The Neo-Geo CD was first introduced in 1994, four years after the release of the cartridge based Neo-Geo home console – the Advanced Entertainment System (or AES). The idea of the Neo-Geo CD was easy to understand – as awesome as the Neo-Geo AES cartridge hardware had been, the cost of the cartridges was always going to limit its contemporary user base.
In the UK, new AES releases would run anywhere between £200 – £300, and in the early 1990’s that was a huge amount of money to pay for any videogame. The story was the same in the USA and Japan where the AES had the bulk of its modest sales success. The cost was due in part to the use of ROM chips, which were expensive to produce back then, and the fact you were basically buying a full and proper arcade game for your home.
So, the concept of playing SNK’s eclectic range of Neo-Geo arcade games at the same price point of a PlayStation game was clearly going to be appealing to gamers – on paper at least. The hardware was still expensive, $399 / £399 (dearer than the PlayStation and Saturn), but now the games were priced at around £45 making Neo-Geo software on a par with the mainstream consoles of the day.
Contemporary writers have criticised SNK for releasing the Neo-Geo CD, and its price tag, in the same year as the Sega Saturn and Sony PlayStation, and despite the Neo-Geo’s impressive 2D handling ability, the hardware specs of SNK’s new console were no match for the new 32-Bit powerhouses.
Doubtless the intention never was to compete directly with either Sega or Sony’s new consoles, but to make the arcade experience of the Neo-Geo more accessible. Bearing in mind that many arcade games, especially beat’em-ups and shoot’em-ups, in the mid-late ‘90s were still using 2D graphics, the Neo-Geo was still well placed to serve. And besides, if you weren’t a fan of beat’em-ups why on earth were you buying a Neo-Geo home console anyway?!
Why the Neo-Geo CD hardware became such a ham-strung compromise may forever remain a mystery. The technology certainly was available at the time to make the data management on the console a whole lot more tolerable than it what it became. Implementing this may have led to increased hardware costs, but the machine was too expensive anyway, and both Sega and Sony had long since realised that you do not make money on the hardware – you make it on the games.
The original MVS arcade hardware had been a huge international success for SNK, and by 1994 I am more than confident in saying that they had made their R&D costs back for developing the platform and then some.
While I do not know how much the Neo-Geo CD cost to develop, in the grand scheme of things I would wager very little. The hardware is still Neo-Geo, but instead of ROM cartridge as the delivery medium for the games it became CD-ROM. A major mistake was fitting a single-speed CD drive to the unit, and the late 1995 release of the Neo-Geo CDZ did little to improve things. Some hardware improvements saw loading times speed up, but there was still no progress in improving the way the system handled in-game data delivery of the King of Fighters series or others with large meg counts.
So, are the loading times so appalling that the Neo-Geo CD isn’t worth bothering with?
No, far from it. Some of the earlier games load in one hit, making loading times moot, and many of the later games with relatively modest meg counts carry, fairly, unobtrusive loads between stages.
Sadly, some of the later releases are just not worth bothering with, as the loading times completely ruin the flow of the gameplay. These games are usually post ’96 releases with high meg counts. A good example would be Metal Slug 2 whereby there is at least one-mid level load per stage (excluding the first stage). It’s a real shame, as, from what I can see, it’s identical to the ROM cart versions, with the bonus of CD quality audio.
The King of Fighters ’95 through to ’99, inclusive, are almost unplayable as SNK intended. Each bout is broken up by loading the next character, and the loading on KoF ’99 is really excruciating due to the huge meg count. Single play is just about tolerable, but King of Fighters is not supposed to be pure 1-on-1 fighting, it’s all about the team play!
Some late games are not as bad as you would perhaps think. Real Bout Fatal Fury 2: The Newcomers is more than playable on Neo-Geo CD, with relatively quick loads between stages, making it, arguably, one of the best brawlers for the CD system.
The original Metal Slug is eminently playable, largely, due to the fact the game is under 200 Megs. There are loads between stages, but you get a nice map showing your progress, there is no in-level loading, and there are other exclusive bonuses such as the Combat School.
Bonus material like this, is definitely one of the Neo-Geo CD’s strongest assets. Besides the CD quality soundtracks many of the games carry, there are a number that have features not found anywhere else.
Big Tournament Golf has a full extra course, many of the King of Fighters games have art and character galleries, Ninja Masters has extra game modes, Voltage Fighter Gowcaizer has a vocal soundtrack not found in the AES/MVS version; and there are the Neo-Geo CD exclusive games as well.
Neo Driftout: New Technology, Ironclad, Puzzle Bobble, Futsal, Zintrick, and Samurai Spirits RPG are just some of the titles that only officially appeared on the CD unit as published by SNK for Neo-Geo home hardware. Some were never officially released on MVS either!
With a catalogue of just under 100 titles to choose from, there is plenty for the Neo-Geo enthusiast to play, and with the exorbitant prices of AES cartridges on the used market nowadays, the Neo-Geo CD may well be the better buy for the casual fan to get involved with, if you don’t wish to get into MVS gaming.
Nevertheless, be aware, that in recent years, games collectors have started to move in on the potential of the Neo-Geo CD as a collector system. The system’s lacklustre showing at retail in the 1990s resulted in many titles only receiving very small print runs, making some games very hard to track down, and in certain cases making the games expensive to buy as well.
If there’s any solid advice I can give, it’s to stay clear of the titles published in English for the US and European markets. Print runs for these titles were ridiculously low and to pick up some of the games, complete, if you can find them, will run serious coinage. Most Japanese titles can be bought for comfortably under $100.00 US, including some of the more sought after titles if you have the patience, and look in the right places (i.e. not eBay). It’s certainly worth me mentioning that all Neo-Geo CD software is region free, but remember: PAL hardware will only run the games at 50hz (letterboxed) no matter its region.
Hardware prices are modest, a loose Neo-Geo CD top loading model (the most common unit) can be picked up for under £150.00 with hook ups and a controller. Only the CDZ is still holding value, especially if it’s boxed, largely due to its short, Japanese market only, production run. Expect to pay north of £250.00 for a CDZ – and the loading isn’t that much quicker, honestly.
The Neo-Geo CD was one of many follies to be borne out of SNK during the 1990s; the Neo-Geo CDZ, Neo-Geo Hyper 64 and black-&-white Neo-Geo Pocket being the others. One cannot help but think that these hardware failures all contributed to weakening SNK financially, hastening its sale to Aruze, and thus the beginning of the end for the business in its original, and much loved, form.
