one literally shoots music notes at you. The entity you’re VERSUS in Vs. Goonies is clearly Joilet and Elwood Blues. You’re also versus-ing (Daniel Webster would roll in his grave) some of the cheapest enemy placement around, as baddies will spawn right on top of you, or respawn extra-quickly, or appear with minimum warning as you scroll the screen. And it’s not like Goonies has incredible combat to make up for that. Konami would later go on to make big strides in the field of OOMPH (for my new readers, that’s my pet term for any violence in video games feeling heavy or impactful), but for Goonies, the combat feels completely weightless. Your main attack is a kick. That kick is so weak-feeling and limited in range, and it just plain isn’t satisfying to use. It’s a combination of the sound design and the fact that enemies spawn via a puff of smoke and also die in a nearly identical puff of smoke. It’s bad combat. Some of the worst I’ve seen.

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Thankfully, there is one other option. The game occasionally allows you to find a slingshot loaded with fifty bullets. While it lasts, the Goonies doesn’t suck. It’s genuinely fun to shoot at things with a slingshot. I tried to explain to the police but they claimed that, be that as it may, it’s still assault when that thing is people on a double-decker bus (double the points if they’re senior citizens). In the Goonies, it’s mostly rats. Do you remember that part in the Goonies where they fought rats? Well, you’ll be fighting a lot of them here. They drop the bombs that you need to open the doors that hide the three keys and hidden Goonie you need to beat the stages. The bombs are instakills so you have to stand clear of them, and you can only carry one bomb at a time until you find the backpack. Which, of course, doesn’t show up until stage four, and that’s assuming you can even find it. Even though it’s not like getting bombs is hard, because they’re dropped by almost every rat whether you’re already carrying a bomb or not, it’s annoying that they don’t drop other things, like life-refills. White ones will drop crosses that make you invincible for a few seconds. Meanwhile, the Fratellis only take one kick to knock-out, but they do get back up. I wish the game was based around only them, since they’re almost like Bluto in Popeye: relentlessly shooting projectiles and constantly giving chase. They’re a great enemy! There’s a lot to like about The Goonies, arcade or Famicom.

Steven Spielberg is a hidden points item in the game. GO FIGURE the one thing in The Goonies that remotely resembles anything from The Goonies besides the title screen is a movie director who didn’t even direct the film the license is based on. He produced it and created the story for it, but Chris “I directed Home Alone” Columbus did the screenplay.

And yet, it’s still a frustrating game. For every positive, there’s a negative that negates their value. POSITIVE: The level design can be amazing. Awesome, sprawling levels that split into front-ends and back-ends (so THAT’S where the sequel got the idea!). AND, even better: the doors are randomized, so you can’t commit to memory which have keys, Goonies, or life refills. NEGATIVE: The timer is too strict and actively discourages exploring those awesome, sprawling levels. POSITIVE: There’s a wide variety of permanent upgrades you can find. Some of which are absurdly overpowered and grant you immunity from projectiles, falling debris, fire, and bullets. NEGATIVE: The way they’re hidden is absurdly random. They’re invisible, with no indication of where they are. If I hadn’t used a guide, I’d never had found them by anything but accident. They’re just.. around. And the way you get them is even dumber. On odd-numbered levels, you have to press down plus the attack button. On even number levels, you have to press down and away plus the attack button. WHY? It’s too abstract. I might be able to look the other way if they were hidden in places like dead-ends or other logical locations, but they’re often just in arbitrary locations.

You don’t know what the items are, and it’s super weird how (and often where) they did it. Also note that I whiffed this kick, but it scored anyway.

