Mega Drive Review - Back to the Future III (Game 172)

The ‘Back to the Future’ films are universally adored. But before Telltales’ point-and-click adventure series, why was every game based on such a beloved franchise unanimously awful? 

Developed by Images

Published by Image Works

Released in 1990

Whenever I tell people I spend my free time writing about and playing old video games they always ask the same thing: “What’s your favourite game then?” I struggle to answer and at best typically name ‘Super Mario Kart’, ‘Uncharted 2’ or ‘Chrono Trigger’ but my honest answer could include any game from a pool of thirty. However, when asked to name my favourite film series there is never any doubt; I love the ‘Back to the Future’ films over all other movies. They’re the perfect mix of humour adventure and science fiction. Perhaps down to their time travelling narratives they don’t age and it’s hard to think of many other thirty year old films, that continue to attract new audiences today. “There aren't many films we'd describe as perfect, but Robert Zemeckis's oh-so-'80s time travel tale fits the bill” says Time Out magazine. Total Film and Empire magazines have included it in their Greatest Films of all time lists. The film series was even selected for preservation by the American Government as being "culturally, historically, and aesthetically significant".

Considering the original script for ‘Back to the Future’ was selected by the Writers Guild of America as the 56th best screenplay of all time, the writer and co-producer of the series, Bob Gale is certainly qualified to pass comment on the games that carry the ‘Back to the Future’ name. Before Telltale Games’ universally praised point-and-click series, Gale never disguised his hatred of playable interpretations of his much loved trilogy. “The history of ‘Back to the Future’ in video games has not been a pretty one” Gale admits. “I actually publicly did some press telling people not to buy [the NES ‘Back to the Future’ Game]. It was so crappy.”

Keen to protect the brand, Gale even attempted to be involved in development of games based on his very popular movie. His desire to contribute was not well received by the game’s developers though. “The attitude was; you’re from Hollywood. You don’t know anything about video games.” However, Gale did know about games. At the time he was an eager player. Any fan of the trilogy will even cite a scene in the second film when a young Elijah Woods watches Michael J Fox play ‘Wild Gunman’. “I’m no stranger to video games. I’ve played them since ‘Pong’ was in the arcades” claims Gale. “I bought an Atari 2600. I’ve been playing games since then. I was as aggravated as everyone else back in the 8-bit days at those really God-awful Nintendo ‘Back to the Future’ cartridges that came out.” 

In a conversation with GameBeat, Bob Gale admits that a 16-bit game based on ‘Back to the Future III’ was not much better than the “total garbage, truly awful” NES game.

GamesBeat: I remember renting ‘Back to the Future III’ for the Genesis. I could never get past the first level, which was Doc Brown on the horse. I just kept dying.

Gale: That game was so ridiculously hard. The history of [my] movies-turned-into video games is a pretty tragic one, I’ve got to say.

Mega Drive Review - Gargoyles (Game 171)

Tired of sharing the profits with developers, Disney decided to go it alone and create their own games. ‘Gargoyles’ may be ambitious and beautiful but it also proves that sometimes, it’s best to call in the experts.

Developed by Disney Interactive

Published by Disney Interactive

Released in 1994

Throughout my life I’ve had to justify my hobbies and interests because of  the ludicrous idea that animation and video games are only enjoyed by children. It’s a notion that never seems to die despite the fact it has never actually been true. Since their inception Video Games have had titles that are best played by adults and likewise the early examples of animation were designed to amaze grownups rather than their children. Even Disney, a company celebrated for its child engaging content have made adult material. Some of their earliest experiments are quite frankly terrifying for children. During the Michael Eisner era, grittier adult orientated products were even actively encouraged.

The animated TV show ‘Gargoyles’ was very much a product of this; Disney chasing other’s successes in the face of shifting audience tastes. Animation rival, Warner Bros, had enjoyed huge acclaim with ‘Batman: The Animated Series’ and Disney felt compelled to produce their own young-adult animated show. The result was a series that features a species of nocturnal creatures known as gargoyles that turn to stone during the day but fight New York crime at night. 