The Neo-Geo CD could have been so much more, but remains another footnote of how SNK had the potential to really impress and entertain, but fumbled the opportunity by producing hardware that simply could not deliver the gameplay experience needed. Some observers have argued that CD technology for gaming was still in its infancy at the time, but I disagree. NEC had proven since 1988 that the CD-ROM format could deliver great games beyond ROM cartridge limitations; Sega’s Mega-CD (1991) had the potential (Final Fight CD / Sonic CD) to impress as well (it was just badly marketed and supported); and with Sony developing the PlayStation during the same period, its baffling to see SNK get the hardware delivery so wrong.
The Neo-Geo CD hardware was quietly abandoned in 1997, with the final official game being published in December 1999. Ironically the final game was one of the most unplayable on the system due to its high meg count and therefore ruinous loading – The King of Fighters ’99.
I’ve always had a soft-spot for the Neo-Geo CD, and it’s disappointing to hear some of the vitriol the system receives. SNK’s short sightedness with the hardware certainly is deserving of criticism, but the machine still has a place in any hard-core SNK fans heart, and is still worth checking out for those who don’t want to pay AES prices, and don’t want to suffer with emulation. I just hope that software prices do not begin to spiral too far out of most gamers reaches.
SNK Neo•Geo CD
Produced: 1994 – 1997
Neo•Geo CD (front loading limited edition launch unit) – Japan only.
Neo•Geo CD (top loading unit) – Japan / USA / Europe.
Neo•Geo CDZ – Japan only.
Please note that prices are based on UK perspective and do not including any shipping or import duty costs that may be applicable. Price estimates correct at time of publication.
What can be written about Street Fighter II that has not already been said by someone else previously? This was the first thought that entered my head when I decided to write this review of the classic Capcom brawler.
Since it first entered arcades in 1991, Street Fighter II has had countless column inches devoted to it and its many revisions and sequels. As far as ports go, most of these articles have focused on either the Super Nintendo / Super Famicom games or the Sega Mega Drive / Genesis versions.
However, as impressive as these ports were across the main 16-Bit formats, there was one port which really stands out, for its technical achievement if nothing else. That is the 1993 PC Engine release of Street Fighter II: Champion Edition.
An initially surprising fact about this particular port is that Capcom used the PC Engine’s HuCard format for the release rather than utilising the CD-ROM. By the time Street Fighter II: Champion Edition was launched, HuCard support had started to seriously dwindle, with most new games coming out on the CD-ROM format, taking advantage of the additional capacity and CD quality audio. In 1992 just over 30% of the games released that year in Japan for PC Engine were in the HuCard format. By the end of 1993, the year Street Fighter II was published on the PC Engine, there had only been an additional 10 HuCard titles published, including Capcom’s Street Fighter II.
As with the Mega Drive versions of Street Fighter II, the PC Engine was initially at a disadvantage with the control system. At the time of its release in June ’93, NEC had just launched the PC Engine DUO-R, but that, like all its predecessors, only had two action buttons on its control pad (the later DUO-RX was bundled with a six button pad). Fortunately, just as Sega did, NEC released a six button controller; and so did Hori, who released the superb Fighting Commander PC. The game can still be played with a standard controller, but this does stunt the gameplay somewhat.
There is, sadly, one major drawback with the PC Engine – a solitary controller port. Now, why, given the number of different versions of the PC Engine produced between 1987 & 1994, none of the revisions ever addressed this deficiency is anyones guess. But, most Street Fighter II veterans will argue that no matter how well you’ve mastered your favourite character, to put your skills to the test, and to get the most satisfying experience out of the game, you need to play against a human controlled opponent.
Therefore, not only would you need to buy the game and two six button controllers, you’d also need to pick up a multi-tap as well. Not a particularly cheap proposition back in the day.
One of the great thing about the game being on HuCard is that it is, like all other HuCards, playable on both the PC Engine GT (aka Turbo Express) and LT. Despite having the disadvantage of just two action buttons, on the GT Street Fighter II is still incredibly playable, and I found it quite easy to adjust my style to pressing the “select” button to toggle between “punch” and “kick”. In the early ’90s, to have been able to swank around with a GT and such a close port of Street Fighter II must have been something else!
As with the Super Famicom and Mega Drive Street Fighter games, Capcom handled the PC Engine port in-house and therefore content wise, it matches the original coin-op. All twelve fighters are selectable, along with their alternate colour palletes, each character’s special moves are there, along with thier individual stages, theme tunes and the bonus stages.
In fact, there’s very little that is missing. The opening sequence with the two fighters outside a sky-scraper is absent, and the character animations on the continue / game over screen are also missing. Inevitably there are some frames of animation missing, but they’re hardly noticeable. Whereas in some ports to less able machines background animations tend to be the first to go out the window, in this port all the background animations of the 12 stages seem to be intact – from the bustling street scene in China, to the tiny drops of water in E. Honda’s bath house.
Where the game would certainly of benefited from the CD-ROM format is in the music. While many of the game’s tunes are faithfully replicated here, there are a few that suffer from the HuCard’s limitations, particularly Sagat’s stage. Still, the voice samples are nice and clear, and all present, including the announcer.
I’m not going to go into any detail over the gameplay, you’ve heard it all before, and then some. I am sure most of you know where I am coming from when I say the gameplay is pure Street Fighter II; it is indistinguishable from the arcade parent or the later ports on more advanced hardware. Yes, you will need a six button pad, but if you’ve got a Mega Drive, you would have the same issue.
There is no denying that Street Fighter II is still a highly playable game, that some 25 years on from its original release it is still one of the definitive one-on-one fighting games, and the PC Engine version holds up so well it is still worth picking up. The really nice thing is that it won’t cost you the earth either, with average eBay prices in the £25.00 range, sometimes less, for a boxed HuCard.
So, if you’ve got a PC Engine and you’re a fan of the Street Fighter series you owe it to yourself to pick this up and a six button pad. Even if you’re not that much of a fan, it’s probably worth picking it up to just see what the humble HuCard, and PC Engine, were capable of in the right hands.
Street Fighter II : Champion Edition
Version Tested: NEC PC Engine
Also available on: Sega Mega Drive / Sega Saturn / Sony PlayStation / Sony PlayStation 2 / Sony PSP / Microsoft X-BOX / Sharp X68000 / JAMMA PCB (CPS1 system)
Time seems to have flown by since I last spent some time with this blog, but it’s been a pretty hectic 12 months to say the least and procrastination runs deep with this writer…
However, there are still lots of video gaming musings I would like to share with you, and so without any further hesitation let’s plunge straight into having a look back at Fox Interactive’s Die Hard Trilogy.
