Game Corner: Klonoa: Door to Phantomile (Xbox Series X)

Released: 7 July 2022
Originally Released: 11 December 1997
Developer: Monkey Craft
Original Developer: Namco
Also Available For: PlayStation (Original Release); Nintendo Switch, Nintendo Switch 2, PC, PlayStation 4, PlayStation 5, Xbox One, Xbox Series S (Phantasy Reverie Series)

The Background:
The massive success of Sonic the Hedgehog (Sonic Team, 1991) helped make anthropomorphic mascots hugely popular in the videogame industry, resulting in memorable characters like a gun-toting jackrabbit, an acrobatic bat, a superpowered earthworm, an intergalactic adventurer, a sword singing possum with a rocket pack, and a bear-and-bird duo. Interestingly, however, director Hideo Yoshizawa originally envisioned Klonoa as a ceramic fighting robot named Amenti before Yoshihiko Arai designed the strange, rabbit-like creature who would lead the game. Yoshizawa sought to make Klonoa an action game that was appealing to kids and adults, while lead designer Tsuyoshi Kobayashi refined the fast-paced gameplay to be limited to two buttons. First revealed at the 1997 E3 trade fair as Namco’s first bid to create a marketable 3D mascot, Klonoa was widely praised for its simple controls, colourful environments, and cutesy visuals, though some criticised its short length and lack of innovation. Although Klonoa spawned a few sequels, the original game’s price skyrocketed and the series lay dormant for nearly fifteen years before Bandai Namco teamed with Monkey Craft for an unexpected remaster of the first two games. Based upon the oft-forgotten Wii revival, this remaster of Klonoa: Door to Phantomile was largely celebrated for its colourful overhaul and for breathing new life into the franchise.

The Plot:
After his dream about an airship crashing comes true, Klonoa and his friend, Huepow, journeys to keep the dark spirit Ghadius from turning Phantomile into a world of nightmares.

Gameplay and Power-Ups:
Klonoa: Door to Phantomile is a 2.5D action platformer in which players control the cute little rabbit-thing Klonoa and explore six worlds (known as “Visions”), each with two levels apiece. While the game is geared towards solo play, a second player can jump in to have Huepow launch Klonoa into the air with Y, though you can disable this at any time. The game offers two control types and the ability to customise the controls, but they’re so simple I don’t see why you’d need to do this or need anything other than the default settings. These see Klonoa jumping with A or Y, fluttering his wings for some extra airtime if you hold the button, and shooting “Wind Bullets” from his magical ring with B or X. These latch onto nearby enemies so you can throw them, either at other enemies or to the background or foreground to activate switches, take out enemies, or smash Nagapoko Eggs for extra goodies. When holding an enemy, you can press the jump button twice for a double jump (which also destroys crates or enemies beneath you) and you must chain grabs and double jumps together in the game’s later Visions to reach higher areas. This can be extremely tricky as Klonoa and his enemies have large hit boxes, enemies constantly respawn so you never run out of “ammo”, and the timing required to execute these double and triple jumps can be aggravating. The game’s options offer numerous settings for you to play with, including disabling the onscreen timer and tutorials, and you can initially pick from two difficulty settings, with “Easy” offering infinite lives and more health while “Normal” limits your lives and reduces your maximum health. Klonoa’s quite durable unless he falls down a pit or into lava but can partially or fully restore his health with Small or Large Hearts, respectively. Memory Clocks act as checkpoints, Klonoa Coins grant extra lives, and you’ll also score extra tries for every 100 Dream Stones you collect.

Klonoa grabs enemies, flutter jumps, and hops about some colourful, drema-like worlds.

You can briefly double the value of Dream Stones if you spot a Mirror Spirit, toss enemies at Mysterious Seals to create new paths, and activate switches with your throws to open doors or new areas. Some of these are timed, while others must be hit in the correct order, which gets very irritating in Vision 6-2 thanks to the jump/grab requirements. Occasionally, Klonoa must obtain keys to open doors and these may be guarded by enemies, gifted by non-playable characters (NPCs), or hidden in crates and Nagapoko Eggs. Technically, your main goal (beyond reaching the exit) is rescuing the six Phantomiles hidden in each stage. These are held in bubbles that you must pop with your Wind Bullets or thrown enemies and they can be tricky to find as areas sport multiple paths, often leading to more Dream Stones and goodies alongside a Phantomile. You don’t need to rescue all the Phantomiles to progress, however, and can replay any Vision to find those you’ve lost. Each Vision also hides picture pieces to find, though this simply counts towards 100% completion rather than any tangible reward, and Klonoa can eventually ride Kara the fish, though only in cutscenes, so you’ll have to settle for sliding down water and sand slides and blasting across areas on water sprouts. While there are no additional power-ups, pick-ups, or upgrades to Klonoa’s repertoire, they’re not really needed as his basic abilities serve him well throughout. It might’ve been nice to have a 2.5D autoscrolling chase section where you ride Kara, however, or to perhaps extend or alter the nature of Klonoa’s Wind Bullets. Klonoa can use fans, wind currents, and springs to reach higher areas, though. These often test your flutter and double jump skills, which are further tested in brief sections where you ride moving platforms past enemies or flame bursts. Vision 3-1 also has you ride a log on a vine track as it speeds away from the camera, dodging spiked hazards and collecting Dream Stones.

What starts as a simple platformer soon becomes a surprisingly tricky gameplay experience.

For the most part, Klonoa: Door to Phantomile is a simple, whimsical adventure that asks little of you. You can backtrack to previous screens to explore alternative paths and most collectibles are out in the open. You’re faced with simple platforming challenges such as hopping over gaps, riding platforms over pits or electrified floors, dodging projectiles, and leaping to tilting, moving, or temporary platforms (which reappear very quickly). Klonoa’s main gimmick is throwing enemies, but this rarely tests your puzzle solving skills as it’s hard to miss the big targets in the background or right in front of you. The difficulty does slowly ramp up, however, with areas becoming larger, sporting more alternative paths, and even being looping mazes. You must activate gondolas to progress in Vision 3-1, watch your step in Vision 4-2’s slippery ice cavern, avoid burning alive in Vision 5-1’s steampunk factory, and tackle a door maze in Vision 6-1’s ethereal castle. Here, you must track down and smash coloured crystals to clear doorways, though it can be tricky remembering which way to go. Similarly, Vision 5-1 has you exploring multiple paths to track down coloured orbs, avoiding flames and molten steel, and dealing with the “Eclipse” effect in Vision 5-2. This sees day turn to night and enemies become incapable of being grabbed, though extra platforms do appear to help you progress. Sadly, this mechanic only appears in this stage; it would’ve been cool to implement it throughout or have it featured in the unlockable “Hard” mode. You’ll briefly ride mine carts in Vision 1-2, simply jumping to grab Dream Stones as it falls apart, clamber up a cliff face in Vision 2-1, and activate gears and moving platforms in the mechanical tree factory explored in Vision 3-2. Platforming also gets progressively difficult by the end, with pits in abundance and small, often disappearing platforms being commonplace, sometimes with enemies chase you across them.

Presentation:
I’d long been curious about Klonoa: Door to Phantomile. I’ve always been a fan of 3D and 2.5D platformers and this looked like a cute, whimsical adventure sadly locked behind an expensive price tag. Thankfully, the game didn’t disappoint in terms of its visuals and Klonoa is a joy to behold. The game incorporates a cutsey, anime-like aesthetic to its polygonal characters, who pop with a cel-shaded, cartoony flavour as a result. Klonoa is like an anime character come to life, sporting oversized shoes, a Pac-Man logo on his beret, fun flappy ears, and big, expressive eyes that give him a lot of character. While he (and all the characters) speak in gibberish sound bite, his dialogue is fully readable in speech bubbles and he lets out some fun little sounds as you play, even twirling his magical ring when left idle. While Klonoa and his enemies have big hit boxes, it’s not usually a problem if you get the timing of your jumps down and he battles some bizarre enemies and encounters some surreal NPCs along the way. Each Vision houses different natives, such as tree spirits and talking fish, who will help or must be freed from their corruption. The story (and overall aesthetic design) reminded me a lot of NiGHTS into Dreams (Sonic Team, 1996), with Klonoa exploring a dream-like fantasy land at risk from the distinctly Khonsu-like Ghadius, though Klonoa plays a hell of a lot better than that game and is far easier on the eyes. The game also sports a jaunty soundtrack, with fun little tunes accompanying each area, and features quite an intricate story. I was stunned when Klonoa’s beloved grandpa was killed protecting the necklace from Ghadius’s jester-like henchman, Joka, and the ending (which sees Klonoa tearfully depart the dream world after learning his memories of Huepow were fabricated) was much more shocking than I expected from what seemed to be a simple, colourful platformer.

A colourful, whimsical adventure with a lot of heart and visual appeal.

Each of Klonoa’s Visions is presented via a storybook-like world map, allowing you to freely select them between sessions or when reloading your save file. Klonoa’s seaside town of Breezegale sees you literally venturing from his house past giant windmills and cute, medieval-style houses, crossing bridges and heading up a spiral path before exploring Breezegale’s mine, where precious jewels glitter in the backgrounds and mine carts are scattered about. Vision 2-1 sees you traversing a dying forest full of abandoned tree houses, hollowed out tree trunks, and giant mushrooms. The second part places you in the fantastical Jugpot palace, made from a giant seashell, and features backwards-flowing waterfalls, marble platforms, and dank caves. Vision 3-1’s forest is thriving, with twisted vines all over and thick logs acting as your main path into a clockwork-like mechanical tree that you must activate to get its gears moving. Vision 4-1 sees you exploring the ruined Wind Kingdom, hopping to dropping stone platforms, passing a spooky graveyard, and slipping about in the ice cavern, where you smash rocks to progress. The visuals really pick up in the distinctly steampunk Temple of the Sun, where you traverse giant pipes and ride a platform across a track, collecting coloured orbs to venture within. The interior is made hazardous by the Eclipse gimmick, constant flame bursts, and you having to hit multiple switches to progress. Cress is mostly comprised of its beautiful, crystalline castle that’s full of mosaics, electrified floors, tricky platforming, and statues that need melting. It opens out into a gigantic, ornate cathedral with multiple doors, the void of the night sky in the background, and gives way to a swirling, nightmare void where players must battle the surprise final boss, Nahatomb. There’s a fair amount happening in each area, with each Vision showcasing different aspects of their environments. It’s quite fun taking a track or path one way and seeing the alternative paths stretch behind you, enticing you to try a different path and see what rewards and obstacles it yields.

Enemies and Bosses:
Klonoa must pick up and toss various strange enemies in his adventure, nearly all off which constantly respawn so you always have something to toss off (wait…). The most common enemy you’ll encounter are the spherical Moos and their variants: Red Moos simply walk back and forth and are easy cannon fodder, Green Moves flap their wings to fly and resemble birds, and Black, Gold, and Silver Moos hide behind shields. These can also have lances and charge you, or ride pogo sticks, forcing you to get behind them to snag and throw them. You’ll also encounter Monkey Moos, who swing from vines to knock you down pits, and helmeted Moos who must have their head gear knocked off before they can be nabbed. Knight-like Algores swing chain-whips with maces for a long-range attack, Pink Boins bounce up and down erratically, and cat (or maybe rabbit?)-like Mew-Mews do the same but release spiked balls as they land, and explosive, mouse-like Boomies must be tossed to destroy objects (while avoiding their blast radius). The will-o’-the-wisp-like Burnies are protected by a ring of flames that you must hop between to grab them and spider-like Dabbys spit spiked projectiles from their butts. Fish-like Fifis leap from water or up waterfalls to interrupt your platforming, but the indestructible Spikers are the worst for this, with you having to gingerly dash under or jump over them. Glibz hide behind their shells, giving you a small window to grab them before they unload with their twin cannons; spooky Plowms relentlessly chase you and appear out of thin air; and Slazzas toss boomerang-like projectiles. Smorks fly from the background of Vision 5-2 and can be difficult to grab thanks to the perspective, Zippoes charge at you, and Tetons will fly you higher if you grab onto them. Gigantic variants of many of these enemies also crop up, with them being stunned and inflated with your Wind Bullets to give your jumps a boost and only being destroyed when you toss enemies at them.

Big, bizarre bosses test your throwing skills and, by the end, your patience.

Each Vision ends with a boss battle fought on a circular path. Rongo Lango is the easiest, challenge as it jumps about producing shockwaves and slashing with its tail. Simply run under it, snag a Moo, and attack from behind to move on. I found the corrupted King Seadoph and his fish cohort, Pamela, trickier as the path is littered with spike balls and Pamela leaps from the water, occasionally raining bubbles that can be tricky to avoid. You must snag King Seadoph as he rides a ball and toss him at Pamela when she attacks, which can be tough with so much to deal with. Gelg Bolm was easier, but a touch tedious as you use springs to get above it and launch an enemy into its exposed core with the double jump, avoiding its giant seeds and slam attack. Baladium puts you on a swinging platform, which makes it difficult to snag enemies to throw at the coloured sections of its body. You must also avoid the explosive spheres, pillars, missiles, and Zagards Baladium spawns. When you finally confront Joka, he deflects your Moo projectiles with his twirling fists and becomes a thrashing, squid-like beast when the Eclipse hits until you turn floor blocks yellow, which can drag out the fight. Fighting Ghadius is all about speed and timing as you must avoid the teleporters (which reset the arena and see you dodging shockwaves) to toss Death Moos at him. These rain down, ricochet about, and are hidden inside a triangular energy field you must dodge and dispel by attacking a corner. By far the toughest and most tedious fight is the surprise final boss, Nahatomb. Nahatomb creates three rainbow shockwaves and ejects armoured Moos, which must be tossed to Phantomile’s leaders, who then blast Nahatomb with cannons. This isn’t too bad in the first phase (if you avoid his long, sticky tongue), but is compounded in the third by the leaders rotating beneath you and Nahatomb temporarily destroying your crystalline platforms. The second stage sees Nahatomb’s disembodied form firing eye lasers as you’re on a slanting platform, which you must avoid to toss Moos at flaming crystals in the background.

Additional Features:
There are fourteen Achievements to earn in this remastered version of Klonoa, with one gifted each time you defeat a boss and six more for finding and rescuing every Phantomile hidden in each Vision. This also unlocks the “Extra Vision” stage, which sees you scaling Balue’s tower and taking on the game’s most difficult platforming challenges, though there’s no new boss to face. You’ll also get an extra Achievement if you get every Achievement in this game and its sequel, and finishing Klonoa on either difficulty unlocks “Hard” mode, a time attack mode, and the movie viewer. This version of the game also gives you the option to turn on a pixel filter so it resembles the PlayStation original, but I wouldn’t recommend it as it’s very hard on the eyes compared to the slick, colourful glow up. While there are no Achievements or extras for finishing the game on the harder difficulties, you can unlock extra costumes, a character viewer, the option to play the game backwards, and a music test if you clear the Extra Vision.

The Summary:
I was really excited when Klonoa: Door to Phantomile was finally remastered for modern consoles. Both it and its sequel had been on my wish list for a while, but I couldn’t justify the cost, so it was a no-brainer for an avid platformer fan like me to pick the Phantasy Reverie Series up and finally give them a whirl. This version of Klonoa is absolutely stunning, with colourful visuals, eye-popping environments, and a main character so cute you’ll be close to tears. Klonoa is such a unique character, exuding an anime-excess while being adorable, and his world (while visually and thematically similar to NiGHTS into Dreams) is incredibly imaginative. The game felt very “Japanese”, if that makes any sense, with some bizarre enemies and concepts that had been tweaked just enough to appeal to Western gamers. The gameplay is simple but enjoyable, with the basic jumping, grabbing, and platforming being very satisfying. Things get much trickier as platforms become smaller, pits become deeper and wider, and your double jump prowess is tested, which can be frustrating. However, it’s fun searching across these deceptively large areas looking for collectibles and locals to rescue, though it’s a shame there weren’t any bonus stages or extra content to mix up the gameplay. The game is also disappointingly short, easily beaten in a few hours, but I didn’t mind that as it was a lot of fun to look at and a nice, cosy experience despite some aggravating sections and confusing boss battles. Ultimately, there’s a lot to like here, with a few unlockables to aim for and extra paths to explore. Fans of Klonoa should enjoy the stunning visual makeover and fans of 2.5D platformers should appreciate the visuals, tight controls, and memorable characters.

My Rating:

Rating: 4 out of 5.

Great Stuff

Are you a fan of Klonoa: Door to Phantomile? If you’ve played the original version, what did you think to the Phantasy Reverie Series glow up and enhancements? Did you also struggle with the double and triple jump sections? Which of the game’s large, bizarre bosses was your favourite? Did you ever rescue all the lost locals? Which Klonoa game is your favourite and would you like to see the franchise make a comeback Whatever your thoughts on Klonoa, please leave them below and drop a donation on Ko-Fi to see more reviews like this.

Game Corner: Shinobi III: Return of the Ninja Master (Nintendo Switch)

Released: 14 March 2018
Originally Released: 23 July 1993
Developer: SEGA
Also Available For: Mega Drive, Nintendo 3DS, Nintendo Wii, PC, PlayStation 2, PlayStation 3, PlayStation 4, PlayStation 5, PlayStation Portable (PSP), Xbox 360, Xbox One, Xbox Series S/X

The Background:
Ninjas were a big deal back in the day, whether they were mutated turtles, rainbow-coloured fighters, or mysterious assassins. Ninjas and videogames went hand in hand, resulting in titles so challenging that they defined a generation of players. Eager to have a piece of that pie, SEGA saw notable success with Shinobi (SEGA, 1987), a difficult but enjoyable arcade title later refined for home consoles. Director Noriyoshi Ohba aimed to make the sequel a technical showcase for the then-new Mega Drive hardware, one purpose-built for home consoles and which became notorious for including unlicensed appearances by pop culture icons. A widely praised release, The Revenge of Shinobi (SEGA, 1989) is now regarded as a classic of its generation and inspired not just a semi-recurring comic strip in the United Kingdom, but also a third game. Originally scheduled for release in 1992, Shinobi III: Return of the Ninja Master was vastly overhauled when the developers were dissatisfied with the original version, leading to a lot of content being cut and replaced with new mechanics. Though largely seen as being much easier than its predecessor, Shinobi III impressed with its refined gameplay mechanics and visual presentation, with many seeing it as the best of the classic Shinobi titles. This positive reception (and the lack of copyright issues compared to its predecessor) no doubt contributed to Shinobi III having a lucrative lifespan beyond the Mega Drive as the game was included in numerous SEGA collections, converted to 3D, and added to the Nintendo Switch’s online service in 2018, which eased the pain of how expensive an original copy can be.

The Plot:
When Neo Zeed returns under the command of the mysterious Shadow Master, the legendary Shinobi, Joe Musashi, fights to end their sinister bio- and cybernetic research.

Gameplay and Power-Ups:
Shinobi III: Return of the Ninja Master is the last of the Shinobi titles released for the Mega Drive and, like its predecessor, is an action/platformer with a strong emphasis on projectile-based combat. Like in the last game, players take Joe Musashi through multiple levels (or “Rounds”), each with at least three stages, though this time there are only seven Rounds. As before, there are four difficulty settings to choose from, with the harder settings dramatically reducing your total life count, and players can continue their game a handful of times if they exhaust all their lives. Unlike in The Revenge of Shinobi, however, Shinobi III’s control scheme is locked to a preset that maps your jump to A, tosses shuriken with B, and activates your “ninjitsu” magic with Y. You can still set how many shuriken you start with, however, and you can still pull off a somersault by pressing A at the height of your jump. Press B when somersaulting to unleash a shuriken spread to take out multiple enemies or press down on the directional pad to pull off a flying kick. As before, Musashi can assume a “defensive pose” to deflect incoming projectiles, but this is now done manually by holding B and you can even do it while crouching and crouch-walking. Shinobi can also dash by quickly tapping left and right, dramatically speeding up the action, wall jump by…jumping off walls…and cross gaps and hazards or navigate stages while clinging to ceilings, pipes, and such by holding B. Various goodies are found by smashing crates, ranging from health-restoring hearts, rare extra lives and ninjitsu replenishments, to additional shuriken and the ever-annoying time bomb. Musashi is far faster and more versatile this time around, moving at a swifter pace and boasting a few additional tricks to make combat and gameplay smoother. It’s still tricky pulling off his somersault and the wall jump can be finicky, but I found Shinobi III far more forgiving than its predecessor and focusing more on action than platforming.

