Game Corner [Sonic Month]: Sonic the Hedgehog 4 (Xbox 360)


Sonic the Hedgehog was first introduced to gamers worldwide on this day back in 1991 and, since then, has become not only SEGA’s most enduring and popular character but also a beloved videogame icon and, in keeping with tradition, I have been dedicating the entire month to celebrating SEGA’s supersonic mascot.


Released: 7 October 2010; 15 May 2012
Developer: Dimps / Sonic Team
Also Available For: Mobile, Nintendo Wii, Ouya, PC, PlayStation 3, PlayStation 4, PlayStation 5, Shield, Xbox One, Xbox Series S, Xbox Series X

The Background:
In 1991, after much development and strategic planning to create a mascot iconic enough to rival Super Mario, SEGA introduced gamers to Sonic the Hedgehog. Sonic’s initial success (thanks, largely, his debut game being bundled with the Mega Drive) exploded into mainstream popularity with Sonic the Hedgehog 2 (SEGA Technical Institute, 1992) and, from there, the sky seemed to be the limit. So big was Sonic’s blockbuster third outing that it was split into two parts to save costs and meet deadlines; nevertheless, Sonic 3 & Knuckles (ibid, 1994) is widely regarded as one of the best of the classic 2D Sonic games, though SEGA strangely followed this success with several lacklustre spin-offs before transitioning to 3D in 1999. By 2010, Sonic had appeared in around sixty titles, with SEGA outsourcing their supersonic mascot to Dimps for the Sonic Advance series (2001 to 2004), which seemed to be the closest fans could hope for a Sonic 4. Conscious of the demand for a classic Sonic experience, SEGA again teamed with Dimps for a secret project originally codenamed “Project Needlemouse” in a nod to Sonic’s origins. Sonic 4 was conceived of as a throwback title, one that would mix modern elements with the classic formula, and incorporate gyroscope functions for mobile players. Episode I released to mixed reviews; despite criticisms of the poor physics, the game was a commercial success and development began on Episode II, with the specific intention to introduce new elements. With the digital re-release of the celebrated Sonic the Hedgehog CD (SEGA, 1993) looming, Episode II was developed to tie up loose threads from that game, as well as introducing team-based mechanics by including Sonic’s sidekick, Miles “Tails” Prower. Episode II was also met with mixed reviews; while largely seen as an improvement over Episode I, the boss battles and level designs drew criticism. Although players could access a side story with both titles, Episode Metal, plans for a third entry were mysteriously abandoned and the game has largely been discarded by all, especially after more fitting throwbacks to the classic era were later released.

The Plot:
Doctor Eggman is back, having refined some of his past creations and seeking to conquer new lands with the Chaos Emeralds. When Sonic inevitably arrives to stop him, Dr. Eggman calls in Metal Sonic to hold off his foe while he again works to harness the power of Little Planet.  

Gameplay:
In the tradition of the classic Sonic titles, Sonic the Hedgehog 4 is a 2.5D, sidescrolling action platformer in which players blast through ten levels (known as “Zones”), with most having three stages (or “Acts”) each, culminating in a boss battle against Dr. Eggman or Metal Sonic. Fundamentally, the basic controls are as familiar as ever; players can pick up speed to blast through Acts, spinning to crash through Badniks, walls, and acquire power-ups with the A or B button, or charge up a Spin Dash by pressing down and either A or B. Oddly, the Spin Dash is actually quite nerfed and doesn’t give you the usual speed boost you’d expect compared to simply running, and Sonic uncurls when flying off curves and springs, leaving him vulnerable to attack. However, this is somewhat explained by the incorporation of the Homing Attack; by pressing A or B after a jump, Sonic will fly towards the nearest target (“helpfully” indicated by an onscreen reticule and targeting sound), which is all-but required as you chain together Homing Attacks to cross gaps. In Episode II, the controls are slightly expanded; here, Tails constantly follows you around, snagging Golden Rings and bopping Badniks, and can be called to your side at any time by pressing the Right Trigger or performing one of the three new Tag Actions with X. Sonic and Tails can either curl up into a massive ball to break through walls with the Rolling Combo or Tails can indefinitely swim Sonic around underwater with the Submarine Combo or briefly carry him with his helicopter tails with the Copter Combo. Each has different strengths and weaknesses; the Rolling Combo is quite fast and unwieldy, the Submarine Combo can be a bit slippery to control, and the Copter Combo only allows for a short burst of flight, though it’s very handy to use to save you from one of Episode II’s many bottomless pits. 

Episode I poorly apes the original classics, marrying bad physics with wonky mechanics.

The basic gameplay mechanics are also very familiar; players must collect Golden Rings to stave off death, with the Rings scattering when you’re hit so you can snag them to protect yourself, in addition to swallowing air bubbles to keep from drowning. Acts are played against a ten minute time limit, after which players will lose a life, though you can earn extra lives by racking up points, collecting 100 Rings, or breaking open 1-up monitors. The more points you acquire, and the faster you finish Acts, the more likely it is you’ll earn continues to carry on playing after you’ve exhausted your lives, and you can respawn from checkpoints by running past Star Posts. Zones are filled with robotic enemies and cheap obstacles to sap your Rings and lives, however, from spikes jutting out of floors, walls, and ceilings, to bottomless pits, crushing hazards, and a massive wall-like drill machine that relentlessly chases you down. In Episode I, you’ll play through Zones heavily inspired by the classic Sonic games, meaning you’ll run through loops, mobius strips, jump to moving or temporary platforms, press switches to open doors, and ricochet all over the place on bumpers, springs, bouncers, and steam vents. A few new gimmicks are also present, though; Sonic can swing from vines and zip lines in Splash Hill Zone, ride playing card bridges and cross flipping cards in Casino Street Zone, awkwardly run on giant cogs in Mad Gear Zone to cross tracks, and light dynamite and ride mine carts in Lost Labyrinth Zone. It’s this latter Zone that has some of the most frustrating elements of Episode I, however; not only is it full of water that threatens your life and slows you down and all the same gimmicks as Labyrinth Zone, but you must also run across giant balls in Act 1, carry a flaming torch to light the way in Act 2 (including an annoying light puzzle that can easily cause you to time out if you don’t light the torches in the right order), and struggle with an underwater maze and some bizarre tilting mechanics in Act 3. Indeed, Episode I suffers greatly by its reliance on the original games, especially the first two, and its obnoxious use of Homing Attack chains; every Zone is simply a remix of those seen in Sonic 1 and 2, with a few things shuffled about and some sluggish, clunky physics thrown in to sour the experience. 

Episode II expands the gameplay to include tag-based mechanics and fun flying sections.

Episode II addresses many of the issues with Episode I, providing more unique gimmicks and reimagining of old gameplay mechanics along with new elements that can be both enjoyable and frustrating. The Spin Dash pads from Marble Garden Zone are back, for example, and there are now warning signs alerting you to bottomless pits; tilt mechanics are gone, replaced by platforms you can hit with the Homing Attack to make horizontal or springs, and there’s less reliance on Homing Attack chains and more emphasis placed on the Tag Actions. This is especially true in White Park Zone, where you’ll need to make ample use of the Submarine Combo to navigate the ice-cold waters, and Sky Fortress Zone, where you’ll have to expertly use both the Homing Attack and carefully-planned execution of the Copter Combo to cross gaps and avoid spiked ceilings. This Zone also sees the return of the Tornado in a very Sky Chase-inspired sequence; Sonic can now perform the Homing Attack from the Tornado’s wings and you can barrel through obstacles with X, though this’ll leave Tails dizzy for a few seconds. This was a fun autoscrolling section that focused more on avoiding Metal Sonic’s attacks and minions and trying to not get crushed by hazards but, like much of Episode II, it does go on for some time. Zones are much bigger with more varied paths, which is a good thing, and give you lots of options to use the Tag Combo or roll snowballs or take oil slides to different areas, but things can get quite aggravating due to their length and the eventual number of cheap instant deaths. Some Zones uses their gimmicks in interesting ways; Oil Desert Zone, for example, mixes together elements of Oil Ocean and Sandopolis Zone, including quicksand, rising sand you must outrun, and the aforementioned oil slicks but you’ll also lose traction on oily surfaces and these can even briefly be set alight! Sky Fortress Zone makes liberal use of propellers and wind to blow you about, rocket boosters to fry you, and chain-link fences littered with explosives for you to run across. White Park doesn’t just see you swimming through icy water, ploughing through snowdrifts, or snowboarding on avalanches but also includes a rollercoaster aesthetic, which sees you racing along at high speeds and springing to the foreground and background in a fun (if, at times, disorientating) mechanic, while Sylvania Castle Zone makes use of destructible ruins, water, springs, rotating platforms, and shortcuts across the water’s surface like in Hydrocity Zone. 

Graphics and Sound:
Sonic the Hedgehog 4 opts to ditch the classic sprite art (except, bizarrely, for loading screens and certain icons) and go for a sleek, plasticine aesthetic that seems to be trying to bridge the gap between the classics and the then-modern games but ultimately ends up being quite an unsightly, unnecessarily shiny, and cluttered mess of colours, especially in Episode I. Sonic takes far too long to get to top speed here and looks daft when he does; every movement feels like you’re underwater and the screen is zoomed in a little too close, making it difficult to see what’s ahead of you. Sonic has his usual idle poses and looks up cheerfully enough, but this is also slow and doesn’t even scroll the screen; the sound effect of his Spin Dash is also wrong, with the “release” sound used for the ”wind up” and vice versa, and all of the game’s story is told through the in-game manual and a couple of simple, pantomime-like cutscenes that are just ripped off from the first game. Although many of the same sound effects are recycled for the in-game action and menus, the soundtrack is actually pretty good; it’s stronger in Episode II, but even Episode I has some catchy tunes going on, especially the boss theme. Each Act also has slightly different gimmicks and colour palettes to mix things up, and there’s even a world map where you can freely choose which Zone and Act to play, though I disliked that the game automatically returns you to this screen after you clear an Act unless you press Y to play the next Act. 

Episode I can be quite cluttered and fundamentally cripples Sonic’s momentum.

Episode I is, however, an unsightly mishmash of conflicting effects and colours. There is a lot going on in the foregrounds and backgrounds, especially in Mad Gear Zone, which takes Metropolis Zone and ups the ante to eleven, with pistons and gears and steam vents and moving parts cluttering up the screen and making it difficult to see enemies, hazards, and even the way forward. It’s a shame as I quite like the redesign given to classic Zones like Green Hill and Labyrinth Zone, with a greater level of detail and lighting applied to make them pop and feel “busier” than before with the inclusion of waterfalls and crumbling effects. However, that doesn’t change the fact that it looks and feels like you’re playing with toys or plasticine; everything is unnecessarily busy and lacks the charm of traditional sprite art, meaning there’s no “weight” to anything. This isn’t helped by the dreadful physics; Sonic is constantly struggling against gravity, loses all momentum when hitting the ground after flying through the air, and can easily walk up slopes and loops without fear of falling. If you play fast and hard, you can avoid much of this, but Zones like Lost Labyrinth force you to slow down, and Casino Street Zone’s curved surfaces lose all their appeal when you can just trot up them without curling into a ball or using the Spin Dash. The Homing Attack is also finicky, stuttering when multiple targets are onscreen and sometimes causing you to drop to your death with it fails to lock-on. Finally, Episode I just feels like a cheap and thrown together knockoff; five Zones and one playable character, with no two-player options and very few new gameplay options, make it feel less like a continuation of the classics and more like a reimagining for the mobile generation (indeed, I argued at the time – and even now – that the game might’ve been better served being titled Sonic the Hedgehog HD). 

Episode II is visually far more interesting and unique, and handles far better.

Episode II is, technically, a vast improvement over its predecessor; the menu screens are more detailed and lively, the physics are far more polished (Sonic doesn’t always uncurl off a ramp and no longer feels floaty and heavy), and the soundtrack is even better, boasting catchy tunes and a remixed boss theme that kept me invested even at the game’s most frustrating sections. The world map has been cleverly expanded, Sonic’s running animation is far better, and the addition of Tails really adds to the gameplay. Unfortunately, Zones are still quite cluttered; White Park Zone, especially, can be very busy with all the foreground and background elements overlapping, but I enjoyed how they retained different times of day and the looming presence of the mechanised Little Planet or Metal Sonic in the background of many Acts. In fact, every Act has something interesting happening in the background; you can see the rollercoaster and theme park in the background of White Park Zone: Act 1, drilling platforms and machinery at work in the background of Oil Desert Zone, and holographic screens and foreboding machinery all over the gravity-skewing Death Egg mk. II Zone. Episode II incorporates far more cutscenes, with them being similar to those of Sonic 3 & Knuckles, but to the game’s detriment; you’ll have to sit through numerous unskippable scenes of Sonic and Tails being taunted by Metal Sonic or Dr. Eggman getting his newest mech ready to battle you, which can make replaying these sections after failing a real chore. However, I really liked the way Episode II presented far more unique Zones; yes, there are influences and borrowings from previous mechanics here, but it feels like some actual effort went into giving the new Zones distinct identities rather than being rip-offs of previous efforts, and the gameplay experience was far more enjoyable here, even if the difficulty has spiked somewhat as a payoff. Indeed, hazard and enemy placement and Zone construction seems to take a leaf out of Sonic CD’s playbook, with many high-speed paths running you head-first into danger and awkward platforms, though it’s nowhere near as slapdash as in Sonic CD and seems like a balanced marriage of all five of the classic 2D Sonic titles. 

Power-Ups and Bonuses:
If you’ve ever played a Sonic game before, you’ll know exactly what’s on offer here. In addition to the life-preserving (and granting) Golden Rings, you can break open monitors to earn an extra ten Rings, grab a bubble that will protect you from one hit, a temporary speed up, and a briefly period of invincibility, as well as the odd extra life monitor. Sadly, none of the elemental shields appear here, neither does Sonic’s insta-shield, and there are no new or returning additional power-ups with the exception of Episode II’s “Special Combination” item box. These are pretty rare (I only found two throughout my entire playthrough) but see Sonic and Tails bounce across the screen, racking up points and destroying all onscreen enemies as you tap A and being showered with Rings, not unlike the “Team Blast” function of Sonic Heroes (Sonic Team USA, 2003). Episode II’s Special Stages also include the new “Combination Dash” pickup, which tethers Sonic and Tails together to allow them to pickup more Rings, a clunky mechanic that relies on momentum as much as your current speed.  

Enemies and Bosses:
When playing Episode I, you may be equal parts excited and disappointed, depending on your nostalgia for the classics and desire for fresh Sonic content, by the enemy selection on offer. Every Badnik encountered is ripped straight from Sonic 1 and 2, with only the Batbot and Bubbles returning from Sonic 3 & Knuckles. This means you’ll be bopping Motobugs, smashing Buzzers, dodging spiked balls thrown by Orbinauts, and cursing with frustration when you run head-first into Shellcracker’s clawed fist or Slicer’s annoying bladed projectiles. Episode II continues this recycling of classic Badniks, primarily focusing on enemies encountered in the old Wing Fortress Zone, but also includes a bunch of brand-new Badniks for you to go up against. Some of these are intimidating in their size; Snowy the massive mechanical polar bear is almost akin to a mini boss as it takes a couple of hits to destroy while giant robotic Sandworms will burst from the sand in a surprise attack. Others, however, are more aggravating: Flamers can set fire to Oil Desert Zone’s oil slicks, the dung-beetle-like Scarabesque always seem to sap your Rings with their explosive balls, and the seal-like Steelions will be the bane of your life in White Park Zone’s waters as they flash-freeze the nearby area and cause you to drown. Each Badnik you destroy releases a furry woodland critter, with a whole bunch being freed after boss encounters, nets you some points, and can be used to cross gaps with your Homing Attack but don’t get too cocky as some will sprout spikes to ruin your chain and send you plummeting to your death. 

Episode I recycles classic bosses, adding new attack patterns and strategies to them to mix things up.

After clearing each Act of every Zone, you’ll have to do battle with Dr. Eggman (and/or, in Episode II, Metal Sonic). In Episode I, there are five boss encounters, with all of them being recycled battles from Sonic 1 and 2 but with a new coat of paint and an extra “pinch” mode after you deal enough damage. First up, you’ll once again battle Dr. Eggman in his classic (and overused) Egg Wrecker; as before, you need to attack Dr. Eggman’s craft while avoiding his massive wrecking ball, which is a lot easier now that you have the Homing Attack and a higher rebound after landing a hit, meaning it’s simple to put him down even when he spins around and tries to crush you with the ball. Casino Street Zone revisits the Egg Claw boss; again, you need to run up the pinball table-like arena or use the bouncers to attack Dr. Eggman, this time while avoiding a claw-like appendage and an electrical shield that will damage you on contact. In Lost Labyrinth, you’ll again have to chase after Dr. Eggman’s Eggmobile, avoiding spikes and drowning, until he locks you in an enclosed arena. Here, he summons a series of horizontal and vertical columns that will crush you if you’re not careful, forcing you to quickly hop up and target him as he hides in a safe corner for easily the most aggravating boss of the game. Finally, in Mad Gear Zone, Dr. Eggman busts out a new version of the Egg Bouncer; as in Sonic 2, you’ll need to watch out for the mini Dr. Eggman bubbles that detach from his craft, which become a deadly hazard in the second phase. In this section. The game takes a page out of the Sonic Advance 2 (Dimps/Sonic Team, 2002) bosses and forces you to run at Dr. Eggman, avoiding spiked balls and his erratic duplicates to land hits. As if that isn’t bad enough, you’ll have to battle all four bosses in their “pinch” phases again in the secret final Zone, E.G.G. Station, in a boss rush. Luckily, there are Rings and checkpoints between each bout, though they’ve also got added hazards thrown in, such as moving platforms in the Egg Wrecker section and additional projectiles in the Egg Bouncer section. 

Episode II‘s bosses are larger and more complex but long-winded and tedious at times.

Episode II is once again a double-edged sword when it comes to bosses; while they’re largely far more unique and offer more of a challenge, they’re long, tedious, and involve a lot of waiting around. Episode II takes inspiration from Sonic CD for its bosses, giving them complex attack patterns and more visually interesting and tricky pinch phases, which is either a good or a bad thing depending on how patient you are. In Episode II, you’ll battle Dr. Eggman twice; in Sylvania Castle Zone, he pilots the Egg Serpentleaf, a massive plant-like mech that tries to swat you with its many tentacles and shields him behind a spiked bud. You’ll need to use the Copter Combo to avoid being smacked and land a few hits on Dr. Eggman, which will eventually cause more tentacles to appear and the mad scientist to blast the arena with a massive cannon. You’ll next encounter him in Oil Desert Zone in an even more irritating boss battle; Dr. Eggman assembles a massive mech out of scrap metal and you must pursue him up a garbage disposal, dodging his buzzsaws and the crates he drops (which thankfully aren’t instant-kill hazards but can contain spikes or bombs) and smacking his cockpit when he appears. When you reach the surface, the Egg Scrap Mech rapidly jumps between the foreground and background before trying to crush you; you’ll need to hit its feet with the Rolling Combo to stun it and finish off this pain in the ass boss. The other two boss battles are against Metal Sonic; like Sonic CD and Sonic Advance 2, these are auto-runners and autoscrollers. In White Park Zone, you must race towards Metal Sonic and attack him, then dodge his charge attack (either by jumping or springing to the foreground or background) and hop over the electrical traps he lays for you. After a few hits, he’ll start destroying the rollercoaster track so you’ll have to take care not to fall when attacking him. In Sky Fortress Zone, Metal Sonic pesters you in his Metal Carrier and then battles you directly, blasting electrical bolts that you need to dodge to smack his cockpit. He’ll then face you head-on, firing energy beams that you need to avoid and then jettisoning booster rockets that can crush you if you’re not careful. This can be a very annoying boss battle if you fail as there’s a lot of downtime at the start and between phases; while you can easily amass 100 Rings for an extra life, it doesn’t help with the frustration that can build in this encounter. 

Sonic’s return to the Death Egg is either overly familiar or erratically tough, but always an uphill battle.

Once you’ve cleared every Zone and bested Dr. Eggman’s boss rush in Episode I, you’ll face a final confrontation with the mad scientist in a refurbished Death Egg Robot. This is easily the most tedious and frustrating boss battle of Episode I as the Death Egg Robot takes nearly thirty hits to destroy and the battle involves a lot of waiting around. To start with, it’s exactly the same as in Sonic 2 but easier thanks to you having Rings and the Homing Attack; simply stay away from the mech, attacking its torso and avoiding its rocket arms, until it starts to malfunction. In this phase, the Death Egg Robot cannot be directly attacked; you need to quickly dash under it as it hops about and then use the Homing Attack to blast one of its rocket arms back at it, avoiding the sporadic laser blasts as you go, to land a few precious hits. Once you’ve done this enough, Dr. Eggman will try one last attack, forcing you to quickly dodge out of the way and land the finishing blow before you’re dropped to your death. In Episode II, you’ll rush at Dr. Eggman and Metal Sonic aboard the Death Egg mk. II; you need to get past the invulnerable Dr. Eggman and ram Metal Sonic a few times, avoiding the giant energy balls unleashed, before racing against your robotic doppelgänger like in Stardust Speedway, only this time with more doors to bash through. Finally, you’ll battle Dr. Eggman’s Egg Heart at the heart of the mechanised Little Planet; this battle is fought on constantly rotating mechanical rings that will burst with electricity, forcing you to quickly hop between them and ram Dr. Eggman’s cockpit. The more damage you do, the more erratic the rings move and the more dangerous the hazards become; Dr. Eggman even erects an energy shield that you’ll need to break with a Rolling Combo, making for a far more unique but equally frustrating final boss encounter. 