POSITIVE: Uh.. I’m running out of things that I can admire about this game. I did, one time out of three, manage to have a teeny tiny bit of overall fun, even if I was screaming and cussing about cheap deaths or that damn timer. NEGATIVE: It’s a potentially great early 8-bit game that, through sheer determination, manages to become a bad game. This was the third time, and presumably the final time, that I’ve played through Goonies. The first time, I hated it. The second time, now with a guide and knowledge that there were things hidden in it, I barely enjoyed it. This third time, I was back to hating it AND now I was angry. Goonies is just plain not fun, and that pisses me off because the level design really is very good, and there’s SOMETHING here. This feels like one of those stepping stones that bridged the gap from the arcade style of action to modern adventure games. It’s on my top ten “WILL SOMEONE REMAKE THIS ALREADY?!” list, only replace the abstract stuff with treasure chests. Hey.. yea! Why aren’t there treasure chests? It’s a game about a movie about kids looking for treasure, and there IS treasure, but no treasure chests! It’d be like having a Silence of the Lambs game without cannibalism.

To beat each stage, you have to find three keys AND that stage’s trapped Goonie. If you don’t find all six, you’re sent back to World 1 to start over. You have to bomb the doors to reveal what’s behind them, and it’s randomized every time you play. Besides the keys and Goonies, they might have the bong pictured here that restores life, or they might have the valuable slingshot, which has fifty bullets.

I used to be under the impression that this started development as something besides Goonies, then they got the license and just made a few small modifications to turn it into this. I figured the NES Ninja Turtles was in the same boat, then I found out that’s not the case with it, so I’m guessing that wasn’t the case with Goonies, either. Still, unlike something like, say, Gremlins, Goonies lends itself to video games. They managed to make a genuine 8-bit masterpiece with Goonies II, but one thing that I’ve noticed is that neither game feels remotely like the movie. The characters aren’t really there. The villains don’t look like the villains in the movie. A pirate ship doesn’t appear until the final stage (though there are pirate ghosts JUST LIKE THE MOVIE! oh wait). Like so many licensed video games from this era, this could really be any property. Konami could easily resprite Goonies and have the title tune changed and release it as a generic adventure game, or hell, plug another IP into it. Even though I don’t like this at all, I sort of wish they would. I really wish they would with Goonies II. Ideally, they’d get a license for the film’s upcoming 40th anniversary, but if they did, I’d hope they’d make a special edition of the original that turns it into a good game. As it is now, Goonies Ain’t Good Enough.
Verdict: NO!

The Goonies was developed by Konami

Wild West C.O.W.-Boys of Moo Mesa (Arcade Review)

I’m spending a lot of my 2023 focused on licensed games, and one that has come up a few times is Wild West C.O.W.-Boys of Moo Mesa. It’s a slightly-before-my-time IP created by someone who worked on Teenage Mutant Ninja Turtles that so desperately wants to be TMNT. I just watched a few episodes, and it got exactly one part right: the theme song. Catchy theme song this has. Yea, that’ll be stuck in my head for the foreseeable future, damn it. The rest of the cartoon is boring and stupid and I can’t believe it took two seasons before it got cancelled. BUT, creator Ryan Brown has one pretty good thing to show for the whole experience (besides the no doubt mountain of money he got): a really good arcade game that’s functionally a sequel/spin-off of Sunset Riders. I didn’t like Sunset Riders, but I enjoyed Moo Mesa enough to play through it twice. Well, I meant to play it once, but I didn’t grab enough pictures the first time. I’m often forgetful and dumb.

C.O.W. stands for “Code of the West.” By the way, that name is a mouthful. What DO you call this property? Teenage Mutant Ninja Turtles is easy and versatile. Ninja Turtles? Works, and Turtles works too. Cowboys somehow doesn’t. C-O-W is just stupid. Moo Mesa sounds like a vegan milk alternative. The name sucks. The property sucks. But, the game is pretty good.

Moo Mesa (that’s the MAME file name, so that’s what I’m going with) is a single-plane, side-scrolling shooter. Sort of like Metal Slug or Contra, only with cows that.. that.. holy crap.. cows that turn into steaks when you lose a life?! Wow!! That’s shockingly dark and awesome and now Cuphead’s DLC feels slightly less shocking and dark and awesome. It actually came as a surprise to me. It’s rare that games from this era consistently nail cartoonish slapstick as consistently as Moo Mesa did. It’s usually stop and go, with the animation-like bits limited only to backgrounds or enemy death sprites. Not this time. From the character models to the enemy design to the movement to the sound effects, C.O.W.-Boys feels like a big leap forwards in the type of audio-visual style that would eventually lead to cel shading. It’s wacky. It’s exaggerated. The personality doesn’t seem forced. Most importantly: it makes you want to see what comes next. It never wears out its welcome.