Musashi is faster and more deadly than ever, to say nothing of a master rider and surfer!

Players can once again collect “Power-Ups” to boost Shinobi’s attacks, adding his deadly sword to his melee attack and block and transforming his shuriken into flaming projectiles. Players also gain points for every enemy defeated and item collected, and the end of Round score tally also adds points depending on if you used your ninjutsu magic or your remaining health. By pausing the game, players select which ninjitsu technique to use with Y, with each functioning exactly like The Revenge of Shinobi: Jutsu of Ikazuchi temporarily protects Shinobi with an electrical shield, Jutsu of Kariu summons flaming pillars to damage all enemies, Jutsu of Fushin enhances your jumping speed and height, and Jutsu of Mijin has Shinobi self-destruct (costing him a life) to destroy enemies. Only one of these can be used per life but you gain additional uses by finding items, though I found less use for them this time around as Shinobi is largely grounded and the game encourages you to wall jump and spider-walk to clear gaps. Musashi gains two additional abilities, the first being a horse and the second some bitchin’ surfin’ skills! Round 2 sees you racing across a marsh-like field on horseback, jumping obstacles and taking out enemies with your shuriken or ninjutsu. Round 4 has you surging across the water, jumping off ramps to collect items and avoid mines while defeating waves of enemies, with both instances functioning like autoscrolling shooter. Round 6 also sees you in freefall down a canyon, forcing you to hop to falling boulders to keep from dropping to your doom, while many stages force you to clamber to higher levels by finding surfaces to cling to (which isn’t always obvious).

Though more forgiving, some new gimmicks and refined mechanics add to the challenge.

Shinobi III is much more challenging, overall, than its predecessor, throwing far more enemies and hazards at you but with the caveat that most stages keep you quite grounded and I found extra lives a touch more plentiful. Bottomless pits are commonplace, of course, and many times platforms will either be temporary or will require time bombs to destroy so you can progress, but insta-kill hazards are limited to crushing spikes rather than lava pits. Sometimes, you must time your wall jumps and spider-walk to avoid electrified walls and ceilings; others, you cling to or run across conveyers to progress. There are instances where you ride platforms either across a zig-zag-like track or directly upwards, with Round 2 featuring a vertical autoscroller that’ll see you crushed or left behind if you don’t pay attention. Round 3 dumps you in a disgusting, bio-organic nest where the sticky ground slows your movement and Round 4 sees you hopping to sinking barrels around an oil rig, leaping to firmer ground before you drown. Round 5 mimics a similar stage from The Revenge of Shinobi in that you can somersault over chain-link fences but, this time, you must also avoid hidden mines that eventually explode under your feet! Toxic goop, electrical sparks, and support beams hanging under Neo Zeed’s fancy blimp all make traversal an issue in their own way. Round 7 takes you inside the blimp, where drones attack as you ride a precarious moving platform, while the final area of this stage features platforming and skill-based challenges so troublesome that no enemies are required! As if tricky jumps weren’t bad enough, Round 6 puts you in a mist-filled pagoda where spikes jut from the ground and another damn door maze awaits! This was much simpler to figure out compared to the one in The Revenge of Shinobi (I simply guessed the route by taking the high ground), though made more challenging since enemies respawn each time you looped around!

Presentation:
Although Shinobi III is visually very similar to its predecessor, there have been a few improvements between the games. Musashi still doesn’t have an idle pose, but his sprite is much bigger, more detailed, and versatile thanks to his expanded move set. He now grabs the hilt of his sword when powered-up, cuts a mean pose when surfing, and blood splatters whenever he or his enemies take damage! While many sound effects are unchanged from The Revenge of Shinobi and enemies still explode in spectacular fashion, the soundtrack is overall inferior to the last game. Obviously, I have more nostalgia for The Revenge of Shinobi so I’m naturally biased towards that game, but Shinobi III really disappointed in its tracks, and in the less visually interesting enemies (especially compared to the beta version). However, larger enemies (such as samurai and various mechs) do appear more often, almost as mini bosses, and you’ll face far greater numbers and waves of enemies, with no visible slowdown or performance issues. I liked that the bombs now had a visual timer, the additional weather effects (such as rain, wind, and parts of the environment reacting to these elements), and the greater depth added to the backgrounds. Stages are far more detailed, lively, and have many more instances of parallax scrolling, making for a technically more impressive title. This is best felt in the expanded introduction (featuring a larger, more impressive, animated interpretation of Musashi), the new map screen, and the detailed artwork that pops up after you clear a Round. The game also features more story text at the start and end, and even end credits this time around (though there’s only one ending in Shinobi III).

The visuals and gameplay are vastly improved over the last game, resulting in a more impressive title.

Things start with a visual bang in Round 1’s dense forest, with grass and leaves rustling in the wind, which leads into a dank, dark cave filled with waterfalls and rippling water. I loved the marsh lands and docks that rush past in Round 2 and 4, respectively, which see clouds, kites, and tanks in the distance. The cyberpunk-like city of Round 2, the industrial factory/oil rig of Round 4, and the cybernetic research area seen in Round 5 were all worlds above the visuals offered in the last game, with foreground elements (mostly trees, pipes, and other machinery) bringing each area alive and never being too intimidating in how cluttered they were. While Round 6 was mostly relegated to a grey canyon, I loved the sense of speed as you fall to certain doom, though the night sky and full Moon are done far better in Round 7, where thick clouds rush past. Rounds 3 and 5 impressed me the most, however. Round 3 takes place in an ominous, high-tech bio-weapon facility where Neo Zeed’s bizarre abominations and brain-like experiments slumber or burst free from captivity. This leads to a revolting sewer where Neo Zeed dispose of their toxic waste and experiments, meaning the surfaces are teeming with sticky, biological sludges and malformed monsters lurk. Round 5 takes the military base from the last game and sets it against a raging inferno and explosive oil drums, then sees you slashing through another high-tech factory, this one with molten metal bubbling in the background and ominous, vaguely familiar mechanical dinosaurs waiting to be activated. The final battle occurs in a bizarre, cyberspace-like environment that really messes with your mind, while additional lighting effects and environmental details add a level of polish to the Shinobi formula that keeps it both traditional and bizarre and better showcases the Mega Drive’s power.

Enemies and Bosses:
Neo Zeed’s forces are once again primarily comprised of ninjas and soldiers, though these are noticeably cybernetically enhanced. Ninjas drop from trees, somersault over you, toss shuriken, and fly about on bat-like wings, as before, and come in different colours to indicate when you’re getting closer to the big bad. Larger samurai guard the tunnels in Round 1, slashing an energy wave and cutting with their large katana, though these are defeated as easily as the regular ninjas. The soldiers still fire machine guns, but now use mortals rather than grenades and there are no Marines bolstering their ranks, though red-clad female assassins still pop up. Ninjas now ride futuristic hoverbikes, pilot mechs, and are joined by odd, blowpipe-firing figures and floating kabuki-style warriors who emit flame bursts. Crawling brains and sludge monsters attack in the depths of Neo Zeed’s laboratory, soldiers wield laser rifles, shields, and boomerang-like projectiles, and mutated bugs, laser turrets, and persistent drones also await your presence. Steam bursts from vents, enemies crawl on ceilings like spiders, and more mini bosses appear during your playthrough. These include the return of the agile and Shadow Dancer (who now rains spears while jumping around), a gauntlet against an army of mutated brains as toxic goop bubbles nearby, large mechs that dash and attack with rapid-fire pulse cannons, and Karura, a lance-carrying bird man who attacks as you plummet in Round 6 and becomes invulnerable when seen as a whirring blur of feathers. You’ll also take on another supercomputer, though this one zaps you with an electrical field and fires explosive shells into the arena. Round 4 ends with a two-phase battle against an intimidating mech boss that begins as little more than a giant cannon in the water and soon takes to the air and requires you to blast away its cannon and shield before attacking its main body.

Some bizarre and gigantic bosses set the stage for the game’s formidable final challenge.

The first boss you face is another giant samurai, one mutated to sport four arms (two holding katana and two wielding a spear). Though you can’t hop to the high ground and this guy can dash, it’s easy enough to jump over him, use your somersault attack, or roast him with Jutsu of Kariu. Shinobi III takes a turn into the bizarre and macabre in Round 3, which sees Musashi targeted by a gigantic, malformed blob of mewling flesh while navigating the sewers and then facing off with the ghastly abomination. It lumbers in from the right or emerges from the disgusting ground, tossing chunks of flesh or swiping with its deformed hand, and noticeably degrades as you deal damage to its drooping eyes. While Shinobi III opts not to tow the line between parody and copyright infringement with its enemies and bosses, the developers couldn’t help but include an appearance from Mechagodzilla in Round 5. This gigantic, impressively detailed sprite emerges from the darkness and plods about in the background, breathing fire and raining debris. After destroying its head, it’ll unleash a barrage of projectiles from its chest, making this a tricky encounter even though touching it doesn’t hurt you. Round 6 ends with a rematch against Neo Zeed’s big boss, a squat, masked, demonic figure who whips his hair. This time, the fight occurs in a dark room full of doors that the masked fiend emerges from, tricking you with a duplicate. Though the fight is noticeably easier, it can be tough picking the right one and he becomes more aggressive, flinging a spread of darts after enough hits. This time, the final battle is against the Shadow Master, which is a two-phase affair fought in a psychedelic environment. The Shadow Master is super-fast and aggressive, leaping about, tossing kunai, teleporting, rushing at you with a sword, and delivering an explosive hit. After enough damage, he powers up and tosses energy projectiles, a flurry of blasts, and a charged shot from his arm.

Additional Features:
While Shinobi III is quite a challenge even on “Easy”, you can make things even more difficult by selecting harder difficulties, thus limiting your lives and continues. While you can accumulate points, there’s still no high score table to put your name on, though the “Options” menu has been expanded to include sound effects and voices. As in The Revenge of Shinobi, you can grant yourself unlimited shuriken with a simple trick but, even better, Shinobi III features an invincibility cheat activated by playing certain songs in the right order. Not that you really need that when playing this version of the game as the Nintendo Switch offers rewind and save state features to cut the challenge off at the knees. Finally, if you’re playing the version included in the SEGA Mega Drive Ultimate Collection (Backbone Entertainment, 2009), you get an Achievement for finishing the first stage without a continue and, in the SEGA Mega Drive Classics collection (SEGA/D3T, 2018), you get an Achievement if you beat any level without tossing a shuriken.

The Summary:
I never grew up playing Shinobi III: Return of the Ninja Master, so I don’t have the same level of nostalgia for it as for The Revenge of Shinobi. However, this did everything I’d expect from a sequel: it took what worked in the last game and expanded upon it. The visuals are greatly improved, with Joe Musashi being much faster and tighter to control. His additional moves and abilities were a welcome inclusion, mitigating my difficulties at mastering his somersault and adding an extra layer to the platforming and jumping challenges. I appreciated the added emphasis on fast-paced, hack-and-slash combat and the autoscrolling sections, which nicely broke up the gameplay and served as fun distractions. While the soundtrack was disappointing and I wasn’t blown away by the enemies, the bosses were a big step up from the last game. There are more of them, for starters, and the developers shied away from ripping off pop culture characters for some gruesome, intimidating, and fun affairs that better test your skills as a player. I did find the ninjitsu a bit wasted here, however, and it was a shame Musashi didn’t gain new magic or power-ups to use, but the visual variety offered by the stage design more than made up for it. I appreciated that the game veered more towards the surreal and science-fiction to try and mix things up, and that you were rewarded for playing well in stages. There are few cheap deaths and hazards here, and the game does get very challenging when you’re presented with small platforms, temporary ground, and tricky jumps. I can see this being aggravating on original hardware, but this version of the game makes it a breeze even without the invincibility code. Ultimately, while I would probably still choose to play The Revenge of Shinobi due to my nostalgia for that title, Shinobi III was a worthy follow-up that vastly improved almost every aspect of its sequel, making it equally good in my eyes.

My Rating:

Rating: 4 out of 5.

Great Stuff

What did you think to Shinobi III: Return of the Ninja Master? How do you think it compares to The Revenge of Shinobi and what did you think to Musashi’s new abilities? Were you also disappointed by the soundtrack and the lack of new ninjutsu magic? What did you think to the new bosses and how bizarre some of them were? Did you enjoy the autoscrolling sections and manage to beat the game on original hardware? Which Shinobi game is your favourite? Let me know your thoughts and memories of Shinobi III: Return of the Ninja Master in the comments, support me on Ko-Fi, and check out my other Shinobi reviews.

Mini Game Corner: Shadow Dancer: The Secret of Shinobi (Xbox Series X)

Released: 29 May 2018
Originally Released: 1 December 1990
Developer: SEGA
Also Available For: Mega Drive, Nintendo Wii, PC, PlayStation 2, PlayStation 4, PlayStation 5, PlayStation Portable (PSP), Xbox One, Xbox Series S

A Brief Background:
Back in the day, for a while there, ninjas were the latest craze, appearing as mutated turtles, rainbow-coloured fighters, or mysterious assassins, especially in videogames, where the challenge of ninja-based titles defined a generation of gamers. SEGA’s bid to get involved in the fad resulted in notable success with Shinobi (SEGA, 1987), a taxing but praised arcade title that was improved for home consoles. While its Mega Drive sequel, The Revenge of Shinobi (SEGA, 1989), was met with widespread praise, Shinobi’s first sequel was actually an arcade release just like the original game. Boasting improved graphics and teaming Joe Musashi with a canine companion, Shadow Dancer (ibid) released the same year as The Revenge of Shinobi and was largely praised, despite some aggravating mechanics. While a port was released for the Master System in some territories, the Mega Drive version was noticeably different, adding additional gameplay gimmicks while also being far more faithful to the arcade title than Shinobi’s previous home conversions. Well received at the time and standing the test of time as another classic title for the 16-bit powerhouse, Shadow Dancer was often included in subsequent collections, including the SEGA Mega Drive Classics collection that added a few quality of life mechanics to the game.

The Review:
I was all ready to do one of my regular lengthy reviews about Joe Musashi/Shinobi’s quest for revenge against the Union Lizard ninjas, only to find that Shadow Dancer adheres a little too closely to its arcade roots and therefore is too short to warrant a longer review. Like in the original arcade title, players run, jump, and toss shuriken though five levels (referred to as “Rounds”, with three stages each (the third being a boss battle). Players won’t need to worry about their health here as Musashi once again keels over and dies if he takes a single hit, though he can bounce and bump off enemies and some hazards so it’s only attacks that kill him. Like in The Revenge of Shinobi, players can set the game’s difficulty level, changing the title screen and increasing the number of enemies while decreasing the player’s continues, and will rescue hostages in each stage. Male hostages add to the player’s score, with a final tally adding additional points once a Round is cleared, while female hostages upgrade Musashi’s attacks and see him fling flaming projectiles and throw flaming kicks rather than using his sword for close-quarters combat. Players can add an additional challenge by disabling the shuriken (a death sentence if I ever saw one) and can pick from four different control types. I chose Type B, which mapped the jump to the A button, shuriken to the X button (with no rapid-fire option available), and Shinobi’s patented ninjutsu magic to the B button. Like in the original Shinobi, players are assigned different ninjutsu for each stage and only get one use per stage, earning a point bonus if they finish without using their magic. Musashi can conjure flaming pillars, whirling tornados, and a meteor storm to destroy all enemies, which is handy when you’re swarmed by ninjas. You’re also playing against a three-minute timer (though I always had plenty of time) and can occasionally collect extra lives by finding Union Lizard tokens.

Cut down repetitive ninjas alongside Shinobi’s near-useless canine companion in this challenging quest.

Though he lacks his somersault and shuriken spread and more versatile ninjutsu magic from The Revenge of Shinobi, Musashi can still duck, avoid projectiles using crates and boxes, and hop to higher ground or over fences by holding up and pressing the jump button. This is useful for evading enemies, finding hostages, and getting around some hazards and obstacles, though some enemies can follow you. The game’s big gimmick is the large white canine who fights alongside you. By holding the attack button, players charge a meter and, when released, Yamato pounces upon nearby enemies, distracting them so Shinobi can attack. If players don’t time the button press correctly, Yamato takes a hit and temporarily reverts to a useless puppy, though this mechanic was nowhere near as useful as it could’ve been. I found Yamato often wouldn’t attack and just yapped away uselessly. It would’ve been nice to see him have a more versatile move set, like giving you a jump boost, activating levers, collecting power-ups, or acting as a health bar of sorts so Shinobi can survive one measly hit! As ever, you must avoid bottomless pits and raging waters, though there are some interesting gimmicks that make Shadow Dancer stand out. Round 1-2 features a fun earthquake that splits the screen, for example, Round 3-2 takes place entirely on a rising elevator, Round 4-2 sees the environment and enemies obscured by sporadic shadows in a neat effect, and Round 5-1 is a multi-room gauntlet against swarms of the game’s toughest enemies. Shadow Dancer is incredibly unforgiving at times thanks to its one-hit-kill mechanic, with enemies circling and bouncing you around or knocking you down pits. However, you can hold the Left Trigger to rewind the game, hold “Home” to create or load a save state, and use the Right Trigger to fast forward the action. As in the original arcade Shinobi, a Bonus Round breaks up the action between Rounds. In this section, you frantically toss shuriken at ninjas as Shinobi dives from a skyscraper, earning additional points to claim a few more extra lives depending on how many you kill off.

Some cheap, weird-ass bosses block your path in this bizarre adventure.

Musashi battles a handful of enemies in his quest for revenge. Mercenaries fire laser pistols, taking cover to avoid your shuriken, while their larger commanders shield themselves and toss their shields at your head or shins. Four different coloured ninja grunts regularly throw punches, stab with knives, or carry spears. The claw-handed Iron Claws leap in and roll about, frog-like Geckos crawl around the environment, and an attack helicopter takes shots as you scale the Statue of Liberty. Colourful, nimble ninja also teleport in, wielding dual katana and somersaulting about, slashing at you and attacking in large groups, deflecting your shots and being tougher to kill depending on their colour (with black being the worst!) Each Round ends in a battle against the big bad Sauros’s “Aides” (though, ironically, the titular Shadow Master isn’t amongst them) not unlike those of the original Shinobi. Each appears in a flash of lightning, has a health bar, is fought in an enclosed arena, and players must fight without Yamato or Musashi’s powered-up attacks. Stomper is a giant, distinctly beetle-like samurai who, like Shinobi’s Ken-Oh, spits fireballs that are tricky to dodge. This is compounded by his massive hit box, the debris he rains down, and how tricky it can be to hit his helmet. Mirage is a nimble dominatrix who leaps off screen and tosses large buzzsaws, which she also uses to shield her vulnerable head. At the end of Round 3, Sauros brings a brick wall to life. This screaming monster randomly spawns across the background and attacks by extending and dropping its hands towards you, which are pretty difficult to avoid. Round 5 sees you battle Blade, a spinning, pentagram-like Catherine Wheel that circles your falling platform and tries to roast you, though you can easily spam your shuriken when it stays still. After battling past Sauros’s gauntlet, you face the main man reptile himself in a pretty anti-climactic confrontation. Sauros simply sits on his throne and spawns black ninjas to distract you, eventually detaching his helmet to rain fireballs into the throne room. This is your chance to attack the glowing orb that is his weak spot but be sure to position yourself between the flames!

A visually impressive but lacklustre and unfairly difficult arcade port.