Most of us have probably had the benefit of wearing “rose-tinted glasses” from time-to-time. Looking back on a game we haven’t played for years with much fondness and then getting the urge to track it down again to relive the experience we thought we had all those years ago.
I remember buying Die Hard Trilogy over the Christmas period of 1996 for the Sony PlayStation, and I’m sure I recall enjoying the first two episodes of the game. Fast forward 20 years, and I’m pretty certain I should have left those memories as they were – memories.
Die Hard Trilogy, as the name suggests, is based on the first three Die Hard movies (Die Hard 4 was a long way off happening back in 1996), and is correspondingly split into three separate games which you’re free to tackle in any order you choose.
The Die Hard game is a run-and-gun 3D shooter; Die Hard 2: Die Harder is a shooting game in the mould of Virtua Cop / Lethal Enforcers; and Die Hard With a Vengeance is a driving game.
The first part of the Trilogy has you running round Nakatomi Plaza, killing bad guys, rescuing hostages and trying to stay alive. You’re armed with a hand-gun with unlimited ammo, but you can pick up various machine guns and shot guns (all with limited ammunition) as you go around the levels.
Each level is populated with X-number of terrorists, and you do not progress until they are all eliminated. There is no time-limit to this, but once the floor is cleared of bad guys you only have 30 seconds to make it to the elevator for the next floor before a bomb goes off.
You have a life gauge, shown as McClane’s police shield and a terrorist and ammo counter along with a map of the game area showing the location of terrorists (red dots) and hostages (blue dots).
The map is very useful. Each floor is pretty large and the terrorists are generally well spread out. In addition the draw distance for the graphics is very short (one assumes due to hardware limitations) so your view is restricted to your immediate location. Terrorists do not usually fire on you until they’re pretty close, but for your own survival strategy the viewpoint can be a hinderance at times.
There’s plenty of action to be had, each floor has a more than healthy supply of goons to dispatch, and some of the scenery can be shot and destroyed for added effect. However, the control system is cumbersome, health items are few and far between and McClane will only take a few shots before being carried out in a body-bag.
Weapon power-ups are also in short supply, which is annoying as most of your enemies carry automatic weapons. Grenades are fairly easy to come by, but you need to be careful where you throw one, as you’ll die if you get caught in the blast. As each level is covered in tight corridors, this mistake can be easily made, and, repeated.
So, to the second game on the disc – Die Hard 2. This plays as a straight forward rails-shooter like Virtua Cop. This is about as generic as it gets, if you’ve played any of Virtua Cop, Area 51, Time Crisis etc, the gameplay will be instantly familiar, and sadly as this segment offers nothing new to the genre, it’s rather forgettable.
As per the film, the game is based in and around Dulles International Airport, with you, as John McClane, taking out terrorists while trying to avoid innocent people. Along the way you can pick up temporary power-ups like machine guns, pick up health packs, and add additional rockets and grenades to your arsenal.
On the PlayStation Die Hard 2 can be played either with the controller or PlayStation Mouse, but, the Saturn version not only supports the controller and mouse, but also the Saturn light-gun used for the Virtua Cop ports. The game is not particularly playable with a pad controller, but works okay with a mouse to move the aiming reticule. Unfortunately, as of writing, I have been unable to play Die Hard 2 with a light-gun, however, I doubt that this would elevate the game much beyond mediocre.
Last, but by no means least, we have Die Hard 3. Once more we move genres, and this time to a driving game. The last game in the “Trilogy” is an arcade style driving game in a rather crude vien to Sega’s Crazy Taxi. You have a set time limit to get from point A to the location of a bomb at point B. If you don’t get there in time the bomb goes off and you lose a life.
The final segment is probably the best of the three in terms of presentation (not surprising as it’s rumoured that the whole game was supposed to be Die Hard 3 before Fox decided to tack on the first two films to broaden the package). However, the time limits are really strict, there’s no map (just a compass that gives you a vague notification of which direction to head in), and there are lots of obstacles to slow you down. Right down.
You have a limited number of turbos available as well, but I’m really not sure if they’re a help or a hinderance. Even with a few Chase HQ elements thrown in and different vehicles to drive as you progress, it feel like a chore to play.
This final chapter courted a little controversy back in the day as you could, if you wanted, mow down innocent pedestrians Grand Theft Auto style. The visuals are so basic by today’s standards that you wonder what all the fuss was about… it’s hardly graphic violence. The time limits will also prevent you from going on any mass execution sprees if that’s your thing.
So there you have it, three games in one package and all the John McClane action you may ever need. Unfortunately, this game is more Dynasty than Die Hard.
Across the entire trilogy, a major annoyance is the lack of an auto-save feature. None of the games have continues, so, get to the last level and lose your last life and it’s straight back to the very beginning if you haven’t been saving regularly. Strangely there is no extra-life feature either. You get three lives, and that’s it.
The length of all three games is commendable, if you’ve got the patience to play through all three segments then you’ll be happily tied up with Die Hard Trilogy for some time.
Die Hard Trilogy is definitely a game that hasn’t quite stood the test of time either in gameplay or graphics (well, certainly not the graphics). I could forgive the aging graphics if there weren’t so many annoying gameplay flaws.
Aiming in the first game requires you to be in front of the terrorist to get a hit, but the controls are so clunky they don’t allow for precision. The levels are large, but full of rooms and obstacles which are too easy to get caught and trapped on – this can be hugely annoying when you’re trying to get to the elevator before the bomb goes off and you don’t make it because a door held you up.
The second game is useless playing with a control pad, and not that much more satisfying with a mouse. Why there was no light-gun support for PlayStation is anyones guess.
The third game is so unforgiving it’s irritating. The difficulty curve is far too steep; which is a general issue with the whole game given the size of each individual game within the Trilogy.
I do think it would be interesting to see a remake of the title on current gen hardware backed by a reputable programmer. So long as they get someone who doesn’t sound like Garfield doing a Bruce Willis impression. Could be a lot of fun…
Overall, the original Die Hard Trilogy is one Die Hard game to which this writer is saying “Yippee-ki-nay“.
Die Hard Trilogy
Version tested: Sega Saturn
Also available on: Sony PlayStation / PC
For those of us old enough to remember, shopping has changed a lot in the last thirty years. Some of the experience is still the same, but gone are the Wednesday’s of half-day closing, nearly everywhere is open on a Sunday (albeit at slightly reduced hours), and shops can stay open as late as 8pm during the week, all to satisfy our diverse lifestyles and thirst for consumer goods.