Additional Features:
There are twenty-four Achievements to earn in Sonic 4, twelve for each Episode, and they’re pretty basic, for the most part. You’ll get an Achievement for clearing the first Act of each game’s first Zone, one for clearing each game, one for completing first Act of each game’s first Zone in a strict time limit, and one for collecting first one and then all the Chaos Emeralds. In Episode I, you’ll get an Achievement for defeating 1000 enemies and accumulating 99 extra lives, while in Episode II you’ll add to your Gamer Score by playing as Tails fifty times and performing the Rolling Combo. Each Act in Episode II also hides a Red Star Ring; collect them all and finish the game for another Achievement, and upload your best scores in each Episode for another. I mentioned Chaos Emeralds just now and, as you’d expect, the seven gems are collectible in each Episode. You’ll earn them by beating Special Stages, which are accessed by finishing Act 1 to 3 with fifty Rings and entering a Big Ring, but the Special Stages vary drastically between each Episode. In Episode 1, they’re based on Sonic 1’s Special Stages, featuring a floating maze filled with Rings, bumpers, and exit pads; you need to collect Rings to lower barriers and reach the Chaos Emerald before the time runs out, collecting time bonuses and making use of the ‘Retry’ option in the pause menu if you’re sensing failure. As bad as Sonic 1’s Special Stages were, these are far worse; you rotate the maze here, not Sonic, which is extremely awkward and disorientating. Sonic can also jump but all this does is shake the screen in a nauseating way and, while you can replay the Special Stages from the world map, you can only retry those you’ve beaten and you must enter a Special Stage from a different Act to get a different Chaos Emerald. 

Conquer the aggravating Special Stages or take on a harder challenge in Episode Metal.

In Episode II, the Special Stages are redesigned and now influenced by the half-pipe stages from Sonic 2. Here, Sonic and Tails must collect a set number of Rings to progress, dodging bombs and electrical hazards and making use of the awkward tether mechanic in the final two Special Stages. While these are a lot more enjoyable and it’s much easier to retry if you’re struggling, they can get really annoying as the difficulty increases; you’ll need pixel-perfect timing and to make good use of the boost and momentum to snag all the Rings and the Chaos Emeralds here. In both Episodes, collecting the seven Chaos Emeralds allows you to transform into Super Sonic once you collect fifty Rings and double press A or B. this makes you super fast and completely invincible unless you’re crushed or drop down a pit, though it only lasts for as long as you hold Rings. Unlike Episode I, Episode II also features a multiplayer component; you and a friend can play the game in co-op like in Sonic 2, either locally or online, though this is strangely the only way you can play as Tails alone. Finally, completing Episode II unlocks Episode Metal, a side story in which you play as Metal Sonic and work your way backwards through remixed versions of Episode I’s Zones with all new cutscenes setting the stage for Metal Sonic’s return. Despite some new animations and sound effects, Metal Sonic is simply a reskin of Sonic and doesn’t have any new attacks; he also has to smash Badniks as well, which is a bit odd but I guess speaks to his superiority complex. There are no Achievements tied to Episode Metal, which is significantly harder then either Episode I or II; enemies, hazards, instant-death traps, and Act layouts have all be increased, altered, and made far more challenging, though there are sadly no bosses to contend with here, meaning this is more of a distraction for players who have mastered the base games. 

The Summary:
Honestly, calling any title Sonic the Hedgehog 4 was going to be asking for trouble; Sonic the Hedgehog HD or Sonic Returns or Sonic Redux would’ve been far more appropriate titles and would’ve tempered expectations for these sadly unfinished titles. It just baffles me how SEGA thought it was acceptable to go from the sprawling, multi-character epic that was Sonic 3 & Knuckles to this tame, cheap, stripped down bastardisation of the first two games. Playing Episode I alone is a joke; the game is functionally playable but visually a mess, with wonky physics, a lack of replay value, and too many recycled gimmicks and elements from Sonic 1 and 2. Thank God for Episode II, which fixes many of these issues; Sonic controls a lot better, the Zones are far more visually interesting and unique, and the bosses have more effort put into them. The team-based mechanics were fun; they could’ve easily been overused but they were enjoyable when you weren’t being asked to fly over bottomless pits, though I’m confused as to why there’s no option to play as Tails in the lead. The inclusion of Episode Metal was also a nice touch, though I think more could’ve been done with this. At least give Metal Sonic his electrical boost or some new gameplay mechanic, or have him face off against Sonic, rather than just being relegated to a hard mode add-on. Truthfully, I am sad we never got the planned Episode III as it’s possible that more unique elements would’ve been added in, including a playable Knuckles the Echidna and other more engaging elements, but sadly we’ll never know. As a complete package, Sonic the Hedgehog 4 is widely inconsistent; in addressing errors from Episode I, the game just feels like a disjointed mess, even when it’s doing something new and enjoyable. It’s obvious the developers tried to address these issues in Episode II, providing a more challenging and versatile gameplay experience, but at the cost of upping the difficulty in some areas and making it equally as frustrating as Episode I but in different ways. Ultimately, Sonic the Hedgehog 4 is a disappointment; it not only fails to live up to its title, but also fails to match the quality of Sonic’s Game Boy Advance titles. I can understand why SEGA distanced themselves from it (though not its hefty price tag), though luckily these mistakes were atoned for in the years to come with better, more enjoyable throwbacks to Sonic’s heyday being released. 

My Rating:

Rating: 2 out of 5.

Could Be Better

Are you a fan of Sonic the Hedgehog 4? Which Episode did you prefer and what did you think to the presentation and stripped down mechanics? Were you disappointed by how much Episode I drew from the original games and the poor selection of Zones and modes? What did you think to the team up moves in Episode II and the return of Metal Sonic? Which of the game’s bosses and Zones was your favourite, and would you have liked to see an Episode III tie everything up? How are you celebrating Sonic’s anniversary this year, and what are some of your favourite Sonic games? Whatever you think, leave a comment below or on my social media and go check out my other Sonic content across the site!

Game Corner [Turtle Tuesday]: TMNT: Mutants in Manhattan (Xbox 360)


The first issue of Kevin Eastman and Peter Laird’s Teenage Mutant Ninja Turtles (TMNT) was published in May of 1984. Since then, the TMNT have gone on to achieve worldwide mainstream success thanks not only to their original comics run but also a number of influential cartoons, videogames, and wave-upon-wave of action figures. Even now, the TMNT continue to be an influential and popular commodity, proving that some fads don’t die out…they just get stronger!


Released: 24 May 2016
Developer: PlatinumGames
Also Available For: PC, PlayStation 3, PlayStation 4, Xbox One, Xbox Series S/X

The Background:
Kids were mental for the Teenage Mutant Ninja Turtles back in the late-eighties and early-nineties. Though the Teenage Mutant Ninja Turtles cartoon (1987 to 1996) was a drastically toned down version of the original Mirage Comics, it was a veritable merchandise machine that saw the Heroes in a Half-Shell expand out to live-action movies of varying quality, further comic books, a fantastic line of action figures, and a whole host of videogames. At the time, Konami’s arcade efforts set the standard for TMNT videogames and, with few exceptions, most subsequent videogame adaptations would be brawlers of some variety. By 2016, the TMNT weren’t the dominating juggernaut that had been back in the day, but they were still very popular. A new, slightly darker cartoon ran between 2003 and 2009 before giving way to a much lighter, all-CG animated series from 2012 to 2017, and the franchise saw a resurgence in IDW’s popular comic book series. These comics became the primary inspiration behind PlatinumGames’ newest Ninja Turtles videogame. However, the developers also wanted to pay homage to the ever-changing nature of the franchise despite featuring an original story and sought to create an action-orientated, co-operative experience built on flashy moves and signature abilities. The result, however, was a mediocre brawler that failed to impress critics; reviews almost unanimously agreed that Mutants in Manhattan was a let-down that would prove to be a disappointment to even die-hard franchise fans, with very few redeeming qualities being highlighted in reviews.

The Plot:
When Oroku Saki/The Shredder and Krang once again join forces and swarm the streets with their mutant lieutenants and Foot Clan soldiers, the Teenage Mutant Ninja Turtles leap into action. Aided by their ally, April O’Neil, they respond to various crimes and disturbances before confronting the Shredder in an epic showdown.

Gameplay:
Teenage Mutant Ninja Turtles: Mutants in Manhattan is a mission-based, quasi-open-world hack-and-slash brawler in which one to four players take control of the iconic TMNT and battle against some of their most memorable foes across nine different stages. The game offers four control schemes, though the default settings were perfectly fine for me: X and Y perform light and heavy attacks, respectively, using the TMNT’s signature weapons. You can string button inputs to pull off various combos, but as ever you’ll have to consider the range of your chosen character when fighting as Raphael favours close-quarters combat compared to, say, Donatello, who has a longer reach. A sees you jumping and pressing A in mid-air pulls off a double jump and holding it lets you glide on a shell-themed parachute, and B is used for actions, such as picking up or riding objects or mounting turrets. The Left Bumper puts you into an over the shoulder aim mode so you can toss unlimited shuriken with the Right Bumper and the Right Trigger is used for dodging and blocking; pressing RT at the right time will execute a back attack and counters, but mindlessly mashing it can leave you dizzy and vulnerable.

Utilise the TMNT’s diverse combat, gadgets, and abilities to stop incursions and safeguard the city.

You can switch to any character at any time by holding the Left Trigger and pressing a direction on the directional pad; when playing alone, you can use the ‘Back’ button to issue various commands to your AI-controlled partners, such as asking them to wait or to protect you, or communicate with other players using limited options. If you choose the “Go All Out” option, the AI will respond accordingly; while I spotted some instances where the AI got a little stuck, most of the time it was super aggressive, tackling enemies without hesitation and always running over to revive me when my health was drained. Sometimes, you’ll need to press B or mash A as a team to open large manholes or shutters to progress, and you’ll also make copious use of the TMNT’s ability to clamber up walls and grind on rails and wires to speedily reach your objectives. You can review these and get a layout of the environment at any time by pressing in the right stick to activate the Turtle Glass (T-Glass); this enables a digital overlay of the screen to pinpoint enemies and interactive objects, not unlike the Detective Vision from the Batman: Arkham games (Rocksteady Studios/Various, 2009 to 2016). The comparisons continue as, while in this mode, you can sneak up behind unsuspecting enemies and take them down with X or Y for a quick victory, and you’ll be in constant communication with April and the other TMNT to identify objectives, secrets, and incoming waves of enemies.

Each Turtle has a variety of special attacks and can be revived by scarfing down pizza.

As is often the case with a TMNT game, combat is at the heart of Mutants in Manhattan; while combos are simple and satisfying to pull off, each Turtle has their own “Ninjutsu” powers, activated by holding the Left Trigger and pressing one of the face buttons. You can customise, acquire, and upgrade each of these attacks using the Battle Points (BP) and loot you acquire from combat and gameplay and there are a range on offer, from tossing a larger shuriken to creating a healing circle, to teaming up with another Turtle for a shell shock attack or unleashing a powerful flurry. Each carries a different cooldown time that automatically refills to avoid you spamming them, but you can conceivably execute them and then quickly switch to another Turtle to keep the chain going. You can also pick up and throw or set off explosive barrels to take out large groups of enemies, lock on to an enemy with the right stick to focus your attacks, and take control of gun turrets to bring down helicopters and other airborne threats. Between stages, you can customise each Turtle’s moves but you can also return to the lair using one of the many manholes scattered around each location. This is also where you purchase health, power-ups, and items if you’re running low but these are so commonplace in normal play that I never had much need to stock up. Each Turtle also has their own life bar and can be revived with a press of B when required. If you fail to be revived, you’ll be dumped into the TMNT’s sewer lair and be forced to mash A to eat pizza and refill your health. Be warned, though, as the pizza can get very hot and if all four TMNT are defeated at the same time, the mission will end, and you’ll need to use a continue to jump in from your last checkpoint.

Various random and predetermined missions advance the plot and earn you rewards.

Each stage sees you embarking on various missions; depending on the stage, some of these might be randomised, but generally you’ll be fending off waves of different enemies in different situations. April may direct you to an enemy hideout, for example, or waves of enemies and reinforcements may appear on the map that need to be taken out in order to progress the story. Other times, you’ll need to protect something, like a pizza stand or a power generator, from enemy attacks, or you’ll need to disarm bombs or download data from terminals while fending off waves of enemies. When in the city, enemies may hijack cars that need to be stopped or rob banks; in these instances, you’ll need to roll bags of cash to a set point on the map or carry large gold bars to the same goal to complete the mission. Later, Krang’s Krangdroids launch an all-out assault on New York City and you’ll need to take them out, something made all the easier when you commandeer one of them for yourself! You’ll be travelling to different subway stations, taking out spherical lasers, riding the waves down in the sewers, avoiding sticky slime and lightning strikes, carrying Krang’s bombs to safe zones using beams of electrical energy, avoiding enemy scouts and helicopters (or taking them out entirely), bouncing from nets across the rooftops of the skyscraper distract, and surviving an assortment of enemies in enclosed arenas, all within a time limit that determines the rewards you receive. It can get a little annoying as the game is constantly interrupted by April banging on about the latest emergency, but it’s just varied and random enough to keep things from growing stale, the time limits are pretty generous, and the combat is fluid and deep enough to keep things enjoyable.

Graphics and Sound:  
Mutants in Manhattan opts for a cel-shaded style that mimics both the IDW comics and the original Mirage Comics at times. The TMNT look really good; I enjoyed their characterisations, banter, and animations, though I was a bit put off by the bizarre decision to give them noses. While they don’t have very interesting idle animations, their weapons come out as they run along and you can command them to strike a pose or start dancing, which is fun. Everything runs really smoothly and I had no instances of slowdown or major glitches; the controls are responsive and attacks hit with a meaty impact that is very satisfying. Even better, the game uses the in-game models, with some upscaling, for its cutscenes, which are fully animated and voiced, though the game opts for a sound-a-like rap/rock soundtrack rather than recreating the classic TMNT theme. The plot might not be the most original TMNT story in the world and there was some obvious assumptions on the player’s familiarity with TMNT lore, especially from the IDW comics, but I enjoyed it and like the characterisation of the TMNT. It also helped that April and Splinter appear in the cutscenes and throughout to offer advice and upgrade your gear, and that the bosses you encounter are large, detailed, and varied even if the regular goons aren’t much to shout about.

The cel-shaded style really works for the game and its appealing characterisations of the TMNT.

Equally, the game’s environments aren’t anything you haven’t seen in basically every other TMNT videogame; you’ll battle on the city streets and rooftops, traverse the somewhat maze-like sewers, and end up in the Shredder’s futuristic, neon-filled lair, but the presentation benefits from the cel-shaded visuals. Stages also mix things up by using different times of day, switching to different areas (you’ll be downtown in one mission and then up high on skyscrapers later on), and even depicting the city under attack and on fire from Krang’s assault! The sewers were surprisingly engaging; you’ll have to open shutters, dive down manholes, and avoid toxic gunk that turns you into a mindless zombie on contact. When battling Slash, the arena is in near total darkness, giving it a horror edge, though you can activate a light switch to see things better. You’ll also descend into the subway, where you’ll take out various colourful gangs and have to avoid speeding trains that can hit with devastating force. While opposing Karai and Wingnut, you’ll need to bounce and glide between skyscrapers, avoid lightning strikes, and ride wind currents to traverse the skyline, and even briefly battle enemies on top of a speeding subway train! For the most part, stages are just big enough where it’s fun to explore to find optional missions or collectibles but not so big as to be intimidating or outstay their welcome.

Enemies and Bosses:
Mutants in Manhattan doesn’t exactly deviate from the usual TMNT formula when it comes to its enemies. You’ll be pummelling the Foot Clan, punk-like Purple Dragons, robotic Mousers, and formidable Rock Soldiers throughout each level, with the enemies being so interchangeable that they’re rarely referred to be name and simply called “the enemy” whenever they spawn in. The Foot can appear in a puff of smoke and sometimes wield bags of explosives (which you can use to your advantage) or briefly tie you up using thrown bola-like chains; “elite” versions of the Foot are also present and are more proficient in swordplay, requiring better use of your blocking and dodging. Enemy helicopters and scouts often pop into the area and will increase the aggression of the enemies if you’re spotted; you’ll also have to watch out for Utroms in little UFOs that fire beams at you that mess up your controls or encase you in a bouncy bubble, amongst other negative effects (though these can also affect enemies, too). Mousers aren’t really a bother, though they will explode in your face if you don’t dispatch them first, meaning the game’s most formidable enemies are the Rock Soldiers. These guys absorb attacks like a sponge and their larger, hammer-wielding elites can be a serious headache thanks to constantly causing shockwaves with their attacks, and you’ll also battle nine iconic TMNT antagonists. As is often the case, the first two bosses you’ll come up against are Bebop and Rocksteady; in fact, Bebop has a random chance or appearing during Rocksteady’s boss battle and the two exhibit attacks and capabilities not unlike their arcade counterparts. Bebop, for example, is fought in a claustrophobic bank vault; he’ll hop about a bit, swipe at you with his chainsaw, and blast at you with a futuristic laser pistol.

After enduring four monstrous mutants, your skills will be tested by the agile Karai.

Rocksteady is fought in the subway so you’ll need to be just as mindful of any speeding trains as you are his sledgehammer attacks, grenade launcher, and the grenades both mutant monsters rain into the arena. Neither are much of a bother if you stay locked onto them, though, and make use of your Ninjutsu attacks and the dodge mechanics. Even when they team up, they’re not too tough and you can even make use of the trains to deal additional damage. The third boss is a bit more formidable; you’ll fight the rampaging Slash in a dark area of the sewers, avoiding his manic claw swipes, rolling attack, and charges. He’s definitely a bit more aggressive than the previous bosses and it can be difficult to see him if you don’t flick on the lights; he can also be joined by another boss, Armaggon, to increase the challenge on offer. After defusing her bombs and taking out her goons, you’ll battle Karai in the girders of a skyscraper. Unlike the other bosses fought in the game, Karai is swift and agile, easily leaping out of harm’s way, attacking with a sword dash, and sending you flying with a tornado spin. She’s also the only boss who sends her minions after you during the battle, meaning you have to employ a little more skill than with the other bosses. After that, you’ll face Armaggon in the submerged sewers; Armaggon pops out of the toxic goo surrounding a circular platform and attacks with frantic chomps of his ravenous jaws, an impressive cartwheel tail swipe, and even spits purple goo at you to leave you disorientated.

The endgame bosses prove a greater challenge and there are even secret, even tougher versions to face!

One of the most diverse bosses is Wingnut; this mutated bat initially attacks in a large UFO, from which he fires missiles and lasers, though you can make use of the handy-dandy nearby turrets to bring him down. Although he’s relieved of his fancy toy in the second phase, he’s by no means less dangerous; in fact, Wingnut was the toughest boss I’d faced up to that point and actually caused me to use a continue to best him. He hovers above you swiping with his talons and sending out a spread of lasers and a larger, far more devastating laser blast from the orbs that circle him. Wingnut covers a large portion of the arena with a big spin attack; though this leaves him dizzy, it can deal big damage to you and your allies, making him a surprisingly formidable opponent considering how comical he is. When you infiltrate the Techno Cosmic Research Institute (T.C.R.I.), you’ll have the joys of battling all of these bosses once again with hallways filled with power-ups, enemies, and security cameras placed between each bout, though nothing has changed from any of the fights except the environment and that Wingnut no longer attacks in his UFO. Once you beat them all again, you’ll reach the control room and battle Krang in his oddly-designed android body. Although Krang sports an intimidating arsenal, from homing missiles to explosive bolts and a massive laser attack, he’s very slow and can get temporarily stuck in the floor when he executes his melee attacks. The next stage sees you battling Mega Krang, however, and he’s absolutely nothing to sniff at. Here, you’re best off making use of the Krangdroids to fire lasers, missiles, and charged punches because this gigantic version of Krang can temporarily destroy the buildings you’re standing on, send huge orbs of energy at you, and fire missiles and lasers from his hands. He’s a massive target, though, and his attacks are easy to avoid and telegraph; he also briefly collapses after you deal enough damage, allowing you to pummel his big holographic, brain-like head, but he’s definitely the toughest boss in the game. After you defeat him, you’ll finally confront the Shredder on a rotating helipad platform high above the city. Like Karai, the Shredder is more agile and swift in his attacks; he slashes at you, delivers martial arts kicks, tosses out barbed traps, and even sends pieces of rock flying at you. He sports a charging dash, a tornado spin, and the longest health bar of any boss in the game, and there’s also an even tougher secret version of the Shredder you can battle as well!