To please their 13-to-16-year-old demographic, the edgier ‘Gargoyles’ series resembles a superhero comic set in a world of shadows and corruption. The episodes feature complex story arcs awash with gothic melodrama. Characters are flawed and multifaceted. It is a show that doesn’t shy away from mature themes. Revenge, redemption and retribution, are all tackled with episodes peppered with references to Shakespeare, Dostoyevsky and Kafka.

While the show was only moderately successful when first aired, as the years passed it gained a cult following. In 2009, IGN claimed that ‘Gargoyles’ was the 45th greatest animated series of all time, although this partly attributed to the Number of Star Trek actors who had provided their vocal talents! 

As Nostalgia critic Doug Walker notes, “It was certainly a welcome detour from what Disney usually did”. This revolutionary approach also extended to the development of the accompanying Video Game. After many years of successfully licensing their products to Capcom and Virgin Games, Disney decided to develop in house. 

Snes Review - Magical Quest 3 (Game 170)

The first ‘Magical Quest’ game was met with critical acclaim. Its easier sequel added an audience pleasing two player mode but failed to impress reviewers. Is there a reason why the lesser known third entry in this platforming series was a Japanese exclusive?

Developed by Capcom

Published by Capcom

Released in 1995

You don’t get everything perfect on your first go. The best things are the result of refinement; enhancing what’s good and changing what’s bad. This is why yearly updates to established franchises aren’t entirely bad. Developers can take their product, spend a year improving it and then offer it up to an existing customer base as an optimised and enhanced version. The player meanwhile gets a new iteration of a favourite title, which in theory will be better than it was before. There is an argument that opportunistic publishers are simply trying to convince gamers to re-buy a game they already have. In this modern age of online updates and DLC it’s certainly harder to rationalise. However, decades ago if you wanted your sports game to have updated team names, if you wanted your fighting game to have new fighters and if you wanted your platform game to have additional levels, you had to buy it again. 

There were two companies that were notorious for repeatedly attempting to sell full price re-workings of their most popular titles. Electronic Arts would pump out a new version of every one of their sports titles each year. The franchises under the EA sports umbrella were known for two things: minuscule changes between each of the game vrersions and the infamous “Its in the game” announcement heard every time you’d play. Similar Capcom had a penchant for frequently releasing updated versions of their most popular games. For example, there were four ‘Street Fighter 2’ games on the SNES in the space of eighteen months and it wasn’t just fighting games. The Mickey Mouse ‘Magical Quest’ platforming series was frequently criticised for simply recycling ideas, but it would be better to describe the sequels as refinements of a great initial game. 

The first ‘Magical Quest’ created the mound and set the standard that all later sequels would be judged against. It was hardly an original formula though. ‘Mickey’s Magical Quest’ features 6 worlds each consisting of several multidirectional scrolling stages. A Player predominantly moves from the left of the screen to a goal on the right, with obstacles to jump over and platforms to leap between. Level variety comes in the form of physics based puzzles; seesaws, collapsing bridges, swinging vines or obstructions that require a specific clothing to be worn. Three outfits can be found throughout the game, and wearing each gives Mickey a different set of skills. The climax of each world features an elaborate screen filling boss and defeating them rewards the player with a brief story interlude before moving onto the next stage. While critics unanimously praised the graphics and music, the general consensus was that ‘Magical Quest’ was too easy and too short. 

The sequel; ‘The Great Circus Mystery’ didn’t address this criticism, in fact it was even less challenging. This was largely due to the inclusion of a simultaneous two player mode, as Minnie joined Mickey on his adventure - the first time the female mouse had been playable in a video game. “Add a friend to the mix, and it delivers a whole new level of fun” GameSpy said when reviewing the GBA port. Sadly, the two mice played identically and Minnie was essentially just Mickey’s sprite with a bow. 