One area of retailing that has changed significantly since the mid-1980s is the experience of purchasing the humble video game. I recall, as a kid, being able to pick up a new Spectrum game almost anywhere, even my local newspaper shop could supply me the latest Joe Blade game for £2.99 or the newest shovel-wear to escape out of Codemasters. Oh yes, I didn’t need to scroll down the information super-highway, oh no, long before the mass accessibility to the internet, it was a stroll down the local high-street to get my gaming fix. WH Smith and Boots were brilliant for games in those days, and my town even had a very good independent just outside the town centre – Software City.
Software City was a goldmine. Not only did they stock all the latest releases at prices competitive with the major chains, but they also had some of the less recent titles at really good prices. I regularly walked up to their shop from Sainsbury’s car park whilst my mum did the weekly shop, and more often than not walked away with a purchase. I’ll always remember going in with my mate and seeing Ocean Software’s The Biz compilation (R-Type, Double Dragon, Operation Wolf and Batman: The Caped Crusader) on the shelf for a mere £4.99… it was supposed to retail for £14.99! Software City was a mecca to me for a good few years, right through until about 1992/’93 when more and more retailers were jumping on to the home console boom as gamers switched to Mega Drive’s and Super Nintendo’s and ditched the Amiga and Atari ST as gaming formats. Today, Software City is no more, their presence long since replaced by a hair salon. How the times have changed…
Whilst 8-Bit computer titles were an easy score twenty five years ago, console games were not. In the late 1980s video game consoles were very expensive compared to the popular Commodore, Amstrad, Atari and Sinclair home computers, and nowhere near as popular.
In the Christmas of 1988 I was very fortunate to receive a Nintendo Entertainment System Deluxe pack (the one with R.O.B the robot), to which I was delighted, and played it constantly over the Christmas holidays much to the annoyance of my parents. However, two factors that did not particularly endear me to the system soon came to light. The first was availability. There was nowhere local that stocked NES games, the nearest place was Toys-R-Us, and that was a good forty minute drive away, assuming I could persuade my mother or father to take me there in the first place. The second issue was price. In 1988 / ’89 the average full price title for one of the 8-bit computers was £8.99, and for those who had an ST or Amiga between £14.95 and £19.95. Now, back then £10.00 for a game was a lot of money, and you didn’t want to spend that and then get home and find out it was a load of pants. NES games on the other hand were usually priced between £29.99 and £49.99 – an eye watering amount of cash for a video game back then and over £100.00 in today’s money!! Subsequently, my NES collection was very modest (at best), and I pretty much gave up on it within a few years as it was just too expensive and inconvenient to shop for.
I believe it was a copy of Mean Machines that I picked up at random one day that first altered me to the imminent arrival of the new, and powerful, 16-Bit home consoles from Sega and Nintendo. In the previews section I looked at the first screenshots I had seen of Super Mario World and Capcom’s port of Final Fight, and my jaw hit the floor at the stunning graphics. I eventually picked up a Sega Megadrive for cheap off a friend at school, but by now consoles were moving into the main stream and I didn’t have to travel to the other side of the county to buy games.
Software City stocked the latest PAL Megadrive and SNES games, and a new competitor shop, A R Computers had also opened selling console titles. The high street retailers had also jumped on the band wagon, with Dixons, Woolworths and Argos all stocking the major 16-Bit formats in the UK. I stayed loyal to Software City, other than when they didn’t have the game I wanted. I think the last title I got from them was Street Fighter 2: Special Champion Edition if I recall correctly. They closed down a short time later.
Later with the Playstation I finally got fed up with stunted PAL conversions and six-to-twelve month lead times to see the UK version of a new release, and so bought a NTSC/J Dual Shock Playstation package from Another World in Stoke-on-Trent. This heralded the last of the real games buying experiences for me.
Between 1997 and 2001 I would regularly go into Another World to see the latest import offerings, and they would generally not disappoint. It was a great shop, hidden at the back of a rundown shopping arcade in central Hanley and just a few doors away from the legendary (and by then defunct) Console Concepts store. The downstairs was tiny, and filled with comic related stuff, but go up the narrow wooden stair case and you entered import heaven! All the latest Playstation and Saturn games from Japan, and the odd US title as well, plus some Neo-Geo and PC Engine stuff too. It was a great place, I really miss its musty smell and grubby building it sat in (now demolished). I really hate to think about how much money I spent there, but, you can’t take it with you, right? At least that’s what I tell my wife nowadays.
Do you remember Tottenham Court Road Computer Exchange? Today they’re better known as CEX, but in the late 90s they had some brilliant shops in London, stocking all the latest import games for all the formats you could think of. I remember going into their, sadly, short lived retro shop and seeing the display of Neo-Geo AES games – I had never seen so many in one place before, and the price tags were wallet busting back then too (comparatively to today).
As we moved into the Playstation 2 and Gamecube eras, the international release dates for major titles began to standardise, and letterbox PAL games were replaced with proper full screen releases, and the import market started to rapidly contract. Who wanted to play the latest Resident Evil game in Japanese when you could go to Game and pick it up cheaper and in English?
As the sun has set over the Twentieth Century and the New Millennium marches on, the internet dominates the way we buy our games today. While some of the great names of ’80s gaming like Boots and WH Smith still permeate the Great British High Street, they have both abandoned video games retailing; Game has had some very serious issues and downsized considerably; and the independents have all but disappeared. CEX has changed beyond all recognition, almost becoming like a personal electronics (only) version of Cash Convertors peppered with a smattering of Xbox 360 & PS3 titles.
While video game nostalgia may only be a quick eBay click away, it could never replace cherished memories of going into WH Smith and picking up my copy of Elite’s Paperboy, the buying experience today is just so soulless.
A Happy New Year to you all, and I thought I would start the New Year with a fresh look at an old favourite of mine, Resident Evil 3: Nemesis. I actually spent a large chunk of my spare time over Christmas playing through the game (again), so that I could finally fully complete it – a feat that has taken me the modest period of a mere fifteen years…
Through the late-1990’s Resident Evil was fast becoming one of the most anticipated series on home-consoles. The zombie and mutant infested tales of Raccoon City’s legendary Special Tactics and Rescue Service’s fight against the corrupt Umbrella Corporation were gripping gamers everywhere. While recent entries from Capcom have divided opinion starkly among fans, between 1996 and 2000 four Resident Evil games were launched, and all were well received, firmly establishing the “survival horror” genre.
RE3 is set around the events of Resident Evil 2, and sees you picking up control of S.T.A.R.S member Jill Valentine as she tries to escape the now zombie infested Raccoon City. The game essentially splits its story into two parts – action set before the events of RE2, and then action set immediately after RE2. However, throughout both segments you will encounter the infamous Nemesis – a bio-engineered assassin from Umbrella who will stop at nothing until all S.T.A.R.S members are eliminated.