Shadow Dancer looks pretty good, being about on par with The Revenge of Shinobi and featuring large, well detailed sprites. While Musashi doesn’t show much personality, Yamato helps add some visual variety, which the sprites need as there is only a handful of enemies and they’re constantly recycled. Things get off to a decent start with an impressive bit of sprite animation and story text. Each Round is introduced with a big, but partially obscured map and sees Shinobi leap into action, and players are initially dropped into a desolate, seemingly post-apocalyptic city. The background is in flames, the buildings are wrecked, ninja burst from the windows, fire spews from the sewers, and debris falls from the sky! Round 2 sees you first traversing a partially destroyed bridge and then battling across disused railroad tracks, hopping to a rail cart and over fences, while Round 4 takes place in a desolate cavern that tests your platforming skills. Although Round 5 is a largely unimpressive warehouse, Round 3 sees you scaling the Statue of Liberty, hopping up girders and supports, and taking a lift to the torch, with Lady Liberty and New York City in the background. The music is pretty upbeat and fitting for the action, though there’s nothing as memorable as in The Revenge of Shinobi, and players are treated to a bit of partially animated sprite art and ending text upon completion. This version of the game offers filters to recreate the good old 16-bit days, screen borders, a mirror mode for an additional challenge, and two special challenges. If you complete the first two stages without using your magic, you’ll get an Achievement and if you can beat a stage with Yamato in his puppy form, you’ll either earn another Achievement if that’s the first Challenge you completed or be one step towards another Achievement.

The Summary:  
Wow, I was so disappointed by Shadow Dancer: The Secret of Shinobi. I think I must’ve gotten the game confused with the far superior third game in the series as, while the game looks about on par with The Revenge of Shinobi, this is more like a visually improved version of the original, notoriously challenging arcade Shinobi. Joe Musashi lacks all of his improved moves and versatility from Revenge in favour of a cute canine who’s criminally underutilised. I barely used Yamato he was so useless, and it says a lot when your 16-bit, arcade-perfect videogame lacks mechanics that were included in the 8-bit port of Shinobi! Shadow Dancer would offer a decent challenge if not for the archaic and unfair one-hit-kills, which strangely carry over from the arcade version despite them being eliminated in other home console Shinobi games. While the game looks great and it can be fun searching for hostages, it’s pretty barebones, with only five Rounds and extremely limited ninjutsu magic, meaning you’re more likely to rely on your shuriken. Enemies were also painfully recycled, lacking any of the character and personality of those from The Revenge of Shinobi, and the plot is strangely bonkers, focusing on a lizard man with a ninja army? I’m not sure what the titular “secret” of Shinobi was supposed to be or why the game is called Shadow Dancer when that enemy doesn’t even appear, or why SEGA didn’t feel fit to enhance the arcade title to be more in line with the improvements made in The Revenge of Shinobi. If you’re going to play Shadow Dancer, this version is probably the best way since you can exploit the rewind and save state features, but this was a disappointingly hollow experience that didn’t do justice to what the Mega Drive – or the franchise – was capable of.

My Rating:

Rating: 2 out of 5.

Pretty Good

Did you enjoy Shadow Dancer: The Secret of Shinobi? How do you think it compares to the arcade version and other 16-bit Shinobi titles? Were you also disappointed that it included one-hit kills and greatly limited your options? What did you think to Yamato and how useful did you find him? Which of the bosses was your favourite and what do you think the “secret” of Shinobi was? Which Shinobi game is your favourite? Let me know what you think about Shadow Dancer: The Secret of Shinobi in the comments, send me some coppers on Ko-Fi, and go read my other Shinobi reviews.

Game Corner: The Revenge of Shinobi (Mega Drive)

Released: 2 December 1989
Developer: SEGA
Also Available For: Android, Mega/SEGA-CD, Mega-Tech, Nintendo Switch, Nintendo Wii, PC, PlayStation 2, PlayStation 3, PlayStation 4, PlayStation 5, PlayStation Portable (PSP), Xbox 360, Xbox One, Xbox Series S/X

The Background:
Back in the 1980s, ninjas were a big deal. Mysterious, agile, swift-footed martial artists tossed shuriken and took movies, comic books, cartoons, and videogames by storm. We had everything from silent assassins working for the US government, mutated turtles, a slew of rainbow-coloured warriors, and games so iconic and so challenging that they defined a generation of players. SEGA saw considerable critical and commercial success with Shinobi (SEGA, 1987), a tough but rewarding arcade title later refined for its home console conversion. For the sequel, director Noriyoshi Ohba wished to showcase the then-new Mega Drive hardware through a more story-driven title, one better suited to the home console market. Thus, Shinobi gained a life bar and was purposely given a steep difficulty curve to encourage player experimentation. To balance things out, Shinobi was given a finite magic system to help in trickier situations, as well as a handy double jump for improved platforming. Of course, the game became notorious for including unlicensed appearances by major pop culture icons, leading to numerous revisions and graphical tweaks to avoid a lawsuit! One of the defining Mega Drive experiences of my childhood, The Revenge of Shinobi has stood the test of time as a classic of its generation, impressing with its visuals and gameplay variety as much as it frustrated with its mechanics and difficulty curve, and even directly inspired a semi-recurring comic strip here in the United Kingdom. The Revenge of Shinobi has had a tumultuous life post-Mega Drive, occasionally omitted from retrogame collections in favour of its sequel, though a remaster did briefly appear on digital stores (alongside some Trophies and quality-of-life features) in 2012.

The Plot:
When the criminal organisation Neo Zeed murders Joe Musashi’s master and kidnaps his bride-to-be, Musashi once again dons his Shinobi garb and sets out to rescue her.

Gameplay and Power-Ups:
The Revenge of Shinobi is a sequel to the arcade, ninja-themed run-and-gun (more of a “walk-and-gun”, I suppose) Shinobi and, like its predecessor, is an action platformer that sees players guide Joe Musashi, the titular “Shinobi”, across eight stages (billed as “Rounds”), each with three parts (referred to as “Scenes” in the manual and comprised of two action stages and a battle against the game’s “Power Villains”). The Revenge of Shinobi incorporates a “continue” feature, limiting players to three continues per game, and allows players to choose from four difficulty settings (with the hardest settings limiting how many lives they have) and four control schemes. Personally, I prefer “Type 2”, which maps Musashi’s attack to the A button, jump to the B button, and “ninjitsu” magic to the C button. You can also customise how many shuriken Shinobi starts with, and I’d recommend setting it to the maximum amount as you’ll be chucking a lot of throwing stars in this challenging title. Musashi’s primary attack is to throw ninja stars, which he can do while walking, crouching, or jumping. When enemies get close, Musashi strikes with his Oborozuki blade or a kick, with most enemies literally exploding after just one hit. Musashi has a decent, if clunky jump that players can use to hop over simple obstacles (walls, crates, and junk cars) or onto moving platforms, but he can also perform a somersault to reach higher ground or flip over chain-link fences. Unfortunately, this somersault is extremely finnicky to perform as, rather than simply tapping B twice, players must awkwardly press B at the height of their jump, meaning the somersault is effectively useless in restrictive locations like hallways and interiors. This also means you can’t hop halfway across a gap and then activate the somersault; if you try this, you’ll plummet to your death. It’s worth pulling this move off, though, as you can press A when somersaulting to fire a spread of shuriken, though this quickly depletes your stock. Luckily, players can break wooden crates for more shuriken, health, and even extra lives. However, you must watch out for sneaky (often unfair) timed bombs that can whittle down your health or send you down a bottomless spit thanks to the game’s aggravating knockback.

Power up Musashi’s attacks or utilise his devastating ninja magic to clear out enemies.

Musashi can also collect “Power Packs” to increase the speed and power of his attacks, gaining his sword and changing his shuriken to flaming projectiles. When walking or crouch-walking while powered up, Shinobi holds his kunai before him to reflect projectiles, which is a handy feature. Defeating enemies and clearing stages also adds to your high score, with Musashi’s life bar increasing by two when players reach 100,000 points and earning extra lives whenever they clear a Round or reach first 50,000 and then 100,000 subsequent points. Pausing the game lets you select one of four ninjitsu techniques to use with the C button, with each having different pros and cons. Ikazuchi, the “Art of Thunder”, surrounds Shinobi with an electrical shield to protect him from damage and even seems to hurt enemies, though it fades after too many hits. Kariu, the “Art of the Fire Dragon”, summons great plumes of dragon-like fire to damage all enemies. Fushin, the “Art of Floating”, increases the speed, height, and length of your jumps and somersaults, allowing you to easily cross gaps. Though it lasts until the Scene ends and can be used alongside other ninjitsu, it can be unwieldy. Finally, Mijin, the “Art of Pulverising”, sees Shinobi self-destruct, costing a life but dealing big damage to enemies and bosses. You can use each ninjitsu twice per life and can earn additional uses by finding rare ninjitsu items in crates; if you perform the somersault attack, you may also find hidden items scattered through the environments. Unlike in the original game, there are no quasi-first-person sections in The Revenge of Shinobi and no hostages to rescue. You simply move from right to left, taking out any enemies and crossing deadly gaps, until you reach the exit or defeat a boss. However, you must occasionally step on switches to open doors or clear a path, crouch-walk through hidden passageways, Fushin-leap across gaps, and ride moving platforms or chains to bypass instant-death hazards.

A challenging title made all the more tricky thanks to some clunky controls.

The Revenge of Shinobi starts out quite fair, demanding little from players than to avoid projectiles and hazards, but quickly becomes a challenging title. Players must avoid being skewered by bamboo spikes, crushed by sliding crates, and scorched by bursts of fire. Molten steel, raging waters, and bottomless pits will cost you a life and you must also take care to not be sucked out of Round 3’s air locks. Fushin comes in handy when tackling Round 2’s waterfall, where you hop to dropping logs and high platforms, and your jumping prowess is tested when you hop to and from Round 5’s bridge avoiding speeding red cars. When in Round 3’s military airfield, players must somersault over the chain-link fence to avoid or take out the armed guards stationed there, while Round 5 sees you hopping to moving laser turrets to scale Neo Zeed’s skyscraper headquarters. When navigating the pier Scene in Round 7, you must hop to rubber dinghies, then avoid the massive turrets stationed in a similar Scene in Round 8. Some stages, like Round 2: Scene 2 and Round 6: Scene 1, see you using the rooftops to avoid enemies and pits, while Round 6: Scene 2 sees you ducking and jumping over hazards while plodding across a speeding train. While you’ll encounter enemies popping from hidden doors as early as Round 2: Scene 2, Round 8: Scene 2 presents a frustrating door maze, where you must choose the correct path, battling every enemy faced in previous stages, and thanking the gaming gods that The Revenge of Shinobi doesn’t have a timer and that online guides are a thing! Still, the game’s difficulty can be daunting at times. Musashi and his enemies have quite large hit boxes and Shinobi is a bit clunky to control, especially when jumping. You can’t scroll the screen up or down, making it easy to be blindsided by enemies; though, on the plus side, enemies don’t respawn. Those damn bombs also become a massive headache as you progress, to say nothing of enemies that deflect your shuriken or disguise themselves as nuns!

Presentation:
Although The Revenge of Shinobi was an early title for the SEGA Mega Drive, it’s still very impressive from a visual standpoint. Joe Musashi may not have any idle poses, but he strikes a dramatic pose with each ninjutsu, collapses in defeat when killed, and assumes a more aggressive stance when powered up. While the basic ninja enemies aren’t much to shout about, the samurai are far more detailed and I liked the agility of the Pink Dragon enemies, who fall to their knees after taking a few hits rather than exploding like Shinobi’s other enemies. These explosions are ridiculously fun and I liked how some enemies wield swords or other weapons that deflect your projectiles, forcing you to alternate between high and low attacks. While some stages can be a bit bland or cluttered at times and the game lacks the colourful, visual “pop” of the Mega Drive’s most popular titles, there’s a lot of detail in every area. Round 1: Scene 1 transitions from dusk to night, for example, waters rage in Round 7 and 8 (with the latter also including rain effects and a lighthouse in the background), and there’s some minor examples of parallax scrolling at work. The game’s introductory scene features a large, partially animated sprite of Sonny Chiba Musashi deflecting some shuriken and a still image of him holding his murdered sensei as the game’s plot appears in text. Between each Round, you’re treated to a world map that shows your progression and the game’s sound effects should be readily familiar to anyone who’s played the Streets of Rage trilogy (SEGA/Ancient, 1991 to 1994) since those games copied them, and some graphical elements, wholesale from The Revenge of Shinobi. The game is also a licensee’s nightmare, depending on which version you play, as Musashi encounters enemies clearly inspired by John Rambo (Sylvester Stallone) and bosses either inspired by or blatantly ripping off Doctor Robert Bruce Banner/The Hulk, the T-800 Terminator (Arnold Schwarzenegger), Peter Parker/Spider-Man, Bruce Wayne/Batman, and Godzilla! It’s surreal encountering these enemies, even if you’re playing a version that recolours or alters their sprites, as they’re decidedly at odds with he game’s more grounded aesthetic.

There’s some decent visual variety and crazy moments, but it can be cluttered at times.

To be fair, though, The Revenge of Shinobi may start out rather mundane and traditional, with Musashi exploring a bamboo forest and guarded pagoda before hopping to the nighttime rooftops, he’s soon storming a well-armed military airfield, awkwardly navigating the claustrophobic interior of a steampunk-like airship, and somersaulting through the neon-drenched skyline of Chinatown. Equally, while his enemies start out as simple ninjas appearing in puffs of smoke or from hidden doorways, he’s soon taking on assassins disguised as nuns and dodging laser blasts from automated turrets. While the game’s soundtrack is practically burned into my memory, particularly the intro music and opening Scene, it is disappointing that The Revenge of Shinobi repeats a few of its tracks, especially considering the variety packed into each Round. This can also be a double-edged sword, to be fair: the train Scene, for example, starts off in a really bland tunnel and then jumps to the extreme with a cluttered and confusing background (though I liked seeing passengers mingling in the carriages). I enjoyed the chaos of the steel mill, however, and the busy bridge (despite how difficult it can be to avoid enemies and cars and not plummet to your death), and especially liked the detail in splashing waters in the pier Scenes. These effects were far more effective than in the waterfall Scene, where it can be difficult spotting enemies and even Musashi’s sprite due to the clashing colours. While the game strangely lacks an end credits sequence, there are two endings depending on how quickly you defeat the final boss and whether or not you rescue Naoko. I also liked that the Power Villains changed colours to visually indicate that you were dealing damage (though sound effects also helped with this), and how they dramatically exploded upon defeat, with some even breaking apart for added effect. While the game performs pretty well, never taxing the Mega Drive’s hardware too much, there can be some instances of slowdown and sprite flicker when a lot of big, moving sprites are present.

Enemies and Bosses:
There are only a handful of enemies in The Revenge of Shinobi, but the game eventually mixes and matches their combinations and offers palette swapped variants who are a bit tougher and more aggressive in their attacks. One of the most common enemies you’ll face are Neo Zeed’s ninjas (or Omote), who appear in a puff of smoke or from behind hidden doors or even flying about on bat-like wings! These guys can jump, somersault over you, and toss shuriken of their own, but explode in one hit. They’re bolstered by samurai (or Kabuto), who deflect your shuriken with their katana and have a long reach, and attack dogs that pounce at you. Neo Zeed’s reach extends to the American military, meaning you’ll often face off with soldiers armed with rifles, tossing grenades, or stationed behind machine guns. These guys can also lie on the ground and come in pairs to fill the screen with machine gun fire and are often accompanied by “Gunners”, the Rambo-esque brutes that carry flamethrowers. Kasumi (who win top price in the Elektra Natchios lookalike competition) fool you by disguising themselves as nuns and then leaping with a flying kick and sai in hand. The game’s Bruce Lee-like martial artists also utilise flying kicks, while the White Phoenix enemies have incredible reach with their spinning, bladed nunchaku. I really liked the Pink Dragon enemies, robed dancers who elegantly spin around, deflecting your shuriken, and take multiple hits to defeat before crumbling to their knees rather than exploding (a detail not mirrored by the Kasumi). These enemies eventually start mingling and you’ll encounter them all in Round 8: Scene 2, which can be especially aggravating as their projectiles and sprites take up screen space and box you in. It’s also worth remembering that the Gunner’s flames and the many bombs you encounter linger onscreen for a few seconds, so you must either take your time or execute a somersault to avoid damage. Hazards like jet flames, pits, molten steel, turrets, and lasers are also present, though you can use some of these to help upwards in some Scenes.

Some totally legal cameos pop up alongside the colourful and bizarre bosses.

Each Round ends with a battle against a “Power Villains”. The first, the Blue Lobster, is a large samurai who shields himself and has fantastic reach with his Masamune-like blade. However, by utilising the arena walls, you can avoid his attack and execute the somersault spread to whittle him down. Next, Shinobi encounters the super agile Shadow Dancer in a kaleidoscopic nightclub. This guy is essentially a supped-up Omote but he’s quite challenging as he can only be damaged when on the ground, fires a shuriken spread, and turns pitch-black near death to make him even harder to spot! Round 3 pits you against a heavily-armoured super computer, protected by ceiling lasers, that can only by damaged by targeting its exposed brain. At the end of Round 4, you battle the “Master Attacker” in the junkyard. This hulking brute tosses cars and debris, has a shoulder charge, and turns out to be a kamikaze robot, but you can again use the high ground and somersault attack (or Kariu) to damage him. Next, you’ll clamber over a massive, missile-carrying vehicle, attacking the red orbs when they pop up and avoiding shots, the blue spark that travels across the ground, and falling to your death. Round 6 sees you ambushed by Spider-Man and Batman (or a spider-like ninja and a menacing vampire) in a two-stage battle. Spidey crawls along the ceiling firing webs and descending on a web line (that also makes him invulnerable), while Batman swoops at you and is surrounded by bats (though these, like Spidey’s webs, can be destroyed). As if that wasn’t bonkers enough, either Godzilla or a fire-breathing Brontosaurus await in Round 7’s final Scene. Either way, you must again use the high ground to attack the beast’s head, watching for its atomic breath and large tail, and hopping from one side to the other to avoid damage. Finally, Shinobi battles “The Boss” for Naoko’s life. This squat, kabuki-like crime lord is mostly stationary but protected by a mane of impenetrable hair that he whips and flings at you. You must stay close, firing at his exposed belly, and utilise Ikazuchi (since all other magic seems ineffective) to outlast his attacks and finish the fight quickly, otherwise Naoko will be crushed!

Additional Features:
As mentioned, there are multiple difficulty settings in The Revenge of Shinobi. So, if you somehow find the game too easy on “Easy”, you can give yourself a harder challenge by limiting how many lives you have. There’s no real benefit to this other than bragging rights, though, as the ending you receive relies solely only how first you defeat The Boss and if you can keep Naoko from being killed. If the game proves too challenging, you can set the shuriken count to 0 in the game’s “Settings” menu and wait a few seconds for the number to change into an infinity symbol, granting you unlimited projectiles. Hidden extra lives can also be farmed in some Scenes, though there’s oddly no high score table to aim for (you must record your score in the manual like some kind of caveman!) If you’re lucky enough to still own the seventh-generation remaster, there are twelve Achievements/Trophies to obtain, with one being awarded for using all ninjutsu attacks, one for beating the game without a continue, and others for oddball tasks like deflecting ten attacks or falling down a waterfall. Other modern re-releases are oddly missing Achievement support but do come with save states and, often, rewind features, which make this challenging title far easier and much more enjoyable to playthrough.