However, despite the sequel being easier it is certainly the better game. The suit mechanic in the first game was improved with a whole new wardrobe available to the player. The magician, rock climber and firemen suits of the first ‘Magical Quest’ game are out and instead Disney’s most famous mouse can be dressed in sweeper, safari or cowboy clothes. For this third game, the previous six outfits in the series are gone and once again our protagonists have new threads. They are now able to dress up as knights, wood cutters and conjurers. It’s the implementation of these outfits though that elevates the third game to “best in the series status”.

Switch Review - Magicat

‘Magicat’ is a game inspired by the 2D platformer’s glory days. But how can a game predominantly made by one man possibly measure up to the genre defining greats of the early 1990’s?

Developed by Kucing Rembes

Published by Toge Productions

Released in 2018

Desire for 2D Platformer Games has really fluctuated over the last three decades. There was a time when every other game involved moving from left toright, jumping over obstacles and onto the heads of enemies.

However by the mid nineties the once popular genre looks quite old fashioned and in a World with a taste for polygons no one wanted flat jumping sprites. Games like ‘Super Mario 64’ and ‘Crash Bandicoot’ showed that, in the hands of the right developer, the strengths of a traditional platformer could be carried over into a three dimensional environment and gamers didn’t seem to want to look back. Magazines would even mock games that favoured 2D Sprites over 3D Polygons. N64 Magazine infamously ridiculed the masterpiece that is ‘Castlevania: Symphony of the Night’; a game that’s now celebrated for its intricate sprite work. “Compare these shots of the PlayStation version of ‘Castlevania’” they wrote while previewing ‘Castlevania 64’. “Whereas the N64 version features fully 3D characters and backgrounds, along with dazzling lighting effects, the PlayStation title is a flat 2D platform game. No comparison really”. 

 A decade later however, Nintendo threw the genre back into the public eye with ‘New Super Mario Bros’. Although it used polygon characters, the gameplay echoed the 2D 8bit and 16bit platformers that had been their bread-and-butter twenty years earlier. The game went on to sell over 30 million copies worldwide, becoming the best-selling game for the DS and one of the most successful games of all time. Other Developers saw the genre as once again profitable and, as always, success led to imitation. 

Although not as popular as it once was, 2D platform games trickled out since. Nintendo have continued to support the genre of course but it is often the goto style of game for smaller indie companies. Perhaps this is because they’re the games that developers played in their own youth and there’s a nostalgic desire to recreate past loves. 

Billy Lukmaryo certainly loved the genre growing up. He is the man behind Kucing Rembes, an indie developer based in Surabaya, Indonesia. Before going solo, the Lukmaryo made ‘Miracle Fly’ with ElagoTech. With a unique control method and over a hundred levels, this quirky platformer found favour with Steam reviewers, and Lukmaryo hasn’t ignored his roots for the games spiritual successor. ‘Magicat’ is certainly his baby. Lukmaryo worked on the Code, art, music, game and level design. 

Switch Review - Velocity 2X

In many ways ‘Velocity 2X’ is FuturLab’s love letter to the games they played growing up. It’s a beautiful fusion of ‘Metroid’ and ‘Flashback’ style platforming mixed with vertical space shooter sections that echo the likes of ‘Sub-Terrania’, ‘Aleste’ and ‘Radiant Silvergun’. But while ‘Velocity 2X’ might be a game made up of two distinct play styles it has been crafted with such care and precision that they blend together effortlessly. The result is one of the most addictive and enjoyable games you can play on the Switch. 

Developed by FuturLab

Published by Curve Digital 

Released in 2018

‘Velocity 2X’ is a game that seemed destined for the Switch, even though its journey to the console started out in 2012 when Nintendo were interested in Dual Screen rather than Hybrid consoles. 

Switch Review - The Spectrum Retreat

‘The Spectrum Retreat’ is an intriguing mix of ‘Portal’ style puzzles and ‘Bioshock’ atmosphere, but can one man’s labour-of-love so effortlessly measure up to such celebrated works of gaming art?