Power-Ups and Bonuses:
Every stage features a number of green and red orbs floating about the place; while you can just touch the green orbs to collect them, the red ones will need to be broken with your shuriken and each will offer a different item for you to use in battle. These range from a slice to a full pizza to restore your health, drinks to temporarily buff your speed, power, or defence, and more offensive weaponry such as fireworks, bombs, turrets, and freezing blocks. You can purchase more of these from the TMNT’s lair using the manhole covers and you’ll also gain them from defeating enemies, and they can be really useful against large groups of enemies and in boss battles. You’ll also earn BP that you can use to acquire new Ninjutsu abilities and upgrade them, alongside loot, when modifying your characters. You can also equip up to three Charms (depending on what difficulty you’re playing on) to each Turtle; these can also be upgraded (or dismantled for new loot) to be more effective and provide buffs such as inflicting poison on enemies, reducing cooldown times, earning you a discount on items, and increasing the drop rate of items. If you accomplish certain feats in battle, such as using takedowns or defeating certain numbers of enemies and such, you’ll also earn Emblems you can equip to each Turtle, though this doesn’t seem to serve a useful in-game function. Each Turtle also levels up from battle, which doesn’t increase their stats or anything but instead allows you to purchase new Ninjutsu moves to use, effectively functioning as a means to purchase new abilities from a skill tree, of sorts.

Additional Features:
There are fifty Achievements up for grabs in Mutants in Manhattan and, surprisingly, they actually require a bit of effort to earn. Rather than simply being awarded an Achievement for beating each boss, you’ll need to travel a certain distance, both on foot and on rails, detonate explosive barrels, take out security cameras and devices, and complete a set number of missions to earn your G. Achievements are also dished out for playing online, battling secret bosses, and being in specific situations during the snapshots that play whenever a boss is defeated. It’s advised to play alongside friends in order to better sync up your chances of earning some of these Achievements, and a fair few of them depend on luck and replaying stages over and over to spawn in specific missions. There are three difficulty settings to choose from, with a fourth being unlockable, and numerous collectibles to find, including comic book covers and movies but, sadly, no additional characters or skins to unlock (you’ll need to have been lucky enough to get the downloadable content to access those).

The Summary:
I was actually presently surprised by Teenage Mutant Ninja Turtles: Mutants in Manhattan. I’d heard that it was a bit of a disappointment, so I wasn’t exactly expecting too much from it, but it turned out to be a pretty good brawler. At first, I was worried it was going to be too open-world, and then I was a bit frustrated by the mission-based structure of it, but it quickly became an enjoyable romp with just enough depth to be interesting but not too much stuff happening that it becomes confusing and full of grinding and micromanagement. The TMNT were fun to play as and brought to life really well; the AI system was ridiculously competent (almost too competent in some instances, especially when I was trying for Achievements) and the stages are just the right length and have just enough variety to not get boring. Things are very linear but there’s a degree of randomness to certain events; exploration is limited but usually rewarding; and it’s fun to experiment with different Ninjutsu combinations and Charm effects. The highlight of the game for me were the boss battles; large, intimidating, challenging, and recognisable TMNT villains act as the focal point of each stage and they were really enjoyable to battle against, with each one being just different enough to not be boring or aggravating, and I honestly didn’t even really mind the forced boss rush in the endgame since they were so much fun to fight. I imagine the game is even more fun to play with a friend and this was the closest I’ve seen a 3D TMNT videogame come to emulating the pick-up-and-play arcade-style action of the games I enjoyed so much as a kid. It’s not perfect by any means and is maybe a little too short and too lacking in content, but it’s certainly more appealing than some TMNT videogames and I definitely wouldn’t say no to jumping back in and trying to grind out some more of those Achievements.

My Rating:

Rating: 3 out of 5.

Pretty Good

Have you ever played Teenage Mutant Ninja Turtles: Mutants in Manhattan? What did you think to the combat and abilities of the TMNT? Which of the bosses was your favourite to battle and what did you think to the forced boss rush? Did you struggle with any of the missions on offer? What did you think to the BP and Ninjutsu system? Did you ever experience all the secret bosses and earn all of the Achievements? How did you celebrate the TMNT’s debut this month? Whatever your thoughts on Mutants in Manhattan, leave a comment down below or on my social media and check out my other TMNT content across the site.

Game Corner [Turtle Tuesday]: TMNT (Xbox 360)


The first issue of Kevin Eastman and Peter Laird’s Teenage Mutant Ninja Turtles (TMNT) was published in May of 1984. Since then, the TMNT have gone on to achieve worldwide mainstream success thanks not only to their original comics run but also a number of influential cartoons, videogames, and wave-upon-wave of action figures. Even now, the TMNT continue to be an influential and popular commodity, proving that some fads don’t die out…they just get stronger!


Released: 20 March 2007
Developer: Ubisoft Montreal
Also Available For: GameCube, Nintendo DS, Nintendo Wii, PC, PlayStation 2, PlayStation Portable (PSP)

The Background:
The Teenage Mutant Ninja Turtles (known as Teenage Mutant Hero Turtles here in the United Kingdom) dominated playgrounds during my youth thanks to the super popular cartoon and toys, but the impact of their videogames cannot be understated. Konami’s original arcade title was one of the defining titles of the beat-‘em-up genre, the Nintendo Entertainment System (NES) title all-but defined what it meant to be “NES Hard”, and the Heroes in a Half-Shell saw success in a variety of genres. Although the critical and commercial mauling of their much-lambasted third live-action venture meant it took the better part of fifteen years for them to return to cinema screens, new TMNT videogames, cartoons, and toys continued to be produced. With TMNT (Munroe, 2007) set to be the franchise’s big return to cinema, one that would encompass different aspects of the franchise, it was only natural that it was accompanied by a videogame adaptation; this was the style of the time, after all. At this point, the licensing rights were owned by Ubisoft and the developers sought to take the family-orientated nature of the TMNT and translate it into a brawler for unique gameplay mechanics. Unfortunately, TMNT was met with mixed reviews that criticised its simplicity, repetitive combat, and lack of content. Direct comparisons were made to the arcade games of yesteryear and the reviews felt as though TMNT failed to measure up to these standards as, despite capturing the visual style of the movie, the focus on platforming and mind-numbing gameplay failed to excite compared to what had come before.

The Plot:
Following the defeat of Oroku Saki/The Shredder, the TMNT have drifted apart; leader Leonardo is off training in Central America and hot-headed Raphael is secretly busting heads as a masked vigilante known as the Nightwatcher. However, the brothers come together again when mythical creatures rampage through New York City as part of an ancient ritual.

Gameplay:
TMNT falls into the rare and frankly bonkers category of being a TMNT videogame that is focused solely on a single player experience, despite the fact that many levels see you not only switching between the four brothers but also pulling off team-up attacks! Instead, the game is framed as the TMNT reminiscing about their newest big-screen adventure alongside their master and father-figure, Splinter. The player controls each of the Turtles individually, and eventually gets access to all four of them, across sixteen story-based levels heavily inspired by locations and events from the movie and focused heavily on combat and, surprisingly, a great deal of platforming. The player can jump with A (executing a double jump if A is pressed again in mid-air), use Y to knock enemies flying with a spin attack (or hold the button for a flurry of attacks), strike hard and fast with their signature weapons by pressing B (holding it for an overpowered dash attack that sees you automatically zip towards any nearby enemies or mashing the button to string together basic combos), and switch characters, when available, with X. The player can also use the shoulder buttons to dodge and block when in combat, though I had no need for this for the most part, and holding one of these shoulder triggers in conjunction with X pulls off co-operative attacks, such as tossing your Turtle across large gaps or at enemies.

While the TMNT have their own signature styles, repetitive combat and platforming runs rampant.

As you’d expect from a TMNT videogame, the four mutants all look and play very similar and are separated by their slightly different voices and quirky personalities and their signature weapons. The very nature of these weapons means that characters like Leonardo and Donatello have greater reach than Raphael and Michelangelo and, for the most part, TMNT doesn’t get more complicated than categorising Leo as the “balanced” character and having Mikey focus more on executing a flurry of melee attacks. However, they do have distinctive special abilities that can be pulled off by holding the Right Bumper and pressing X or B: Leo can phase through bars, Don can “bo vault” across large gaps, Mikey spins his nunchakus like helicopter blades to float for a short period of time, and Raph can climb certain walls (as indicated by glowing red rectangles and dialogue prompts) with his sais. The player will also get to control Raph’s armoured alter ego, the Nightwatcher, at various points. Although he plays very similar to Raph and the others, he builds up an additional “Rage Meter” that, when full, allows him to pull off an area blast with RB and B or gives him a power boost when only partially full. Success in combat awards you stars and builds your “Family Bond Meter”, allowing you to pull off the aforementioned team attacks and a screen-clearing “Mega Attack”, and you can execute a ground punch to get some breathing room by pressing B in mid-air. You also have a decent variety of traversal options in the game’s platforming sections. The TMNT can grab ledges to shimmy across gaps or simply run along walls for a short period. They can also scale vertical walls using handholds, swing from poles, and, if you stand completely still, your Turtle will meditate and slowly regain health (though the Nightwatcher seems exempt from this).

The game offers little challenge or variety, featuring simple platforming and button mashing.

There’s no real incentive to do this, however, as you’re not only penalised with a lower grade if you take too long to complete stages but you can simply mash the A button when your health is drained to return to the fight, with no danger of failure at any time. Each stage is incredibly linear and filled with checkpoints, allowing you to easily respawn if you miss a jump or plunge to your doom, and you can simply mash A if you get stuck in toxic waste. Stages demand very little from you other than to follow a set path, hopping across rooftops, fences, and from platform to platform in a shameless aping of Frogger (Konami, 1981) as you traverse the game’s limited and repetitive environments. Occasionally, you’ll encounter various hurdles to break up the monotony: the Foot Clan will have placed trip wires that activate arrow hazards, the game switches to a 2.5D perspective a few times as you scale the outside of buildings, you’ll hop to temporary or moving platforms, and at one point have to quickly scale a shaft, battling with the stubborn camera, to avoid regular laser blasts. A couple of other times, you’ll have to race towards the camera Crash Bandicoot-style (Naughty Dog, 1996) as the environment crumbles around you, avoid bursts of flame, electrified hazards, and laser traps, run through a super simplistic hedge maze, and cross the New York skyline using parade balloons but it all gets very samey very quickly. Combat is much of the same; each combat encounter takes place in a pre-set area, meaning a variety of goons come at you at specific points and you’re forced to fend them off to progress. I had very little use for the block or dodge mechanics and found it much easier to simply knock the enemies away, charge up an attack, and then pummel them with simple weapon combos in order to move on as quickly as possible.

Graphics and Sound:  
Graphically, TMNT is a bit of a mixed bag; the four Turtles look really good, emulating their big-screen counterparts and even their voice actors reprise their roles. Depending on the story chapter you’re playing, the TMNT will slightly change up their looks; Leo sports a cloak when in the jungle, for example, and Mikey’s first stage sees him garbed in his “Cowabunga Carl” costume, though there are no options to unlock these as permanent skins. As you play, the TMNT will offer the usual commentary praising your fighting skills but also chime in to advance the story with the benefit of hindsight. Unfortunately, the music is incredibly generic and, like the movie, opts for more of a sound-a-like than anything resembling the classic TMNT theme song. The goons you fight aren’t very visually interesting either, and the game’s cutscenes have a serious case of identity crisis. For the most part, the story progresses using barely-animated comic book panels that are visually inconsistent with the source material. In-game cutscenes are few and far between, with only a handful occurring near the end of the game, and, most surprisingly of all, TMNT features very little film footage, and what is there is grainy and oddly placed.

The game’s visuals are all over the place, though the Nightwatcher’s noir-style stages stand out.

Most disappointing of all is the level variety. New York City has never looked more blocky and deserted in a TMNT videogame; you’ll constantly be running and jumping across rooftops and alleyways that all look and feel very similar, despite the time of day changing or tossing in parts of Chinatown and recognisable landmarks in the background. When you’re not on the streets or rooftops, you’re in the sewers, hopping to platforms or running along the tunnel walls, or in Max Winters’ high-tech building riding elevators and avoiding lasers. There is a part where you enter a Chinese-style temple full of lily pads and ornate decorations, which was kind of interesting, and you’ll have to traverse water wheels and a steel mill full of molten lava in order to progress, too. Generally, the game runs okay but I did experience odd periods of slowdown and it’s all very bland and by-the-numbers and feels very padded out, but things do get visually interesting when playing as the Nightwatcher. Not only is Raph’s vigilante persona chunkier and a little different to control but his levels all take place in a black and white filter that emulates the original Mirage Comics and helps to break up the visual repetition of the game. There’s also a point where Leo confronts the Nightwatcher and chases him across the city; when Leo is ambushed, the player switches to controlling an unmasked Nightwatcher and backtracking to help their brother, which did mix things up but these cutscenes were let down by the rigidity of the in-game models and the reliance of pop-in character portraits rather than mouth animations.

Enemies and Bosses:
There are a few different factions of enemies that will oppose you throughout TMNT, none of them being all that interesting conceptually, visually, or as enemies. In the jungles, you’ll encounter machete- and gun-wielding mercenaries; street punks come at you with blunt weapons and bravado; and you’ll occasionally encounter more tech-orientated goons in the sewer who jab at you with electrified sticks. Naturally, you’ll also battle the Foot Clan on more than one occasion; these black-clad ninjas attack with swords and arrows but aren’t much of a threat, despite their numbers. Other enemies may toss projectiles, such as acid beakers, and you’ll generally face far more goons as the Nightwatcher in order to build up his rage meter faster, but there aren’t any of the classic TMNT enemies to find here, like Mousers or the Stone Warriors, most likely because they didn’t feature in the movie and the developers were hyper-focused on bombarding you with 3D platforming sections.

Of the thirteen ancient monsters, you’ll only fight four and they’ll flee before you can finish them off!

Considering the source material revolves around thirteen mythical beasts rampaging through New York City, you’d think that TMNT would include a decent variety of boss battles but, sadly, you’d be mistaken. You’ll encounter seven bosses throughout the game; four of those are fought on two separate occasions, which is already pretty cheap, but you also won’t even defeat a boss until your reach the boss gauntlet at the end of the game. The first boss you encounter is General Gato, who hops around a circular arena tossing spines at you, lunging at you with blade swipes, or charging up a spray of projectiles in the middle of the arena. Simply dodge and jump over his projectiles and deliver a beatdown when he comes close and you’ll soon have him on the run. Next, you encounter the Yeti crashing his way through buildings before settling in a construction site. This ape-like brute throws slow, powerful haymakers, delivers a ground slam, and goes absolutely mental after you drain enough of his health but, again, flees before you can deliver a decisive blow. General Mono is easily the worst of the bosses; this hulking brute wields a massive hammer that he constantly smashes to the ground to create shockwaves; he also leaps into the air to come crashing down on you and is easily able to tank your combos. The fourth mystical creature you battle is Serpientei, easily the most agile and versatile of the group thanks to her ability to teleport, spit acid, race at you with a dashing strike, and unleash a charged strike. Halfway through the fight, Serpientei spews acid on Raph and the other TMNT will arrive to help, allowing you to make full use of your Mega Attacks to finish her off.

Besting Shredder and the final boss is much easier with your team-up attacks.

All four of these bosses reappear in a boss rush at the end of the game and are fought one after the other, with checkpoints and a barrage of lightning to avoid between each one. This time, you fight them in a circular arena that, if you fall out of, will see you instantly fail and have to retry from the last checkpoint, something which is incredibly frustrating when battling General Mono again. Of the four bosses, this guy easily poses the biggest problem as he absorbs your attacks like a sponge and unleashes a massive explosive hammer slam that will instantly KO you off the arena unless you interrupt his attack by tossing a Turtle at him. Despite only briefly appearing in the movie, you’ll also battle the TMNT’s archenemy, the Shredder, courtesy of a flashback; much like Shredder battles from the TMNT’s arcade games, Saki summons duplicates of himself and tosses kunai, but he’s not a very intimidating foe and is easily dispatched without much trouble. Finally, after defeating the Shredder and dealing with the four mystical creatures once again, you’ll battle General Augila, who immediately reduces the size of the boss arena and proves invulnerable to conventional attack. General Augila will attack with a spread of laser beams, tossing out multiple arrows, raining fireballs, and firing energy waves at you while spinning his sword; he also constantly floats around the arena between attacks, making him a difficult target, and can restore his health. However, you’ll notice that each of his attacks is colour-coded and this is your key to victory; simply switch to the appropriate Turtle and unleash your Mega Attack to damage him and he goes down without much fuss (certainly easier for me than the second battle with General Mono!)

Power-Ups and Bonuses:
Strangely, unlike pretty much every single TMNT videogame, there aren’t any power-ups or pick-ups in TMNT. As the Turtles restore their health through meditation and there is no life system, you won’t be picking up pizzas or extra lives and there are no temporary power-ups to find; you simply need to pummel enemies to build your meters and that’s it. There are no fire hydrants to attack, no additional weapons to pick up, no explosive barrels, or anything like that, making it a bit of a step back compared to its arcade predecessors.

Additional Features:
There are twenty-three Achievements to grab here, and you should have no trouble earning all of them in no time at all. Sixteen of them are awarded simply for completing each of the game’s stages; you’ll get another four for using each of the TMNT’s special moves, one for finishing a level without taking damage, one for doing a co-op attack, and one for collecting your first Gold Coin. There are no difficulty settings here so you don’t have to worry about finishing the game on harder modes and, while you do get a rank at the end of every stage, there are no Achievements tied to getting any of these, making these Achievements a breeze to get. Every level contains a number of Silver Coins; collecting these adds to your rank and allows you to purchase “goodies” from the main menu. Sadly, rather than these unlocking new skins or characters (April O’Neil and Casey Jones are nowhere to be found here), you simply unlock big head mode and daft weapons and sound effects. Clearing a level allows you to replay it and grab a Gold Coin for more points and that Achievement and also unlocks a virtual reality Challenge Map, where you must complete a wireframe obstacle course in a time limit (though, again, there’s nothing to gain from this).

The Summary:
I have a certain expectation when it comes to TMNT videogames; it’s not exactly a high standard or anything, I just expect them to be fun, colourful, arcade-style brawlers and not much else. In this respect, I was fully expecting to still enjoy TMNT despite it having the stigma of being a videogame adaptation, but this game really misses the mark. As much as I enjoy the movie it’s based on, I can’t say the same for the game, which pads out its playtime with an overabundance of visually boring platforming sections and repetitive combat. It’s not long before you’ve seen everything TMNT has to offer and the level of challenge here is so low that you’ll quickly become bored by it all. There’s no skill to the game, no new moves or power-ups to earn, and you can’t even play it with a friend, which has to be some kind of cardinal sin for a TMNT videogame at this point. Bland environments and a stubborn unwillingness to expand or deviate from the source material clashes with a disjointed visual style and a lack of content from the movie, making the whole experience very basic and slapped together. The game controls well and, at times, does look pretty good, but the lack of options, disappointing bosses, frustrating camera and finicky controls, and mediocre challenge on offer make it only really worth playing to bump up your gamer score. If you can find it cheap, I’d say it’s worth snapping up for this reason alone and to make you appreciate the TMNT’s 2D adventures all the more, but the lack of playable characters and lacklustre Achievements and gameplay modes mean this game is easily forgettable and little more than a barebones brawler/platformer designed to cash-in on a popular franchise.

My Rating:

Rating: 2 out of 5.

Could Be Better

Have you ever played TMNT? If so, what did you think to it, especially compared to other TMNT videogames? What did you think to the presentation of the game and its focus on 3D platforming and repetitive combat? Which of the TMNT was your favourite to play as? Were you also disappointed by the lack of content and challenge on offer here? Which of the bosses was the most frustrating for you? Did you ever clear all the Challenge Maps? What are some of your most, or least, favourite videogame adaptations and how are you celebrating the TMNT’s debut this month? Whatever your thoughts on the TMNT, leave a comment down below.

Game Corner [F4iday]: Fantastic 4: Rise of the Silver Surfer (Xbox 360)


In November 1961, Marvel Comics readers witnessed four intrepid explorers be forever changed by mysterious cosmic rays. Marvel’s “First Family” of superheroes were the first of many colourful superheroes for Marvel Comics and are more than deserving of some attention today.


Released: 15 June 2007
Developer: Visual Concepts
Also Available For: Nintendo DS, Nintendo Wii, PlayStation 2, PlayStation 3

The Background:
Stan Lee and Jack Kirby’s family of dysfunctional superheroes finally made it to the big screen in 2005 after a chaotic journey; their 1994 movie was never released, but Fantastic 4 (Story, 2005) was a modest box office success despite mixed reviews and earned itself a sequel in 2007. Fantastic 4: Rise of the Silver Surfer (ibid, 2007) was also a somewhat lacklustre critical and commercial release that led to a disastrous reboot some eight years later, but it did result in another rare standalone Fantastic Four videogame being released. This was, of course, at the peak of the time when every single cinema release was accompanied by a hastily created videogame tie-in, but the Fantastic Four have had a couple of videogame adaptations in the past, the first being an obscure and obtuse text-and-image based adventure and the second being a universally derided brawler. While the Fantastic 4 videogame tie-in was published by Activision and received slightly-above-average reviews, Rise of the Silver Surfer was published by 2K Games, with this version being developed by Visual Concepts, a studio more known for their sports tie-ins, and its marketing was built around the four-player co-op, destructible environments, and “Fusion Attack System”. Sadly, the best this adaptation could hope for was mixed reviews, if that; the game was widely regarded as being another disappointingly cheap, repetitive, tie-in that failed to offer anything engaging or unique for gamers to get to grips with.