The Summary:
Like many kids back in the day, I’m sure, The Revenge of Shinobi was an essential title in my Mega Drive library. This was probably the most challenging game I owned back then, yet I kept it and often revisited it time and again despite often running into a brick wall around Round 7. Years later, I picked up the remaster for the PlayStation 3 and finally finished the game for the first time, and I’m still a bit regretful that I ended up selling that console and losing that version of the game. Thanks to re-releases, The Revenge of Shinobi is more accessible than ever but there’s something magically nostalgic about revisiting it on original hardware. The game holds up pretty well, especially the soundtrack and some of the sprite work. It can be clunky at times (Joe Musashi is very slow and his jump, particularly his aggravating somersault, are difficult to master) and the environments lack a lot of the detail and variety you’d expect from later Mega Drive titles, but I appreciate that the developers tried to make each Scene stand out in their own way. I still get a thrill hearing that Round 1: Scene 1 beat kick in and laugh every time those blatantly ripped off enemies crop up, and I love how Musashi can hop behind chain-link fences and bolster his attacks with ninjutsu magic. The Power Villains are all large and suitably impressive, testing your jumping skill and forcing you to think about when and how best to use your ninjutsu, while the stage variety always keeps you on your toes. I may not enjoy the bridge, train, or many of the platforming mechanics and that damn door maze might’ve driven me mad, but I’m glad that the game tried to be a bit ambitious and mix things up. It’s a shame that the developers didn’t rejig the first-person-esque sequences for the first game or the hostage rescue mechanics into mini games or gimmicks for some Rounds, and that the screen area is unnecessarily restricted at times, but this is still a classic mega Drive title. It was undoubtably surpassed by its sequels, but there’s a special kind of magic to the Revenge of Shinobi that still gives me the feels to this day and I’m always glad to boot it up again, though I admit this blatant nostalgia is the reason it gets an extra fourth star as the awkward controls, slow pace, and difficulty curve do bog it down.

My Rating:

Rating: 4 out of 5.

Great Stuff

Was The Revenge of Shinobi a staple of your Mega Drive library back in the day? How do you think it compares to the first game, and its sequels? Which of Musashi’s ninjutsu attacks was your favourite and did you also struggle with his somersault attack? What did you think to the stage variety and the soundtrack? Which version of the game did you own and what did you think to the crazy bosses? Did you ever defeat The Boss and rescue Naoko? Which of the re-releases is your favourite and would you like to see a Shinobi collection released for modern consoles? Share your memories and opinions on The Revenge of Shinobi down in the comments, go support me on Ko-Fi, and check out my other Shinobi reviews.

Mini Game Corner: Shinobi (Arcade)

Released: 16 November 1987
Developer: SEGA AM1
Also Available For: Amiga, Amstrad CPC, Atari ST, Commodore 64, IBM PC, Master System, MSX, Nintendo Entertainment System (NES), Nintendo Wii, PC Engine, PlayStation 3, Xbox 360, Xbox One, Xbox Series S/X, ZX Spectrum

A Brief Background:
For quite a while, between the seventies and mid-nineties, ninjas were all the rage. Sneaky, costumed martial artists wielded katana and tossed shuriken and appeared in numerous cartoons, comic books, movies and videogames. Games were treated to everything from ninja turtles, rainbow-coloured warriors, and games so challenging that they defined a generation. Since ninjas were so prevalent in the gaming industry, it wasn’t that surprising that SEGA built an arcade game around a skilled ninja warrior. Although vastly surpassed by its Mega Drive sequel, the original Shinobi was a commercial success whose demanding gameplay proved extremely popular. When Shinobi came to the Master System, it received a noticeable downgrade in graphics yet some welcome quality of life features, such as a health bar and the elimination of one-hit deaths, which led to it being equally lauded. Shinobi kicked off a successful side franchise for SEGA, one sadly left to the wayside for many years, and saw numerous ports to other consoles, though many were since delisted.

The Review:
Joe Musashi’s debut as the shuriken-throwing Shinobi is a 2D, sidescrolling affair that’s essentially a ninja themed run-and gun. Players can either go it alone or play alongside a friend to fight their way through five stages (known as “Missions”), with three to four rounds per Mission (with the final round being a boss battle). While you’re playing against a three-minute time limit on the arcade version, I never experienced any time outs and you’re given plenty of time to play as each round is quite short. The Master System version lacks the timer but is noticeably harder, even though Musashi can take multiple hits before dying, since the controls are much clunkier and players have no continues. On the arcade version, your game lasts as long as you have pocket change, though there are no checkpoints mid-round. However, the game throws you a bone by not requiring you to rescue hostages each time you lose a life. Yes, Musashi’s goal is to rescue a handful of hostages in each area, with the captives generally guarded by street thugs, ninjas, Mongolian swordsmen, and bazooka-wielding goons. Rescuing hostages awards points, with players earning extra lives with enough points and landing their initials on the high score table at the end of the game, and upgrades Musashi’s attacks. Rescuing them is mandatory on the arcade version, with the exit only accessible once they’re rescued, but is optional on the Master System version, where they also refill your health. By default, Musashi tosses shuriken with one button, though he’s limited to tossing them in the direction he’s facing or while crouching rather than in any direction or off a somersault. When enemies get close, Musashi kicks or punches them (providing he doesn’t take a hit and die), but this is upgraded to a sword slash (and a nunchaku and a ball and chain on the Master System version). Shinobi’s shuriken are swapped out for a missile-firing pistol (very discreet!) and even grenades on the Master System.

Hop about, employ magic, and toss shuriken to rescue hostages and take down the baddies.

Shinobi’s big gimmick is Musashi’s ability to leap onto walls and into the background by holding up and pressing the jump button. These inputs also allow him to drop back down as well, and players must switch back and forth between the foreground and background to rescue hostages, take out or avoid enemies, and progress across stages. It can be clunky at times, and difficult to see where you’re supposed to jump, and some enemies are obnoxiously placed to sap your lives and pocket money. Musashi can duck or jump over crates to avoid incoming fire or progress further, and utilise “ninjitsu” magic at the press of a button. Unlike in later games, this magic is severely limited and changes depending on which Mission and version you’re playing. I saw Musashi duplicate himself and dart around the screen with flying kicks, summon a lightning storm, and conjure tornados, though I couldn’t figure out how to do the magic on the Master System version. After clearing a Mission, players are awarded point bonuses to add to their high score and must take on a first-person bonus round (accessibly by rescuing hostages on the Master System). Here, you frantically toss shuriken at ninjas as they hop from the background, with the round ending in failure if they reach you. While most of Shinobi is geared towards simple run-and-gun action, you’re often tasking with hopping to pillars, wading in water, clambering up and down pipes, or clearing gaps to progress. This can be a tricky prospect as Musashi is incredibly sluggish, has a large hit box, and jumps like he has lead in his shoes, meaning you’re far more likely to plummet down a pit than reach your intended destination. Unlike in later games, though, there are no additional hazards or gimmicks to worry about here, though the sheer number of enemies and projectiles means Shinobi is an incredibly challenging title regardless.

The game’s hit and miss in terms of visuals, but definitely at its strongest on the arcade.

Despite being a SEGA kid, and owning a Master System, I never played Shinobi growing up. I played The Cyber Shinobi (SEGA, 1991) and The Revenge of Shinobi (ibid, 1989), but never this one. Consequently, I can’t help but be disappointed with how the game looks. Sure, there are some fun voice samples and grunts, the distinctly Oriental music was certainly fitting, and the title screen showcasing Musashi’s animated head was somewhat impressive, but the game is very basic compared to its sequels. On the arcade, Musashi and his enemies are large, colourful sprites with limited animations and annoyingly big hit boxes. Musashi is garbed in black and has his face exposed here, and lacks some of his later abilities, but still strikes a dramatic pose when using magic, which fills the screen with fun, varied effects. Each Mission begins with a briefing document showing the boss and your place on a crude map, and the locations are somewhat varied. You’ll battle on the city streets, against a background of Marylin Monroe posters and simplistic skyscrapers, across the docks and inside a large ship, hop across a rocky mountainside, most likely get a headache from the dense and mangled bamboo forest, and finally battle inside a pagoda full of ninjas. I did like the water effects when you’re outside the docks, with enemies casting a shadow so you can anticipate their appearance, and the large structures at the end of most stages, such as caves and Oriental buildings. Bosses are fought in enclosed arenas that are given some visual flair, taking place on a balcony looking out on treetops or against a dragon mural, and the large sprite art and sprite manipulation in the bonus stages was certainly impressive. While your only reward for beating the game is some text regarding the ending and your place on the high score table, that’s more than Master System players get, as the game abruptly ends on home consoles! The Master System version is also far uglier, with loads of sprite flickering, clunkier controls, and a truly awful visual downgrade from the arcade that’s only echoed in other inferior ports.

While some bosses are fun, others are ridiculously cheap thanks to the one-hit-kill mechanic.

Musashi is attacked by knife- and gun-wielding street punks, bazooka-firing troopers, and a slew of colourful ninjas. Some resemble Peter Parker/Spider-Man and pop from water, fly from the thick bamboo forest, or appear in a puff of smoke to flip about with katana. Kabuki-masked enemies toss bones, Mongolian warriors swing or throw their blades, weird little hunchbacks leap about, and bo-swinging monks hop between the foreground and background. Most are defeated in one hit, but their projectiles fire high and low, enemies are often perched right where you need to jump, and some deflect your shuriken. Ken-Oh, a hulking ninja garbed in black armour, is the first boss you face. He launches fires fireballs that can be extremely difficult to avoid as they fill the screen and easily sap your lives as you frantically try to jump and toss your shuriken at his helmet. The Black Turtle attack helicopter was much easier, despite its gatling gun and the ninjas it spawns. You can deal a lot of damage with your ninjutsu magic, and the helicopter even displays battle damage and goes down in an impressive explosion. The Mandara was a crippling step up in difficulty, however, being a two-stage boss battle that features an insta-kill wall of electricity and starts with an advancing troop of boddhisatvas that must be destroyed before they reach you. You must then avoid the Mandara Master’s bouncing projectiles and hit the jewel on its forehead to win. The Lobster, a massive, armoured samurai, was the easiest boss, providing you get your timing down. All this guy does is slowly advance and swing his sword, but he’ll stun-lock you if you’re not careful. To defeat him, you must time your jumps to hit his head, forcing him back and easily besting him if you’re quick enough. Finally, Musashi faces Nakahara, the “Masked Ninja”, in a four-phase challenge. First, the Masked Ninja jumps at you, leaping off the walls, and you must time your shots to land when his shield is briefly gone. Then, he turns into a tornado and flings blades at you, before hopping about while shadowed by duplicates, and finally rushing in to land melee attacks, all of which can be tough to avoid and it’s even hard to know if you’re done damage!

The Summary:
Despite my love and nostalgia for The Revenge of Shinobi, and my appreciation for the Master System, I’ve never been that enthused by the original Shinobi. I could tell just from screenshots and a bit of gameplay that it was a clunky and demanding experience, and my opinion has only been cemented after this playthrough. I played through both the arcade and the Master System version and, while there are subtle differences and some tweaks for the home console version, both were unforgiving at times and a chore to get through. Joe Musashi is ridiculously difficult to control, awkwardly leaping to and from the background and being far too big a target for this mission. Enemies are relentless, constantly spawning and tossing projectiles and causing cheap deaths thanks to the outrageous one-hit-kill system. This is mitigated on the Master System, but the game’s still an uphill battle thanks to the awful visuals and problematic controls. Musashi isn’t as spry as I’d like and drops like a stone when trying to clear gaps, and isn’t acrobatic enough to avoid the simplistic bosses’ attacks. His ninjutsu magic, while impressive, is incredibly limited and almost useless against bosses, and you’re barely given a chance to learn enemy patterns or level layouts before you’re pumping in more coins and replaying the same sections over and over. I liked the variety and aesthetic of the game, and the first-person bonus rounds, and that you have to rescue hostages, though these were better implemented in the home console ports. It’s amazing to me that Shinobi was as popular as it was at the time as I find it very difficult to believe anyone got very far in this unforgiving piece of jank, which punishes you at almost every turn, even when playing on the Master System (where some cheat codes ease the pain). I’m honestly glad I started with its superior 16-bit sequel, which outclasses this offering in every way.

My Rating:

Rating: 2 out of 5.

Could Be Better

Did you ever play Shinobi in the arcade, or own it on home console? Were you impressed with the game and its unique jumping mechanic? Did you also struggle with the one-hit kills and Musashi’s large hit box? Which of the bosses was the most troublesome for you and did you ever clear all the bonus rounds? Did you prefer the changes made for the home console release? Would you like to see a new Shinobi collection? Whatever your memories and experiences of Shinobi, share them in the comments, support me on Ko-Fi, and check out my other Shinobi reviews.

Game Corner: Ninja Gaiden (Nintendo Switch)

Released: 12 December 2018
Originally Released: 9 December 1988
Developer: Tecmo
Also Available For: Mobile, Nintendo 3DS (Virtual Console), Nintendo Entertainment System (NES), Nintendo Wii (Virtual Console), Nintendo Wii U (Virtual Console), PC Engine, Super Nintendo Entertainment System (SNES; remake), Xbox (Unlocked in Ninja Gaiden (Team Ninja, 2004))

The Background:
Whether they were silent assassins working for the US government, mutated turtles, or rainbow-coloured warriors fighting for and against our world, ninjas were a staple of the 1980s, especially in videogames. While often depicted as agile foes, ninjas also made up some of gaming’s most memorable characters and, in 1988, a very particular ninja effectively defined the difficulty of 8-bit games for a generation of players. Developed alongside a beat-‘em-up arcade title of the same name, Ninja Giaden was specifically created to capitalise on the ninja craze of the eighties and marked developer Masato Kato’s first full-time project as a video game designer. Inspired by some of Nintendo’s most popular titles, director Hideo Yoshizawa sought to create both an iconic protagonist and truly challenge players to give them their money’s worth. The game stood out by emphasising story as much as action through impressive, anime-style cutscenes and was re-titled for its North American release. Ninja Gaiden’s difficulty was a major talking point upon release and this reputation grew into legend over the years, with many reviews and online personalities ranking it as one of the most challenging retrogames of all time. Regardless (or, perhaps, because of this), Ninja Gaiden is also noted as one of the best of its era, despite some drawbacks in its design, and it even inspired some well-regarded sequels back in the day, to say nothing of challenging a new generation of gamers through 3D reboots decades later.

The Plot:
When ninja Ryu Hayabusa’s father is seemingly killed in a duel by an unknown assailant, he sets out on a quest for revenge that soon pits him against a demonic entity known as Jaquio.

Gameplay and Power-Ups:
Ninja Gaiden, one of the most notorious and quintessential titles for the classic NES, is a 2D, sidescrolling action adventure in which players assume the role of Ryu Hayabusa, a black clad, katana-wielding ninja who battles his way through six levels (referred to as “Acts”), each with as many as four different screens (or “Areas”), to avenge the supposed death of his father. There are no difficulty options here; instead, you must endure one of the games that defined the term “NES Hard” with only unlimited continues and your own perseverance. Well, that’s not quite true. Ryu Hayabusa is extremely fast, agile, and capable, quickly slashing and defeating most enemies with one hit with a press of B or X and nimbly hopping across gaps, to platforms, and to ladders with A. Each enemy you defeat awards points (though there’s no high score table and these don’t seem to grant you extra lives) or a special jar to restore some health. These are must-have items as you’ll be bombarded by respawning enemies (seriously, they often spawn the second you kill one!) and destructible projectiles. You must also be mindful of the timer, which pushes you to keep moving and risk plummeting your death across the game’s many chasms. Oh, and be wary of the extreme knockback Ryu suffers when hit, which often sends him careening to his death. If you lose all your lives and have to continue, you must start from the first Area of the last Act you played, though the game throws you a bone in Act IV by not forcing you to battle past the penultimate boss more than once.

Slash, wall jump, and toss projectiles at an endless swarm of enemies in this tough platformer!

While Ryu is quick and agile, he can be cumbersome in mid-air and is prone to falling through platforms that are otherwise solid, so you must time your jumps properly, which is easier said than done with the sheer amount of chaos on screen! Ninja Gaiden’s big gimmick is Ryu’s wall-spring jump ability, which allows players to hop between walls and vertical sections by tapping A. This is super fun and utilised perfectly, with Ryu clinging to the wall until you press A and easily hopping to higher ground. However, Ryu’s strangely unable to climb over edges, forcing you to jump to a nearby platform and then jump back to progress, and also cannot drop down a pit even if he climbed up it. These sections never outlive their welcome, however, and, if anything, I would’ve liked to see more of them as opposed to the tricky jumps across bottomless pits! Ryu can also utilise special items, usually by pressing up and B, though these are tied to a “Spiritual Strength” ammo count and are usually best saved for bosses or more hectic sections. Ryu can toss shuriken for a ranged attack and utilise boomerang shuriken, blast a fire wheel in a spread attack, and turn his jump into a bladed somersault with the “jump and slash technique”, which instantly kills all bosses! Each of these costs a different amount of Spiritual Strength, so you must smash lanterns and defeat birds to increase your ammo. I’d also recommend holding down and B when you have the jump-slash since it must be saved for the final boss and costs the most Spiritual Power to use. Players may also find the odd extra life, protect themselves with a rare flaming shield, and even freeze all onscreen enemies with a sand timer, though it’s best to time this just right as you don’t want to take damage from the frozen enemies! Any power-ups are lost between Acts, forcing you to get yourself up to strength for each boss, though every projectile can be destroyed if you time your attack just right and many enemies can be tricked into falling to their deaths or despawning if you can manipulate the screen correctly.

Ninja Gaiden does not let up for an instant and constantly screws you over at every turn.

Ninja Gaiden fully deserves its reputation. I played on the Nintendo Switch, so I had the advantage of save states and rewinds, and even then I could see how challenging this game would be back in the day. Things start off quite tame, to be fair, and you’re introduced to Ryu’s wall-spring jump and the platforming challenges in a way that eases you into the gameplay loop. However, it’s not long before birds are swooping in, ninjas are leaping from offscreen, and enemies and projectiles are filling the screen, screwing up your jumps, knocking you down pits, or whittling down your health bar as you hop and climb about. There isn’t much to the game, technically speaking, with no environmental hazards to worry about save for some dragon-themed turrets and the many pits that fill the stages. there is no lava, for example, no toxic funk, and Act III doesn’t include slippery platforms or icicles. Platforms don’t even move or crumble beneath your feet; they’re just spaced further apart, get gradually smaller or have enemies perched on them, and the game tasks you to clamber up ladders or hop up vertical shafts to progress. Some Areas do have you moving from the right side of the screen to the left, to be fair; each Act has different destructible gimmicks to drop items and power-ups; and you occasionally climb long-ass ladders, avoiding birds as you go. There are no bonus stages to break up the action, however, though the game places a surprising emphasis on story, more so than most games of its era. Ninja Gaiden’s difficulty is in its platforming challenges and the sheer influx of enemies, who constantly fly at you and spawn in no matter how many times you defeat them. They linger right where you need to drop, guard small platforms over pits, and rain down in large numbers, mocking your attacks as you struggle to be quick enough to clear some breathing space. There’s always something else up ahead and you’re constantly being tested, with the game requiring split second decisions and punishing you severely if you hesitate or don’t take risks. The special items certainly help in these situations, but it’s a calculated risk as you don’t want to be left on empty when the boss appears!

Presentation:
I was honestly blown away by Ninja Gaiden. While the game’s a little too zoomed out at times, making the sprites a bit too small and reducing their detail, this greatly benefits the gameplay as you can always see the entire screen and get a better idea of what’s coming at you. Every sprite and projectile stands out against the different, colourful backgrounds and I never lost track of Ryu, even when the game noticeably struggled to keep up with the action. Sprite flickering and screen tearing is common in the later stages of Ninja Gaiden, where the enemy numbers increase, you’re more likely to be tossing projectiles, and the bosses get bigger and more ambitious. Still, I can forgive this as it’s a product of its era and adds to the charm and my progress was never impeded by these issues, just the damn knockback, Ryu’s stiff mid-air movement, and the cacophony of hazards onscreen! While enemies are somewhat basic and Ryu doesn’t have an idle animation, he exudes a lot of personality in his swift movements and fun wall jump and is fleshed out beyond most other 8-bit protagonists thanks to the many anime-style cutscenes that relate the game’s story. These were incredibly impressive, boasting large, partially animated sprite art and a lot of dialogue, even if there were some translation errors. Ryu’s battle sees him accosted by the Central Intelligence Agency (CIA), fall for the beautiful and mysterious Irene Law, learn of an ancient curse on some statues, and get mixed up with demonic forces! Cutscenes occasionally interrupt the gameplay, providing a dramatic view of the ominous Temple of Darkness and seeing Ryu challenged by Bloody Malth, to say nothing of detailing Ryu’s quest for revenge and some unexpected revelations regarding his father! This is all set up from the opening cutscene, which includes some parallax scrolling and sets the standard of the anime aesthetic for the game, though I admit that I wasn’t blown away by the game’s soundtrack, which was fitting for the action but not exactly memorable.