Developed by Dan Smith

Published by Ripstone

Released in 2018

I hate Dan Smith. At the age of 15 I was wasting my days running away from zombies on my PlayStation and running away from girls in real life. At the same age Smith started work on ‘The Spectrum Retreat’. “Bored one day, I downloaded the ‘Unity Engine’ and created my first project ‘Spectrum’” recalls Smith. “I thought I was just going to create something simple, a puzzle game that invited you to look at any object and swap colours around. Swapping colours was fun, but I soon found that you can’t design puzzles with zero constraints. The solution was to limit colour swapping to particular cubes and design levels around those, in turn creating the core mechanic of what is now ‘The Spectrum Retreat’”. 

Understandably this challenging intelligent game caught the attention of BAFTA, turning bedroom coder Smith into an Award winner. “By the age of 18, I had a polished 20-minute prototype over three years in the making”. ‘Spectrum’ was nominated and won the BAFTA YGD Game Making Award in 2016. Collaboration with Ripstone publishing followed and with their involvement ‘The Spectrum Retreat’ evolved into the impressive game now available on the Switch eShop.

Snes Review - Sydney hunter and the Caverns of Death (Game 169)

Recently there has been a growing movement to make modern games for older system. But is it fair to judge them against the titles originally available for the systems they target?

Developed by CollectorVision

Published by CollectorVision

Released in 2018

As gamers of the past grow up and start creating games themselves there seems to be a desire to replicate the feel, look and gameplay of the titles they used to love. Digital distribution platforms like Steam are awash with games offering pixel graphics and chip tune music. “Just like you remember” and “recreating the classics” seems to be phrases you find in a lot of modern game descriptions. For some developers though, creating a game that nods to the past isn’t enough. Many wish to create a new game that actually works on an old console; working within the limitations of legacy hardware. VBlank Entertainment has been applauded for making ‘Retro City Rampage’ work on a plethora of consoles, both new and old. The game’s creator Brian Provinciano has talked at length about how he has taken a game that works on a PS4 Pro, and distilled it to the point that it runs on a 486 PC (provided you have a whopping 3.7 MB of hard drive space, and 4MB of RAM to get it up and running).

Similarly the creators of ‘Tangle Wood’ and ‘Paprium’ have delighted fans by promising to create brand new games for those who still have the Mega Drive as their primary console. 

There’s even a phrase emerging to describe these new/old games and ‘Sydney Hunter & The Caverns of Death’ is another “neo-Retro” title. Perhaps inspired by the success of games like ‘Shovel Knight’ and ‘Super Meat Boy’ in March 2015 John Lester took to Kickstarter hoping to find funding for a “new retro-style adventure/puzzle platformer for the Super Nintendo Entertainment System”. The Kickstarter was a huge success partly because John Lester is known by many as “Gamester81” and he understandably used his popular YouTube channel and website to promote the campaign. 

Originally the game was scheduled for a January 2016 release; however it took three years for Lester’s vision to become a reality. “Game development just takes a lot of time” he notes. “That’s one thing I learned about making new games; it takes a lot of time especially for classic consoles like the Super Nintendo”. “Our motto at CollectorVision is: make things right even if takes more time” adds graphic designer Jean-Francois Dupuis. “Each consoles have their own challenges and we’re always learning with each project we’re working on.”

Mega Drive Review - Pocahontas (Game 168)

Action intensive film adaptations were always money makers for publishers. But at a time when the medium was believed to promote violent behaviour, how do you turn an “anti-conflict” animated movie into a video game? 