Along the way you will meet up with Carlos, a member of Umbrella’s Biohazard Countermeasure Service – a team of ex-mercernaries Umbrella has assembled under the guise of an evacuation force for the remaining human survivors of Raccoon City. Not that you’ll come across many survivors. Zombies are now the primary inhabitants of Raccoon City’s streets; and you’ll also come across the familiar giant spiders, zombie dogs, Hunters, and the occasional new mutant.
Controls are not immediately different to the previous two RE games, save for three exceptions. The first is the introduction of the “quick turn” feature. On the GameCube, simply flick the C-stick and Jill will perform a quick 180 degree turn, a move that is a god-send to improving the “tank” controls of the playable character(s). The second, more minor change, is that you now no longer have to press the action button to climb stairs – you do so automatically on approach. The third feature is a “dodge” manoeuvre, whereby pressing the R button just prior to attack will see you evade your attacker and allow you to ready for a counter attack.
The “quick turn” and climb features make the controls a lot smoother over the previous two games, however, the “dodge” feature can be a bit hit and miss, and I certainly wouldn’t rely on it to survive any given situation.
Another new element to the game is the ability to craft ammunition. Using various gun powders found around the game areas, you can create everything from regular bullets to explosive incendiary grenades and high-powered magnum ammo. Additional weapons do still need to be sought out, and you will only start the game with the standard hand gun. If you’re brave enough to take on Nemesis at the points he attacks you, and you put him down (temporarily though that will be), he will reward you with some pretty helpful weapon upgrades. Whereas ammunition conservation was very much the order of the day in previous outings, RE3 does all it can to insure you’ve got the tools to complete your mission.
Graphically I don’t feel the game has aged too badly considering this title is sixteen years old now. The pre-rendered backgrounds do their job, and the character graphics are pretty good for a game developed for 32-Bit hardware. I’ve certainly experienced worse (I recently took a look back at Tomb Raider 2 on PSN, and the graphics are horrible). The animated cut scenes are showing their age somewhat, but given the original hardware specs the game was designed to run on, they’re still watchable.
The scripting is as cheesy as ever, but it wouldn’t be a proper Resident Evil game without a good dollop of cheese laden dialogue. Music is good, sets the atmosphere well, but is fairly unmemorable, while the sound effects do their job.
Despite its relatively short length, (once you’re familiar with the game, it can be easily completed in under 4 hours), there is stacks of replay value. There are in-game extras to be unlocked when certain criteria are met, a challenging set of Mercenaries campaigns, and the game will rank you on your performance (based on completion time and in-game decisions taken); and there are multiple ways you can tackle in-game decisions and routes to completion. There’s also plenty of stuff hidden around the city to find if you’re inclined to look – it’ll certainly take a few play throughs before you find everything Capcom has thrown in. For fans of the series there are also eight different epilogue endings, each one giving a brief update on individual characters from the Resident Evil series helping to pre-empt the story lines for Code:Veronica and RE4.
I have been a big Resident Evil fan since the launch of the original on the Sony PlayStation, and while the first game and sequel always seem to be fondly remembered, there never seems to be much time given to the third instalment. Perhaps its release was slightly overshadowed by the (then) prospect of Resident Evil: Code: Veronica on Dreamcast, but for me it is a worthy edition to the series and still seriously good fun to play. For those who prefer their zombie action over the puzzle elements and slightly slower pace of the previous games, then Resident Evil 3: Nemesis is a real treat.
Resident Evil 3: Nemesis
Version tested: Nintendo GameCube
Also available on: Sony PlayStation, Sega Dreamcast, Sony PlayStation Network, Microsoft Windows
Well the title will be a give away that I am now a PlayStation 4 owner, but I shall leave that to another post. Right now we are looking at Sega’s latest attempt to gain some credibility with the use of the Aliens franchise licence that it acquired from Twentieth Century Fox.
Many will no doubt remember Sega’s last Aliens release – the much maligned Aliens: Colonial Marines. Released in early 2013 to much anticipation, the game was by and large classed as a “train wreck”. While I personally would not go quite that far in criticising the game, Gearbox certainly did not give the game the justice it deserved and should have got their backsides royally kicked by Sega.
The huge fallout from the release, especially over how it fell drastically short of what had been expected based on promotional material, is well charted across the gaming community, so I’m not going to drag it back up here. Eighteen months on and Sega are publishing Alien: Isolation and in the attempt no doubt try to gain some credibility of their custody of the licence. Programmed by the Creative Assembly, the game is played in first person, but it is not a FPS like Aliens: CM.
Set 15 years after the events of the first film, Amanda Ripley, daughter of Nostromo survivor Ellen Ripley, is looking for closure after the disappearance of her mother. Amanda is told a report has been received stating the flight recorder for the Nostromo has been recovered and is being held at a remote space station – the Sevastopol. Accompanied by two Weyland-Yutani employees, Amanda sets out for Sevastopol and upon arrival quickly finds things have very much gone awry. And so the game begins, first with trying to establish what has gone wrong, and then trying to escape Sevastopol itself.
Ammunition is in short supply, but the game is very much about stealth and avoiding combat, than any outright action. This is more of a first person Metal Gear Solid than Resident Evil. The Alien itself cannot be killed, but androids and hostile humans can all be dispatched if required. Missions are task based affairs requiring you to either collect something from a certain area or to just survive from point A to point B. Weapons can be complimented with some homemade devices intended to distract or disorientate which are “crafted” from parts found lying around Sevastopol.
If I were to give Alien: Isolation only one note of praise, then it would have to be for the environments that make up Sevastopol. Should you have ever only shown some interest in Ridley Scott’s original Alien film, you cannot fail to be impressed by how well Sevastopol mimics the environments of that film. Apparently the programmers studied original Alien set designs by the legendary Ron Cobb, and the faithfulness to this is evident throughout thus creating a strong bond to the original material the game is trying to lead on from.
There are some issues with the game, however. When looking down at the floor, Amanda’s feet are not very well integrated with the environment and it looks like you’re walking on air – very odd. It’s a minor gripe, but it really should not be there. Another occasional problem is clipping. In one area I defended myself by attacking a woman who was about to shoot me, clubbing her around the head with my wrench, I expected her to fall down dead. Instead I must have hit her that hard that her body vaporised, because it just disappeared!!