The Plot:
World-renowned superheroes and scientists the Fantastic Four find their lives interrupted when an extraterrestrial dubbed the “Silver Surfer” causes havoc with their powers and revives their old nemesis, Victor Von Doom/Doctor Doom, all while preparing the world for consumption by a cosmic being known only as “Galactus”.

Gameplay:
Fantastic 4: Rise of the Silver Surfer is a third-person, team-based brawler in which players pick from each member of the titular team (Doctor Reed Richards/Mister Fantastic, Doctor Susan Storm/The Invisible Girl, Johnny Storm/The Human Torch, and Ben Grimm/The Thing) and battle through six distinct levels ripped both from the movie the game is based on and the original source material. The game supports up to four players in simultaneous co-operative play, and players can jump in at any time to assume control a character, but a single player is more than capable of playing through the game without any difficulties thanks to a relatively competent partner A.I. and the ability to switch between the characters using the directional pad. While each character has their own superpowers that give them slightly different playstyles, they share the same basic control commands: A and X allow pull off weak and strong attacks, respectively, and you can string these button inputs together to perform simple combo attacks, Y allows you to jump (and you can do jumping attacks, naturally), while B unleashes an “area attack” or is used to grab and use objects. The Left Bumper allows you to block incoming attacks, while the Right Bumper lets you change your team’s tactics; tapping it will cycle through commands like aggressive and defensive and holding it will see your teammates form up on your current position.

Each member of the team has different attacks and special moves according to their powers.

Not only does each character have different attack animations (with the Thing favouring slow, strong punches and the Invisible Girl pulling off roundhouse kicks and spinning attacks, for example), they also have their own unique superpowers that slightly change how they play and affords them different capabilities in combat or puzzle solving. You can perform these by holding the Right Trigger and pressing A, B, X, or Y but doing so will drain your “Cosmic Meter” and you’ll need to either give this a few seconds to refill or collect “Cosmic Orbs” from downed enemies or smashed crates. Reed Richards is elastic, giving him decent reach by default but this also allows him to perform a “Periscope Punch” to hit switches or control boxes that are high up on walls or ceilings, slip through laser traps with his stretchy evade, slingshot enemies across the arena, or toss a grenade to send enemies flying. Sue can fade from sight, allowing her to temporarily slip past enemies and security cameras undetected, but she can also (oddly) use “telekinesis” to move and hurl enemies and certain objects, toss energy discs for a ranged attack, erect a shield that protects her and anyone in it, and can redirect light beams to melt crystals and solve puzzles. Johnny is the Human Torch, so naturally he bursts into flame whenever he uses his powers; this allows him to fly over energy barriers (effectively making him the only character with a double jump), toss fireballs, scorch enemies with a flamethrower attack, and protect himself with a wall of flame. The Thing just loves to fight, so he gets a super useful ground pound (seriously, I spammed this move over and over), a powerful shoulder charge, can cover himself in a temporary protective aura, and can pick up objects the others can’t (like cars and lampposts) and swing or hurl them at enemies. There are times when a specific character’s ability is required to progress, such as using the Thing to smash through boulders or Mr. Fantastic to deactivate switches, and these are marked by a silver 4 symbol and you’ll often find yourself needing to switch between a few different characters to lower barriers and open doors so you can progress.

Combine the Four’s powers or use their unique abilities to get past barriers and other obstacles.

All these super powers, in addition to some other basic, overall stats, can be upgraded at the cost of the coins dropped by enemies or found when smashing the environment, and the Fantastic Four can also combine attacks by holding down the Left Trigger and pressing the corresponding face button when close by to pull off a super-powerful, super draining “Fusion Attack” that allows for fun combinations of their abilities, like filling up Sue’s forcefield with fire to effectively create a bomb and tossing Reed’s rubbery body at enemies. While you’ll need to collect health orbs to restore your health, characters will only be temporarily knocked out if their health is completely drained; you can’t revive them, but they’ll recover after a few seconds and re-join the fight, but it is easy to get overwhelmed and see some, or all, of your team mates knocked out, leaving you frantically running around avoiding damage until they spawn back in. The game is pretty generous with its checkpoints, but that’s probably because its levels are soooo long; levels stretch on forever and consist of multiple areas, separated by lifts and doors and barriers or other obstacles you either have to activate, ride, or break through with the Fantastic Four’s powers. It’s not long before you’ve seen most of what the game has to offer, however; cave-ins need clearing with the Thing, barriers need flying over or passing through with the Human Torch and the Invisible Girl, respectively, and laser traps need stretching through with Mr. Fantastic. Often, you’ll need to activate consoles to lower lifts or open doors, or smash control boxes to disable turrets; sometimes, you’ll need to power up generators using Johnny’s fireballs, use Sue’s telekinesis to bring floating transports closer, or avoid getting too trigger happy and risk taking damage from explosive barrels.

Occasionally, you’ll need to use a solo hero to progress past obstacles or chase down the Silver Surfer.

Easily the most frustrating puzzles are found in the Himalayas, where you’ll need to smack around spherical rocks or move weird crystals to redirect light and open new ways to progress. It can be tricky figuring out which crystals to move and to where, and you’ll often have to use Sue’s shield to bounce light beams to crystals, all to ring bells so you can move on to the next area. Occasionally, you’ll control a character for a solo mission; Reed must use his evade to get through laser traps on a Russian space station, taking out turrets and enemies as he goes, while Ben gets locked into a fighting arena for a brief period. Johnny gets the majority of these sections, however, as he’s tasked with flying down rock tunnels, through the city streets and underground, blasting enemies or pursuing the Silver Surfer. These can be quite fun as you boost along with A and toss fireballs with X, dodging traffic and other hazards, but both of these abilities are tied to your Cosmic Meter, which can severely hamper you, though it’s not exactly difficult to keep up with the Surfer and pass the mission successfully. By far the worst section of all of these, and the entire game, was guiding Sue through a heavily guarded military base. This means using your invisibility to slip past security cameras and trigger-happy robots, while also destroying turrets and awkwardly using her telekinesis to smash control panels to lower barriers. There are no checkpoints in this poor attempt at a stealth section so it can be extremely frustrating to slip past the robots and turrets (which absolutely barrage you with laser fire if they spot you) and finally reach the control panel, only to fail right before the exit because you were surprised by another robot or ran out of juice for your superpowers.

Graphics and Sound:
To be fair, the in-game graphics of Fantastic 4: Rise of the Silver Surfer aren’t all that bad. Bland as all hell, for sure, but not that bad. Each character is modelled pretty closely to their live-action counterparts and feels very different to control, with the Thing being slower and heavier and the Human Torch being slipperier and more agile. When left idle, they’ll offer commentary and, honestly, I was pleasantly surprised by their banter and voice work; so often these tie-in games feature stilted, phoned-in performances, but there’s actually a lot of fun and fitting dialogue here that’s sometimes more interesting than what we saw in the movies. Sadly, this praise doesn’t extend to the pre-rendered cutscenes, which are a plasticy, ugly mess that continues this generation’s tendency to render characters as though they were action figures. The music is equally not much to shout about, being comprised of generic tunes and samples from the film’s soundtrack. The game also has very little to do with the move it’s based on; the Silver Surfer barely shows up, Galactus is mentioned but never seen, and the focus is more on enemies from the group’s comic books and Dr. Doom.

While the dialogue is okay and character models work well, environments can be a bit bland.

On the one hand, this means we get to explore far more diverse locations than we ever saw in the live-action movies; you’ll venture into a lava-filled cavern where the shapeshifting Skrulls have taken root and onto a very dark, steampunk-like Russian space station to battle against Doctor Ivan Kragoff/The Red Ghost and his genetically enhanced Super-Apes. The game does recreate some locations from the movie as well, however, specifically Sue and Reed’s rooftop wedding venue, the streets of New York City, and the military base where the Silver Surfer is held captive (although it’s vastly different from the film version, featuring electrical barriers and robotic sentries). The game also takes the team to the crystal caves and misty clifftops of the Himalayas where they have to fight off rock monsters and to the streets of Shanghai for a final showdown with Dr. Doom, and every environment features a lot of destructible elements for you to smash your way through. Unfortunately, they’re also painfully linear, so much so that the game doesn’t even provide you with a mini map or radar; despite this, it can be easy to get a little turned around as some locations are so dark and similar that it’s easy to get lost and the game gives you no indication when you’re heading in the wrong direction or where you need to go if you miss that an elevator lowered just offscreen or a door opened one screen back. Compounding matters is just how long levels are; they just go on and on, making each section a chore to play through and really stunting your motivation to tackle the game’s harder “Fantastic” mode.

Enemies and Bosses:
The Fantastic Four will wade through a number of nameless, faceless, disposable grunts as they race to track down the Silver Surfer. However, while the enemies you face in each location are visually distinct, they share many traits that quickly make them very dull and predictable, no matter how fantastical or faithful they are to the source material. You’ll fight off Skrulls, weird silvery alien…things, chicken-like robots and hovering drones, Doombots, rock monsters, and Super-Apes, many of whom can block your attacks, attack up close or from afar with pistols or missiles, or who come in larger variants that can tank your attacks. Many enemies can be picked up and thrown, and you’ll often get to hurl them off bridges or cliff edges to their immediate death, so I recommend doing this whenever possible to help with crowd control. The larger Skrull variant swings a large pillar at you while a gaggle of annoying, regular Skrulls swarm around you, but it can be useful to pummel him with Johnny’s fireballs from a safe distance. Larger rock monsters also dog your progress in the crystal caves, but the Thing is more than capable of smashing them and their smaller cousins to pieces, especially if you’ve upgraded his ground pound attack. You’ll first encounter the massively annoying turrets when on the Red Ghost’s space station; these can be destroyed with your attacks if you can get close to them, but it’s generally easier, faster, and safer to disable them by activating or destroying a nearby control box. Finally, heavily armed robots and Doombots await you in the military base and the streets of Shanghai; these are much tougher than other enemies and sport cheap long-ranged attacks, so it’s advisable to have upgraded some of your stats and abilities to help even the playing field.

Until you face Cosmic Doom, most bosses follow a simple rinse-and-repeat strategy.

When you eventually make it to the end of each location, you’ll generally have to face off with a boss. The first is Kl’rt/The Super-Skrull who sports the Fantastic Four’s powers, allowing him to perform a ground pound like the Thing and disappear from the battlefield like the Invisible Girl. Protected by an endless swam of regular Skrulls, the only way to damage the Super-Skrull is by throwing enemies or your projectiles into the huge spherical shield generator in the centre of the room; once it’s overloaded, the Super-Skrull will be stunned and be left open to your attacks, and you’ll need to repeat this tactic over and over, tediously waiting for him to reappear while fending off the endless enemies. After fighting through the strangely deserted streets of New York City, you’ll come across a large, spiked alien craft that sucks up cars and launches them at you while sending you flying with its annoying laser beam. You can throw cars back at it, and your other projectiles, to damage it, but it’s easy to get stun-locked into an annoying cycle from its projectiles. You won’t actually fight the Red Ghost, however; instead, you simply pursue him down a hallway, fending off his Super-Apes and turrets, making for a decidedly anticlimactic ending to a largely frustrating level. Similarly, you won’t battle the Silver Surfer; instead, you fight off his minions and chase after him as Johnny, first through a subway tunnel and then through an underpass, avoiding trains, traffic, and low-hanging signs and his energy-draining trail. You will, however, battle another of Galactus’s heralds, Terrax the Tamer, in the Himalayas; this massive rock-like being tosses his huge axe across the arena, which is really difficult to avoid and can leave you knocked on your ass for some time. Even worse is the fact that you have to contend with a never-ending gaggle of rock monsters and complete those annoying light puzzles to stun him so you can damage him, making this easily the most annoying and tedious boss battle in the game. Larger mechs (very much akin to All-Terrain Scout Transport (AT-ST) walkers) await in the military base, but they’re easily bypassed with your upgraded abilities, though Dr. Doom is a far more aggravating enemy. Having stolen the Silver Surfer’s near-limitless Power Cosmic, Dr. Doom flies about raining energy bolts down and the only way to damage him is to activate a nearby power generator and blast him out of the sky but, even then he can absorb and dish out a great deal of punishment, to say nothing of his massive electrical area attack, shield, and ability to shrug off your attacks. Your best bet here (and in all of these boss battles) is to quickly cycle between each character and spam your Fusion Attack, retreating to safety, when necessary, until he finally goes down.

Power-Ups and Bonuses:
Unfortunately, there aren’t any temporary power-ups to find in Fantastic 4: Rise of the Silver Surfer. Smash all the crates and boulders and what-not you like and all you’ll uncover are health and energy restoring orbs, coins, and the odd collectible. You should still smash everything you see, however, and let those coins fly into you as you’ll need them to power-up the characters and their superpowers; everything from their attack, defence, recovery and meter regeneration time to the cost, range, and impact of their individual abilities can be upgraded at the cost of these coins. Unfortunately, the cost increases as you spend, meaning you’ll need to farm and replay areas to collect all the coins you need, so you can either power characters up a little bit to make things easier to save them all up and blow them on fully upgrading a single character…or put yourself through the agony of a second playthrough.

Additional Features:
There are nineteen Achievements to earn in Fantastic 4: Rise of the Silver Surfer, with nine poppin simply for clearing each level and defeating their bosses. Oddly, there are no Achievements for playing with other players or anything fun (like, I dunno…destroying Reed and Sue’s wedding venue) or tedious (like defeating 100+ enemies). You’ll get an Achievement for beating the game on both “Normal” and the harder “Fantastic” mode, one for performing a single Fusion Attack, one for upgrading every character, and three more for finding every collectible and unlocking all the bonus content. Bonus content is unlocked by finding Fantastic 4 symbols and destroying Dr. Doom’s tiny, barely noticeable spybots; doing so will unlock cinematics, comic covers, concept art, and four alternative costumes that come with extra perks (like increasing your attack or defence by default), which is a nice touch. Once you beat the game, you can access a level select and the game restarts with all your upgrades intact, but I suspect you have to start a whole new game from the ground up if you choose a different difficulty mode. As I had no desire to play this game once I’d finished it and unlocked as many Achievements as I could, I can’t speak to that, but you could try playing with a friend or two to see if that helps improve the experience.

The Summary:
I had low expectations for Fantastic 4: Rise of the Silver Surfer; I’d not really heard much about it except the usual vague chatter about how it was another tedious, cheap tie-in to a big budget movie and, unfortunately, I can’t argue with that. Fundamentally, it’s not really that insulting; the titular foursome are all represented pretty well, even if I favoured the Human Torch and the Thing (but that’s just personal preference on my part), with some fun superpowers to experiment with using the Fusion System. I get why you’d tie this to a regenerating meter, but it drains so quickly that you’ll be relying on the lacklustre combo strings more than anything. The dialogue and expansion on the movie’s story are also quite enjoyable and the game tries to show some new and visually interesting areas, but it never quite capitalises on any of the mechanics it includes beyond the bog-standard brawling. It’s fun chasing around as the Human Torch, but these sections are very brief and don’t ask much of you than to spam A or X as often as possible and avoid obstacles, and don’t even get me started on Sue’s God-awful “stealth” section. What really drags this game down, though, is just how long and boring the levels are and the lack of replayability; the unlockable costumes are pretty good (and it’s nice to see more than one included for a change) but I really don’t think anyone will be excited to slog through this on the harder difficulty or grind to upgrade and unlock everything as it’s such a time-consuming and monotonous experience. The bosses are also a massive let down and the game misses opportunities to have you recreate scenes from the film; like, why not shorten a couple of the levels and put in a forest mission where you need to activate those generators to bring down the Silver Surfer? Or, better yet, why not include a Silver Surfer auto-racer/shooter for the climax where you fend off Galactus’s attack? Instead, we get a very rushed and cobbled together, uninspiring brawler that’s only worth a playthrough to increase your Gamer Score with some relatively simple Achievements.

My Rating:

Rating: 2 out of 5.

Could Be Better

What did you think to Fantastic 4: Rise of the Silver Surfer? Did you enjoy the Fusion Attacks and the variety of superpowers on offer? What did you think to the levels and boss battles, and were there any elements from the movie you felt were missing from the game? Did you ever unlock everything in this game? Would you like to see another, better Fantastic Four videogame some day? How have you been celebrating the debut of Marvel’s First Family this month? Whatever you think, sign up to share your thoughts on Fantastic 4: Rise of the Silver Surfer in the comments below.

Game Corner: Dead Space 2 (Xbox 360)

Released: 25 January 2011
Developer: Visceral Games
Also Available For: PC, PlayStation 3, Xbox One, Xbox Series S/X (Backwards Compatible)

The Plot:
Three years after his nightmarish encounter on the USG Ishimura, former engineer Isaac Clarke arrives on the Sprawl, a civilian space station built on the remains of Saturn’s moon, Titan, only to find that a new Necromorph outbreak has been unleashed.

The Background:
Inspired by survivor/horror franchises like Silent Hill (Konami/Various, 1999 to 2012) and Resident Evil (Capcom/Various, 1996 to present), Dead Space (EA Redwood Shores, 2008) was the brainchild of Glen Schofield and a small but committed team of developers determined to shake up the genre’s gameplay mechanics. Highly praised and having sold over one million copies, development of a sequel began immediately following the first game’s release. In that time, Electronic Arts’ Redwood Shores rebranded to Visceral Games, who gave the game makers a great deal of autonomy over the project after all the good will they’d built up on the first game. Pushing themselves to improve and refine Dead Space’s unique presentation, concept, and mechanics, the developers sought to expand Isaac’s movement and combat options, incorporate destructible environments to be used as weapons, and tone down the difficulty of the game’s puzzles to fit this new action-orientated approach. His personality was also greatly expanded, with him evolving from a silent character to a speaking one, and the grotesque Necromorphs were greatly expanded upon to better fit the game’s bigger and more varied environments. Like its predecessor, Dead Space 2 was very well received; critics praised its foreboding atmosphere, the deeper dive into Isaac’s fractured mind, and the focus on gory, fast-paced action shooting. There were some concerns about repetitive sections, the abundance of dialogue sections, and the downloadable content (DLC) but, overall, Dead Space 2 is regarded as one of the best entries in the franchise and a top title in the survival/horror genre.

Gameplay:
Dead Space 2 is a science-fiction survival/horror title in which players once again assume the role of engineer Isaac Clarke, a psychologically damaged individual who must cut through swarms of monstrous undead in a bid to prevent the Necromorph outbreak spreading further. If you’ve played the first Dead Space or other third-person action shooters then the control scheme will be very familiar to you: A lets you interact with the environment, open doors and crates and pick up resources and such, B and Y lets you quickly use any Med Packs or Stasis Packs stored in your inventory, and X lets you manually reload your weapon. To aim and fire your weapon, hold down the Left Trigger and press the Right Trigger; when not aiming, RT allows you to deliver a close-range melee attack. Holding down the Left Bumper sees you run without fear of a stamina meter, while the Right Bumper triggers your weapon’s alternative fire mode when aiming or sees you stomping on crates or crawling enemies outside of aiming. You can quickly switch weapons on the fly using the directional pad and bring up your inventory screen with the ‘Back’ button; here, you can use or drop items in your inventory and review your mission objectives but be careful as enemies can still attack you in this state. Finally, you can press in the right stick to briefly be shown the way with a glowing waypoint marker and trigger a zero gravity jump by pressing in the left stick.

In between chopping up Necromorphs and floating around in zero g, you’ll be hacking a lot of panels…

As before, Dead Space 2 kind of goes against usual conventions; normally, you’d expect to aim for the head or torso to take out zombies and demonic monsters but, instead, you’ll stand a much better chance if you target the limbs of your Necromorph enemies. Luckily, Isaac is well equipped to handle this; even his default Plasma Cutter is extremely effective but, just like before, he has a couple of extra abilities on hand to help. When aiming, you can press Y to unleash a “Stasis” blast; this will temporarily freeze any enemies it touches, allowing you to target their weak spots to sever their limbs, but is also necessary to freeze obstacles in your path. You’ll need to use it to slow down fan blades, crushing pistons, and similar hazards in order to progress and solve puzzles. If you press B while aiming, you’ll grab nearby objects, ammo and collectibles, and even limbs and bodies with your “Kinesis” ability. These can then be flung at enemies or other objects with RT and this ability is how you’ll be solving most puzzles as you’ll need to move power cells, explosive canisters, and even dead bodies in order to restore power, move heavy doors and obstacles, or get past biometric security doors. Kinesis is also used to move platforms, slot gears and batteries in place, and to remove panels from walls to allow you to hack them. This hacking mini game crops up quite a bit and sees you rotating a cone of light on a display scene and pressing A whenever it goes blue; press A when it’s red or take too long and you’ll receive a shock of electricity, though you don’t have to worry about any gun turret sections this time around.