Developed by Disney Interactive

Published by Disney Interactive

Released in 1995

In the mid Nineties video games were getting a bit of a bad reputation. More realistic graphics had lead to more realistic depictions of violence, ultimately leading to game certification. Of course, despite the opinions of the mainstream press at the time, not all games were violent. However, in even the most cutesy platformers it was implied that you should kill anyone standing in your way. For games aimed at children the player wasn’t murdering everyone in sight of course, designers would mask all the death. In these games your playable avatar would liberate possessed foes, knock them out, put them to sleep or embarrass them until they ran away. Typically Aggression was justified in a games’ plot; the prince would have no choice but to flatten everyone in sight it was the only way to save the princess. If the brave hero didn’t massacre every invading monster the world would fall to an evil oppressor. The end justified the means and violent acts, though undesirable, were necessary to achieve the best outcome. What happens then if you’re tasked with making an action platformer where any form of aggression can’t be justified by your playable protagonist? It was an issue faced by Disney Interactive when adapting the film ‘Pocahontas’.

Snes Review - Beauty and the Beast (Game 167)

The moral of the ‘Beauty and the Beast’ film is that desirability shouldn’t be judged based on appearance. If anything the action platform game based on this movie carries the opposite message. 

Developed by Probe

Published by Hudson Soft 

Released in 1994

According to the Time Out film website, one in three people will pick ‘Beauty and the Beast’ when asked to name a Disney film. Maybe that’s because the 2017 live action remake has reminded everyone just how magical the original 1991 animated film was. Perhaps it’s because the movie became Disney’s first animated film to be adapted into a Broadway musical in 1994. There’s a chance many remember it because ‘Beauty and he Beast’ was the first animated film to be nominated for the Best Picture academy award. Though most likely, people simply pick ‘Beauty and the Beast’ as their most memorable Disney film because it’s superb. Reviews from 101 critics average 93% and it represented the peak of the nineties’ animation renaissance; taking nearly half a billion dollars at the box office.  

The story of ‘Beauty and the Beast’ is therefore well known. Belle, seeking adventure outside her quiet French village stumbles upon a Beast’s Castle while searching for her lost father. Papa’s freedom is granted by this beast on the agreement that she will

remain, as the beast hopes that one day she will love him as that would break his curse. With this being an optimistic romantic film, naturally the beauty sees kindness within the beast and with the help of a castle full of enchanted characters the pair fall in love.

While Beast maybe a furious imposing mix of man and lion, the film shows us that Gaston, a heavily armed muscular man can defeat him. However even this former war hero can only best-the-beast after a mighty struggle across roof tops then unfairly striking from behind. While the ‘Beauty and the Beast’ game attempts to follow the film’s story there is one significant difference: Beast may look a lot like his cinematic counterpart (with a wonderfully detailed sprite) but he is hilariously weak, a cumbersome oaf who lacks the agility seen in the film’s exciting final scenes.

“The beast is a slow moving lumbering sort of character who’s only offensive move is a swipe with his massive hairy hand” notes Nintendo Power magazine. The main character of the game would not fare well against the angry mob or vicious wolves seen in the movie, given that he can be killed by brushing against a bat or being bitten by a House-spider.

 “You main priority is trying to fight off all manner of dreamlike out of context foes” observes critic James Leach. Fans of the shooter genre are well aware of “bullet hell” games; where a constant bombardment from enemies presents a huge challenge to the player. ‘Beauty and the Beast’ is the closest I’ve come to finding a bullet hell platformer. Because your playable character is so weak and moves so slowly, without advance knowledge of enemy placement you simply won’t stay alive. “Sure it looks great but it’s slo-o-ow and can get ridiculously frustrating” noted Super Play Magazine. It gets to the point where you must pre-emptively react to every level foe as Beast’s claw swing literally takes two seconds to do damage. To get any enjoyment from playing ‘Beauty and the Beast’ I had to use a cheat that made the beast invincible. I was simply fed up with getting taken down by fast moving level enemies that I couldn’t see until they were right in front of me and by then it was obviously too late to react without taking damage. You feel compelled to inch through the stages so you can continually check for potential threats but the game makes this impossible. The beast’s rose at the top of the screen acts as a level timer and if you take too long you’ll find yet another way this frail monster can be easily killed. 

Snes Review - The Legend of the Mystical Ninja (Game 166)

A glance at the box may put you off playing ‘The Legend of the Mystical Ninja’ but perhaps the amount of Japanese cultural references should entice rather than put you off this RPG platform hybrid.