Another minor irritation is the inventory management system, which is fine early on in the game when you only have, literally, a few items, but later on as your choice of weapons and aids has expanded, choosing the item you want can be cumbersome with getting the appropriate icon highlighted for selection. I actually found many of the crafted items redundant, but I guess it depends on your own strategies to survive.
The Alien’s dogged persistence in staying in your area, even though it has not seen you (but knows you’re there), can be hugely annoying. Some times you feel as if you are stuck in your bolt hole for far too long before you feel confident enough to move off to a safer area… and if you do stay in the same spot for too long the Alien will find and kill you. The game is tough enough as it is, and I felt that a little more breathing space should have been granted if the Alien decides its prey has evaded it and moved on. I felt this also hindered my desire to explore Sevastopol further. Once you know the Alien is nearby, it immediately puts you on edge (which is a good thing for the game), and deters you from exploring rooms you’ve not yet accessed. Sevastopol is huge, and there is so much to explore, but with the Alien on to you half the time, you just want to make it from A – B as quickly as possible… or to the next nearest save point!
Indeed saving is an important part in progressing. I had read several reviews underscoring the requirement to save, save, save! Personally, if I could give any tactical advice on getting through the game, it would be to follow the mantra of “save, save, save” as much as possible. Especially after any encounters with the Alien have been passed.
The sound is excellent, and very much forms part of the game. Creative Assembly have been allowed the use of many musical cues from the Alien film, and they use these to create atmosphere, build tension and to warn of impending danger. Being a big aficionado of the first film, I was very impressed with the way the cues are implemented while you explore, it felt like I was in the film at times. Sound also plays a big part through noise. Very rarely will you walk through a section of Sevastopol without some kind of clanging going on, a klaxon going off, or rattling of some kind emanating from the corridors. This of course puts you very much on edge as you try to keep composed. I really do not recall playing a game where the sound has played such an integral part in building the game’s atmosphere since the original Silent Hill.
Overall the game is very well put together. The graphics are brilliant, the lighting top notch, the sound is fantastic and the game is a good length; making this by far the best Alien game of recent years, and arguably the best game to use the main film franchise to date. The game will not be everyone’s cup of tea. Some will lament the lack of any full blown action, the slow narrative pace, and no doubt the tension / suspense created by encounters with the creature will not be to all tastes. Yet, I feel that it fulfils the brief Creative Assembly set out very well and they are to be commended for their efforts in bringing the Alien world so effectively into our homes. Alien: Isolation is not perfect, but it is very, very good.
If only Aliens: Colonial Marines could have had production values like these…
Version tested: PlayStation 4
Also available on: PC, Xbox One, Xbox 360, PlayStation 3.
Through the very late ’80’s and into the early ’90’s there probably wasn’t a single major arcade manufacturer who did not publish a scrolling beat ’em up of one kind or another. Double Dragon, Altered Beast, Teenage Mutant Ninja Turtles are some of the releases that roll off the top of my head, and of course there was Capcom’s seminal Final Fight and the slew of games that followed, both in the arcade and on home consoles, trying to emulate its success and format.
It’s easy to credit Technos’ 1987 hit Double Dragon as the game that really kick started the demand for scrolling beat ’em ups, and Double Dragon certainly was innovative for its time, but it is Irem’s Kung Fu Master that can be seen as the first landmark title in the genre. Nevertheless, Irem never really pursued the scrolling beat ’em up further, instead generally relying on a steady stream of high quality shoot ’em ups to make its name, (chiefly through 1987’s R-Type).
Released on the powerful M-92 hardware, Undercover Cops hit Japanese arcades in the Summer of 1992 in what would become one of Irem’s final commercial successes before their arcade division was wound up, and their penultimate scrolling beat ’em up (their last being the obscure and imaginatively titled Ninja Baseball Bat Man).
Having more than proved themselves capable of doing a decent shoot ’em up, could Irem work their magic on a scrolling brawler, in the face of the high standards already set by Capcom?
The premise of Undercover Cops is as flimsy as just about any other scrolling beat ’em up from the era – in the year 2043, New York City has become over-run by crime, and the mayor and city officials have called in three specialists, dubbed “City Sweepers”, to come kick ass and ask questions later. Thus the scene is set for you and your character, plus a friend in two player co-op, to go in and defeat the minions of the evil Dr Crayborn.
With credits inserted you have the choice of three playable characters each with their own individual strengths and weaknesses. So, as either Zan Takahara, Matt Gables, or Rosa Felmonde, you will punch and kick your way across five stages to save the City and win the day. Each character has your standard punch and kick moves, plus two desperation moves which help you out in the tighter situations you find yourself in. However, as with Final Fight, pulling off either your desperation or super-desperation moves will cost you a chunk of your character’s remaining energy bar.
A novel feature that helps to encourage plenty of direct action against your enemy is that at the end of every stage you get rated for your performance in disposing of your enemies. Surpass your “finesse” (spelt “finess” in the game) target score and you can benefit from bonus energy and additional lives, plus a better score. The action itself is pretty text book – punch, kick, repeat to defeat your foe. Each playable character has their own move set and animations, with your enemies having a limited set of responses to try and stop you. The five stages are each of a decent length, but as the game wears on, the enemy doesn’t vary greatly and you tend to have the levels loaded with the same enemy creating a degree of repetition, which in many respects is a staple issue of scrolling beat ’em ups, but it feels more or a chore than usual with Undercover Cops when compared with either Final Fight or Streets of Rage 2. Both Capcom and Sega’s efforts cleverly break up the monotony of the minion enemies, but by Stage 5 of Undercover Cops a stagnation begins to set in which takes the sheen off the game.
The sprites are excellent. The three protagonists are each individual in their appearance, well drawn and distinctive. Thought has also gone into the enemy the sprites as well, making them stand out well against the usually less creatively styled enemies of other scrolling brawlers. The stages are well drawn but they are not particularly original in concept, although the end of stages 1, 3 and 4 are well executed with some original features. The final stage is a bit of a let down, with the majority of it set on-board a giant helicopter; that is, sadly, rather blandly drawn inside. On some stages, the first in particular, there is still the Irem trademark of high detail in the backgrounds, but across the game not to the level as seen in Gun Force II or In The Hunt. Indeed, the first stage is arguably the best stage of the five – the backgrounds have plenty going on, there’s lots of detail, and there are plenty of items to pick up and utilise against the enemy along with a decent end boss battle. From there on in, the subsequent levels fail to match this for some reason.