Isaac’s abilities and your steady hand and button mashing are needed to solve the game’s puzzles.

As mentioned, there are once again many times when you’re forced to float around in zero gravity, usually to get from one section of the space station to another but sometimes you will be out in the void of space, battling giant Necromorph tentacles and solving puzzles with Kinesis. Zero gravity doesn’t seem to show up as much as before and isn’t as frustrating as I remember from the last game; you press the left stick in to take off or land, floating around is easy enough and you can orientate yourself at the press of a bumper, and you don’t encounter that many enemies in these sections this time, either. Instead, you’ll mostly be floating to platforms, moving large objects by attacking explosive cannisters to them, or inserting or removing power cells, perhaps dodging the odd flame burst or instant death hazard as you go. Again, you’ll also find yourself in a vacuum, often in these zero gravity sections; here, you need to keep an eye on your rapidly depleting oxygen meter, topping it up at refuelling stations as you complete puzzles and boost past hazards with LB, but it’s nowhere near as aggravating as some of the sections from the first game were. You do have to be careful when fighting Necromorphs, though; a stray shot or explosion will shatter the protective glass and see you sucked out to your death, so be sure to quickly shoot the switch to save yourself from a grisly demise. There seems to be a greater emphasis on button mashing, too; you’ll need to tap A whenever Necromorphs pounce or swarm over you or when Isaac’s hallucinations get out of control, which can be tricky as you really have to mash the button to shake them off. Occasionally, you’ll need to fire at laser traps, dodge incoming fire from gunships, and fend off hordes of Necromorphs as your allies work to restore power but easily the most memorable section of the game comes near the end when you need to hold down A when the reticule is blue to successfully pierce Isaac right through this pupil! Finally, while you’ll no longer be travelling between train stations in obvious segmented sections, the game’s story is still split into chapters and you’ll be making use of vents and elevators to progress from one area to the next, often with minimal chances to backtrack past a certain point.

Graphics and Sound:  
Dead Space 2 certainly ups the ante with its visuals. Like the first game, every environment has a decidedly “lived-in” feel to it, with much of the sci-fi aesthetic drawing upon films like Alien (Scott, 1979) and especially Event Horizon (Anderson, 1997). The Sprawl has been absolutely desecrated by the Necromorphs; blood, bodies, and debris are everywhere, turning bright and cheery elementary schools and once-bustling social areas into ominous hellscapes. Messages are scrawled on the walls in blood, power and lights are out all over the facility, dead bodies drop from above and non-playable characters (NPCs) are offed (or kill themselves) with gory malice, all while the endless dark void looms outside of every window. In zero gravity environments, debris floats around aimlessly; water becomes as bubbles and even fire billows around with impressive effect. If you breach a window, you must fight against the pull of gravity, which sucks everything in the vicinity outside, and there are all kinds of different locations found throughout the Sprawl. You’ll visit an ornate and elaborate church, a cyro lab, and the fuel processing facility, all while passing through areas done up more like something out of Doom (id Software, 1993) with their foreboding candles and flickering lights. Dead Space 2 is so much bigger than the first that it’s spread over two discs; during the second part, you’ll return to the Ishimura from the first game and revisit several key areas, now stripped back to the insulation and under repair as part of a salvage operation, which was both really cool to see and where Isaac’s mental instability really escalates.

The game explores Isaac’s fractured mind as much as it does its new and old locations.

All throughout the game, Isaac’s bombarded by nightmarish visions of Nicole and his experiences from Dead Space, which cause the environment to burst to life or enemies to suddenly attack you, only for it to be revealed to all be in Isaac’s head. As he ventures deeper into the mines and closer to the Marker, these visions only escalate, to the point where he’s forced to literally confront his ghosts head on. It’s because of this greater narrative focus on Isaac and his mental state that he now has a voice; he’s constantly talking with his hallucinations or relaying information back to one of his many allies, allowing for a deeper insight into the previously mute character but also interrupting the atmosphere with these blatant loading times. While the character models skew towards being marionettes at times, the gory deaths and the twisted, unsettling appearance of the Necromorphs more than makes up for it. Isaac’s intimidating suit is also a highlight, and still displays his health and other stats build into it to keep you immersed in the dread of your surroundings, and there were some interesting set pieces to engage with. It was fun floating around outside, realigning the solar panels; I also enjoyed fending off waves of Necromorphs on the back of a giant drilling machine, and every area has some kind of horrific visual to throw at you and keep you on edge. This tension is aided by the fact that the Necromorphs can literally spring from anywhere; they clamber over walls, up from below, drop through grates, and even burst to life from dead bodies, meaning you constantly have to be on your toes and wary of even the slightest sound as it could indicate oncoming danger.

Enemies and Bosses:
As before, the primary enemy you’ll be facing here are the Necromorphs; these disgusting, unsettling alien lifeforms have overtaken human hosts both alive and dead and attack through a variety of means. Capable of scuttling about using vents and walls alike, they primarily attack with bladed, scythe-like appendages and can pin you down if you’re not careful. Some will spit acid-like vomit at you from afar which dramatically slows you down; others are smaller, firing projectiles from a distance or crawling at you like babies to explode on contact. A flying variant will latch onto dead bodies to spawn new enemies and tries to suck your face off if it gets too close; gangly ones burst into tiny Facehugger-like variants; and the more obese ones simply explode in a shower of gets. There are Necromorphs with a huge, explosive club-like arm, ones growing out of walls who’ll rip your head off if you get too close, and really annoying, fleet-footed ones that dash about behind cargo containers to distract you so another member of the pack can catch you off-guard. In most instances, your best bet is to keep your distance and sever their limbs but be warned as Necromorphs are more than capable of scurrying along the floor with half a torso and attack in swarms this time around, turning even simple sections into a bit of a gauntlet at times.

Larger, tougher enemies often take on a boss role, with the Marker itself being your final trial.

This appears to be the game’s way of making up for the fact that there really aren’t too many boss battles, in the traditional sense. Some of the larger Necromorphs substitute for bosses, and then will reoccur as larger obstacles you need to bypass. Large, plant-like Necromorph growths spit explosive projectiles at you when you’re in space, for example, and you’ll again have to battle large, ape-like brutes who charge at you wildly and need a taste of your Static to slow them down so you can target the weak points in their armour. A recurring larger Necromorph is the tripod variant; at one point, a whole bunch of these attack you as you’re riding an elevator, requiring you to blast at their joints to fend them off. You’ll also venture into their nest, where a gigantic, Lovecraftian mess of muscle needs to be blown apart using nearby fuel cannisters as the beasts attack you in an arena of sorts. One of the most memorable boss encounters is against the gigantic, spider-like Tormentor; you’ll need to blast its joints to free yourself from its grip before frantically running from it down a narrow corridor. When you get blasted out into space, quickly target the fuel cannisters surrounding it to finish it off before it pops you like a balloon! In the final section of the game, one of Dead Space’s most annoying enemies, the Regenerator Necromorph, reappears to pursue you; although you can slow and freeze it, this thing constantly regenerates anew to be a pain in the ass and there’s no way to destroy it permanently this time, so you’re better off dismembering it, freezing it, and running away. In the finale, you incur the wrath of Director Hans Tiedemann as the massive Marker goes haywire around you; simply mash A to wrench the arrows he shoots out of your body and then fire his gun back at him to finish him off. The final boss itself is more of a metaphysical battle between Isaac and his memories of Nicole; when she warps you to a grainy hellscape, she’ll one-shot you if you get too close and send glitchy Necromorphs to swarm you. However, concentrate your fire on her and she’ll vanish, exposing the Marker’s core for you to shoot; repeat this a couple of times and the game will be won in somewhat anti-climactic fashion, especially as you appear to have infinite ammo for this final challenge.

Power-Ups and Bonuses:
Although all Isaac’s abilities from the first game return here, you’ll need to pick them up as you explore and fight through Dead Space 2’s morbid environments. You begin the game unarmed, strapped into a straightjacket, and must acquire a flashlight, your trusty Plasma Cutter, and the ability to use Kinesis and Static once again all in the opening moments of the game. From there, you’ll find ammo, credits, Med Packs, and more in crates and dropped by defeated Necromorphs. Credits, ammo, weapons, and coloured items can be sold at the various shops scattered throughout the game, often near save points. Here, you can shuffle your inventory, moving items out of your active inventory and unlock new suits and weapons to use by exchanging the schematics you find on your adventure. Each suit increases your armour, offers a discount, or reduces the cost of your abilities, but you can also upgrade these elements at the benches you’ll also come across. Here, you can spend Power Nodes on upgrading the capacity, reload speed, and damage output of your weapons, adding a special element to them (such as shots setting enemies on fire), and on increasing your health, air, and the duration of your abilities. Power Nodes can also be used to open special doors to areas filled with rare loot, and you can buy them at the shop as well if necessary. Isaac has an array of weapons available to him, each with an alternative fire mode, such as the arrow-firing javelin gun, the flamethrower, the detonator (which fires out proximity mines), the ripper (which spits out a spinning buzzsaw for gory up-close dismemberment), and the intense power of the contact beam.

Additional Features:
There are fifty Achievements up for grabs in Dead Space 2, with about sixteen being easily acquired simply by playing through the story. You’ll get Achievements for buying suits, scoring a kill with every weapon in the game, upgrading one and then all the available weapons, severing 2,500 limbs, and killing fifty Necromorphs while they’re frozen. There are some oddly specific ones, such as impaling a Necromorph to a wall, cutting up a statue, and making use of the decompression mechanic to suck enemies into space, and other more predictable ones, such as beating the game on harder difficulty settings. At the start, there are four difficulty modes available, with even the easiest setting being a bit of a challenge at times; a fifth is unlocked after completing the game, as are a couple of new suits and a “New Game+” mode that carries over your progress to a new save. There are a bunch of audio logs to be found that flesh out the story, a specific piece of treasure to nab for an Achievement, and the game can be expanded through DLC packs that add eight extra Achievements in addition to a multiplayer component to the game. Finally, if you have a save file from Dead Space on your profile, you’ll gain access to a more powerful Plasma Cutter, for free, at the first shop you go to.

The Summary:
I put off Dead Space 2 for way longer than I wanted to; I really enjoyed the first one thanks to its dark, gory, and oppressive atmosphere but life and my backlog meant it took some time to get to the sequel. However, I easily slipped back into this gritty and macabre world and was still able to appreciate the return to familiar, but changed environments from the first game. Conceptually, Dead Space 2 is definitely bigger; there are more locations available to you, ones that are more visually diverse than the first game and which continue to impress with their fantastic use of lighting and blood to make every area akin to a slaughterhouse. I wasn’t massively impressed by Isaac’s chatterbox demeanour but I do think it was necessary for the progression of his character and the story. Seeing him struggle with his mind, memories, and the influence of the Marker made for some effective jump scares and really helped to keep the atmosphere oppressive and dangerous at all times. The combat and Necromorphs continue to be a highlight; you get just enough resources to survive each encounter but it doesn’t take much to leave you relying on those survival/horror instincts as you regroup and reload what little ammo you have left. It seems as though a lot of the more frustrating elements from the first game have been removed or refined; the zero gravity and vacuum sections are far less aggravating, though the hacking mini games and abundance of vents got old pretty quickly. I was also a bit disappointed by the apparent lack of new enemy variants or big, gross boss battles but the abundance of enemies and the variety offered by most encountered meant that the difficult stayed at a fair but challenging level even on the easiest setting. In the end, Dead Space 2 offered more of the same, expanding on the first game visually and in the refinement of mechanics and combat, while delivering the same level of scares and mounting dread as you explore, solve puzzles, and slice up those screwed up zombie monsters.

My Rating:

Rating: 4 out of 5.

Great Stuff

What did you think to Dead Space 2? How do you think it compares to the first game and do you think it still holds up today? What did you think to the focus on Isaac’s mental instability and the use of jump scares? Were you also a bit disappointed by the weapon and enemy variety on offer? What did you think to the visuals of the game and the increased focus on gore? Which Dead Space game is your favourite, and would you like to see more from the franchise? What horror-theme videogames are you playing this October in anticipation of Halloween? Whatever your thoughts on Dead Space 2, drop them below or comment on my social media.

Game Corner [Brightest Day]: Green Lantern: Rise of the Manhunters (Xbox 360)


Although February 2014 was dubbed “Green Lantern Day” (because, by the American calendar, the date read as “2814”, the space sector assigned to Earth in DC Comics), the significance of this date has passed over time. Instead, I’m choosing to celebrate the debut of perhaps the most popular iteration of the character, Hal Jordan, who first appeared in October 1959.


Released: 7 June 2011
Developer: Double Helix Games
Also Available For: Nintendo DS, Nintendo 3DS, Nintendo Wii, PlayStation 3

The Background:
When Green Lantern first appeared in All-American Comics #16 in July 1940, it was as the superhero persona of of Alan Scott. However, in 1959, Julius Schwartz had writer John Broome and artist Gil Kane reinvent the character as space cop Hal Jordan, thereby creating what we now know as DC Comics’ resident intergalactic police force. After years of aborted attempts, Hal Jordan finally made his big-screen debut (alongside the Green Lantern Corps) in Green Lantern (Campbell, 2011), a critical and commercial failure that set back the formation of a DC cinematic universe a couple of years. However, one thing that came out of the movie was Green Lantern’s first (and, so far, only) solo videogame outing with this tie-in title, which was made by an amalgamated developer whose previous titles were also mostly videogame adaptations. Although featuring the likenesses and voices of many of the film’s stars and allowing players to utilise stereoscopic 3D during gameplay, Green Lantern: Rise of the Manhunters received mixed reviews; while some praised the various gameplay mechanics and the game’s presentation, others criticised the repetitive combat and lack of replayability. Since Green Lantern failed to produce a sequel, we’ve yet to see another solo videogame for the ring-slinger, which is a bit of a shame considering how much potential the character has in the near-limitless scope of the genre.

The Plot:
Before harnessing the green energy of willpower and creating the intergalactic peacekeepers known as Green Lanterns, the Guardians of the Universe employed androids called Manhunters. After being shut down for becoming too violent, the Manhunters suddenly return for revenge against their former masters, and Green Lantern’s Hal Jordan and Thaal Sinestro are just two of the emerald corpsmen dispatched to combat this threat.

Gameplay:
Green Lantern: Rise of the Manhunters is a third-person action/adventure game very much in the style of hack-and-slash brawlers like the God of War franchise (Various, 2005 to present). Players take on the role of Hal Jordan and fight their way through some pretty long and bland environments slashing about Manhunters with a variety of attacks generating by his Power Ring. If you have a friend, they can join the action at any time as Thaal Sinestro, though he’s basically just a skin and doesn’t have any unique dialogue or attacks and the camera becomes a bit restricted with two players on screen. Still, you have quite a few options available in terms of combat: X unleashes a fast attack with some sword swipes, Y delivers a strong attack that includes a fist and a hammer, B sees you grasping smaller enemies or objects with a claw, and the Right Bumper lets you blast ahead with a drill and chaining all of these together will allow you to pull off some basic combos to take out larger and multiple enemies pretty quickly.

Hal’s Power Ring affords him numerous options in combat and puzzle solving.

A allows you to jump but, unfortunately, you can’t fly unless you’re activating a Green Lantern logo to leap to a new area in a cutscene or dropped into one of the games shooting sections. You can evade, however, with the right stick and shield yourself from attacks with the Left Bumper. As you play through the story, you’ll unlock constructs to assign to the Left and Right Trigger; holding these down and pressing a button lets you pull off up to eight different Power Ring abilities that will drain your meter (though this refills over time and by collecting green orbs). Hal can blast enemies from afar with the Ring Blaster and Gatling Gun, smash them and activate pressure pads with the War Hammer, deploy and throw a Hover Mine to blow them up or destroy power cores, send them flying (and knock back projectiles) with the Baseball Bat, and swing around a couple of maces to devastate groups of enemies. Hal can also rapidly whip Manhunters, auto target and pummel them with the Rocket Punch, smash through enemy shields with the Piston Blitz, deliver targeted attacks to enemy weak points with the Missile Pack, and eventually dish out big damage with a Jet Fighter and a huge Mech Suit. The bigger and more powerful constructs will drain more of your Power Ring’s energy, but you can upgrade your Power Ring and your basic attacks by defeating enemies and smashing parts of the environment for Will Points (strangely still abbreviated to XP). The more XP you earn, the higher your level raises (up to a maximum of ten) and the more upgrades and additional constructs you’ll unlock, eventually allowing you to purchase Lantern’s Light to recharge your Power Ring with the directional pad at the risk of being left vulnerable. Finally, as you defeat enemies, you’ll build up your Ring Surge meter; once it’s full, press the Left and Right Bumper to activate a Ring Surge, which restores your health and Power Ring to full and powers up your attacks for a short time; the effectiveness of your Ring Surge can also be upgraded with XP.

QTEs, simple puzzles, and rail shooting sections add some variety.

The bulk of your gameplay revolves around combat; near endless, mindless combat against Manhunters of all shapes and sizes. The game is incredibly linear, with no need for a map or directions since it’s pretty clear where you need to go, though there are inevitably times when it’s easy to get a little turned around since environments became very samey very quickly. When you’re not smashing apart endless Manhunter drones, you’re given a handful of additional missions, such as destroying mines, leaping to Siege Towers and destroying them by smashing open their armoured cores, and destroying teleport gates to stop enemies spawning in. One mission has you taking out a bunch of lasers before they destroy the Central Power Battery, sometimes you’ll need to press A and rotate the left stick to open doors or spawn in a battery, and other times you’ll be dodging electrified walls and floors to progress. These latter elements get mixed up you play through the story, requiring you to grab a battery and get it to a power node before it explodes or smashing Hover Mines into spinning holes as the floor tries to fry you. Later in the game, yellow Fear Energy nodes and enemies drain your Ring Energy meter and limit your constructs, and Queen Aga’po helps you out on Zamaron by lowering crystal barriers, where you’ll also need to destroy Boost Crystals to stop the Zamarons being powered up. Generally, puzzles are pretty simple, requiring little more than clearing out enemies, grabbing something to plug in somewhere else, either to match symbols or to destroy an energy core, and you’ll only really get a taste of some variety in the handful of rail shooter sections. In these, you use X or Y to fire (with no limits and a rapid-fire option) and can lock onto enemies with LT to fire off energy-draining missiles or become a Jet Fighter with your Ring Surge, making for some fun shooting sections. Additionally, you’ll occasionally have to perform some quick-time events (QTEs) to finish off some of the bigger enemies and bosses, and you can lower the difficulty level after you die if the game becomes too tough.

Graphics and Sound:  
Technically speaking, Green Lantern: Rise of the Manhunters looks, sounds, and plays pretty decently; I experienced a bit of a delay when activating my Ring Surge (though this could’ve been my controller) but there wasn’t really any slowdown, which is good as things can get a bit hectic at times. Ryan Reynolds returns to voice and lend his likeness to Hal, playing him a little more straight-laced now that he’s a fully-fledged Green Lantern, and he (and the other Green Lanterns) matches his much-maligned movie appearance very well. His constructs all look big and fun and imaginative, though they are a bit restrictive; his basic attacks change appearance as you upgrade them, which is a nice touch, and the developers even made the bizarre decision to include a function where Hall becomes dizzy if you rapidly spin the control stick.

The game evokes the aesthetic of its movie counterpart, for better or worse.

Sadly, the game’s environments and music aren’t much to shout about; you visit Oa twice, at the start and end of the game, and both times it recreates the look of the movie but is little more than a bizarre alien landscape under attack from various Manhunters. Zamaron is a rocky, mushroom-strewn alien world that is more bland than interesting, though it does include canyons and crystal mines and temples and such. The only other area in the game is Biot, a massive mechanical factory and processing plant for the Manhunters that’s full of gears and pistons and consoles and such, but there’s very little to interact with in any of the game’s locations and few rewards or incentive to explore as there aren’t really any collectibles. The game’s cutscenes work well enough, with the suit and the movie’s aesthetic actually translating pretty well to the action figure presentation of this era of gaming, and I liked how the story was a sequel to the movie, though it’s weird how there was no expansion on Sinestro’s decision to switch to a Yellow Ring.

Enemies and Bosses:
The vast majority of the enemies you’ll face are Manhunters, disposable tin cans that fly or teleport in and attack in some large numbers. You’ve got regular drones, ones with shields or blasters, and annoying bastards on these hoverboards that allow them to zip around and bombard you with laser fire. Sometimes you’ll be attacked by mines and laser cannons or Manhunter ships, which can be destroyed by smashing back their projectiles, and larger Manhunter variants will rush at you and grab you in a bearhug, draining your Ring Energy and forcing you to mash A to escape. On Zamaron, you’ll battle some different enemies, mainly mind controlled Zamarons who attack with staffs and such, but you’ll also encounter Willhunters, which drain your Ring Energy, and Manhunters also exhibit this ability on Biot and later in the game.

Only Zamaron offers a reprieve from the endless Manhunter variants.