Developed by Konami

Published by Konami

Released in 1992

During the 16bit era Japanese publishers couldn’t seem to agree on what European gamers actually liked to play. Two decades ago Square decided that we didn’t have a taste for RPGs, so ‘Chrono Trigger’, and ‘SuperMario RPG’ and ‘Seiken Densetsu 3’ never reaches our shores. Konami however felt we actually had an appetite for Japanese oddities. Europe was the only Western region to get to enjoy ‘Parodius’ and all the non-sense that came with it. ‘Pop ‘N Twinbee’ didn’t reach America but found a home here and then there was ‘The Legend of the Mystical Ninja’. 1992 was a time when, in the UK at least, when anime was considered niche and only broadcast late at night. Sushi was misunderstood and not sold in restaurants or super markets. Samurai were only seen in parody movies and were it not for Honda in ‘Street Fighter 2’ it’s likely that the British wouldn’t even know sumo wrestling was a thing. The West was embarrassingly ignorant of Japanese culture yet someone at Konami decided that a translation of ‘Ganbare Goemon: Yukihime Kyuushutsu Emaki’ would be welcomed in America. Admittedly it took a further two years for the game to be available in Europe but many believed it was a game worth waiting for. Super Play magazine called it "one of the best games for the system (if you like this sort of thing), mixing RPG adventure-style wandering with side-on platform action.” It was celebrated in the book ‘1001 Video Games You Must Play before You Die’ and years later Games Radar ranked it as their 45th best SNES game owing to it’s "stellar ancient Japan-inspired soundtrack and beautiful graphics alive with colour” concluding that ‘The Legend of the Mystical Ninja’ is “definitely one of the top games on the SNES."

Switch Review - 60 Seconds

As the Switch grows in popularity more and more indie developers are porting their successful mobile and PC games. But despite enjoying huge unexpected success on Steam, do Console players want to play a game that’s part 3D scavenger hunt and part text adventure?

Developed by Robot Gentleman

Released in 2018

For a game called ‘60 Seconds!’ I seem to have sunk an astonishing number of hours into Robot Gentleman’s quirky survival comedy. It’s a game of two distinct halves and the name actually alludes to the part you’ll play first. The Reds are about to drop a nuclear bomb on a small American town. You have just one minute to collect as much as you can before diving into your personal fallout shelter. Playing as Ted, the game is viewed from above as the slightly portly Dad rushes around his small house clumsily knocking over as much as he grabs. However as he is limited by how much he can carry, what should Ted prioritise? Should he make sure his wife and two children are safely secure in the shelter or selfishly ensure his own survival by gathering water and food? Is a rifle more beneficial than an axe, is there a need for a radio in a shelter or would a gas mask be of greater use? In each play through the house layout and the placing of the items is randomised, which certainly adds a sense of panic to the item hunt. A player may want to take medical supplies with them but unless you can find them in the strict minute limit you’ll have to leave them behind. Thankfully you are granted a brief amount of time to scout out the items in your home prior to hearing the whaling sound of the warning alarm. How long this is depends on the difficulty setting, but its Seconds rather than minutes. 

When a section of a game must be completed in a tight time limit it’s imperative that controls are responsive. Frustratingly this isn’t the case with ‘60 Seconds!’ Ted will only pick up something if it’s directly in front of him which frequently wastes valuable seconds. Equally annoying are moments when there are two items in front of him, as half the time he’ll waste an inventory space picking up the wrong one. It’s telling that for their follow up ‘60 Parsecs’, Gentleman Robot have made the foraging part of the sequel 2D. In 3D there simply isn’t the precision needed especially when the consequences of your item selections matter so much in the second half of the game. 

Switch Review - Holy Potatoes! A Weapon Shop ?!

With a title like ‘Holy Potatoes! A Weapon Shop?!’ You’re never going to expect a sensible game. But with impressive depth and addictive  gameplay this is one management sim you laugh along with rather than at.  