The game’s anime-style cutscenes and impressive visuals were a surprising highlight.

Players battle across some varied, if uninspired, environments throughout Ninja Gaiden, including the city streets (with alleyways, buildings in the foreground, basic skyscrapers in the background, and neon signs to jump to), battle the first boss in a seedy bar, and hop to girders against the rocky walls of a spawling factory. This leads to an outside location where you must hop to stone platforms and pillars against a mountain range, a flowing river with wooden platforms dotted across its surface, and the aforementioned snowy mountaintop where Ryu must climb vines as makeshift ladders. Act IV sees Ryu parachut into an Amazon rainforest, where the background is a mess of tangled greenery and the swamp-like water spells instant death if you slip from the log platforms. This ends with you scaling another mountain and magically infiltrating the Temple of Darkness, a suitably gothic castle full of tracks, mine carts, and featuring a long stone bridge, with dark brick work contrasting the orange foreground. When you venture into the Temple of Darkness, you’re faced with an excruciating grey backdrop, one dotted with demonic statues and imagery, that’s rivalled by Act V’s purple brick background and stone-grey platforms. Thankfully, this eventually gives way to a looming mountainside, and you’re tasked with hopping across some of the game’s trickiest jumps and heading up the mountain, which stretches high into the sky and ends with a castle rooftop set against a cloudy night sky. What really impressed me about this final Area was that it returns as the first Area of Act VI, with you now going to the left for Ryu’s toughest challenge yet! As you venture deeper into the gothic structure, you’re faced with columns, tall walls, and demonic imagery. With more surfaces to cling to, you may find your jumps or progress impeded as Ryu accidentally clings to walls you weren’t aiming for, which is just another headache to contend with as enemies fill the screen and tax the 8-bit hardware to its limit.

Enemies and Bosses:
There are a handful of enemies that stand between Ryu Hayabusa and his vengeance, with most of them being recycled again and again and only becoming more troublesome due to their sheer number and annoying placement. At first, you’re slaughtering street punks who rush you with baseball bats, toss knives, or fist-fight you while wearing boxing gloves. Dogs scramble across the floor at high speed, bats and various birds fill the airspace and screw up your jumps, and even tigers take a shot at you once you land in the rainforest! You’ll come across soldiers who charge at you, fire bursts from machine guns, and wield bazookas, sword-wielding baddies, martial artists who fly at you with a propeller kick, and even brutes swinging maces! Green-clad ninjas rain from the sky and slice at you with katana, Halloween-themed killers toss machetes and axes in sporadic arcs that seem to always hit you thanks to the game’s janky hit boxes, and dragon-themed cannons spit fireballs. Ninjas fly overhead on jetpacks, tossing a spread of shuriken that are all-but-impossible to avoid, gaunt corpses slink about, and Grim Reaper-like banshees chuck wooden swords (or possibly crosses). By far the worst of the regular enemies, in my opinion, are the scythe-tossing minions whose blades fly like boomerangs and are incredibly difficult to avoid or destroy, especially when other enemies leap from offscreen or they respawn half a second after being destroyed! As you play, you’ll inevitably spot the “Enemy” health bar in the heads-up display. This is reserved for encounters with the game’s bosses, the “Malice Four”, and shows you’re doing damage to your tougher foes even if your health is dropping dangerously low.

While some bosses are easily exploited, you’ll need specific special weapons for the final challenges.

The first of the four is the hulking Barbarian, who slowly stalks you in a dive bar and swings a cutlass-like sword up close. You must use your speed and wall-spring jump to outmanoeuvre him, which is easier said than done due to his hit box. The masked Bomberhead awaits in Act II and carries a chain blade that he twirls around and flings your way. This can be tricky to avoid as its direction is seemingly random, but your projectiles serve you well here and you can toss everything since you lose it all anyway. Act III’s Basaquer is much more daunting since he’s far more mobile and harder to hit. He somersaults overhead and kicks up a slew of destructible stones upon impact, but the flame wheel makes short work of him. Act IV forces you to battle two foes at once, each with their own health bar, in an enclosed space, with sprites flickering and the hardware limping along. The large, dog-like Kelbeross hop around and ruin your health bar, but you can position yourself under the pillars to stay safe and whittle them away at your leisure. Bloody Malth certainly cuts an intimidating figure with his ceremonial armour and lightning, but his shield is purely for show so just toss your projectiles until he’s done and don’t fall off the roof! The difficulty really spikes at the end of Act VI, where you face three bosses back-to-back, starting with Ryu’s brainwashed father, attacking an orb rather than his sprite to undo his brainwashing. Then, the demonic wraith Guardia de Mieux/Jaquio attacks, floating above and spitting two fireballs that are virtually impossible to avoid! Honestly, without the insta-kill jump-slash, I have no idea how you’re supposed to beat this guy so be sure to have that item when you reach him or you’ll have to play through Act VI again! Finally, a Xenomorph-like demon represents your final challenge. This is a far easier battle, however, as all you must do is avoid or destroy the fireballs he rains down and attack his dome-like head and spiked tail to reveal his glowing heart, which must be destroyed to gain victory.

Additional Features:
There’s nothing else on offer in Ninja Gaiden, unfortunately. Not even a high score table or additional difficulty modes, which is very rare for a game of this era. There are no cheat codes for the NES version, either, so the only additional features of note are the save state and rewind features offered by the Nintendo Switch. These are a godsend for this game and dramatically reduce the difficulty, replacing it with frustration as you constantly rewind back to undo mistakes, though it’ll be no help at all if you reach Jaquio with anything but the jump-slash!

The Summary:
I’d heard all about Ninja Gaiden and was well aware of its reputation as one of the hardest games of the 8-bit era of gaming. It was a daunting prospect, one I doubt I would’ve tackled without the Nintendo Switch’s modern-day features, but I’m glad that I did. The game is very visually impressive, making the most of the NES hardware and being particularly ambitious with its anime-style cutscenes and story-based narrative. While his sprite is very basic, Ryu Hayabusa exudes a lot of personality and has a remarkable range of movement. There are a lot of special attacks on offer to help keep the game interesting and fun, though it’s incredibly satisfying to slash enemies into an explosion of fireworks with your katana. The wall-spring mechanic was inspired, adding an extra layer of verticality and fun to the otherwise simplistic platforming, with my only note being that I would’ve liked to see more of it! The enemies wore out their welcome very quickly, unfortunately, both visually and with the slew of enemies and projectiles reaching obnoxious levels simply to frustrate players and encourage further rentals. I much preferred the big, more fearsome bosses, though even they are handicapped by a lack of attacks and animation frames. While environments aren’t anything too innovative, I liked how the game emphasised high walls and pillars at times, even if many were purely there to mess up your jumps. The challenge offered by the platforming is truly taxing and I’m sure it tested many NES kids back in the day. The rewind and save states help with this, but you still need a lot of skill, luck, and trial and error to deal with everything happening on the screen. I had a lot of fun with Ninja Gaiden, even in its more frustrating moments, and I was impressed by a lot of it, even when the hardware struggles at times. However, I would’ve liked to see a bit more from the game, be it a bonus round, difficulty options, or more emphasis on the jumping and climbing.

My Rating:

Rating: 3 out of 5.

Pretty Good

Was Ninja Gaiden a beloved addition to your NES library? How did you fare with the game’s challenge and did you ever beat it on original hardware? What did you think to Ryu’s wall-spring jump and special attacks? Did you struggle in the penultimate battle against Jaquio? Which game in the franchise is your favourite and would you like to see the original series re-released on modern consoles? Let me know your memories and thoughts on Ninja Gaiden in the comments, support me on Ko-Fi, and check out my other retrogame reviews on the site.

Game Corner: Sparkster: Rocket Knight Adventures 2 (Nintendo Switch)

Released: 11 June 2024
Originally Released: 23 September 1994
Developer: Konami
Also Available For: Mega Drive, PC, PlayStation 4, PlayStation 5

The Background:
The success of Sonic the Hedgehog (Sonic Team, 1991) saw anthropomorphic mascot platformers become a popular trope throughout the nineties, with a superpowered earthworm, an intergalactic adventurer, and a gun-toting jackrabbit making a rocket pack-wearing possum seem normal! The brainchild of Nobuya Nakazato, the man behind many Contra titles (Konami, 1987 to present), Rocket Knight Adventures (Konami, 1993) was one of the most popular and celebrated Mega Drive titles. Despite a port for the Super Nintendo being allegedly cancelled, Rocket Knight Adventures was followed by two sequels the very next year: one exclusive to the Super Nintendo and the other this notoriously expensive Mega Drive-exclusive title. Although not as well-regarded as its predecessor and seen as inferior to its Super Nintendo counterpart, Sparkster: Rocket Knight Adventures 2 was praised for its colourful gameplay and tweaked rocket pack mechanics. Sparkster: Rocket Knight Adventures 2 inspired a six-part story in Sonic the Comic (1993 to 2002) but the franchise was dead in the water until Climax Studios attempted a revival in 2010, to mixed reviews. However, the game, the other 16-bit Rocket Knight titles, finally received a modern re-release with this Re-Sparked! collection, a widely praised release that came with some fun bonus materials and quality of life features.

The Plot:
When King Gedol’s lizard forces invade the kingdom of Zephyrus and rogue Rocket Knight Axel Gear kidnaps Princess Cherry, Sparkster searches for seven magical swords to oppose the Gedol Empire and best his rival.

Gameplay and Power-Ups:
Just like the other 16-bit Rocket Knight games, Sparkster: Rocket Knight Adventures 2 is a 2D, sidescrolling action platformer. However, unlike the original game and its similarly titled Super Nintendo cousin, there are no run-and-gun elements to Rocket Knight Adventures 2 as Sparkster’s sword has been robbed of its sword beam. This significantly impacts the primary gameplay as you now rely on Sparkster’s bog-standard sword swings, which can fall a little short at times. You attack with Y and jump with B, executing a jump sword swing and clinging to poles using Sparkster’s paws and tail when you jump to them. Unlike in the other games, Sparkster’s rocket pack charges automatically and has different levels of effectiveness depending on how full the meter is. As long as the meter’s at least partially full, you can press A to rocket dash in the direction you’re facing, diagonally to take out turrets, and upwards to get higher. If you press A without a direction, Sparkster spins on the spot to attack enemies and, when the rocket pack is fully charged, Sparkster spirals in a “Screw Attack” (no relation), travels further, and bashes through destructible blocks and walls. While waiting for the meter to charge does take a lot of agency away from the player, it charges pretty quickly and you have far more control over Sparkster off a upwards boost, which greatly aids with reaching platforms. Sparkster can still ricochet off walls to get higher, though this is still underutilised, in my opinion, with Rocket Knight Adventures 2 focusing more on traditional platforming. Players still collect gems for points, though this time there are two types: regular blue ones and red ones that kick-start a slot machine for additional gems, health (now apples and chunks of meat), extra lives, or a rocket pack that instantly sends you flying in a Screw Attack. Naturally, these can all be found in the game’s stages, too, and you receive a score tally after clearing each stage for bonus points.

Sparkster’s sword is nerfed but his rocket pack and mech game are stronger than ever!

Sparkster can also grab the new power-up icon that gifts him a flaming sword to increase your attack power, though you’ll lose this when hit or advance to the next stage and I can’t say I noticed a significant difference, especially as many enemies die in one hit. Rocket Knight Adventures 2 has seven stages and four difficulty settings, with players only seeing the true ending by beating the game’s harder difficulties. Sadly, the shoot-‘em-up stages from the other two games are gone, replaced by three sections where you control Sparkster’s giant mech, the SparkRobo. Two of these are Rock ’Em Sock ’Em Robot battles with Axel Gear that are similar to that one boss from the first game, and the other is a sidescrolling autorunner where you blast enemies from the sky using the SparkRobo’s rocket punch (Y, which can also be charged) and jump over bombs tossed by enemies on the ground (also with Y). Sparkster doesn’t ride any minecarts or miniature mechs here and only has to deal with one autoscrolling section, where players dispatch enemies, destroy or jump to crates, and hop between train carriages to avoid a nasty spill. Spikes, flame plumes and lava, and insta-death traps are still present, however, with quicksand swallowing you, moving platforms ridden past spikes, and even a sand twister tossing you about atop a pyramid in Stage 2. This stage has a higher and lower path, which you may wish to switch between for different rewards and dangers, while Stage 5 features many switches to open doors, doors guarded by projectile-firing gargoyles, and conveyer belts. Stage 2’s pyramid gimmick differs from the Super Nintendo version, featuring a race from rolling balls and false doors that loop you back to the outside until you find the correct path. You’ll also cross lava on moving platforms and by clinging to overhead pipes, which gain destructible spiked hazards and even Gedol henchmen by Stage 5. Stage 3 sees Paeli, leader of Gedol’s lizard ninjas, bombard Sparkster and the blocks of the stage from his airship. This destroys the ground and forces you to take high-speed tubes up to the top of the ship to destroy barriers and drop the ship from the sky.

Presentation:
Sparkster: Rocket Knight Adventures 2 is a bit of a mixed bag, visually, something immediately evident from the lacklustre title screen (simply the game title against a moving sky background). This does pan down into the opening cinematic and mech battle against Axel Gear, however, a fight you can skip if you wish, which causes you to miss a collectible and displays an absolutely garish secondary title screen. Unlike in the Super Nintendo game, stage intros are back but they’re far less visually interesting than in the first game, and every sprite has been redesigned to give it a more anime flair. Although I miss the cute, squat Sparkster of Rocket Knight Adventures, he looks pretty good here and is far more animated. He bops about as if itching to get going, his rocket pack is almost constantly aflame, and he stands heroically when left idle. Sparkster also squeals when hit, reacts when piloting the SparkRobo, has more animation frames, and displays more personality than on the Super Nintendo thanks to Rocket Knight Adventures 2 including more pantomime-like, sprite-based cutscenes. These are similar to those of the first game, seeing Sparkster leap into action when Axel Gear kidnaps Princess Cherry and advance between stages, with elements from previous stages (such as Stage 1’s train) appearing in others. Unfortunately, like the Super Nintendo title, Rocket Knight Adventures 2 cannot live up to or surpass the original’s soundtrack. Things are jaunty enough, for sure, but nothing stuck in my head like the main from the first game. Interestingly, Rocket Knight Adventures 2 does replicate the slowdown from the first game, with the frame rate noticeably dipping when Gedol’s forces drive vehicles or too many sprites and explosion effects appear at once.

The visual overhaul is great for Sparkster but not so much for the enemies and environments.

Perhaps most unforgivably, Rocket Knight Adventures 2 appears far blander than the first game and its Super Nintendo counterpart. Stage 1’s forest section is disappointingly subpar compared to the first game, with the ground being a far more basic block of sprites and the background having little to distract you, even when the overgrown ruins creep into play. The train section adds some spice and variety, for sure, but it paled in comparison to the Super Nintendo title. Similarly, while both games include a desert, they’re rendered very differently. Stage 2 has a neat shifting sand and heat shimmer effect in the background, but its pyramid is blockier and more akin to ruins, making it far less visually engaging than SEGA’s competition. Stage 3 took place atop the pyramid’s ruins and in an airship, which was, again, a far cry from the steampunk-style battle craft from the first game, even with its fake doppelgängers of Princess Cherry and larger, blade-like propellers. Stage 4 was like a poor imitation of a similar city stage from Rocket Knight Adventures; sure, the SparkRobo looks cool (if a tad goofy), but the city lacks the detail and appeal of the first game. Things pick up in Stage 5, which takes place outside and inside King Gedol’s heavily fortified castle-cum-weapons factory. The background is a bit busy at times, but I liked all the moving parts, alternate routes, and the danger brought on by the turrets. While the mech battles against Axel Gear are in bland, dark caverns, you battle him in a traditional swordfight against a grandiose background and confront King Gedol in his opulent throne room. If you find all seven “Keys to the Seal” swords, you’re also treated to a great sprite-based cutscene of Sparkster becoming “Gold Sparkster”, a form he retains for the end credits and loses when he returns the combined magical sword in the game’s ending.

Enemies and Bosses:
Instead of fighting pigs or wolves, Sparkster tackles the lizard forces of the Gedol Empire, whose infantry leaves a lot to be desired. Sure, armoured lizard-men spontaneously appear from boulders or even gems, but it takes a long time before they attack with swords. In Stage 1, for example, they might get the drop on you, but they just charge at you while unarmed; they don’t even lose their armour when defeated, making them far less satisfying to kill. By Stage 5, they’re hiding in large, snake-themed turrets and you’ll battle more formidable forces, such as gun-toting lizards (who oddly explode when defeated) and sword-wielding snakes whose body parts can hit you. Gedol’s forces drive steampunk-style vehicles in Stage 1, flailing their buzzsaw-like arms and forcing you to strike and rocket to safety, and pilot chicken-like mech walkers and float on balloons in Stage 4. Their forces are bolstered by some robotic enemies, such as annoying spiked balls that home in on you in Stage 3 and the returning robotic owls who can screw up your jumps. Interestingly, not only are bosses far weaker when playing on the easier difficulties, but you’ll miss some additional screens and mini bosses if you play on “Easy”. Stage 1 sees you battle a disturbing living plant that can only be damaged by rocketing into its face, which it protects with its extendable arms. You’ll also get an assist from some possum helpers when facing an ugly-ass lizard, with the two of you bouncing about an enclosed arena and the boss tossing bombs or rolling into you. A sentient plume of lava awaits in Stage 2, one that spews a flamethrower and controls the lava and forces you to the rail above to rocket into is face. Finally, there’s a large, robotic lizard face that hounds you throughout Stage 5, dropping spiked enemies, summoning lightning walls and lizard minions, and screwing up your traction with a conveyor belt.

Large bosses can cause a headache with their wide-reaching attacks and limiting your attack window.

The first true boss is a variation of the Raccoon Robot enemy from the first game, this time integrated into a train. You must rocket away from its wide-reaching ball arm and avoid its projectiles, quickly striking the weak spot on the front of the train and dashing to safety as the arm flails wildly, which is quite taxing as the arm covers almost the entire screen and the projectiles can catch you off guard. Stage 2 ends with a gigantic, armoured snake whose only weak spot is its torso. You must dodge its claw arm, which it’ll fire out to reel you in and vigorously shake you, then chase it to the background. While hiding back there, it bursts its long, extendable tail, bursting from the ground and swishes it about, though you’ll also have to watch when it leaps across the tomb. King Gedol’s second-in-command, Paeli, is fought on the roof of his airship and seems to be a sorcerer or genie or something. He fires a flaming shot that both hurts and shrinks you, transforms into a genie-like form, then bursts into harmless miniatures that rain down as bombs and apples. One of these miniatures sparkles, so that’s your target; hit him and Paeli runs around in a panic like Captain Fleagle for you to deal real damage to him. Near the end of Stage 5, tall, spindly robots stomp about, spinning their long, stick-like arms, tossing bombs, and firing lasers. They’re easy enough to take down, even with the rails, conveyers, and enemies nearby, but you’ll then fall into a small arena and battle two of them. One fires pellets, lasers, and spins its arms but, upon defeat, is replaced by its green brethren, who leaps to the ceiling dropping bombs and drops to the floor to be finished off.

Match your skills against Axel Gear then power-up to Gold Sparkster to depose King Gedol.