Bosses are primarily larger Manhunters, which then return as mini bosses or are strewn throughout shooting stages. The Ultra Manhunter is the best example of this; you’ll first battle it on Oa, where it stomps about firing lasers and shooting its fists at you but you can evade it, take advantage of the nearby Lantern power-up, and land some combos when it gets stuck on the ground. Ultra Manhunters reappear numerous times, often in twos and accompanied by a slew of other Manhunters; they later add a gravity bomb to their arsenal which sucks you in before exploding, but you can destroy these with your Hover Mines and you can put them down with a QTE after dealing enough damage and blast them to smithereens in the shooting sections. The Siphoner Manhunter, which bearhugs you, and the Willhunters are presented like mini bosses when you first encounter them but they quickly just become regular enemies. On Zamaron, you’ll battle Queen Aga’po after she’s corrupted by the Yellow Energy; she causes crystals to burst from the ground (which freeze you and enemies if you touch them) and sends her minions after you between attacks before attacking with her lance. After pursuing her in a shooter section and taking out another Ultra Manhunter, she sets the Zamaron Defender on you. This battle takes place on a 2.5D pane and sees you attacking its hands and the Willhunters it sends out, avoiding its swipes and the falling boulders, smashing back its projectiles and dodging its electrical barriers and shockwaves in easily the most annoying boss battle of the game so far (and you don’t even get the catharsis of finishing it yourself as Hal delivers the final blow in a cutscene).

After besting the Manhunters, you’ll face off against renegade Amon Sur.

Biot is full of Siphoners and Ultra Manhunters, Manhunters who exude Yellow Energy, and annoying reactor cores that you need to destroy with your Hover Mines. The mechanical hellhole culminates in a battle against the titanic Grandmaster, which is essentially an even bigger Ultra Manhunter and your Mech Suit comes in handy here, allowing you to go toe-to-toe with the armoured foe, who loves to blasts its fists at you and swing them around the arena to send you flying. Take it down and you get to battle the even bigger Highmaster afterwards, which is an even larger Ultra Manhunter that blasts out bigger versions of those gravity bombs and sends a massive laser beam from its hand to cut you down. The only way to damage this guy is to attack the glowing points on its knees, then run around behind it and awkwardly toss your Hover Mines into its knees so it drops to the floor, allowing you to attack the cockpit where Kilowog is being held captive. Repeat this three times, fending off the Manhunters and dodging its faster and more aggressive attacks, and you’ll progress to the final stage of the game. This sees you returning to Oa, where Amon Sur has become consumed by Yellow Energy and is leading a renewed Manhunter assault against the Guardians. You’ll need to dispatch his minions before engaging with him one-on-one, which sees Amon dashing at you with his scythe-like lance, conjuring skeletal hands, bombarding you with laser blasts, and protecting himself with an impenetrable shield. Deal enough damage and he also constructs a massive mech suit for himself, meaning the finale becomes a game of Rock ‘Em Sock ‘Em Robots as you throw slow punches at him, guard against his attacks, and stomp the ground to break his guard, completely negating all of the combat and gameplay you’ve endured and mastered and having the final boss come down to a QTE with obnoxious timing.

Power-Ups and Bonuses:
As you defeat enemies and smash pots and other parts of the environment, green, white, and blue orbs will refill your health and Ring Energy and grant you XP. Occasionally, you’ll find Lantern charge points in the environment which fully replenish your health and energy and allow you to pull off a Ring Surge, but that’s about it for in-game power-ups. New constructs are made available as the story progresses and as you level-up, which also unlocks upgrades for your attacks and Ring Meter so they become flashier, more powerful, and charge/last longer. You can assign Hal eight different constructs to use and can swap them out from the pause menu, but it’s best to keep a couple (like the War Hammer, Baseball Bat, and Hover Mine) in your arsenal since they’re useful for solving puzzles and defeating certain enemies. Other constructs, like the Jet Fighter and Mech Suit, may deal a lot of damage but they have a long charge time and drain more of your Ring Energy, though you can find and destroy coloured meteorites in each mission that will extend both of these meters.

Additional Features:
There are forty Achievements to earn in Green Lantern: Rise of the Manhunters, with eleven being awarded simply for clearing the game’s missions and story mode. You’ll also get Achievements for racking up high combos, acquiring and upgrading every construct and ability, defeating certain enemies with each construct, and fully expanding Hal’s health and energy. There are three difficulty levels for the game, with an additional Achievement awarded for beating it on the hardest setting, and two more for playing in co-op, making for some pretty simple to earn Achievements. Co-op mode is pretty good, though there’s a distinct lack of individuality to Sinestro, and you can replay any cleared mission from the main menu and even take advantage of a 3D functionality if you have one of those 3D TVs. Sadly, there really isn’t much to keep you playing; you can go back and look for things you’ve missed, but there are no collectibles, no concept art or gallery, and no skins to unlock, making for a pretty cheap and barebones experience.

The Summary:
Green Lantern: Rise of the Manhunters is a pretty decent hack-and-slash videogame; fans of the God of War franchise will be immediately familiar with the vast majority of the gameplay, but those who crave a little more depth to their games will be left wanting more from this tie-in title. The controls and combat are pretty good, but the stages are extremely restrictive and tediously drawn out, artificially extending the length of the game without really providing much visual variety. Combat quickly becomes tedious and you can easily mow through most enemies with the same button inputs or constructs without needing to mix things up and, while the rail shooting sections are fun, they’re few and far between and don’t really have a great deal of challenge to them. The enemies you battle get old very quickly, making things even more monotonous, and the few puzzles offered are ridiculously easy to solve and recycled over and over. Graphically, the game does a good job of emulating the style of the movie it’s based on and the story functions as a lacklustre follow-up to a mediocre film, but there’s very little replay value to be offered here. As a quick, cheap cash-in that rips off the gameplay of a more successful franchise, Green Lantern: Rise of the Manhunters does alright but there’s obviously better hack-and-slash titles out there and the only reason to really get this is if you see it cheap and you fancy adding some quick and easy Achievements to your gamer score. Overall, the game just lacks in imagination; Green Lantern is a character who can potentially do and conjure almost anything he desires but he feels needlessly handicapped here and the lack of skins, unlockables, or visual variety really drag this game down.

My Rating:

Rating: 2 out of 5.

Could Be Better

Have you ever played Green Lantern: Rise of the Manhunters? If so, what did you think to it? How do you feel the combat and constructs worked in the context of the game? What did you think to the plot and its status as a follow-up to the movie? Were you disappointed by the lack of variety in the enemies and locations? Which of the constructs was your favourite and were you a fan of Ryan Reynolds reprising the role? What did you think to the movie the game’s based on and would you like to see a new Green Lantern game in the future? Which Green Lantern character, villain, or story is your favourite and why? How are you celebrating this pseudo-Green Lantern day today? Whatever you think about Green Lantern: Rise of the Manhunters, and the Green Lantern comics books, feel free to leave a comment below.

Game Corner: Streets of Rage 3 (Xbox 360)

Released: 30 May 2012
Originally Released: 17 March 1994
Developer: M2
Original Developers: Ancient and SEGA
Also Available For: GameCube, Mega Drive, Nintendo Wii, PC, PlayStation 2, PlayStation 3, PlayStation 4, PlayStation 5, SEGA Mega Drive Mini 2, Steam, Xbox One, Xbox Series S/X

The Background:
Since sidescrolling beat-‘em-ups were popular in both arcades and home consoles back in the day thanks to the likes of Double Dragon (Technōs Japan, 1987) and Final Fight (Capcom, 1989), Noriyoshi Ohba and his small team of developers were smart to create the Bare Knuckle Streets of Rage series (SEGA, 1991 to 1994), which was initially exclusive to SEGA’s home consoles. Streets of Rage (ibid, 1991) was incredibly popular and highly praised, and the sequel was even more lauded for its many graphical and gameplay improvements. A bigger, even more improved third entry soon followed; originally, Streets of Rage 3 included motorcycle stages, which can still be played through hacking, and the game featured far more regional differences than its predecessors, including a reworked plot, recoloured sprites, less provocative enemy sprites, and the entire removal of a potentially offensive miniboss. Despite these alterations, Streets of Rage 3 was as highly praised as its predecessors; while the graphics and gameplay were seen as the best in the series so far, reviews did criticise the soundtrack, difficulty, and the stale nature of the franchise despite the new features. While we wouldn’t see another game for nearly thirty years, Streets of Rage 3 was re-released and ported to other consoles over the years before it, and its predecessors, were brought to the Xbox 360 as part of the SEGA Vintage Collection, with this version including modern quality of life perks like save files, a replay feature, and other bonus content.

The Plot:
Following his two previous defeats, Mr. X establishes the RoboCy Corporation and begins creating robots to replace important city officials and then has his criminal syndicate place bombs all over Wood Oak City! Eager to get revenge against Mr. X for turning him into a cyborg, Doctor Gilbert Zan contacts former police officers Axel Stone and Blaze Fielding and their young ally, Eddie “Skate” Hunter, and joins them in bringing down the syndicate once and for all!

Gameplay:
In keeping with the style of the series so far, Streets of Rage 3 is a sidescrolling 2D beat-‘em-up that lets players pick from one (or two, if you’re playing with a friend) of four playable characters and hit the mean streets of Wood Oak City one more time to take out a whole new batch of thugs across seven levels (referred to in-game as “Stages”). Just like last time, the game supports two-player co-op and a friend can jump in at any time, but there are now only three difficulty settings to pick from (“Easy”, “Normal”, and “Hard”). Not only that, but you won’t get to experience the full game if you play on “Easy” as the game will end at Stage 5 in this mode, meaning you need to play on at least “Normal” to have a shot at completing the whole game and even then this mode is notable harder than in the Japanese release. You can still manually set your stock of lives from the “Options” menu, however, and switch to another character after exhausting all of your lives and continues (of which you have three on “Normal”). Unlike the last two games, Streets of Rage 3 drops the time limit (with the exception of Stage 6 and the final boss), and the game is bigger and more fluid than ever. The control scheme, while fundamentally the same, has been expanded to include six-button control options, and is once again fully customisable in both the in-game menu and SEGA Vintage Collection settings. By default, A launches a combination of punches and kicks (and this can be set to rapid fire mode so you can simply hold down the button to pummel enemies), B lets you jump to hit one of three jumping attacks, and X unleashes one of two special moves to clear away groups of enemies at the cost of some health.

Characters are faster and more versatile than ever thanks to increased range of movement and combat options.

You can still perform a rear attack with A and B together (or assigning this to X, like I did) for better crowd control. You can also assign an “X Attack” (which appears to be a single, powerful attack from your combo) and you can still grab, pummel, toss, and slam enemies when you get close to them (and they can still do this to you, and can even perform co-op attacks and steal health items!) Streets of Rage 3 shakes up the roster once more; although Adam Hunter is still unplayable, he does make appearances in the game’s cutscenes, and lumbering oaf Max Thunder has been replaced by the cybernetic Zan. Axel, Blaze, Zan, and Skate continue to share the same basic attacks and controls and each again boast different skills according to five attributes (Power, Technique, Speed, Jump, and Reach). You can also see their height and weight listed in the character select screen, though I don’t think this really affects how the characters play; the other attributes certainly do, though, with Axel again being more of an all-rounder, Skate being the smallest, weakest, and fastest, and Zan having the best reach and able to zoom around on his rocket shoes but at the cost of having a shit jump and turning weapons into projectile attacks. As in the last game, each character is further separated by their different special attacks; Axel can still perform his flaming “Bare Knuckle” uppercut and spinning flaming fist, but Zan can electrocute enemies on contact and you can quickly pummel enemies with Blaze and Skate’s faster (but weaker) attacks. This time around, though, the game features a rechargeable meter; when full, your special attacks will be at their most powerful and won’t cost you any energy, and you’ll also gain a star under your life bar after accumulating high enough scores that will further power-up your special attacks. Every character can now not only dash ahead and perform a running attack (which also benefits from the star power-ups) but they can also vertically dodge out of the way with double taps of up or down, which is extremely handy when dealing with large groups of enemies.

Gameplay is given some much-needed, if frustrating, variety thanks to some timed sections.

If you’ve played either of the previous games (or any sidescrolling beat-‘em-up) then you’ll be acutely aware that your primary goal is to travel from the left side of the screen to the right dispatching enemies and smashing crates and such for objects and power-ups. Like the last game, each Stage is made up of multiple screens and areas, with transitions taking place to show characters smashing through doors or the time of day changing, and you’ll still be able to earn extra lives by adding to your score tally (with bonus points continuing to be awarded at the end of each Stage). Stages don’t seem as long as the last game, however, though each screen is longer, if that makes sense? You seem to spend more time in less screens, basically, and the game seems a little tougher this time around; I only found one 1-Up pick-up in my entire “Normal” mode playthrough and the sheer amount and variety of enemies onscreen can get a little frustrating. Enemies continue to be “shy” and linger offscreen, while also dropping down from the sky, emerging from the shadows, leaping from storage containers, hopping in from speedboats, and popping out from behind bushes to attack you, and it’s much easier to get surrounded by goons this time around. Not only that, but Streets of Rage 3 features the return of stage hazards; bottomless pits make a return in Stage 3 (though, thankfully, they’re not an instant-kill trap this time), barrels drop down from above, wind pushes you back, rising (and horizontal) platforms and elevator sections see you trapped with wave-upon-wave of enemies or tossing them to their doom, conveyor belts make movement and combat sluggish in Stage 7, and you’ll even have to dodge snare traps and laser turrets (though these can damage enemies, too). There’s actually a bit of gameplay variety thrown in here, too; not only do some Stages see you going to the left for a change, but you’ll need to smash through cinder blocks while fending off a digger machine in Stage 3, dodge hazards that fly at you along underground railroad tracks in Stage 4, and face a time limit in Stage 6. This is easily the most complex Stage in the game; you have fifty in-game seconds to clear out enemies, using an elevator to visit different floors, and destroy two control consoles before a lethal gas is emitted. If you take too long, the gas will not only whittle down your health, but cause the death of the captive police chief, Ivan Petrov, which will change the game’s ending accordingly.

Graphics and Sound:
I have to say that, while I enjoyed some of the tracks featured in Streets of Rage 3, the soundtrack is probably the weakest in the trilogy; Stages are punctuated by a thumping, techno beat that is just as likely to be catchy as it is a mess of garbled noise. The links to The Revenge of Shinobi (SEGA, 1989) continue to be found within the game, as well; while the cutscenes finally feature a unique font for the game, Revenge of Shinobi font, sound effects, and melodies are still found throughout (though, at this point, they’re probably more associated with this series of games so I can forgive it). The game’s presentation is better than ever; sprites are larger and more detailed (with Axel, Blaze, and Skate sporting new colour palettes) and enemies are more varied; while skin-heads, dominatrixes, and denim-clad goons still dog your progress, a whole bunch of new enemies are featured, each sporting a name and a health bar. Some even boast a life count of their own, which generally gives you a better indication of how tough the enemy is and how many tiers their health meter has, and weapons also sport their own health meters now and will break after consecutive use.

While the music’s a bit of a mess, the visual presentation and variety is the best in the trilogy.

The environments are the biggest, most varied, and most detailed in the series yet, however. Little touches like chains shaking when you slam enemies to the ground, day turning to dusk, cats peeking out from bins, and wind blowing lanterns and rubbish about really help to make every Stage feel alive. There’s always a lot to catch your eye on the screen, from bushes rustling to indicate the arrival of a hidden enemy, to a bustling nightclub awash in strobe lights and dancing enemies, to glasses tumbling from bars, an aquarium in the background of the Stage 2 boss fight, and even an elaborate Japanese temple in Stage 5. Stage 5 also features a recreation of the final stage of the last game, once again having you fend off enemies in a rising elevator to Mr. X’s throne room, only this time it’s at night and the fight is notably different from the last two Mr. X boss battles and the big man himself is later revealed to be a brain in a jar within an underground laboratory! Everything is so much more detailed and varied this time around, which makes for an experience that finally captures the arcade-style aesthetic the series was going for with the first game, and this is even more evident in the heavier emphasis on story. Not only is there an introductory and ending cutscene, but cutscenes will also take place during and after certain Stages, with dialogue boxes appearing onscreen and different endings being shown depending on how you beat the final Stages of the game.

Enemies and Bosses:
Although long-time players of the series will be more than familiar with the vast majority of the enemies encountered in Streets of Rage 3, palette swapped variants are much more commonplace and they appear alongside some new additions to Mr. X’s syndicate. Denim-clam thugs, yellow-jacketed punks, skinheads, dominatrixes, bikers, and ninjas all make a return to charge at you with knives, slide at your shins, uppercut you out of the air, crack their whips at you, charge at you on their bikes, and flip about tossing throwing stars at you. Newcomers to the series are “Goldie” (a street thug not unlike Axel who can guard against your attacks), “Soozie” (a punk girl similar to Blaze who can pummel you with slaps and leaps at you with flying kicks), and “Zack” (a bandana-wearing goon who likes to grab you from behind). Rotund firebreathers and belly floppers like Ben Ben also make a comeback (and once again cause you damage when you try to slam them), but you’ll also contend with gun-packing Assassin Agents, jetpack-wearing Rockets, martial arts experts like Tiger, and even robotic, frog-like enemies who hop about, dash at you, fire projectiles at you, or explode and send shrapnel across the screen.

Shiva’s importance depends on which difficulty and region you’re in, though you’ll see a lot of recycled bosses.

Streets of Rage 3 dramatically reduces the amount of sub-bosses you’ll have to face compared to the last game, with only two cropping up this time around; instead, certain regular enemies will receive a palette swap and an extended life bar to act as tougher mid-Stage enemies. Bosses will rarely be accompanied by an endless slew of thugs as well, which is definitely a plus, but three of them are recycled from Streets of Rage II and you’ll notice this right away when you reach the end of Stage 1 and face off with Shiva. Downgraded from a penultimate boss to the first boss of the game, Shiva isn’t quite as difficult as in the last game but still poses a challenge as he’s got a nasty leaping kick that can catch you off-guard after you knock him down. You won’t actually face Shiva in the Japanese version of the game, though; instead, you fight Ash, a stereotypically gay character who slaps you around, dances about, and can slam you to the ground. Both Shiva and Ash can be unlocked as playable characters after defeating them and holding B until the next Stage starts, but only Shiva actually makes a reappearance in the worst ending of the game where he serves as the final boss and is given a significant power boost alongside a new attire. Similarly, you can unlock the boxing kangaroo Roo if you take out his abusive handler, Bruce, in the sub-boss fight of Stage 2, after which you’ll battle the female tag team of Mona and Lisa once more who again prove to be slippery and annoying opponents as they continuously backflip away from your attacks and leap at you with kicks. Another returning boss is Jet, though he’s given a new look; he’s accompanied by Rockets, all of whom share his ability to swoop down at you and grab and slam you, but only Jet can blast you with flames from his thrusters. While you can land combo attacks on these guys, and grab and slam them, it’s still difficult to judge which plane they are on thanks to them constantly hovering about.

There are some tough bosses to contend with so it helps to play with a friend to dish out the damage.

New bosses do appear in Streets of Rage 3, however. At the end of Stage 3, you’ll battle an exact copy of Axel; this duplicate has all of Axel’s abilities and special attacks, but changes colour and bursts into flames as you land hits and is eventually revealed to be a robot imposter upon defeat. One of the hardest bosses is Yamato, an armour-clad samurai who is actually three bosses in one. Each samurai will take it in turns to attack you, slashing across the screen with their katana, duplicating themselves, and performing a diagonal dash attack that can be hard to dodge. When you finally confront Mr. X, the game initially frames the confrontation as being exactly like in the last game but, after dispatching his goons, he’s also revealed to be a robot duplicate. Robot X dashes across the screen on rocket boots, fires at you from a wrist-mounted gun, and even shoots homing missiles at you! You’ll then encounter weaker versions of this boss as regular enemies in Stage 7, which also sees a unique boss battle as you’re placed on a vertical conveyer belt that constantly forces you towards an electrical barrier while Dr. Dahm tries to crush and electrocute you with his mechanical claw arm. While it can be tricky to land hits on this, and time your attacks to avoid being shocked, it’s nothing compared to the final encounter with Mr. X, in which his disembodied brain controls the heavily-armoured Robot Y. This hulking foe is made all the more threatening by its maniac attack patterns; it spins around the place, barely fazed by your attacks, and sports a four-tiered life bar and missiles. Not only can it shrug off your attacks and deliver big damage with its basic strikes, the bastard can even grab you out of the air and deliver a huge slam that can easily drain half your life bar. You’re also given just three in-game minutes to defeat it and get the game’s best ending, making for easily the most challenging boss battle not just in this game but in the entire trilogy.

Power-Ups and Bonuses:
As ever, you’ll find a whole bunch of destructible objects in the game’s Stages for you to smash to uncover apples and roast dinners to restore your health, bags of cash and gold bars to add to your high score, and weapons to use against your enemies. Weapons are a little more diverse this time around, but also notably different; not only do they each have a life bar of their own, as stated, but some are single-use only. Knives, for example, are now thrown by default, as are grenades, though you can throw every weapon with the press of a button. You can grab kunai blades, wooden planks, lead pipes, baseball bats, and swords to attack your enemies, but be warned as enemies can also acquire (and throw) these weapons, and even steal your health items if you’re not fast enough!