Developed by Daylight Studios 

Release by Rising Star Games

Published in 2018

Reaching the destination is satisfying, but any true RPG fan knows that it’s the journey that’s more exciting. No one can save the world alone though, a hero needs a party and they need to be armed for the task at hand. This is why the merchants in an RPG are the real unsung heroes. After all, you can’t vanquish a screen filling end-game boss with a wooden sword.

 But while we depend on these “Armoury Retail Assistants” to stand a chance at success, how much do really know about them? Do they tend to a store filled with expensive weapons, discreetly praying for an apocalyptic event to occur so they can finally shift the Holy Arrows they bought in bulk? Do they spend their downtime regretting establishing a potion shop in a cave that is only accessible once a bomb is used to expose the entrance? Has there ever been an occasion when accounting books have had to be fiddled to disguise where they acquired their rare unique stock?

It’s clearly something that Singapore-based Daylight Studios has pondered and in this “wacky” simulation game they foreground the true heroes of the RPG genre (albeit it potato form). “[its] is a look at an RPG from the other side,” says Don Sim, CEO and executive producer at Daylight Studios. “We wondered: ‘What do NPCs do when they’re not repeating the same lines over and over again?”. Faizan Abid, the game’s producer, however recalls that it wasn’t specifically RPGs that inspired the game mechanics. “Our team members really loved games like ‘Game Dev Story’, and ‘Game Dev Tycoon’. It was around April/May [2014] when we were reaching the end of our other projects that we decided to really work on one.” Evidently Don Sim, Faizan Abid and art director Julian Futanto sat in a coffee shop and discussed how to fuse the two thoughts. “What we all agreed on was that a team simulation game about making and selling weapons would be awesome. The RPG references were a natural part of it since heroes in any RPG world needed weapons!”

Mega Drive Review - Donald Duck in Maui Mallard : Cold Shadow (Game 165)

When is a Donald Duck game not a Donald Duck game? Disney Interactive’s first original IP was a superb brave platformer that broke from traditions & was closer to ‘Earthworm Jim’ than ‘Castle of Illusion’. So why did it never sit on American shop shelves?

Developed by Disney Interactive

Published by Disney Interactive

Released in 1996

Today The Disney Corporation is a huge media conglomerate encompassing television, cinema, theme parks and retail outlets. Forbes recently placed it in the top five Regarded companies but as founder Walt once said “this whole thing all started with a Mouse”. What Mickey represented was innovation and a belief that “if you can dream it you can do it”. From creating the first feature length animation and changing the face of theme parks through to designing an Experimental Prototype Community of Tomorrow, the early days of Disney were built on trail blazing ideas. However, following Walt’s death, the Disney Corporation became a follower rather than a leader.  Their animated films traded on past glory and their live action films pushed a more edgy tone inspired by other studio’s successes. Yet there was one emerging type of entertainment media that the company really failed to anticipate. Throughout the 80s and 90s the video game market was growing exponentially faster than theme parks and animation. Billions of dollars were being made by the gaming industry and Disney characters were losing their appeal.  A national survey taken in 1990 found that Mario was more recognisable among American children than Mickey Mouse. Disney executives reacted in the worst way; they handed over their IP to other companies able to make video games quickly. While this did lead to the creation of ‘Duck Tales’, ‘Aladdin’ and ‘Castle of Illusion’, there was also a lot of dross including notably ‘Fantasia’, which Disney later labelled a betrayal of the film. Despite the varying quality though, games carrying Disney branding were typically amongst the year’s top sellers and the House of Mouse was sharing profits with developers and publishers. “With console games, we weren't a publisher then. We were strictly a licensor," says David Mullich, the first game producer Disney hired in 1987.”There was a Disney drive to regain control, to ensure quality and also to tap into this new lucrative industry”.