While it does try its best to do things differently, Undercover Cops fails to do anything particularly original. The enemy attack patterns become repetitive after a while, there just isn’t enough variety within the stages, although credit has to be given to the end of stage bosses. This is where the game becomes memorable and at its most challenging. All five bosses are very original in appearance, drawn to a high standard, well animated and given plenty of creative character. They’re also pretty cheap with their attacks, with only Parcs and Balbarotch relatively straight forward to dispatch.
As one comes to expect with Irem’s late efforts, the graphics are highly detailed sprites with excellent animation as I have already alluded too. The music is good, but not particularly memorable. The game is challenging, but generally enjoyable; a worthwhile addition to the roster of scrolling beat ’em ups if for nothing more than its highly distinctive style to help it stand out from the crowd. I would say it is definitely worth a play if you want an alternative to Final Fight without feeling you’re playing a total clone of the same (for example SNK’s Burning Fight).
The end sequence suggests room for a sequel but none was forthcoming before Irem stopped releasing arcade games in 1994. In late 1993, and exclusively on the Nintendo Game Boy, an RPG based on the game, Undercover Cops: Hakaishin Garumaa, was released. This was also, fact fans, the second-to-last game Irem release on Nintendo’s hand held.
The original arcade hardware comes in World and Japanese rom sets. An original Japanese M-92 board-set will be neither cheap or easy to acquire; the World board is a lot less desirable because of changes made to the game, and although not terribly common, it is cheaper than the Japanese board. There is also a third PCB release known as the “Alpha Renewal” version, which is a “fixed” version of the World rom set which restores the features from the Japanese ROM set.
Unfortunately outside of a now very expensive 1994 Super Famicom port by Varie, Undercover Cops is not available for play in any other format save for emulation. Unless you are either a big Irem fan, or simply a connoisseur of the scrolling beat ’em up, you would do better by spending far less money on Final Fight and Streets of Rage 2. Undercover Cops is an above average effort that could have been something exceptional if it weren’t for a few details that let it down. As it is, Final Fight, Streets of Rage 2 and Aliens Vs Predator are all superior entries into the genre. Undercover Cops is good, but it could have been great.
Version tested: PCB (Japanese ROM set)
Also available on: Nintendo Super Famicom
By the late 1990’s Psikyo had released sequels to all its early shoot-em-up titles, so it was probably not too much of a surprise to finally see a follow up to 1994’s Gunbird hit the arcades in 1998 as the mid-90’s shoot-em-up revival was reaching its peak.
As with the first game the plot revolves around the characters the player can choose trying to track down objects that will ultimately grant them a reward while despatching the enemy who is trying to obtain the same, ultimate, goal. Whereas in the first game you were fighting for pieces of a broken mirror, in Gunbird 2 it is three bottled elements that you are fighting for. Players can choose from seven characters in total, five of whom are immediately playable and two extra characters that can be unlocked with a code (these two extra characters are automatically unlocked in the Dreamcast port).
Only Marion from the original Gunbird makes it in to the sequel, although a few of the characters are similar in personality to those from the first game, and through the cut scenes and various endings, the anarchic and rather adult humour is also retained from the original.
Gunbird 2 can be approached in one of three ways – one player only, two player simultaneous, or the player can select a partner mode. In the latter mode, you pick two of the selectable characters and alternate between them as you lose a life – for example, choose Valpiro and Marion, and when you lose your first life as Valpiro you will respawn as Marion. Although each character has different attributes, from my experience there isn’t one particular area where one character excels over another, so this feature does not lend itself to suiciding to change character. Also the extends are every 600,000 points, which cannot be racked up that quickly to replenish life stock should you feel the need to suicide again to switch back. However, this mode does add some additional dialogue to the story scenes between stages, and I believe the character endings are different in this “co-op” mode as well.
Each character has slightly different attack patterns and strength of attack as well variations in their speed. They all have three forms of attack – standard shot which can be powered up by collecting icons, your standard smart bomb that will cause damage and clear enemy bullet spray, and a power-up shot attack which has both a long and short range depending on how you implement it. This third way of attacking enemies is governed by a meter in the bottom left corner which increases every time a normal shot hits an enemy. The higher the gauge the more often you can implement the attack or power it up for a more powerful attack (which obviously depletes the gauge quicker).
So, we’ve chosen our character(s), on to the main event – the core gameplay. However, this is where it is likely that game will quickly polarise players. Gunbird 2 is very, very hard, especially on the higher difficultly settings. The Dreamcast version has seven difficulty settings ranging from “Baby” to “Hard”, and settings from “Very Easy” onward are likely to challenge any shoot-em-up veteran, and substantially so once you hit the “Normal” and above settings. I usually start with a game I’m not familiar with on “Normal”, but I had to quickly abandon this with Gunbird 2 and rank down to “Child” to start getting a grip on things!
Bullet patterns are dense, can feature different sizes of projectile, and bursts fired at different speeds. This game really does fall into the danmaku category, seriously so, despite not looking like one on the face of it. However, if one begins with one of the more manageable lower difficulty settings, learn the game’s mechanics and level layouts, it is possible to progress through practice. Taking this method, I have actually 1CC’d the game on the lowest difficulty settings, and it certainly helps when moving up to a more challenging setting.
You can credit feed if you want to take that approach, but you loose all your power-ups when you continue, your power gauge resets to zero and so does your score. The game also feature two loops, whereby you’ll play the random stage not played on the first loop at Stage 1, but, on the lower difficulty settings the game ends at 1-7.
As with any self-respecting late-90’s shmup, there are strategies to building up bigger scores, if you can distract yourself for long enough from keeping your character alive. Certain enemies will leave coins behind when destroyed, worth between 200 and 2000 points each, depending on how you collect them. They are worth their maximum as they “gleam”, but timing the collection of the coin and dodging all the oncoming bullets is a skill all in itself. Collect gleaming coins in a row and you’ll start a chain multiplier for big points, but it really is easier said than done given the onscreen action.
In addition, hidden in a spot on every level is a “Gem Head”, a floating urn with a face on it, that when shot repeatedly drops large gems that help to boost score, but again you have to balance collecting the falling gems with dodging enemy bullet spray. There is a small element of boss milking present, but using this strategy will not substantially increase your score.
What appears to be a multiplier appears on screen every time you release a smart bomb to protect yourself from imminent death, however, it does not appear to have any direct effect on score despite it suggesting so. Odd, but that sums up large parts of the game!
As with the original, the graphics have a very anime style to them, with bright bold colours, lots of detail and superb animation, even with the smallest of on screen sprites. Each of the characters, both player and enemy Pirates, have their own distinct personality and style, and Psikyo do a great job of bringing these guys to life both within the game and the confines of the brief cut-scenes between levels. The Queen Pirates are very entertaining, and Shark (the leader of the Queen Pirates) is rather eye catching I must say (from a purely male perspective I’m afraid!!).