As in the other Rocket Knight titles, your most persistent foe is the rival Rocket Knight Axel Gear, who you fight in a mech battle at the start. Though this is optional, you’ll miss a Key to the Seal sword and learning the SparkRobo’s controls for later on. You must avoid Axel’s punches and hold A to block when he throws a shot or a projectile. Though you don’t get a projectile attack, you can throw uppercuts with B or Y or hold one of these to charge a straight punch. While this battle is much easier than the top-down mech fight from the Super Nintendo game, it’s no less tedious. Axel constantly guards and backs away and there’s a noticeable delay between button presses that can catch you out. While you don’t necessarily have to win this first mech fight, you will have to in Stage 4. However, to get to this rematch you must race through the streets and avoid Axel’s missiles, hitting them back at him to cause him to flee to his mech. Best his mech (with patience and persistence) and you battle Axel in a sword fight. Axel summons lightning walls that you can ricochet off otherwise they’ll hurt you and Axel again sports the same attacks as you, rocketing about, spinning as a flaming dervish, and swinging his sword. He does tend to hover about doing nothing, leaving himself open, and drops the final Key to the Seal upon defeat. With all seven, Gold Sparkster gets a permanent rocket charge and is much faster, which is very useful in the final fight with King Gedol. This is a two-stage affair, with the lizard king blinding you with a flash and charging lightning bolts from above or spawning a meteor shower. You can only attack him during this charge animation and, after enough hits, he transforms into a gigantic form that takes up the entire background! In this phase, King Gedol fires eye lasers that travel across the floor, walls, and ceilings, ricochet about, or randomly fire in all directions. You must dodge these and rocket into the gemstone that appears on his forehead to finally put him down for good.

Additional Features:
Sparkster: Rocket Knight Adventures 2 has four difficulty settings that fundamentally change the nature of the game, altering the length and challenge of the stages and changing the ending depending on how hard a challenge you set for yourself. You can further adjust the game’s difficulty from the main “Options” menu, changing how many lives and continues you play with. The game also includes a password feature, allowing you to skip to later stages and easily acquire all seven Keys to the Seal. These magical blades are hidden in each stage, sometimes in plain sight and sometimes requiring a bit of exploration to find. You’ll need all seven to play as Gold Sparkster and get the best ending, encouraging a replay or two (though be sure to take out Axel’s mech at the start for the first sword!) This Re-Sparked version also comes with the American and Japanese versions of the game, boasts an awesome anime opening, allows you to apply filters and borders, and negates even the hardest difficulty with a rewind and save state feature. The collection also comes with a boss rush, advertisements and concept art, the box art and manual, and the entire soundtrack for all three games. Those playing the PlayStation 4/5 version can also earn nine Trophies, one for clearing the first five stages, one for beating the game on any difficulty, one for unlocking Gold Sparkster, one for achieving the true ending, and one for beating the boss rush.

The Summary:
I’ve played Sparkster: Rocket Knight Adventures 2 before thanks to the magic of emulation, but never got past the first stage because, as a big fan of the original and an avid Mega Drive collector, I always wanted to own a physical copy of the game. It took a while, but the Re-Sparked collection finally made that a reality, only to present me with a game that’s visually inferior to its predecessor and Super Nintendo cousin in many ways. While Sparkster looks great and there are some interesting effects in some stages, the environments just seem far blander and far less engaging compared to the other 16-bit titles. Honestly, the game made a bad impression from the start and never really recovered; the rocket gameplay is much improved, but the main enemies lack animation frames and personality. The locations lack the steampunk trappings of the other titles and are far more generic which, coupled with the bizarre downplaying of the rocket pack and ricochet gimmick and removing Sparkster’s sword beam, means Rocket Knight Adventures 2 is just another colourful platformer. It’s fun enough, for sure, and some stages have interesting gimmicks, such as zipping through the airship and piloting the SparkRobo, but where are the flying sections? Where’s the quirky humour? Where’s the memorable music? The bosses were decent enough and I liked that you face more of them on harder difficulties. The one-on-one with Axel Gear is probably the best version of that fight, it’s just a shame you have to sit through another tedious mech battle to get to it. Rocket Knight Adventures 2 is also far too linear at times and felt the easiest of the three 16-bit titles, with King Gedol being the simplest of the final bosses and the hardest part being tracking down those hidden swords. In the end, I enjoyed Sparkster: Rocket Knight Adventures 2 but nowhere near as much as I wanted to. It fails to live up to its predecessor, lacks the visual punch of the Super Nintendo title, and was a disappointing experience after years of pining for it.

My Rating:

Rating: 3 out of 5.

Pretty Good

Do you think I’m being too harsh on Sparkster: Rocket Knight Adventures 2? How did you think it compared to the first game and the Super Nintendo sequel? What did you think to the new rocket pack mechanics and the lack of sword beam? Were you disappointed to see the flying sections removed? Did you ever find all the Keys to the Seal and unlock Gold Sparkster? Would you like to see a new entry in the Rocket Knight series? Tell me what you thought to Sparkster: Rocket Knight Adventures 2 in the comments, support me on Ko-Fi, and go read my other Rocket Knight reviews.

Game Corner: Sparkster (Nintendo Switch)

Released: 11 June 2024
Originally Released: 15 September 1994
Developer: Konami
Also Available For: PC, PlayStation 4, PlayStation 5, Super Nintendo Entertainment System (SNES)

The Background:
Sonic the Hedgehog’s (Sonic Team, 1991) incredible success paved the way for a slew anthropomorphic mascot platformers back in the 1990s. We had everything from a heroic frog, a gun-toting jackrabbit, an intergalactic adventurer, a fragile bobcat, and a superpowered earthworm, so why not a possum with a rocket pack? Created by Nobuya Nakazato, who spearheaded many Contra titles (Konami, 1987 to present), Rocket Knight Adventures (Konami, 1993) became one of the most popular and lauded titles for the Mega Drive. Although a SNES port was allegedly cancelled, Rocket Knight Adventures was followed by two sequels the very next year: one a notoriously expensive Mega Drive-exclusive title and this similarly-titled but unrelated SNES-exclusive game. Although largely praised for its visuals and gameplay, Sparkster was criticised for not further expanding upon the first game’s formula and 1994 was, essentially, the end of Sparkster’s brief time in the spotlight. Although Sparkster did get a six-part story in Sonic the Comic (1993 to 2002), he didn’t get a cartoon like his more popular peers and was forgotten until Climax Studios attempted a revival in 2010, to mixed reviews. Sparkster, and its other 16-bit titles, finally got a modern re-release with this Re-Sparked! collection, a well-received release that included bonus materials and quality of life features.

The Plot:
When the kingdom of Eginasem is attacked by Generalissimo Lioness’s Wolf Army and Princess Flora is kidnapped by rogue Rocket Knight Axel Gear, Sparkster fights to save the land.

Gameplay and Power-Ups:
Like its predecessor, Sparkster is a 2D, sidescrolling action platformer with run-and-gun action in which players take control of Sparkster and his rocket pack and battle through a fantasy land infused with a dollop of steampunk madness. As before, players choose between three different difficulties, though you’ll only experience the full game and the true ending by playing on at least “Hard”. To aid with this, Sparkster incorporates a password system, one still relevant as the rewind and save state features won’t help you when you get to a nigh-impossible boss battle in the late game. Sparkster’s entire repertoire of moves and abilities returns alongside a couple of additional abilities. You jump with B and attack with Sparkster’s sword and sword beam with Y. As before, holding this button charges Sparkster’s rocket pack, allowing him to blast off in the direction he’s facing, straight up, or diagonally. If you don’t press a direction, he simply spins on the spot and, when aimed at walls, he’ll ricochet to higher areas. While there’s no need to swim this time around, Sparkster still clings to vines, branches, and poles with his tail and you’ll be hopping, sliding, and jumping to these purchases a lot more this time around. Pressing L or R sees Sparkster perform a flaming kick, of sorts, for an additional attack and mid-air boost, something you’ll be using a lot to reach higher platforms as Sparkster’s otherwise uncontrollable after blasting off. Although there are still no power-ups to collect, you can grab gems to increase your score (and your life count once you get 100 gems), the odd 1-up, and fruit (apples and bananas) to refill your health. There are far more gems this time around as well, possibly to offset the steep difficulty curve, but there are no horizontal sections where you blast along using Sparkster’s rocket pack.

Rocket along for more action-packed adventure and a handful of new gimmicks.

However, the spirit of these sections is evoked when Sparkster hops on a chicken-like mech and races through the jungles in Stage 3. In this long section, you press Y to fire a ring shot from the mech’s mouth while also attacking with Sparkster’s sword beam to dispatch enemies coming from behind. You must also duck under spikes and other hazards, get launched to other mechs, and take out waves of enemies as you race along. Later, in Stage 7, the game adopts a top-down view and you control Sparkster as be flies through space in pursuit of Generalissimo Lioness’s massive ship. In this section, you can still fire Sparkster’s sword beam but can also hold B to fire a spread of pellets to take out turrets and enemies. This is actually a bit awkward thanks to the button placements and it’s easy to miss incoming projectiles as a result, though the section is a burst of exhilarating fun until you get to the near-impassable wall that is a top-down Rock ’Em Sock ’Em Robot mech-battle against Axel Gear. In Stage 4, you use tubes to blast around the interior of an attack submarine and must avoid water jets that blast you into ceiling spikes. Stage 5 sees you venture into a pyramid, one that constantly shifts as you pass door-like tiles. You must shift and rotate the environment to find goodies and progress, which can be very aggravating and confusing as it’s not immediately clear which configuration you need to move on. Later in this same stage, you ride a translucent, rotating triangle platform up a shaft, avoiding spikes as you go, while high-speed tubes masquerading as musical instruments blast you along or send you back a fair bit in Stage 6. This stage also sees you bouncing to drums, riding air currents, and using teleports not unlike those in Rocket Knight Adventures.

New, even cheaper hazards will test your reflexes, patience, and rocket skills.

Sparkster is extremely similar to Rocket Knight Adventures, so much so that, at times, it feels like a SNES reimagining of the first game. You begin in a very familiar medieval forest setting, blast to a steampunk-like ship, and encounter many of the same hazards at times. Similarly, the game’s difficulty curve is slow but steep and things start off easy enough, even with the seemingly endless waves of enemies spawning in, but you’ll soon see boulders transform into enemies, clamber between bars and poles to avoid molten metal, and battle against conveyer belt platforms that push you towards instant-death gears. Giant crushing hazards are also present alongside an odd paint mechanic in Stage 2 that briefly turns you red, sheer drops in Stage 3 where it’s almost impossible to avoid being damaged by robotic owls, and bursts of steam courtesy of wolves running on treadmills in Stage 4, which also includes an all-too-brief pogo mechanic. Stage 4 also sees you frantically outracing a wall of rushing water not unlike the flame wall from Rocket Knight Adventures, except this one pushes you into wall spikes or drowns you in seconds if it overtakes you. Stage 6 also has you quickly hopping between cymbals trying to avoid being crushed when they clap together and falling into the tubas, which warp you back to the start of the obstacle course. Stage 7 is, essentially, a pretty standard top-down space shooter that has you weaving between laser blasts and destroying turrets, while Stage 8 has you traversing a long corridor on a space station and ducking under gigantic missiles that instantly kill you on contact. You’ll also ride a flame burst up a long shaft battling an oddly shaped wolf mech and encounter ceiling turrets that bounce lasers off bug-shaped robots. While instant death hazards and bottomless pits aren’t as prominent in Sparkster and there are far less tricky sections where you’re outracing crushing or dangerous hazards, the gigantic bosses and some cheap moments are sure to wipe out your stock of lives.

Presentation:
Although Sparkster overhauls the graphics and presentation of Rocket Knight Adventures, redesigning Sparkster into a more serious, anime-inspired protagonist, it continues the same cartoonish charm of the first game. Leaner and sporting a grim frown, Sparkster constantly has one paw on the hilt of his sword, glares at you when left idle, and squeals when hit or killed. Sparkster outdoes its predecessor with a more elaborate title screen and opening cutscene, which employs in-game sprites to show Axel Gear kidnapping another princess. This scene, Sparkster’s cannon blast to space, and Axel’s later escape from Sparkster’s wrath all closely resemble cutscenes seen in Rocket Knight Adventures, lending more credibility to my claim that this game is part-sequel, part-remake. Unfortunately, there are far less cutscenes like this in Sparkster, no stage intros, and the music is a far cry from the first game. While it’s jaunty enough, there are no tunes to rival the main theme of Rocket Knight Adventures and, while the game performs far better, with none of the slowdown from the first game, this is greatly aided by Rocket Knight Adventures: Re-Sparked’s “Boost” toggle from the ZL menu. Still, there are a lot of impressive visual effects included here; day turns to dusk turns to night, the Stage 7 missiles have a quasi-3D look, Sparkster’s rocket pack seems to charge faster, and there’s a unique (if odd) feature in Stage 2 where all sprites are rendered as silhouettes behind giant white screens. I also really enjoyed the sense of speed as you race along on your chicken-walker in Stage 3. The environment blurs past and there’s a lot of action here and, thankfully, no bottomless pits or unfair, split-second tests of your reflexes.

Anime paintjob aside, Sparkster rehashes much of the first game in its visuals and mechanics.

Sparkster seems to lean into the steampunk/fantasy aesthetic far more than Rocket Knight Adventures. You start in an open field, hopping to branches and trees, before blasting to Axel’s ship in what’s basically a combination of two stages from the first game. Clouds fly past the ship, which features flashing lights, destructible elements, and wolves popping from holes in the floor. Stage 2 is a cluttered factory that’s a mess of chains, lights, steam, and tubes and can be tricky to navigate as a result. Similarly, Stage 5’s desert exterior can be confusing as many columns and stone blocks obscure you. There’s a neat heat shimmer effect to this stage and I did like venturing into the pyramid; as perplexing as it was, it was far more memorable than the attack sub. You do end up outside this submarine, going to the left side of the screen and taking down biplanes, but it’s a bit dull compared to Stage 6’s bizarre musical-themed world. While this sticks out like a sore thumb against the other steampunk and medieval settings, it’s certainly whimsical and unique, even if it’d be more suitably in Zool: Ninja of the Nth Dimension (Gremlin Graphics, 1992). Stage 7 may just be a space shooter but there’s a lot of detail on the Generalissimo’s gigantic mothership (too much, at times, as turrets, enemies, and projectiles are hard to spot). Generalissimo Lioness’s space station has an impressive curve effect to its long-ass missile corridor, multiple missiles sitting stationary, and claustrophobic missile shafts to ricochet around in. It’s all very visually similar to Rocket Knight Adventures but just different enough to be unique. Still, I would’ve liked a greater visual distinction between the Wolf Army and the Devotindos Empire as the wolves’ armour even flies off like the pig infantry’s and the game ends with a big sprite art of Sparkster flying at the screen, just like before. While this art and the background accompanying the credits is more detailed, it’s still all a little too similar to be truly original.

Enemies and Bosses:
Just as you decimated an army of wacky pigs in Rocket Knight Adventures, so too will you cut through various wolves in your quest to liberate Eginasem. These wolves are functionally identical to the Devotindos Empire’s infantry, charging you with swords and powering defences to keep you at bay. While they don’t wield bazookas, they pop from the foreground, transform from boulders, bounce you back with shields, and wear different outfits depending on which stage you’re on. Various wolf mechs also appear, such as the one fought when you ride a flame pillar in Stage 7, and wolves riding chicken walkers in Stage 5. Stage 5 also sees a wolf pilot the Elephant Robot in a fight that’s functionally identical to the Raccoon Robot mini boss from Rocket Knight Adventures. You must avoid its extending arms and buzzsaw hands (which play the keys at your feet), dodge the explosive maracas, and rocket into the orb on its forehead. Robotic enemies also appear, such as the aforementioned owls (returning from the first game) and various robotic drones shot down in Stage 3 and 7. Robotic shrimp-type-things bounce about on Stage 6, robotic worms pop from walls in Stage 4, and the massive, wacky robot monkey, Ukkey-Ukikky that acts as the mini boss of Stage 1. Ukkey-Ukikky leaps and dives at you, chasing you and trying to stomp you, and becoming more aggressive when you steal its bananas, though it’s not too difficult to rocket-charge into its big, stupid head. You battle a tripod robot not unlike an octopus in the pyramid, one which flies about after a few hits by spinning hits legs like helicopter blades. Stage 2’s mini boss is fought on a rising elevator whose core looms overhead as a glaringly obvious target, one protected by two turrets. You must also defeat a gigantic flying mech in Stage 7, one that punches, fires a spread shot, and explodes in a shower of apples upon defeat.

Gigantic and troublesome mechs box you in and stand between you and victory.

Colonel Wolfheim confronts you midway through Stage 3, piloting a praying mantis-like mech and relentlessly tossing bombs and flailing its long arms. Unlike the fight against Captain Fleagle, you simply attack Colonel Wolfheim’s mech directly rather than reflecting his bombs. Colonel Wolfheim returns atop the attack sub, now commanding a giant cannon protected by smaller turrets. After you deal enough damage, the cannon detaches and is revealed to be a mech, which fires a massive flame burst and swings its spiked arms around wildly. Your best bet is to get behind Colonel Wolfheim’s mech and rocket-burst into it. The first boss is Temper-Drilln, a gigantic suit of golden armour that bursts through the airship’s hull, spawns wolves to distract you, and fires an eye laser. You must hop to its fists as they punch through the floor and time your rocket charge into its eyes to bring it down, a difficult task given the limited room to manoeuvre. Stage 2 culminates in a battle against a massive trash compactor. You can cling to the pole overheard to attack the exposed core and dodge some of its attacks, which consist of debris and buzzsaw-like arms. If you drop down, be wary as the ground is a conveyor belt that causes you to take damage from the boss. Stage 3 ends in an autoscroller battle against the Crazy Caterpillar, a robotic insect that wriggles along an overhead vine and drops parts of its body to bounce and explode into you after taking damage. It also tosses regular bombs and bounces in front of you firing flame bursts that can be hard to avoid given your larger hit box thanks to your chicken-mech. At the end of the desert, you battle a robotic worm around a bunch of ruins, forcing you to platform about to chase it down. It also burrows underground, breathes fire, and splits apart when you hit the glowing red sections of its body. Midway through Stage 8, you attack the core of the Generalissmo’s space station, rocketing into four rotating crystals and destroying the rings that protect it, which speed up as you deal damage.  

The only consolation to Axel Gear being so damn difficult is the final bosses are much easier…

Like in Rocket Knight Adventures, Sparkster constantly pursues Axel Gear, a rival and corrupt Rocket Knight who kidnaps the local princess and evades Sparkster at every turn. You finally battle him at the end of Stage 6 before a giant organ. Like in the first game, Axel Gear has the same abilities as you, ricocheting about, flinging sword beams, spinning into you, and diving with a flaming kick. Thanks to the verticality of the arena, it can be difficult hitting Axel Gear, but it’s nothing compared to the top-down mech battle at the end of Stage 7! Here, you press Y to fire a weak-ass projectile, tap L and R to punch with each robotic fist, and hold the triggers to block. You can hold Y to charge a dash but, in my experience, it did nothing, and I wouldn’t guard for long as Axel destroys your arms. While you can land a few solid shots, Axel constantly has his guard up, rushes you, and obliterates you with an unblockable barrage. I genuinely have no idea how you’re supposed to beat this fight as I was forced to use a password to skip to Stage 8. This is, obviously, Generalissimo Lioness, who breathes fire across the ground, conjures a boomerang-like energy wave, and fires two electrical beams using his sceptre. It’s best to stay in the middle of these, duck under the energy waves, and perfectly time a jumping vertical rocket boost to avoid the Generalissimo’s attacks, attacking whenever you can until his biological visage reveals his cybernetic interior. The final boss, accessed only on “Hard” mode or higher, is the Missile Core, a large, stationary target that fills the screen with flaming projectiles resembling wolf heads, drops spiked mines, and fires a gigantic laser across the screen. You should dash to the far left to avoid the mines and safely destroy the projectiles then rocket-charge into the core, landing a quick sword beam strike before dashing to safety, though the projectiles increase as the fight progresses.

Additional Features:
Rocket Knight Adventures: Re-Sparked includes both the American and Japanese versions of Sparkster alongside the impressive anime opening, different filters and borders, the aforementioned “Boost” toggle, and the incredibly helpful rewind and save state features. The collection also includes a boss rush for the game, various advertisements and concept art, the box art and manual, and the entire soundtrack alongside various Trophies for the PlayStation 4/5 version. These require you to clear every stage (meaning you must play on at least “Hard” mode), finish the game on “Normal” mode, and clear the boss rush. There is also a hidden “Crazy Hard” mode in Sparkster that’s accessed with a push button cheat code and passwords to jump you to any stage on any difficulty, which is basically required as I have no idea how the hell you beat that Axel Gear mech fight!