There was some excitement in 1995 when it was announced that Disney's own development group; Disney Interactive, were going to deliver more than just film tie-ins. Market research had shown that audiences had a preference for fast paced action and though risky Disney followed the market’s lead. The first original title Disney Interactive developed was an all new Donald Duck game which, in many ways, was bold in both visuals and tone. It seemed the Disney Company was once again taking risks, treading unfamiliar ground in a developing medium.

Switch Reveiw - ICEY

With frantic intricate hack-and-slash gameplay and stunning 2D Graphics, ‘ICEY’ should be a game to delight many. But with an abstract story is it all just  a bit too complicated to be enjoyable?

 

Developed by FantaBlade Network
Released in 2018

 

There’s a good chance you’ve never heard of ‘ICEY’, a game created by an unknown Chinese developer that arrived on the eShop with little fanfare. However on this occasion ignorance may actually aid your enjoyment of this obscure and intriguing title. Like so many other fourth wall breaking, meta stories, the less you know about ‘ICEY’ the more it’ll surprise and delight you.

With this in mind its worth noting that some of the games surprises will be revealed in this review, so if, like me, you'd prefer to go in completely fresh stop reading now.   

 

Mega Drive Review - Cosmic Spacehead (Game 164)

Imagine a 2D platform game when your character’s jumps seem to randomly vary in height. Sometimes the agonisingly slow leaps will reach a ledge yet other times you’ll fall short trying to get across the same sized gap. Imagine a platform game where bouncing on an enemy’s head hurts your playable avatar rather than damaging the foe. In fact, imagine a 2D platform game where you have absolutely no attacks and a single hit sends you back to the start. Imagine a platform game where you do the same thing every stage, where no new game mechanics are introduced and your view is limited to a small circle in the middle of the screen. I would bet right now you’re imagining a 2D platform game that no one would ever want to play, and yet despite this ‘Cosmic Spacehead’ may be more than it initially appears. 

Developed by Supersonic Software 

Published by Code Masters

Released in 1993

Switch Review - Pode

With a focus on friendship and cooperation, this visually stunning puzzle game should appeal to families, but is there enough here for a lone player to enjoy?

Developed by Henchman & Goon

Released in 2018

Cynical mainstream media has always tried to perpetuate the belief that the only emotions Video Games inspire are negative. Tabloid newspapers talk of video game addicts, fuelled by rage and aggression. As players we are portrayed as ruthlessly competitive, introverted and blood thirsty. However, developer Henchman & Goon believe a game should inspire the opposite feelings in a player. It’s a belief that leads to the creation of ‘Pode’ an enchanting artistic platform puzzler that should only be enjoyed with a friend. 

From the very start, game director Yngvill Hopen “wanted to create a positive gaming experience” she says. “I wanted more games I could play with my young son”. Unsurprisingly this has lead to the creation of a game where two players take control of an adventurer each and together you must utilise your character’s unique talents to solve environmental puzzles. 

Glo the brightest of the pair can jump higher and can also float in a way that mimics Yoshi in the majority of his platforming adventures. She can also drift on air currents and doesn’t sink in water. At the touch of a button this “fallen star” radiates light, a technique that activates specific switches and adds paths through a level; primarily by causing plants to grow. This creates platforms and lifts for her companion Bulder to use. This rock like cube is smaller and can pass through tighter spaces. These holes usually lead to Bulder’s own type of switches that manipulate a stage’s rocks; typically adjusting the height of platforms so Glo can reach previously inaccessible parts of a level. Like Kirby, Bulder can also inhale objects and carry them around a level. Glo can even be inhaled and when inside Bulder she becomes a directional light beam used to activate switches out of reach. The two characters can also stand on each other‘s heads and ride to safety should the level demand it. If this wasn’t enough, as the stages pass you’ll be introduced to even more abilities unique to one character or the other. Levels start off simply but quickly become very complicated as more and more environmental hazards and additional abilities are introduced. However death is never really a concern as a misstep will simply see your character transported to the start of a stage, unharmed and free to try the puzzle once again. The only thing that limits the players’ progression is their inability to use the character’s skills to navigate an environment.