Sound is good, if largely unremarkable, cheery tunes that fit in with the cartoon style the game carries, but not really memorable. Options on the Dreamcast port are fairly limited, but there is at least a TATE mode so you can enjoy the proper arcade display if your TV or monitor allows for practical rotation of the screen.
Gunbird 2 first saw a home port to the Sega Dreamcast in 2000. Published by Capcom and featuring two additional characters, Aine & Morrigan (from Capcom’s own Darkstalkers series), the Dreamcast version is a very faithful port of the arcade hardware and the release formed part of Capcom’s late 1990’s shoot-em-up push through both the Dreamcast and arcades. Gunbird 2 was released on Dreamcast in all three of the major format territories, and later on appeared with its predecessor in a compilation for the PlayStation 2.
Despite the fact I almost resent the steep difficulty curve in Gunbird 2, it is still a well polished and enjoyable game to play, and both the player and enemy characterisations give it a certain charm that raises it above many of its peers. If you’re a Psikyo fan, or just enjoy challenging shoot-em-ups, then you’ll want to track this down, but for the more casual player, or those looking for a more forgiving entry into the “bullet hell” genre, there are better options out there that will suit your playing style.
Version Tested: Sega Dreamcast (NTSC/J)
Also available on: Sega Dreamcast (PAL; NTSC/UC), PlayStation 2 (PAL; NTSC/J/UC), JAMMA PCB
Walk into any decent arcade, bowling alley or Quasar during the late 1980’s through to the late 1990’s, and before the Dance Dance Revolution machines started to take over, and you were guaranteed to find at least one gun game taking up a few square feet of floor space. Operation Wolf, Beast Busters, Alien 3: The Gun, Virtua Cop, Area 51… and that’s just naming a few of them! Konami, Sega, Atari, Taito… all the major arcade developers were churning out a light-gun shooter of one variety or another. One such arcade developer to jump on the band-wagon was Pac-Man producer, Namco.
Namco were on something of a roll in the mid-90’s and hit commercial and critical success with 1995’s Time Crisis arcade machine which took the now tiring gun game genre and added in some refreshing new mechanics in the way of the “duck” feature, tight time limits to clear area’s (and build scores), and the blowback feature of the actual hand-gun the player wields during play. A successful port to Sony’s PlayStation followed in 1997, accompanied by an all new light gun peripheral – the Gun-Con 45 – a very accurate and balanced light gun, that very much helped bring the arcade experience of Time Crisis into your home.
Namco were not shy on recognising the success of their IP’s during this period, and among the sequels to Tekken and Ridge Racer that were hitting the arcades and Sony’s PlayStation, they also launched a sequel to Time Crisis into arcades in the Spring of ’97.
Now with an all new two-player simultaneous option, Time Crisis 2 offered alternate positioning and views during repeat plays, a feature to occasionally upgrade your handgun to a sub-machine gun, and the battle environments were much more bold and varied from the first game – you fought through city streets, down a canal on a speedboat, on a train to name some of the situations the game presents. The plot is a wafer thin affair about your typical CEO megalomaniac who has managed to get hold of a nuclear armed satellite, and it’s your job (and that of your partner if you’re going two player) to stop him and his henchmen before time runs out.
Time Crisis 2 is set across three well paced and action packed stages, each having its own boss fight at the end. Standard enemies follow a similar pattern to the first game with blue suited soldiers rarely firing on target, white suited soldiers being a little more accurate and red suited soldiers being deadly accurate. There are also soldiers with machine guns, RPG’s, knives, swords and grenades… basically you’re not very popular with the opposition and they want you dead any which way they can. Time is also against you, and if you cannot complete stages within the allotted time then it is game over for you. So, the more accurate you are and the quicker you dispatch your foes, the more likely it is you’ll get to toward the end. Again you must press a foot pedal to duck & reload, a feature which needs to be used quickly and wisely if you’re going to have any sustained success.
At a casual approach the game is entertaining enough, and if you’re good enough, or have access to enough continues, you’ll be pleasantly occupied for the 15 minutes or so it takes to complete the game. However, if you play for high scores then this is where some of the game’s more subtle mechanics come into force; it’s one thing to complete the game quickly, but this may not necessarily grant you a place particularly high up the score board. No, to get high scores you need to score multiple hits on enemies and then chain those hits to the next enemy, and so on, while combining in an effective reloading technique so that you do not break your hit chain. These techniques are what brings the game its tremendous replay value as you not only try to improve your chaining, but also try to cut your time down to get the best score/time ratios. Time Crisis 2 really is more than just your average light-gun shooter.
Time Crisis 2 was ported to the PlayStation 2 in 2001 and brought with it not only compatibility with the brilliant Gun-Con from the PlayStation, but also introduced the even better Gun-Con 2 controller. The port not only gave you a graphically enhanced version of the arcade game, but also carried over the two-player option (either on a split screen or via console link, which obviously required extra copies of the game as well as two Gun-Con 2’s), allowed for one-player dual gun use and added in several sub games and challenges to keep players entertained once the main arcade story mode was exhausted. The graphics and animation are very good, and even today the PS2 port has not aged badly at all, tied in with an excellent score to drive along the action in the background, and you have yourself another competent Namco release.
Time Crisis 2 came packed either on it’s own or in a box set with a shiny new Gun-Con 2 light gun; and the PS2 port has kept me entertained pretty regularly since its release, indeed, so much so, that I have bought additional Gun-Con 2 controllers over the years in case one packs up!
For any self-respecting light-gun game fan, Time Crisis 2 is a must have, and even those who only have a passing interest in this type of game will find it supremely entertaining. Along with the simultaneous two-player mode, there are a plethora of additional options that can be unlocked to sustain the titles longevity as mentioned above. Pick the game up with the Gun-Con 2 and you’ll also allow yourself to fully enjoy Namco’s other arcade light-gun ports of the late ’90’s early ’00’s such as direct sequel Time Crisis 3, the loosely related Crisis Zone, Vampire Night, and if you have an import console, the PlayStation 2 exclusive GunVari Collection – a Japanese only port of the Point Blank trilogy and the original Time Crisis. Oh, and for those of you who may be fans of Sega’s seminal Virtua Cop games, the Gun-Con 2 also works with Virtua Cop: Elite Edition!
Time Crisis 2
Version tested: PlayStation 2 (PAL) with Gun-Con 2 light-gun
Also available on: PlayStation 2 NTSC/J & NTSC/U/C, Arcade