Additional Features:
There are four Achievements to earn in Streets of Rage 3, and two additional Achievements as part of playing all three games in the SEGA Vintage Collection. The four specific to this game require you to defeat the robot Axel as Axel, free Roo, save the Chief as Zan, and max out your special attack by acquiring three stars. As in the other two games, each of these (with the exception of the latter) are achieved by playing alone and there are no Achievements for playing alongside a friend, or finishing the game as each character, which remains a disappointment. Streets of Rage 3 has a number of endings that are dictated by your progress in the last two Stages and which difficulty you play; you won’t get Achievements for seeing all of these endings, though, and are required to just beat the game (and the other two) to earn 100G. The “Duel” mode from Streets of Rage II returns; now called “Battle”, this mode lets two players to go head-to-head as one of the four playable characters in a one-on-one fight (but, again, there are no Achievements tied to this). This version of the game comes with the same customisation options as the others, so you can set wallpapers, scan lines, and smoothing, listen to the soundtrack on the jukebox, switch between the Japanese, European, and North American versions of the game, save replays, and use save states to make things easier on yourself. Alongside the usual local and online co-op returns, you can still set a high score on the leaderboard and take on the “Trial” mode, which has you battling towards a high score on different difficulty stages against a time limit or extracting the Chief as fast as possible, with the lives you lose adding to your timer.

The Summary:
The question permeating all these reviews of the Streets of Rage games is: Which is better? Streets of Rage or Final Fight? While the first game fell quite short of matching its arcade counterpart, Streets of Rage II was much closer, and Streets of Rage 3 is right up there with some of the best arcade beat-‘em-ups. Everything about the game is bigger and better than the last two, expanding upon the gameplay and presentation to offer the best Streets of Rage experience yet. Reintegrating elements from the first game, such as stage hazards, and expanding upon the gameplay by removing the time limit but offering some variety in tense sequences that see you fending off a digger or desperately fighting to save the Chief really add to the overall experience and make things less monotonous. On the flip side, and what keeps Streets of Rage 3 from earning my coveted fifth star, the music isn’t as good as in the previous games and the difficulty spike is very noticeably, making for some frustrating moments as enemies have bigger health bars and the time offered to you to complete tasks is so tight that it’s easy to fail and be left with one of the bad endings. The gameplay mechanics have never been better, however; the additional of the power gauge for specials, new control options, and impressively detailed sprite work and backgrounds make the game slick to control and endlessly visually interesting, but the recycled boss battles are a shame, especially considering how much detail was packed into every Stage. Overall, I’d say Streets of Rage 3 is easily the best of the original trilogy, and would recommend it as the go-to title to play and own; bigger, better, with more variety, some fun bonus characters, and different endings to work towards, the only thing holding it back from five stars are a few minor missteps that can make it a little too challenging an experience.

My Rating:

Rating: 4 out of 5.

Great Stuff

Did you enjoy Streets of Rage 3? How do you think it compares to the original, its sequels, and other beat-‘em-ups? Did you enjoy Zan’s inclusion or did you stick to a character you were more comfortable with? What did you think to the energy gauge and the recycled bosses from the last games? Have you ever gotten the game’s best ending? Which beat-‘em-up game or franchise is your favourite and why and what is it you enjoy about the genre? To share your memories of Streets of Rage 3, leave a reply below or comment on my social media and be sure to check out my reviews of another classic beat-‘em-up titles.

Game Corner: Streets of Rage II (Xbox 360)

Released: 30 May 2012
Originally Released: 20 December 1992
Developer: M2
Original Developers: Ancient, H.I.C, MNM Software, SEGA, and Shout! Designworks
Also Available For: Arcade, Dreamcast, GameCube, Game Gear, Master System, Mega Drive, Mobile, Nintendo 3DS, Nintendo Switch, Nintendo Wii, PC, PlayStation 2, PlayStation 3, PlayStation 4, PlayStation 5, Xbox One, Xbox Series S/X

The Background:
Sidescrolling beat-‘em-ups were a popular genre in both arcades and home consoles back in the mid-nineties thanks to games like Double Dragon (Technōs Japan, 1987), Final Fight (Capcom, 1989), and Teenage Mutant Ninja Turtles IV: Turtles in Time (Konami, 1992). Noriyoshi Ohba and his small team of developers drew inspiration from this genre to create the first Bare Knuckle Streets of Rage (SEGA, 1991) title, which initially released exclusively on SEGA’s home consoles. Given that Streets of Rage was incredibly popular and highly praised, a sequel was released only a year later; to incorporate new features and improvements over the original release, the developers improved the Mega Drive’s cartridge specifications to allow for larger, more detailed sprites and increased enemy swarms. Ayano Koshiro designed and coded the new characters, their moves, and tweaked the gameplay experience to make things faster, more dynamic, and more capable of competing against Capcom’s brawlers on Nintendo’s consoles. All this work paid off as Streets of Rage II was one of the top five best-selling Mega Drive games upon release and was met with widespread critical acclaim; reviews praised the improvements and combat, Yuzo Koshiro’s soundtrack, and the gameplay in general was universally celebrated. After being re-released and ported numerous times over the years, all three Streets of Rage games came to the Xbox 360 as part of the SEGA Vintage Collection, with this version including additional modern quality of life elements such as save files, a replay feature, and bonus content.

The Plot:
One year after saving Wood Oak City from Mr. X’s crime syndicate, former police officers Axel Stone and Blaze Fielding join forces with professional wrestler Max Thunder and Eddie “Skate” Hunter, the younger brother of their comrade, Adam Hunter, when Mr. X makes a sudden return and kidnaps Adam!

Gameplay:
Like its predecessor, Streets of Rage II is a 2D, sidescrolling beat-‘em-up in which players pick from one of four playable characters and return to the mean streets of Wood Oak City to clear out a new batch of thugs across eight levels (now referred to as “Stages”). As before, you can choose to tackle this either alone or alongside a second player, who can jump in at any time, and can again pick from four difficulty settings (ranging from “Easy” to “Hardest”). This time around, you can manually set the amount of lives you have from the “Options” menu and, after losing all of your lives and continues (of which you have three on “Normal”), you can enter your initials on the high score board and then switch to a different character to continue playing as if you want. Each Stage is played against a generous time limit that is extended by clearing enemies from the screen, or if you lose a life. Compared to the last game, Streets of Rage II is much bigger, faster, and more responsive, with additional animations, combos, attack options and unique gameplay mechanics both shared and exclusive to the four playable characters. Once again, you have a simple three button control system that can be fully customised both in the in-game menu and using the SEGA Vintage Collection settings to allow for a rapid fire attack option. By default, A sees you attack with either a punch or a kick, B lets you jump to land one of two jumping attacks, and X lets you pull off one of two special moves to clear away groups of enemies at the cost of some health. You can switch up these buttons as you like in the main menu, and you can now pull off a rear attack by either pressing A and B together or by assigning this attack to another button (I used X) and pull off either a dash or a forward lunge attack by double tapping the directional pad and pressing attack. When you get up close to enemies, you’ll also grab them, allowing you to either pummel them, toss them behind you (and into other enemies), or slam them to the ground for big damage. Anything you can do, your enemies can do too, however, so you’ll need to make sure to avoid them grabbing and throwing you, overwhelming you from all sides, or sliding or charging at you. Although Axel, Blaze, Max, and Skate all share the same basic attacks and controls, each now has five different attributes that changes the way they play as they have more or less focus on Power, Technique, Speed, Jump, and Stamina. This means that Skate is the fastest but weakest character and Max is the most powerful but the slowest, and this extends to their attack options. For example, Axel can perform his “Grand Upper” to somewhat dash ahead, Blaze unleashes a short range fireball and Skate literally dashes ahead in a diving cannonball attack while Max does a limited shoulder charge and slide attack, so you really feel a difference when playing as each character as you trade off speed and jump height for attack power or defence.

The four playable characters all control a little differently and have unique special attacks.

Special attacks are much more varied this time around as well; rather than every character simply calling in backup, each one has a different health-sapping move to deal big damage to multiple enemies. One is performed by a simple press of the special attack button and the other is performed in conjunction with a directional input and, since they drain your health, you won’t have to worry about picking up specific power-ups to replenish them, though your health bar does drains down to the point where you can’t pull them off. This introduces a new layer of strategy to combat as you now must weigh the risk and reward of the abilities of your chosen character while also factoring in whether it’s better to lose a little health pulling off a special or risk losing more health by holding back and getting pummelled by enemies. As ever in these types of games, your goal is to travel from the left side of the screen and to the right and wade through enemies; however, this time around the screen occasionally scrolls diagonally downwards and upwards. Stages are also much longer and generally comprised of at least three areas, meaning when you reach the final part you’ll usually battle a sub-boss and then enter a building or a new area to take on more enemies, making each Stage (and, consequently, the game) much longer. Taking out enemies and grabbing pick-ups still awards you points, and you’re once again awarded bonus points at the end of each Stage depending on how much time and life you have left, which will eventually award you with an extra life. By default, each character is pretty durable, though some are tougher than others, and I found that raking up extra lives was much easier this time around. More enemies, and more varied combinations of enemies, fill each screen at any one time but the game feels less cheap than the last one and the new combat animations and mechanics make crowd control a lot easier. It also helps that onscreen hazards are now at a minimum; there are no death pits to fall down, no crushing weights or flames to worry about. While some enemies will toss grenades at you from the background, pop up from sewer holes, or leap in from offscreen, the only real onscreen hazard you come across are some conveyor belts. Enemies remain shy and like to linger just offscreen, which can be annoying when you’re trying to progress further, and some destructible objects do tend to explode, but these can also damage enemies as well, which is very helpful. Streets of Rage II also has not one, not two, but three elevator sections, none of which allow you to toss your foes off the side, and when you view your high scores you’ll be able to see stats like which Stage you got to and how many K.O.s you scored (which I assume is enemies beaten but it could also be the amount of lives you lost).

Graphics and Sound:
Streets of Rage II continues the tradition of the series by filling every Stage with a catchy, thumping soundtrack that really helps to make the monotonous gameplay fun since you’re just humming away as you go to town on waves of enemies. You still get a congratulatory melody after finishing a Stage, boss themes, and scream, grunt, and groan; it’s always obvious when you’ve grabbed an item or earned an extra life thanks to an audible jingle but, while many of the sounds and music are more elaborate and impressive than the first game, many are still recycled from The Revenge of Shinobi (SEGA, 1989). The overall presentation is much improved, however; the heads-up display is now no longer confined to an ugly black box at the top of the screen, meaning the locations are bigger and much more detailed; enemies now have (ridiculous) names and life bars of varying lengths (with sub-bosses and bosses having two- or three-tiered life bars), and there’s generally a lot more life in the sprites and environments.

The game is bigger and far more visually interesting than before, with an equally kick-ass soundtrack.

The sprites are much bigger and more detailed than before; their idle animations still generally amount to just breathing heavily and waiting for the next punch-up, but Skate glides along on his rollerblades in a very slick way and everything just has a little more polish this time around, which is only bolstered by a few new animation frames when grabbing and beating on enemies or performing your character’s combos. The story is once again told through text but the font is much clearer and longer, still images are used to recap the ending of Streets of Rage and show the ending sequence for this game, and Stages are way more varied than before thanks to going on longer. You’ll see lampposts and chain link fences in the foreground, cars and different views of the city in the background, fog and rain effects, smash your way through a bar and an arcade (where enemies are playing Bare Knuckle machines), explore a pier and fairground (where enemies sleep on bunches, a rollercoaster can be seen, and you end up in something ripped from the mind of H. R. Giger and a pirate ship), and battle your way into the SEGA Stadium where the green becomes a descending elevator section, You’ll cross a bridge held up by huge girders, traverse conveyer belts in a factory, battle through the foyer of Mr. X’s newest elaborate skyscraper, and even end up in a gladiator pit and in the back of a moving van where enemies and audiences cheer on your foes as they try to beat the life out of you. It’s all much bigger and more visually impressive, even though many of the Stages are reminiscent of the last game; little touches like fighting along the beach from the other perspective than in Streets of Rage (so now the sea is behind you) and progressing from the interior of a rocking ship up to the deck really show how the game is taking everything that worked in the first and improving upon it for a deeper, more visually engaging and exciting gameplay experience.

Enemies and Bosses:
While you’ll recognise the vast majority of the enemies you’ll encounter throughout Streets of Rage II from the last game, they now have names and life bars and palette swapped versions of them crop up right from the first Stage, which helps to make them seem more varied than they actually are. The denim-clad thugs and yellow-jacketed punks return, still charging at you with knives, sliding at your shins, or trying to throw you across the screen but they’re now joined by bald bastards who uppercut you out of the air at the worst possible moments. While the whip-cracking dominatrixes return, the martial artists have been replaced by Muay Thai kickboxers and ninjas who can guard against your attacks, flip about the place, and toss throwing stars your way, respectively. Bikers make their first appearance here, charging and leaping at you on their motorcycles, though you can kick them off and take them out with their own exploding bikes; their grenades will also damage other enemies, and you’ll now drop whatever weapon you’re carrying when you grapple with an enemy (and ninjas can even catch ones you throw at them!)

Sub-bosses and bosses return as regular enemies, except for the Vehelits and formidable Shiva.

As Stages are now longer, you’ll now have to contend with a number of sub-bosses as well as end of Stage bosses. As before, all of these reappear in later Stages as recoloured and renamed regular enemies, though slightly weaker and with some variations. The first sub-boss is Jack, a large punk with a flaming Mohawk and garbed in a ripped denim shirt and jeans. This guy’s packing knives, which he’ll stab or throw at you, but you can also pick them up and use them against him and any other enemies coming for you, which is handy when he reappears in his recoloured forms. Dominatrixes like Elektra often attack in pairs and are given extra attack range with their whips, which can also be electrified, but I found them pretty easy to take out before they could do any real damage. Hakuyo and his variants are muscular martial artists who literally drop in with flying kicks and jump attacks, while Big Ben is a returning, rotund enemy from the last game who will plod around trying to set you alight with his fire breath or try and crush you with a big belly flop (but, this time, you are able to throw and slam him without being hurt). One of the more unique sub-bosses is Vehelits, an animatronic alien head that pans across the screen to send you flying and is one of only three enemies you’ll fight just the one time in the entire game, which is fine as all the other sub-bosses and bosses crop up again in the later Stages. After running an enemy gauntlet, you’ll once again confront Mr. X; this time, rather than offer you the chance to join him, he orders his personal bodyguard, martial artist Shiva, to soften you up. Shiva is the closest you’ll get to a boss who is as versatile as you; he attacks with flying and sliding kicks, guarding against your attacks, and flying at you with flaming cartwheel kicks. While he cuts an intimidating figure, he’s actually not as hard as some of the game’s other sub-bosses, however.

While the first two bosses aren’t too difficult, things get tricky once Zamza and Abadede appear.

After fighting through the bar and into a rainswept alley, you’ll take on Barbon, the musclebound proprietor of the establishment you just wrecked who (alongside a bevvy of regular goons) throws spinning kicks, tosses you across the screen, guards against your attacks, and kicks you out of mid-air. When he reappears later, he’s actually one of the easier enemies, especially compared to Stage 2’s boss, Jet. This jetpack-wearing asshole constantly hovers overheard, swooping down or across the screen or grabbing you and sending you crashing to the ground. It can be a little tricky to land a hit on him, much less a combo, as it’s not always easy to judge what “level” of the background he’s on, which can make him a hell of an annoyance when he reappears as a regular enemy. Still, he’s a walk in the park compared to Zamza; this Blanka-like asshole attacks with clawed talons, spinning and jumping all over the place and flying at you with a cannonball attack, swiping you out of the air with a twirling uppercut, or delivering a massive German Suplex up close. His appearance on Stage 8 as “Nail” was a particular headache for me, and actually harder than the last bosses of the game since he’s so hard to keep track of and land decent hits on. In the gladiator pit, you’ll have a rematch with hulking wrestler Abadede; this Ultimate Warrior rip-off has expanded his repertoire to include an uppercut, a lariat strike, a flying body splash, a muscle flex that can send you flying, a big back suplex, and will even strike you with a wrench when he grabs you.

While the final boss is basically the same as before, there’s some interesting (if annoying) battles prior to this.

After fighting your way onto the deck of Stage 5’s ship, you’ll go toe-to-toe with the bulbous Rocky Bear; this guy’s also no joke as he hops about on his tiptoes, pummelling you with punches when he grabs you and easily cancelling your combos with a lunging fist, or comes flying at you with a butt stomp! He’s also accompanied by “Balloon”, a Big Ben variant, and he can be a real pain in the ass as you have to try your luck with a leaping kick, break free of his grab with your special, and dodge out of the way to do some real damage with a combo. Things get a little lazy at the end of Stage 6, however, as you have to fight a variant of Zamza and Jet (known as “Souther” and Stealth”) rather than a unique boss battle, though Stage 7 makes up for this with the tag team combo of robots Particle and Molecule. These cycloptic automatons jump about the place to avoid your attacks, swing their retractable mace-like appendages at you, and even fire projectiles from their eyes but they’re not especially difficult to deal with even when they immediately appear as regular enemies at the start of Stage 8. After dispatching Shiva, you’ll finally face off against Mr. X; unfortunately, this is basically exactly the same as in the last game as Mr. X wanders about trying to brain you with the butt of his rifle (which, to be fair, lands as a combination of hits this time) and haphazardly spraying bullets across the screen. Goons will file in to distract you, but they can also be hurt by Mr. X’s bullets, and as long as you focus on attacking him you’ll come out on top easily enough. I’m actually surprised the developers didn’t have an alternative version of Shiva (or Shiva himself) attack you in this final bout as it’s a pretty simple final fight, and the game is actually much fairer (on “Normal”, at least) than the last one, so it’s not inconceivable that you could get through this without too much difficulty, which is surprising considering how tough and cheap Zamza can be.

Power-Ups and Bonuses:
There are still plenty of destructible objects scattered around the various Stages for you to smash to uncover goodies; apples and roast dinners will restore some or all of your health, the occasional 1-up will grant you an extra life, and bags of cash and gold bars to add to your high score. This is also the main way (outside of disarming enemies) that you’ll acquire a melee weapon; interestingly, there’s only one new weapon in the game (the kunai blade dropped by the ninjas) and some (like the glass bottles) are actually missing. On the plus side, every character swings the metal pipe differently and weapons can be throw at the press of a button to become projectiles but, if you get hit and drop them enough, they still eventually disappear and you may also struggle to attack if you’re standing over a weapon as your character will try to pick it up instead of defending themselves. Since your special move is tired to your health bar, there’s no item to pick up to replenish your stock; you can perform each character’s unique special move as long as you have enough health, and there’s actually a reason to play as different characters this time since they control a little differently and have unique special attacks.

Additional Features:
There are two Achievements on offer in Streets of Rage II, and three additional Achievements as part of playing all three games in the SEGA Vintage Collection. The two specific to this game require you to defeat Zamza on Stage 3 as Skate and Abadede on Stage 4; there are no Achievements for playing with a friend, or for finishing the game as each character, which is a bit disappointing. Unlike the first game, Streets of Rage II only has one ending, further reducing the replay incentive somewhat, but it does come with a new game mode. “Duel” allows two players to go head-to-head as one of the four playable characters in a one-on-one fight; you can select a Stage to battle on, and whether or not special moves are active, but again there are no Achievements tied to this extra mode and no other characters to play as. This version of the game comes with the same customisation options as the last game, allowing you to set wallpapers, scan lines, and smoothing, listen to the soundtrack on the jukebox, switch between the Japanese, European, and North American versions of the game (which again amount only to cosmetic differences), save replays, and make use of save states to the game to make it dramatically easier. Local and online co-op also return, as do leaderboards and the “Trial” mode, which has you battling towards a high score on four different difficulty stages against a time limit or going against Zamza’s “Horror House Challenge”.

The Summary:
I concluded my review of Streets of Rage by saying that I would probably pick Final Fight over it since, while it was a great game and a good attempt at an arcade-style beat-‘em-up, it didn’t quite match up to the level of Final Fight. With Streets of Rage II, the call is much harder to make; with larger, more detailed and visually appealing graphics, new characters with unique ways of controlling and special moves, and longer and more diverse Stages, Streets of Rage II is clearly bigger and better than its predecessor in every way. The core gameplay remains the same, but everything is faster, slicker, and meatier than before; there’s so much more to see and combat is way more fun and the cheapness of the original’s difficulty curve has been toned down quite a bit. While you can argue that this makes Streets of Rage II easier, I’m okay with that; when it comes to arcade beat-‘em-ups, I want a simple pick-up-and-play experience that can be challenging but not unfair or frustrating, and Streets of Rage II was a great time from start to finish. It was a shame to see some weapons missing, some Stage themes repeated from the last game, and that there weren’t more Achievements added to this version of the game, but there’s no denying that Streets of Rage II is vastly superior to the first game in every way. It almost feels like the first game was a proof of concept for the engine and the mechanics as Streets of Rage II just refined everything into an experience that’s far closer to what one would expect from an arcade title, so I would definitely choose to pick this one over the first one and happily compare it to Final Fight in terms of quality and enjoyment.