The Summary:
As a huge, lifelong fan of Rocket Knight Adventures, I’ve always wanted to give Sparkster a go but, being a SEGA kid, I never got the opportunity, which is another reason I’m grateful for Rocket Knight Adventures: Re-Sparked. Although the visuals have been overhauled and are more anime inspired, losing the chubby, chibi-style look of the first game, everything is as colourful and sharp as ever. Sparkster is now grim and serious, constantly ready to fight and ploughing through enemies with a burst of gusto, and has more gems to collect that ever. Interestingly, Sparkster places more emphasis on traditional platforming than its rocket pack gimmick, even omitting the horizontal shooter sections from the first game, which was a bit of a mistake, in my opinion. The chicken-walker chase and top-down space shooter sections had the same energy, but it was disappointing to not do more with the rocket pack. I liked that there were less chase sections and insta-death hazards and there were some interesting new gimmicks, like the shifting pyramid, though it also felt a little too safe. Many sections, cutscenes, and even bosses felt very similar to Rocket Knight Adventures, almost as though the developers wanted to atone for not porting the first game to the SNES. I didn’t mind this, but it felt more like a rehash at times and was especially disappointing as none of the game’s tunes match those of Rocket Knight Adventures. I did enjoy the massive bosses and how they continued to be creative and visually appealing, but that mech battle against Axel Gear can go and burn in hell! Honestly, I was tempted to knock another star off simply for that, and the requirement that you must play on at least “Hard” mode to finish the game. Thankfully, the rewind and save state features eased the pain of these sections but I was annoyed that I needed a password to skip that boss, especially as the subsequent bosses were much easier. In the end, Sparkster is a worthy follow-up that has a lot of visual appeal. It performs really well and challenges even the most seasoned platformer player, but its difficulty curve and more repetitive sections bring it down a notch compared to the first, especially as the develops didn’t take full use of the SNES to expand on the story and in-game cutscenes.

My Rating:

Rating: 4 out of 5.

Great Stuff

Did you own Sparkster back in the day? How do you think it compares to Rocket Knight Adventures? What did you think to the anime paint job given to the sprites? Did you ever legitimately beat Axel Gear’s mech and, if so, how? Which of the new gimmicks was your favourite? Would you like to see a new entry in the Rocket Knight series? Whatever you think about Sparkster, share your thoughts below, consider supporting me on Ko-Fi, and check out my other Rocket Knight reviews.

Game Corner: Rocket Knight Adventures (Nintendo Switch)

Released: 11 June 2024
Originally Released: 6 August 1993
Developer: Konami
Also Available For: Mega Drive, PC, PlayStation 4, PlayStation 5

The Background:
Thanks, largely, to the phenomenal success of Sonic the Hedgehog (Sonic Team, 1991), anthropomorphic mascot platformers were all the rage back in the 1990s to the point where, in a landscape featuring a gun-toting jackrabbit, an acrobatic bat, a superpowered earthworm, and an intergalactic adventurer, a sword singing possum with a rocket pack doesn’t seem all that strange! Designed by Nobuya Nakazato, the man behind many of the notoriously challenging Contra videogames (Konami, 1987 to present), Rocket Knight Adventures was lauded as one of the best titles available for SEGA’s all-powerful Mega Drive. Though a popular and well-regarded title, Rocket Knight Adventures was essentially Sparkster’s peak; a Super Nintendo port was allegedly cancelled and its sequels were both region-locked and ridiculously expensive for decades. While Sparkster received a six-part story in Sonic the Comic (1993 to 2002), he didn’t get an animated spin-off like some of his peers and remained in obscurity until Climax Studios attempted a revival in 2010. Mixed reviews notwithstanding, the game captured a lot of Rocket Knight Adventures’ spirit and long-time fans of the franchise finally got a modern re-release of the original three games with this Re-Sparked! collection, a warmly received release that included a handful of bonus materials to celebrate the unfairly forgotten series.

The Plot:
When the Kingdom of Zephyrus is invaded by Emperor Devilgus Devotindos’s pig army, heroic Rocket Knight Sparkster fights to rescue Princess Sherry from the clutches of his rival, Axel Gear, and stop their forces.

Gameplay and Power-Ups:
Rocket Knight Adventures is a 2D, sidescrolling action platformer with elements of run-and-gun action and some sidescrolling shoot-‘em-up sections. Players take control of Sparkster, the titular Rocket Knight, a possum clad head to toe in armour, armed with a sword, and carrying a surprisingly versatile rocket pack on his back. You swing Sparkster’s sword with A or Y, sending out an energy spiral to attack enemies from a set distance, and press B to jump, with Sparkster snagging poles and branches with his tail. By holding A or Y, you charge Sparkster’s rocket pack; once the meter is full and flashing, you can release and Sparkster will fly off in the direction you press. You must often use this manoeuvre to richochet off walls to progress higher in stages, sometimes over lava, and to blast between vines over large, spiked balls. If you don’t press a direction, Sparkster performs a grounded spin attack to deal damage and reflect certain projectiles and Sparkster is often invulnerable when performing his rocket attacks. The rocket pack can take some time to charge so it’s worth planning ahead if you’re looking to quickly blast away and you must often blast off while jumping for additional height, either to reach doors, platforms, or high up goodies. Sparkster has a large health bar (represented by hearts) but it’s whittled down quite quickly. Apples and bananas will partially or fully fill it and you can snag a handful of generous 1-ups along the way. You also earn extra lives if you collect enough points, receiving a bonus at the end of each stage. Before you start, you can also adjust the game’s difficulty, which changes how many lives and continues you have, though trust me when I say the game’s hard enough even on “Easy” mode.

Rocket through colourful stages and take on tricky platforming as the sword-wielding Sparkster.

Occasionally, Sparkster collects a power pack or is dropped into an area where he flies indefinitely. These sections turn the game into a high-speed, action-packed autoscrolling shoot-‘em-up and have you weaving Sparkster between missile and other projectiles while picking off airborne enemies. Sparkster can also swim, automatically treading water and moving through the drink depending on your button presses, attacking with his sword and blasting from the water with his jet pack. However, his movement becomes noticeably sluggish and his hit box alters, making it tricky to navigate the tight, hazard-ladened depths. Each stage tests Sparkster’s platforming and rocket pack skills in different ways, from simple ricochet tricks to jumping to vines and branches, to racing from hazards (such as walls of fire, spiked knights, and crushing floors) that spell instant doom to the Rocket Knight. Platforming is largely satisfactory here and the usual tropes of swinging platforms and precarious handholds appear, but you’ll also be riding mine carts, leaping across bottomless pits and ducking under spiked ceilings. Stage 2 has you pass behind waterfalls using special platforms to progress, Stage 3 sees you using the reflective surface of rising and falling lava to hop to platforms, while Stage 4 has you clambering on the underbelly of Axel’s ship trying not to plummet to your doom. When on the roof, and during the final confrontation with Axel, you battle a strong wind that’ll suck you to an instant death, while Stage 5 has you race through claustrophobic tunnels avoiding knights that kill you on contact. The challenge is palpable but increases as you progress, easing you into the game’s surprising difficulty and introducing new gimmicks that test how you control Sparkster. Unfortunately, there are no power-ups to aid you (no shields or invincibility or anything like that) and you’re limited by your lives and continues, though thankfully this version includes rewind and save state features that finally allowed me to beat the game after more than thirty years!

Various gimmicks and dangerous hazards make the late game a considerable challenge.

It’s not long before hazards become troublesome for Sparkster. Each stage is split into multiple, interconnected areas, with the first stage culminating in you traversing Castle Zephyrus, which is full of burning pits and sees you being chased by a wall of fire. This will instantly kill you if you don’t keep moving, made harder by the stone walls you must hop over and the flame bursts you must duck to avoid, though this is all practice for a similar section in Stage 5, where you must run, ricochet, and jump away from Axel as he pursues in an insta-death mech suit! While it’s simple enough to hop to tree branches in Stage 1, Stage 2 introduces spiked balls to avoid while jumping, while spiked ceilings and surfaces dog both your high-speed jaunts on mine carts and your efforts to control a propeller platform in Stage 5. Stage 4 sees you taking out bazooka-wielding pig soldiers in tight corridors, your progress barred by temporary energy barriers, while Stage 5 introduces the rising floor gimmick that ended my runs as a kid. With enough speed and timing, you can outrun this hazard but it’s very tight, even when abusing the rewind feature. This stage also includes teleporter doors that represent your goal in each section, though they’re functionally no different from the regular doors you enter prior to this stage. Stage 7 introduces a springing ground, almost a quasi-anti-gravity feature, to boost your jumps, though it’s limited to snagging some out of the way goodies and battling a boss. The autoscrolling sections start off simple, with you mowing down aerial enemies and attacking a giant, robotic snake, but your manoeuvrability is tested in Stage 5, where you weave between gigantic missiles and cross-crossing gunfire and engage in glorified dog fights with mech walkers. Things are much simpler when you’re blasting through an asteroid field in Stage 6, though you must still be mindful of the small projectiles that can get lost against the stars. Stage 5 also culminates in you taking control of your own giant mech, though your options are simply limited to stomping back and forth and swinging its buzzsaw arms with A or Y; there’s no block or charge attack or anything.

Presentation:
Rocket Knight Adventures is and always has been a joy to play, purely from a visual standpoint. Released at the peak of the Mega Drive’s popularity, when mascot platformers were extremely popular, the game oozes colourful, cartoonish appeal. Presented with a steampunk-style fantasy land, players explore environments teeming with personality. You see the castle being attacked in the background of the first stage, panicked civilians and chickens run and flutter, and enemies are sent into a panic when hit, running around with their briefs on show! Though he can be a little clunky and his hit box is quite large, Sparkster is a wonderfully realised character. Blasting past the Konami logo at the start and standing proud against the title screen and in the brief prelude, he radiates heroism. Not only does Sparkster bop up and down by default, but he also judges the player when idle and calls to them to get a move on. He also squeals in pain when killed, reacts with panic when falling, and regularly advances towards his objective and enemies in the handful of cutscenes between stages. As if these stunningly lively and detailed visuals weren’t enough, Rocket Knight Adventures is bolstered by an infectious soundtrack, one of my favourites of the era. However, it’s true that the game peaks with Stage 1’s iconic and instantly memorable overture, which is rightly evoked for the end stage score tally. Still, the boss themes are really good and add to the tension when facing these troublesome foes. One negative about Rocket Knight Adventures, however, is the slowdown which occurs when there’s too many sprites on the screen. Thanks to the large scale of some enemies and the many explosions and effects peppering certain moments, the game can struggle along for a few seconds. It’s never impacted my progress, but it is noticeable. Furthermore, the title screen, despite showcasing large sprite art for Sparkster and the game logo, is surprisingly bland, especially compared to the detailed environments.

A visually impressive treat with one of gaming’s best and most memorable soundtracks.

Things start out safe enough with Stage 1’s flat fields, which act as a testing ground for players to test Sparkster’s moves, but even this area is full of detail, from the aforementioned castle in the background to the besieged homes and ransacked environment. As you blast through the skies, mountains and water rush past, with a lovely splash effect appearing as you skim the water’s surface. Sparkster loves to charge head-first into enemy strongholds, the first of which includes busts, skewed portraits, and windows where the first stage’s boss looms. While Stage 2 starts comparatively bland, you’re soon climbing vines and avoiding spikes amidst a large waterfall and racing around on high-speed mine carts. Stage 3 begins in a quartz cavern with a reflective effect applied to the lava, extends to an underwater cavern, and ends with you battling a gigantic robotic fish in a volcano. Stage 4 takes place on Axel’s ship and really leans into the steampunk aesthetic, having you navigate inside and outside the ship, clambering to poles, jumping to platforms, and passing energy barriers powered by pigs on treadmills! Stage 5 takes the steampunk aesthetic to the next level as you blast through the skies of a heavily polluted, heavily guarded pig city. There’s a real depth to the polluted backgrounds that’s married with the mechanical facility to crash into, a robot factory full of narrow corridors and insta-kill hazards. Stage 6 and 7 add a science-fiction twist to the steampunk fantasy and see Sparkster blasting through an asteroid field and infiltrating Emperor Devotindos’s “Pig Star” space station. Though you’re limited to a few rooms and boss battles here, you can see the stars and asteroids in the background and end up falling back to Earth in an escape pod, burning up on re-entry and showered by debris from the exploding space station! The large sprite art returns for the end credits, which feature Sparkster heroically flying towards the camera, and the pantomime-like cutscenes add to the game’s visual charm, with Princess Sherry, King Zephyrus, and Axel gear all exuding the same personality seen in Sparkster’s cartoonish animations.

Enemies and Bosses:
The Devotindos Empire is primary made up of armour-clad pigs, disposable ground forces who stand no chance against Sparkster’s sword and rocket pack. Though they leap from the background, drop down on balloons, and wield swords of their own, the pig infantry is easily dispatched in a single hit. Occasionally, you battle large groups of them, but you can simply rocket through them, making them more of a nuisance than anything. The sailor variants are a bit more formidable thanks to their bazookas and you being confined to tight corridors, as are the jet ski riders, who fire a spread shot while you’re floundering in the water. Pigs also race around in steampunk-style cars and chicken walkers, which can be trickier to put down as they’re much bigger and take more hits to defeat. At least they can be defeated, though, which is more than can be said of the later spiked armour variants. You’ll simply bounce off these guys and be killed if you touch them, so you must run from them and lure them into a molten metal trap to end their threat. Emperor Devotindos bolsters his forces with other robot minions, such as robo-owls who can spoil your jumps and robotic duplicates of himself, which spring to life at the worst possible moments, take a few hits to put down, and offer a significant obstacle thanks to their large hit boxes and pursuing you across the environment.

The piggy pests pilot some perilous mechanical marvels that’ll test your reflexes.

The pig infantry also controls numerous large, steampunk-style craft to act as mini- and end bosses. The first is a lumbering tank that fires slow moving cannonballs and tries to roast you with its flamethrower. Your best bet is to rocket behind it to quickly pummel it, but you’re then forced to avoid and frantically slash it as it pinballs around in the rapids in an exploding frenzy. A large mech greets you at the start of Stage 2, taking up the background and sporting extendable arms with buzzsaw-like hands. You must battle the finnicky swimming controls to avoid being hit, attacking the glowing red sphere on the front of the mech to put it down. Stage 3 sees you battle a gigantic crab mech, attacking its extendable pincers and avoiding its ring shots once they’re destroyed, floating precariously close to the craft to hit its cockpit. This stage ends with you fighting a giant robot fish in a battle not unlike the Lava Reef Zone boss. You must jump to floating platforms, which get faster and faster, avoiding the lava and the shower of pellets the fish spits. When the pilot appears, be sure to smack him a few times and grab the bananas if you’re low on health. A more powerful pig walker attacks in Stage 5, one that fires dual lasers and is protected by an energy barrier you must whittle down before the craft can be destroyed. Finally, Captain Fleagle constantly hounds you in Stage 4. First, he hides behind an energy barrier and tosses bombs which you must reflect back at him (the timing can be tricky and the bombs have a large blast radius, so watch out!) You must avoid Captain Fleagle’s shots on the roof and send him running once more. After knocking sentient bombs onto a flying mechanical pig head on the underside of the ship, Captain Fleagle calls in his large mechanical doppelgänger. Mirroring Captain Fleagle’s movements, this mech causes debris to  by shaking its hips and fires large blasts from its torso, giving you a small window to attack it. Once it’s destroyed, the battered Captain Fleagle runs and jumps around in a panic as the battleship explodes, finally finished for good after a few whacks with your sword.

Giant, steampunk-style robots and mechs often act as gruelling end of stage bosses.

Gigantic mechanical enemies also appear as mini- and end bosses, such as the Snake Mecha that lunges at you in the first flying section and the Big Spider at the end of Stage 1. This thing crashes its head through the castle walls and ceilings, giving you a chance to land some attacks, but you must avoid standing in the wrong place and being smacked by its spiked tail. Stage 2 features a weird collection of spheres, not unlike a mechanical caterpillar, that dives in and out of a waterfall. You must do the same and blast between vines to avoid its wide arc and pummel the weak spot on the end of its tail, which is pretty tricky given the hazardous environment. Stage 2 ends with you battling a menacing steampunk train that charges towards you firing slow shots and then transitions to an upper path, swinging and extending its claw arms, before finally firing bouncing shots from its wrecked behind, its weak spot changing each time. A satellite-like robot challenges you in Stage 6’s asteroid field, blocking your shots with a shield and firing a dual spread shot, and you must take on the strangely sized pig mothership, too. Since this hurts you if you touch it and fires relentlessly, you must target the many turrets to deal damage, switching position as it teleports in and out, taking out its minions, and dispatching its giant mouth cannon before you get fried! As the fight progresses, the cockpit detaches, leaving you to destroy the main body of the ship. However, the cockpit transforms into a mech that fires pellets, a ricocheting laser, and flailing its arms. You must strike the ball it bounces between its hands to deal damage, then fly around as it bounces around the screen in a frenzy, which makes for a troublesome boss due to its large hit box and the lack of health pickups.

Axel Gear and the persistent Emperor Devotindos won’t go down without a fight!

Your most persistent enemy is rival, corrupt Rocket Knight Axel Gear, who kidnaps Princess Sherry and constantly ducks you. When you finally go toe-to-toe with Axel in Stage 5, it’s in a Rock ’Em Sock ’Em Robots mech battle. After racing to your mech, you must avoid his hits and tap A or Y to swing your buzzsaw-like, extendable arms and damage his craft. It’s a bit clunky and difficult to avoid damage but, eventually, Axel’s mech is destroyed. Axel then appears at the end of the asteroid section of Stage 6, now sporting a gigantic laser cannon and firing smaller homing missiles. You must loop behind him to attack and take out his smaller shots, watching for his circular movements as he prepares each shot. Axel than challenges you to a more traditional sword fight mid-way through Stage 7’s gruelling boss gauntlet. Here, Axel sports the same abilities as you, swinging his sword, unleashing a rocket spin, and ricocheting about. Note that your sword beams cancel each other out and he’ll eventually cause explosive decompression! You must cling to the poles, attacking Axel with your sword beam and avoiding his missiles and circle motions, finally flying with your rocket charge when he’s charging his own. Emperor Devotindos is the game’s final boss and certainly doesn’t go down easily! Your first battle isn’t too bad, with you simply dashing from across the screen and charging into the pig monarch, dodging his progressively faster projectiles. After enough hits, he reconstitutes himself into a maniacal cyborg and you must avoid his extendable legs and rocket into him diagonally. Emperor Devotindos downloads his consciousness into the Pig Star’s main core, causing it to float, teleport, and bounce around firing various laser spreads that you must avoid while charging at the small red weak spot. As you escape the exploding Pig Star, Emperor Devotindos (now little more than a television screen) pursues you, thrashing tentacle-like limbs, firing ring projectiles, and barging into you. You cannot attack here and must simply survive until atmospheric re-entry finishes the bovine bastard off, a daunting prospect as Emperor Devotindos is hard to avoid and deals a lot of damage.

Additional Features:
There are four difficulty settings to challenge in Rocket Knight Adventures, with each one altering how many lives and continues you play with and slightly altering the end text. If you beat the game on anything other than the hardest difficulty, you’ll be challenged to try a harder difficulty once the credits have rolled. Interestingly, you can input a code from the pause screen to record your progress as the game’s demo mode, though the level select code apparently only works in the Japanese version of the game. Luckily, Rocket Knight Adventures: Re-Sparked lets you pick between the American and Japanese versions of the game and offers a host of additional features, too. There’s the slick, sexy, anime style opening that makes me wish we’d gotten a cartoon back in the day, various filter and border effects, and the always helpful rewind and save state features. You can also play a boss rush mode and view various advertisements and concept art for the game, peruse the box art and manuals, and freely listen to the game’s kick-ass soundtrack. The PlayStation 4/5 version also comes with numerous Trophies for you to earn, with nine specifically earned from playing this game (best done on the hardest mode to stack them) and clearing its boss rush.