I love how they wanted to have space-shmup type stages but the property sucks and has no means to fly, so they just had a bird grab you. Hell, why not?

If Moo Mesa has a flaw, it’s that it might be too simple. Okay, fine, no might about it. It’s too simple. You walk left and shoot waves of enemies until a boss appears. Sometimes there’s environmental things to utilize, like barrels, or dynamite with plungers. There’s power-ups that make your guns stronger, but not in a “wow, what an insane, unforgettable weapon!” way. There’s four characters to choose from, but since Moo Mesa is a cynical wasteland of sadness and misery, it’s not like all that satisfying to change between them. So, why does it work so well? Because, Moo Mesa is structured like a brawler with guns. Konami did this with Sunset Riders and Bucky O’Hare too, but it works better here. The levels are brisk. The bosses are better and not too spongy (oh they’re spongy, but only once or twice to the point of annoyance). It scratches the same cathartic itch that you get from punching the bony 1s out of fleshy 0s in any side-scrolling beat ’em up.

The button mashing in this section was awful. I’d call button mashing a relic of gaming’s past, but.. well.. it’s more like gaming’s appendix. Still lingering around, and while many have theories as to why, nobody is 100% certain, but it could start to hurt and ultimately kill you. I mean, it hasn’t technically killed anybody. Yet.

Ironically, that simple premise means I don’t have a ton to say about Moo Mesa. What I find most remarkable is that a franchise that comes across as desperate managed to make a completely decent arcade experience. Seriously, the whole concept of Wild West C.O.W.-Boys of Moo Mesa is so soulless and cynical. “We need another Ninja Turtles. What’s another funny animal? Cows! It’s funny because we eat them! HEY, and I just realized something.. get this, team: if they’re cows, that means we can have the villain threaten to turn them into more than just soup, like in Ninja Turtles! There’s LOTS of food you make out of cows!” It’s pathetic. It really is. I’m sure there’s some C.O.W.-Boys fan reading this and turning beet red right now with rage, or people reaching for the comments saying “wait.. aren’t you a Power Rangers fan?” Which, hey, guilty as charged. And I suppose the funniest thing about Wild West C.O.W.-Boys of Moo Mesa is, cynical as it is, it got one game, ever, and that game was pretty good. Well, yea. It was made by Konami at a time when Konami was smoking hot and cranking out winners one after another.

I beat the game with the one who looks stupid. I’m kidding. They all look stupid.

But, let’s face it: the Moo Mesa arcade game could have been any property. Yes, I’m aware that the creator of the series helped with the game, but come on! Konami could have turned this into a Simpsons sequel with Bart shooting his slingshot at dozens of identical Mr. Burns henchmen. Hell, had they done that, it’d been a major hit instead of being relegated to “oh yea.. I remember playing that” status. Who the hell wanted a Wild West C.O.W.-Boys game? Clearly nobody. This didn’t even come out on the SNES or Genesis. Kids aren’t stupid. They can tell when they’re being pandered to, and they don’t like it. That’s why Tattooed Teenage Alien Fighters from Beverly Hills only got one season. Even the dumbest 90s kid could recognize Alien Fighters was trying to ride Power Ranger’s coattails, and it’s even worse than that. It came across like it wasn’t even trying to make sense or have fun characters. It felt like it held the Power Rangers audience in contempt. Moo Mesa comes across the same way, even going so far as to copying the personalities of the Turtles and Shredder. That’s why it wasn’t particularly successful. But hey, this game is totally fine, so I propose Konami hire an indie developer to reskin it. Make it something else. Why not? Make it an Adventure Time game, or some other property that has earned a decent game. Or, heck, just turn it into Sunset Riders 2! It pretty much already is!
Verdict: YES!

Wild West C.O.W. Boys of Moo Mesa was developed by Konami

Wild West C.O.W. Boys is Chick-Approved!