The Summary:
I’ve been in love with Rocket Knight Adventures since I was a kid. I was captivated by its bright, cartoonish visuals and fun, action-packed gameplay from the start and regularly find myself humming that memorable Stage 1 theme in my day-to-day life. One of the biggest gripes of my life-long gaming career is that I was never able to beat this game back in the day; that damn crushing floor always ended my playthroughs. However, this version of the game changed all that. It’s telling that I needed the rewind and save state features to finally beat this game and shows just how challenging Rocket Knight Adventures is. It lulls you into a false sense of security by easing you into the challenge, slowly adding more and more obstacles and insta-death hazards and leaning more on split second reaction times as you progress through its detailed and varied stages. Yet, while the difficulty curve is off-putting at times and the game occasionally seems needlessly unfair and cheap (infinite continues would’ve helped mitigate this), I still find it a hugely enjoyable experience. Sparkster is a fantastic character and often unfairly forgotten in the pantheon of mascot platformers and I loved his sword- and rocket-based gameplay. The ricochet mechanics were a neat feature; however, if anything, they were underutilised and the game relies on traditional platforming tropes and mechanics than its unique selling point, which is a bit odd. I loved all the big enemies and bosses, the switch to sidescrolling shooter sections, and the sheer variety on offer. No two stages are the same and the game’s constantly throwing new gimmicks at you, from mine carts to flying platforms to mech battles and races through mazes. There are few games as visually appealing on the Mega Drive than Rocket Knight Adventures, which has such franchise and merchandise appeal that I’m honestly surprised we didn’t get more games and tie-ins, such as toys and comics and cartoons. Still, that doesn’t diminish how enjoyable Rocket Knight Adventures is. To this day, it’s one of the best platformers on the system and this Re-Sparked version just makes it more accessible and entertaining than ever before.

My Rating:

Rating: 5 out of 5.

Fantastic

Was Rocket Knight Adventures in your Mega Drive library back in the day? What did you think of the rocket-based mechanics and the colourful visuals? Which of the game’s bosses was your favourite? Did you manage to clear the game without modern quality of life features? Which of Sparkster’s sequels was your favourite and would you like to see him brought back from obscurity? Either way, whatever your thoughts on Rocket Knight Adventures, leave a comment below, consider supporting me on Ko-Fi, and check out my other Rocket Knight reviews.

Game Corner [DK Day]: Donkey Kong Country 3: Dixie Kong’s Double Trouble! (Nintendo Switch)


In 1981, Shigeru Miyamoto and his team at Nintendo R&D1 created Donkey Kong, an arcade title that introduced gamers to two of Nintendo’s most recognisable characters: Mario and Donkey Kong. To celebrate everyone’s favourite King Kong knock-off, I’m dedicating a few days this week to gaming’s most famous ape!


Released: 18 December 2020
Originally Released: 18 November 1996
Developer: Rare
Also Available For: Game Boy Advance, Nintendo Wii (Virtual Console), Nintendo Wii U (Virtual Console), Super Nintendo Entertainment System (SNES)

The Background:
After establishing themselves in the United States with the financial and critical success of Donkey Kong, Nintendo captured the home console market. While Donkey Kong was still relevant during this time, legendary British developers Rare reinvigorated the cantankerous ape with their Donkey Kong Country series (Rare, 1994 to 1996). Debuting in 1994, the first game pushed the SNES to its limits, reimagined Donkey Kong for a new generation, and became the third-bestselling game on the SNES. After garnering overwhelmingly positive reviews, Donkey Kong Country was quickly followed by a purposely tougher and less linear sequel that was also critical and commercial hit. Emboldened by their success, rare fast-tracked a third game, using the same pioneering technology to convert prerendered graphics into 2D sprites and seeing Dixie Kong joined not by the titular ape, but her baby cousin! Although Donkey Kong Country 3: Dixie Kong’s Double Trouble! sold over 3.5 million units worldwide, the impending release of the Nintendo 64 is said to have impacted sales. Reviews were largely positive, praising the improved visuals and the expanded gameplay mechanics, though criticising the lack of innovation compared to is predecessors. Like the last two games, Donkey Kong Country 3 was ported to the Game Boy Advance (to some criticism) and featured on Nintendo’s online services, such as this version for the Nintendo Switch.

The Plot:
When Donkey Kong and Diddy Kong suddenly disappear in the Northern Kremisphere, Dixie Kong teams up with her baby cousin, Kiddy Kong, to brave the forces of the robotic KAOS and rescue their family.

Gameplay and Power-Ups:
Just like the last two games, Donkey Kong Country 3: Dixie Kong’s Double Trouble! is a 2D, sidescrolling platformer that utilises 2D sprite conversions of pre-rendered graphics. Like in the second game, Donkey Kong is entirely absent and no longer playable, and this time his nephew joins him on the bench to allow Diddy’s girlfriend, Dixie Kong, to take the spotlight. As ever, you have three save files to work with and three game modes: you can tackle the adventure alone, tagging between Dixie and Kiddy with -, team up with a friend for two-player simultaneous co-op, or go head-to-head with your friend to see who can play better. Donkey Kong Country 3 retains the same controls and fundamental mechanics of its predecessors, meaning you’ll be jumping and swimming with B, attacking with Y, teaming your Kongs up or grabbing barrels with A, and throwing both with Y. Each Kong plays a little differently, with Dixie being lighter and faster and Kiddy being slower and heavier, and also has a different method of attacking. Dixie retains her ponytail twirl (which also allows her to glide across gaps to greatly aid platforming) while Kiddy rolls ahead and can skip across the surface of water (though his stunted jump makes him more of a liability). You must smash DK barrels to spawn your partner if they’re lost because, without them, you’ll lose a life the next time you’re hit. However, you can once again accumulate extra lives by grabbing various colourful balloons, collecting 100 bananas, finding the four KONG letters, in every stage, and playing Swanky Kong’s Sideshow mini game. To play this, you’ll need silver Bear Coins, which are also hidden in stages, while larger, golden DK Coins are earned by defeating the tricky Koin Kremlin hidden in each stage (usually by finding innovative ways of chucking a metal barrel behind them). Those hoping for new in-game power-ups will again have to settle for the odd invincibility barrel (I literally encountered one in my playthrough), and you must still manually save at Wrinkly Kong’s save cave (though the Nintendo Switch’s rewind and save state features largely make this irrelevant).

There’s a greater emphasis on exploration and collectibles thanks to the Kongs’ new vehicles.

There is a far greater emphasis on collectibles in Donkey Kong Country 3, with more hidden items scattered throughout every stage and a family of bear brothers on hand looking for you to bring them special items (which allow access to additional areas on the overworld), often awarded after defeating bosses, offering hints, or selling you items. As you explore each stage, you’ll inevitably find secret hideaways or special barrels that’ll blast you to a timed bonus challenge in these, you must collect stars or green bananas or defeat all onscreen enemies against a strict time limit to earn one of the special coins, or even a Cog. Additional barrels will blast you across the environment (sometimes right into bottomless pits or enemies if you’re not careful), rocket you about, or shield you from enemy projectiles when climbing ropes. Dixie and Kiddy can again call upon a few animal friends to aid them, transforming into, riding, or being joined by them depending on the level. Enguarde, Squitter, and the parrots Squarks and Quarks return from the last two games and function the same (cutting through water, spitting webs, flapping about, and firing peanuts, respectively) alongside three new “First-Class Friends”. Ellie the elephant is the primary addition, though I found her to be a poor substitute for Rambi. She’s smaller, slipperier, and isn’t much use except in certain situations where you need her water spitting technique. Parry was similarly disappointing, simply flying above you and collecting items or defeating certain enemies, and Nibbla was a constant threat since it will take a bite out of your Kong if you don’t swim near enemies and keep it fed. Funky Kong also returns and, this time, builds various vehicles for you to use to navigate the main map. You start out with a motor boat, but soon upgrade to a hovercraft to pass over rocks, a turbo ski to traverse waterfalls, and eventually a gyrocopter, though you’ll need to search high and low and replay each stage to collect everything needed to build these vehicles, which also open up new areas of the map for you to challenge new levels, meet new bears, or discover Banana Fairies.

Varied gimmicks and challenges await, but it’s all a bit too familiar and uninventive.

While bottomless pits and thorny mazes weren’t as prevalent this time around, and Donkey Kong Country 3 generally seemed much easier an experience (as long as you’re not going for 100% completion), it’s still a tough game. Hit boxes are quite large, both Kongs are quite clunky to control, and it’s easy to slip off platforms or down pits even when on stable ground, much less the snowy landscapes and moving platforms you’ll find. Ropes were emphasised far ore than barrels, with you hopping to ropes, clambering up them, or being dragged along by them, all while avoiding Buzzes. Minecarts are gone this time, replaced by a few fun, high speed toboggan challenges, though you’ll still encounter the odd dark, murky level (requiring you to hit special fish to light up the area or use overhead lights). you’re essentially defenceless when swimming, as ever, unless you switch to Enguarde, and vats of molten steel, toxic gunk, or lightning bolts will cause you to rethink your jumps. In “Krack Shot Kroc”, you must hide behind metal shields to avoid an offscreen sharpshooter; you’ll be bouncing off barrels fired by Bazuka Kremlins to cross gaps, and must contend with poisonous water that reverses your controls in “Poisonous Pipeline”. Occasionally, the game switches to a quasi-third-person perspective to have to you toss coconuts or snowballs at targets, you must defeat Sneeks in giant wheels and grab overhead pulleys to open doors, and outrun a gigantic ripsaw in “Ripsaw Rage”’s autoscrollers chase. Some stages see you at risk of falling or looping around by dropping through trapdoors, many contain moving wooden platforms, and occasionally hop up moving or temporary platforms or to barrels to progress to the end goal. It’s all very familiar, though with a largely reduced challenge in terms of onscreen hazards. The game’s quite generous with 1-ups and chances for extra lives, but you’ll definitely want both Kongs on hand, and to favour Dixie, since you’re often tasked with making tricky jumps past, through, or over troublesome enemies and it can be easy to screw up your jump and drop down a pit.

Presentation:
Donkey Kong Country 3 retains the same presentation as the last two games, though even I, someone who’s never been the biggest fan of the franchise’s aesthetic, have to admit that it’s probably the cleanest, best-looking game of the trilogy. Though there’s no introductory story, there’s a fair bit of text as you chat with your allies or are taunted by enemies, and Dixie and Kiddy have a decent amount of personality. Both have idle poses and fun reactions to being hurt or left alone, though the end of level celebrations are gone and basically all of the sound effects are recycled from the last two games. Kiddy might be a fun, childish little soul, but he’s janky as anything to control, which hampered his utility in my opinion and I would’ve liked to see him have a more memorable playstyle to differentiate him from the other Kongs. The title screen is far better than before and there’s more emphasis on exploration here, with new areas opening up as you explore the larger overworld and non-playable characters requiring specific items to unlock additional areas or map features. However, there isn’t much to differentiate the three basic vehicles you acquire. I would’ve liked to see a submarine to access an underwater world or a drilling machine to burrow into a mine, rather than limiting them all to water traversal. The music has taken a hell of a downgrade this time around, too. Sure, it’s decent enough but there’s nothing as memorable as the first game and I just found it to be jaunty noise rather than fun earworms. Similarly, Donkey Kong Country 3 employs a similar approach to its stages as the last two games, with a handful of areas being recycled throughout your adventure. You’ll be hopping past a pier, exploring drainpipes, traversing an underground cave, and swimming in murky coral reefs, with the odd jungle and dungeon thrown in for good measure.

While the visuals are at there best, nothing really jumps out as especially memorable.

I found few of these to be that interesting, to be honest, or different from what came in the last two games. There are some fun background effects at times, such as the time of day changing or a snowstorm raging, or some areas being seeped in darkness. Donkey Kong Country 3 employs colour palettes to give the illusion of variety, changing vast of molten metal to toxic gunk or giving gigantic, hollowed out trees an autumnal glow. I quite liked these latter areas, to be fair, which see you jumping between branches, navigating claustrophobic trees, and outrunning that aforementioned ripsaw. Snowy peaks, with their frigid cabins and snowmen, were also fun, if few and far between, and I did like the cliffside stages, where waterfalls loom in the background and must be moved behind or clambered up using barrels and such. Rather than battling through mines, you’ll be dropping down trapdoors and opening doors in mills; the jungles are full of ancient ruins and raging thunderstorms; and dodging snipers in factories. As mentioned, there are loads of vines and ropes this time, which I definitely prefer to thorns and loads of pits, but everything just felt a little played out for me. while Donkey Kong Country 3 performs really well and looks great for what it is, there were some instances of slowdown and odd hiccups that took me out of the game, and it definitely felt like the game was struggling to justify itself at times and needed more new gimmicks to impress. Indeed, while the game emphasises collectibles on the save screen and in the Brothers Bear’s dialogue, this feels like an afterthought when you’re playing and couldn’t been played up more, like presenting you with unique visual challenges to get what the bears are looking for or Funky’s last piece of scrap.

Enemies and Bosses:
While Dixie and Kiddy are facing a new enemy this time around, you’ll still be dealing with the remnants of the Kremlin army. And “remnants” is a good way to describe them as these guys are far more stripped down this time around, consisting of a regular grunt who just walks about, a spring Kremlin who can give you a boost with good timing, and a larger blue one who’ll shrug off your regular attacks. The Bazuka variant caused me a bit of trouble as it was tricky timing my jumps to bounce off their barrels, while the Kopter Kremlins could be as annoying as the Buzzes, mechanical wasps that hover or swoop about right in your path. Kremlins also hide in barrels this time, clambering on ropes, tossing explosives, or trying to push you down pits, not unlike the Koindozers (who you can trick into giving you a boost). Little crocodiles, dung beetles, rats, and sliding penguins must be hopped on or avoided, you’ll use hopping spider platforms to reach higher areas, and must take cover behind half barrels when Minkeys toss their acorns. Red porcupines spin at you, an invincible swarm of bees incessantly chase you in “Riverside Race”, and various marine animals (from voracious Bazzas, spiny Lurchins, and clown-like Kocos) lurk in the water. You can pop Booty Birds to grab collectibles, dodge fireballs fired from the background by Karbines, and carefully position yourself so lightnign strikes your enemies rather than you! each stage naturally ends in a boss battle, though you get different rewards depending on which boss you’re fighting, two are recycled in the game, and one takes the form of a snowball fight. This is actually one of the more innovative bosses as Bleak pops up from behind snowy ridges in the fore-, mid-, or background tossing snowballs or firing a spread from his top hat. This can be a tricky boss due to the Kongs’ hit boxes and how small the target is you must hit, but it hints at how Donkey Kong Country 3 could’ve used its new mechanics to help it stand out (like, why not have a toboggan race against a boss?)

The big, challenging bosses task you to think outside the box and hint at the game’s full potential.

The first boss you face is Belcha, a giant barrel who spits out barrels and tries to force you down a pit. Immune to conventional damage, you must break open its barrels and toss the bugs that emerge into its mouth until you force it down that same pit. I quite liked Arich, the giant spider that awaits at the end of Kremwood Forest, purely because it was visually very interesting. You must dodge Arich’s erratic movements and venom spit to hop on its back and grab the barrel sitting there, then toss this into its face, which is quite tricky due to the spider’s gigantic size. Squirt was easily the most frustrating boss since you must fight it while riding Ellie, sucking water from Squirt’s waterfall and spitting it into the creature’s eyes when they pop out. However, Squirt fires a continuous stream of water that’s incredibly difficult to fight against, meaning it’s very easily to slip to your doom. Barbes wasn’t exactly a cakewalk either. Fought underwater, while using Enguarde, you must charge into the Lurchins it spawns to then attack its weak spot, but the timing is tricky and its so big and fills the screen with spines that I struggled quite a bit. You battle the malicious tin can robot KAOS twice, once in Mekanos and then as the penultimate boss. In both fights, you must dash beneath it, avoiding its jet burst, and bop its head using the propeller-like blades that emerge from its body. KAOS defends itself with boxing golf fists, its laser-firing head, and a missile barrage, though barrels turn the tide in the second fight. Once you defeat it, King K. Rool (in the guise of mad scientist Baron K. Roolenstein) attacks in a multi-stage battle. You must dash beneath him as he hovers about, grabbing barrels to toss at his butt, while avoiding the electrical bolt he fires, hopping to pulleys, and using stationary and moving wooden platforms. While this is a troublesome fight, it’s not too bad to get the hang of with liberal rewinding, though a much tougher rematch awaits if you unearth Krematoa.

Additional Features:
Every time you save your game, you’ll get a glimpse of you far you’ve progressed and how many collectibles you’ve found. When you finish the game, you’ll be played on a high score table according to completion percentage and be granted a title by Cranky Kong, as well as being treated to a roll call of the game’s enemies and characters. If you want to hit 100% completion, you must reload your save and go searching for KONG letters, defeat Koins for DK Coins, and collect Bear Coins, to say nothing of acquiring the different items for the Brothers Bear and Funky Kong. While the skis patch are easily acquired by defeating bosses, you must buy the mirror, trade it for a wrench, and hunt down presents and other trinkets to access bonus areas. Some of these house Banana Fairies, with the legendary Banana Queen being rescued if you find all the DK Coins and acquire the gyrocopter. By using the turbo ski, you can bring Krematoa up from the depths and tackle its five additional, challenging stages, including a tougher rematch with Baron K. Roolenstein. There are various mini games and challenges to tackle not just in each stage, but at Swanky’s Sideshow, a few fun cheats you can enter by renaming your save file, and of course the usual save states and rewind features when playing this version. If you’re playing the Game Boy Advance version, the game comes with an autosave, a new seventh world, additional collectibles, and graphical and mechanical tweaks to the stages and bosses for an additional challenge.

The Summary:
There isn’t anything fundamentally wrong with Donkey Kong Country 3: Dixie Kong’s Double Trouble!, it’s just not especially innovative or memorable and does little to stand out against its predecessors. The game is simply more of the same, with a noticeable reduction in the moment-to-moment difficulty while still being challenging, though largely because of how clunky the Kongs can be and the cheapness of the hit boxes and enemy placements. I wasn’t a big fan of Dixie Kong in her debut title but she was my go-to character here as Kiddy Kong is just a useless lump, barely utilising his incredible strength and existing simply as a health bar for me. while the visuals are the best they’ve ever been for the series and things have been expanded, particularly on the overworld, I wasn’t exactly blown away by the game’s environments, which either borrowed to heavily from the last two games or didn’t live up to expectations. While the enemies were largely forgettable, I did enjoy the big, colourful, unique bosses that challenged you to think about how to damage them, though the massive hit boxes and awkward controls made them an uphill battle. I was disappointed that the animal friends were so mediocre and that the soundtrack wasn’t more memorable, and that the game didn’t place greater emphasis on the collectibles. I simply aimed to finish the game and still hit 50% by the end, and felt no urge to help out the Brothers Bear or grab every DK Coin. Donkey Kong Country 3 continues the traditional of the franchise, but it really feels like this was a game that was made simply for the sake of it, with nothing really jumping out at me as being especially appealing or on par with the first game. Yet, it’s s visual treat and a fun little challenge, so I don’t want to be too harsh, but there’s really no reason to play this one over the last two unless you’re really itching for some more DK action.

My Rating:

Rating: 3 out of 5.

Pretty Good

Did you enjoy Donkey Kong Country 3: Dixie Kong’s Double Trouble!? Do you think I was too harsh and were you more impressed by the game’s visuals and mechanics? What did you think to Kiddy Kong and Ellie? Did you help all the Brothers Bear and snag all of the game’s collectibles? Which of the bosses was your favourite and what did you think to the game’s difficulty curve? Which of the Donkey Kong Country games is your favourite and why? How are you celebrating Donkey Kong’s anniversary this year? Whatever your thoughts on Donkey Kong Country, leave them below, support me on Ko-Fi, and go check out my other Donkey Kong content.