My Rating:

Rating: 4 out of 5.

Great Stuff

What did you think to Streets of Rage II? How do you think it compares to the original, its sequels, and other beat-‘em-ups? Which of the four characters was your go-to and were you a fan of the new ones introduced here? What did you think to the longer Stages and additional sub-bosses? Have you ever beaten this game on the hardest difficulty setting? Which beat-‘em-up game or franchise is your favourite and why and what is it you enjoy about the genre? To share your memories of Streets of Rage II, sign up to leave a reply below or comment on my social media and be sure to check out my other reviews of the series!

Game Corner: Streets of Rage (Xbox 360)

Released: 30 May 2012
Originally Released: 2 August 1991
Developer: M2
Original Developer: SEGA
Also Available For: Arcade, GameCube, Game Gear, Master System, Mega Drive, Mobile, Nintendo 3DS, Nintendo Wii, PC, PlayStation 2, PlayStation 3, PlayStation 4, PlayStation 5, Sega CD, Xbox One, Xbox Series S/X

The Background:
Back in the mid-nineties, sidescrolling beat-‘em-ups were a popular fixture in arcades, and demanded little more than players hold right and mash buttons to take down waves of generic enemies and continually part with their hard-earned pocket money. Beat-‘em-ups were also prominent on home consoles thanks to the ports of Final Fight (Capcom, 1989) and Teenage Mutant Ninja Turtles IV: Turtles in Time (Konami, 1992), so it made sense for SEGA to develop the beat-‘em-up series, Bare Knuckle Streets of Rage (SEGA, 1991 to 1994). Essentially a rip-off of the Final Fight series, Streets of Rage was the brainchild of Noriyoshi Ohba and Hiroshi Momota and stood out from others in its genre by foregoing the arcades entirely. Having previously helmed The Revenge of Shinobi (SEGA, 1989), Ohba drew from Double Dragon (Technōs Japan, 1987) and Starsky & Hutch (1975 to 1979) to compete with the likes of Final Fight and he and his nine other developers managed to pull the first title in the series together in just six months. Streets of Rage was incredibly popular upon release; critics praised the colourful graphics, two-player gameplay, and range of attacks offered to players and Yozo Koshiro’s soundtrack was equally lauded. Having been re-released in various compilations over the years, Streets of Rage and its sequels made it to the Xbox 360 as part of the SEGA Vintage Collection, with this version including additional modern quality of life elements such as save files, a replay feature, and bonus content.

The Plot:
The once a peaceful and prosperous Wood Oak City has fallen into the hands of a crime syndicate led by the mysterious Mr. X. The Syndicate has absorbed the city’s government and even has the police department in their pocket, causing crime and violence to run rampant. Police officers Adam Hunter, Axel Stone, and Blaze Fielding decide to take matters into their own hands and take to the streets as vigilantes to put a stop to the Syndicate.

Gameplay:
Streets of Rage is a 2D, sidescrolling beat-‘em-up in which players pick from one of three playable characters and battle swarms of thugs on the mean streets of Wood Oak City across eight stages (referred to as “Rounds”). You can do this either alone or alongside a second player, and the game has four difficulty settings ranging from “Easy” to “Hardest” which dictates the amount of lives and continues you have and the aggressiveness of the game’s enemies. Each Round carries a time limit that can only be extended by clearing the current wave of enemies from the screen; if you fail to do this, you’ll get a time over and lose a life, but will respawn on the same screen with the time replenished. While the game has a slow, almost plodding pace and movement can be equally sluggish, you’re given a surprising range of attack options considering you only really need to press one button to attack. By default, A throws a punch, B lets you jump, and X calls in police backup to fire a screen-clearing missile from their squad car. You can switch up these buttons to your heart’s desire in the main menu, and even activate a rapid fire option so you simply hold down your chosen attack button to make mincemeat of enemies, but the only way you can move and attack at the same time is to pull off a flying kick. There are no dash or dash attack options here but, open getting close to enemies, you can stun them with a nifty combo, grab and pummel them, hop around behind them to pull off a slam or German Suplex, and toss them across the screen and into other enemies, down holes, or send them crashing through destructible objects. Enemies can also grab and throw you, however you can fend off their buddies when they’re holding you still and eventually throw them off if you hit the buttons fast enough.

While each character controls the same, they have different attributes to make their gameplay unique.

While Adam, Axel, and Blaze all essentially play the same, each has different attributes that changes the way they play; Adam is slower, for example, while Axel has a shorter jump and Blaze has a weaker attack but is much faster and dramatically speeds up the pace of the game, so it definitely changes the way you play depending on which character you pick. With the exception of two Rounds, your only goal is to travel from the left side of the screen and to the right, taking out larger and more varied groups of enemies as you progress. Defeating enemies and snagging pick-ups will award you points; you’ll also earn bonus points at the end of each Round depending on how much time and life you have left, and you’ll gain an extra life once you reach a certain increment in your score. While you’re quite durable, it’s easy to get overwhelmed and lose a life; if you do, you’ll respawn right where you died with your specials and time replenished and even send all onscreen foes flying as a bonus, but you can’t afford to get too cocky as it’s pretty easy to burn through lives, especially on later Rounds and bosses, and then have to rely on your small stock of continues. Streets of Rage’s challenge definitely increases the further you progress; enemies become more aggressive and numerous but are also quite shy and linger just offscreen to really run down the timer. You’ll also have to deal with instant-death holes, conveyor belts, and crashing hazards, though these can all be used against your enemies as well. As is the tradition in any sidescrolling beat-’em-up worth its salt, you’ll also have to contend with a vertical elevator stage in which a small platform will rise up the outside of a skyscraper and wave upon wave of enemies will shuffle in from different floors or drop from above, though you can easily make short work of them by tossing them over the side.

Graphics and Sound:
Streets of Rage features a very catchy, thumping beat of a soundtrack that really helps to make the monotony of its beat-‘em-up gameplay more appealing. Boss battles at accompanied by an ominous theme song and a congratulatory little melody plays upon completion of a Round. Characters will scream, grunt, and groan as they attack, are hurt, or die and you always know when you’ve picked up an item or earned an extra life or special thanks to an audible jingle. If you’ve played The Revenge of Shinobi before, however, you may recognise that the game’s font, heads-up display, and many of the sound effects are ripped from that game, which I always felt cheapened Streets of Rage a bit since no other Mega Drive game I’d played at the time did this unless it was a sequel or part of a franchise.

While many sounds are recycled, the game has a thumpin’ soundtrack and some impressive visuals.

Sprite work is pretty impressive here; the three protagonists and their enemies are a little small, but you can adjust the screen size in the options to make them a bit bigger (though this does pixelate them) and, when left alone, they have very minor idle animations to give them some personality. While the main story narrative is told only through text, the ending features some nice detailed sprite panels showing the trio emerging victorious, and you’re even presented with a dialogue box in the final Round of the game. Where the game really shines, though, are its locations; from the streets to the beach, a factory, and Mr. X’s penthouse suite, the environments are all very detailed and full of little things to see and graphical effects, such as enemies emerging behind shutter doors, rain, windswept rubbish, statues, and the looming lights of the city at various distances in the background. Foreground elements such as lampposts, cars, and the raging sea pop out at you, and you even end up on a boat at one point that rocks up and down from the current.

Enemies and Bosses:
Unlike other beat-‘em-ups of the time, enemies don’t display their names or individual life bars when attacked; life bars are reserved only for the game’s bosses, but it won’t take more than a few hits to take out the low-level scum you encounter in the first few stages. These are made up of denim-clad thugs who sometimes wield knives, yellow-jacketed punks who grab and throw you, and karate-kick throwing martial artists who hop about the place. Very quickly, you’ll encounter more aggressive, palette-swapped versions of these enemies who carry other melee weapons, can deal more damage, and seem to recover faster after being knocked down. You’ll also come across whip-cracking dominatrixes, jugglers who dance around the screen using fire-bombs and axes as makeshift shields and projectiles (that you can, thankfully, hit with your attacks) and even buffet carts that come hurtling at you from off-screen.

Large, hard-hitting bosses await at the end of the Rounds and even reappear as regular enemies.

Seven Rounds means seven bosses to contend with but you won’t be facing any of them just once as all of them will reappear as regular enemies in later Rounds, though without life bars. The first you’ll encounter is Antonio, a large man wearing denim and carrying a razor-sharp boomerang; Antonio will linger just off-screen, circle around the area, and either toss his boomerang your way or deliver a hefty kick when up close but is undeniably the easiest of the bosses despite being the first formidable enemy of the game. The second boss, Souther, is much more difficult and starts a trend of the bosses being accompanied by a gaggle of thugs to distract and annoy you. Souther sports two sets of metal claws for hands and drifts around the screen swiping at you or unleashing a fast-paced barrage of slashes that can easily tear through your life bar, so it’s best to try and stay on the move and anticipate where he’ll be so you can pummel him with your grapple attacks. The hulking Abadede awaits you at the end of Round 3; this Ultimate Warrior rip-off lumbers in from off screen with a charge or devastating uppercut but, despite his size and strength, can easily be taken down by quickly hitting jumping kicks rather than trying to match fists with him.

Bosses are soon accompanied by a swarm of thugs to really put a crimp in your day.

At the end of Round 4’s bridge, you’ll have your first encounter with Bongo, a rotund fire-breathing man who homes in on you to try and set you ablaze. While it can be difficult to avoid his flaming breath, you also need to avoid trying to throw or suplex this guy as, in a fantastic piece of attention to detail, you’ll end up taking damage and being crushed from his hefty weight. After battling through the boat and fending off recoloured versions of Abadede, you’ll have to fight two bosses at once: Mona and Lisa, easily the laziest bosses in the game as they appear to simply be palette swaps of Blaze. These gals are also extremely slippery devils as they’ll flip all over the place, try and throw kicks at your head, and send you flying with judo throws, so it can be really tricky just trying to land a hit on them in the first place. Two Southers await you at the end of Round 6 and, while you won’t face any bosses in Round 7, you do have to endure a gauntlet of enemies on the elevator and all of the previous bosses hounding you throughout Round 8. Round 8 concludes with a showdown with Mr. X; beforehand, he’ll offer you the chance to join his cause. If you answer “Yes” in two-player mode but your friend answers “No”, you’ll have to battle each other to determine who gets to take him on. The battle against Mr. X is fraught with a never-ending slew of thugs; the big boss himself wanders back and forth, spraying bullets across the screen and trying to brain you with the butt of his rifle, but actually isn’t too tricky to take out (on “Normal” mode, at least) despite Round 8 not allowing you to use specials.

Power-Ups and Bonuses:
Be sure to smash everything you see in each Round, from phone booths to tyre stacks and wooden crates, as these will yield apples or roast dinners that will restore some or all of your health. Very occasionally, you’ll find a 1-up or an extra special hidden in these too, or a bag of cash and gold bars to add to your high score and edge you closer to an extra life. These destructible elements, and enemies, can also hold a variety of melee weapons, from knives to pipes and baseball bats, to stun grenades, all of which can help turn the tide in your favour by adding extra range to your attacks and hitting multiple enemies at once. You can throw knives and the grenades, limiting their usefulness, but weapons won’t break upon use; if you get hit and drop them enough times, however, they will eventually disappear from the screen and, if you miss anything, you can’t go back and get it so just grab it when you see it or it’s safe to do so (which can be easier said than done, especially if a couple of weapons or pick-ups are staked next to each other). Finally, although there are three characters to select, each with their own attacks and gameplay variants, there’s only one special move which, while useful, is a little disappointing.

Additional Features:
There are four Achievements to earn in Streets of Rage, and two additional Achievements as part of playing all three games in the SEGA Vintage Collection. While two of these require separate playthroughs as Adam and Blaze alone, there are unfortunately no Achievements for playing as each character or alongside a friend, and the other two amount to simply tossing an enemy and recovering from a throw, which is a bit disappointing consider the game as multiple endings and opportunities for fun Achievements, such as crushing an enemy with a stage hazard or tossing a certain number to their deaths. This version of the game also comes with a variety of display options that allow you to set wallpapers, scan lines, and smoothing in addition to customising the controls to your liking. There’s also a jukebox that lets you listen to the game’s rockin’ beats, the ability to switch between the Japanese, European, and North American versions of the game (which seem to amount to cosmetic differences and little else, certainly no extra Achievements), and adds save states and replays to the game to make it dramatically easier. Probably the most significant additional feature is the “Trial” mode, which tasks you with achieving a high score on four different difficulty stages against a time limit or lasting out against enemies on the elevator Round (though, again, there are no Achievements to be gained from this). Finally, you can play with a friend locally and online, and the game includes at least two endings, one where you defeat Mr. X without question and a bad ending where you usurp him and become the new crime boss.

The Summary:
I do enjoy me a good sidescrolling beat-‘em-up and there’s a lot to like in Streets of Rage. Without a doubt the game, and the series, is one of the Mega Drive’s most prominent titles, and yet the series is often forgotten about these days and SEGA have been uncharacteristically reserved about churning out sequels and spin-offs or even featuring Streets of Rage characters in their other titles. If I had to pick between Streets of Rage and Final Fight, however, I’d pick the latter; for a console-exclusive beat-‘em-up the game does really well, but the sprites aren’t as big and detailed and the gameplay isn’t as fluid as an arcade title. The lack of a dash function and unique specials for each character are issues as well, as is the troublesome difficulty curve, though many of the game’s more tedious aspects were obviously refined in the sequels. As a first entry, it’s pretty basic and recycling music and sound effects from The Revenge of Shinobi doesn’t really help the game stand out too much but it’s certainly not an unplayable piece of trash. This version of the game greatly improves the original experience with save states and other bonus options, though it’s disappointing that more Achievements weren’t incorporated into it to add to the replay value. Overall, this is a pretty fun little beat-‘em-up with a surprising amount of attacks, some funky music, and some decent sprite work on offer though it can’t be denied that Streets of Rage was effortlessly eclipsed by its sequel/s.

My Rating:

Rating: 3 out of 5.

Pretty Good

Are you a fan of the original Streets of Rage? How do you think it compares to the sequels and other beat-‘em-ups? Which of the three characters was your go-to and which of the sequels was your favourite? Did you enjoy the additional features added to this version of the game and would you like to see more from the series in the future? Which beat-‘em-up game or franchise is your favourite and why and what is it you enjoy about the genre? To share your thoughts on Streets of Rage, sign up to leave a reply below or comment on my social media and be sure to check out my other retrogame reviews!

Game Corner: Final Fight: Double Impact (Xbox 360)

Released: 15 April 2010
Originally Released: 25 November 1989 (Final Fight) / 25 July 1990 (Magic Sword)
Developer: Proper Games
Original Developer: Capcom
Also Available For: PlayStation 3 (This version); Amiga, Amstrad CPC, Arcade, Atari ST, Commodore 64, CPS Changer, Game Boy Advance, Java ME, Mega-CD, Nintendo Switch, PC, PlayStation 2, PlayStation 4, PlayStation Portable, SEGA Mega Drive Mini II, Super Nintendo Entertainment System (SNES), X68000, Xbox, Xbox One, Xbox Series S/X, ZX Spectrum (Original, Ports and Re-Releases)

The Background:
The arcade scene was in a boom period during the late-eighties and early-nineties; coin-operated machines stole weekends and pocket money away from an entire generation as they frantically went head-to-head and traded secrets in the playgrounds. For me, two of the biggest names in arcade gaming were Konami and Capcom, both of which produced many of the most celebrated fighters and beat-‘em-ups of the era. Designed by Akira Nishitani and initially planned as a sequel to the modest arcade hit Street Fighter (Capcom, 1987), Final Fight was redesigned with an original premise and characters and took many thematic and narrative cues from movies. Despite switching from a one-on-one fighter to a sidescrolling brawler, Final Fight was a huge hit in arcades across the globe; although concessions and revisions had to be made for the home console release, these ports were also highly praised and the game spawned not only a number of sequels but was also absorbed into the Street Fighter canon. Although arguably far less well known, Magic Sword was also a popular arcade title; though the home console port was criticised, Magic Sword lived again when it was included alongside the more influential Final Fight in this digital bundle that included a host of additional features and even received an Xbox 360-exclusive physical release alongside some of Capcom’s other digital titles.

The Plot:
Crime runs rampant in Final Fight’s Metro City; Mayor Mike Haggar, a former pro wrestler, is forced to recruit expert fighters and martial artists Cody Travers and Guy when the Mad Gear Gang kidnaps his daughter, Jessica, as an intimidation tactic. Meanwhile, the world of Magic Sword is threatened by the dark lord Drokmar and only the Brave One and his allies have a hope of opposing him by scaling Drokmar’s hazardous fifty-floor tower, the Dragon Keep.

Gameplay:
It’s tough to get much better for pure, classic sidescrolling beat-‘em-up action than Final Fight and I say that as someone who’s never even played the game out in the wild; my experiences have all been through emulations and ports such as this collection, which I first owned on the PlayStation 3, and yet everything about Final Fight so perfectly encapsulates this genre of arcade game for me. A lot of that is due to the game setting many of the standards that its successors would build upon and improving upon the gameplay of its predecessors, making for a much faster and more action-packed experience than the comparatively slow and clunky Double Dragon (Technōs Japan, 1987). This simplicity is echoed in the controls; X and Y see you attack with a few punches and kicks that, upon landing, turn into a surprisingly complex and lengthy combination of attacks, and A and B let you jump. You can, of course, perform jumping attacks such as a flying kick when up high and a knee strike when in mid-air, and pressing an attack and a jump button together sees you perform a super attack at the cost of some health. There’s no dash function, unfortunately, but the game’s pretty brisk so you don’t really need it; you can alsograb and toss enemies to wipe out others when you attack up close and you can pick up and use a variety of weapons you find strewn over the streets.

Fight alongside a friend to bring law to the lawless with fun combos and special moves.

Final Fight can be played alone or alongside one other friend, either locally or online; players can pick from three characters – Guy, Cody, and Haggar – and each has their own strengths and weaknesses. Guy (my preferred choice) is a bit faster, throws short jabs and a lot of kicks, and seems to be a little weaker; Cody is much more of an all-rounder in comparison, and Haggar is a slow, powerful brute of a man who sends foes crashing to the ground with devastating wrestling moves. Your goal, as ever in this genre, is to get from the left side of the screen to the right, pummelling enemies and collecting loot for points as you go; you’ll also be battling a timer that counts down at the top of the screen, though the pacing of the game is such that you’re never dawdling in one area for too long. The game is made up of six stages (referred to as “Rounds”), with each one comprised of a number of screens to add some visual variety and onscreen hazards to watch out for; plumes of fire, Molotov cocktails, and “granades” will set you alight and rolling barrels will send you flying but, on the plus side, these hazards will also damage your foes. Naturally, there’s a section where you’re confined to a rising elevator and must battle enemies as they drop in; you’ll also be forced into a caged ring to battle a couple of the game’s tougher enemies, though you can take advantage of the nearby weapons to even the odds in both cases. Finally, there are two bonus stages to break up the action and rack up some extra points; the first sees you kicking the shit out of some poor dude’s car and the second has you smashing glass panels. The time limit is quite strict for both, but I particularly struggled with the latter; the panels simply rotated when I hit them and wouldn’t break so I’m not sure what I did wrong there. Although there’s no end of level scoreboard or anything, you’ll want to smash up crates, phone booths, and barrels to grab loot as you can earn yourself an extra life with enough points. You also get to enter your name on the high score table and upload your score to the online leaderboards, so you’ll want to get as many points as possible if that sort of thing is important to you.

Team up with AI allies to tackle fifty floors of medieval madness!

Although Magic Sword features the same basic controls and the premise of getting from one side of the screen to the other, the gameplay is quite different. X and Y still allow you to attack but a meter also allows you to unleash a magical projectile and you can of course attack while jumping with A and B or whilst crouching and press attack and jump together for a screen-clearing magic attack, again at the cost of some health. Magic Sword is like a more action-orientated and chaotic version of Ghosts ‘n Goblins (Capcom, 1985); though one hit won’t kill you, you are beset by an endless, constantly respawning swarm of medieval and fantasy enemies and asked to crack open chests for keys, loot, and the occasional power-up or hazard. Drokmar’s tower is full of locked doors generally holding an ally prisoner; freeing them sees them join your quest and there’s a decent variety of AI-controlled partners to follow you about, from spear-throwing knights, to winged gargoyles, wizards, and ninjas. They have their own life bar and unique attacks and will be replaced with whoever you free next, so if you find one you like it’s best to not open every door you come across (especially as some hide enemies). An ally will also join your side after you enter a credit to continue and they’ll often drop loot and health after you free them. A second player can also join in the fight, though they’re basically a palette swap; AI partners will also unleash stronger attacks depending on how full your magic meter is, and you can acquire items to provide temporary buffs. There’s also a basic level-up system; I didn’t pay that much attention to it but you are awarded a new sword after every boss, changing the appearance of your blade and the projectile it fires (replacing it with flames or lightning, for example), and you’ll grow in levels as you progress but I’m not sure how as I was too busy focusing on the action. Gameplay is more basic than Final Fight but also far more hectic; this is a game designed to eat up your pocket money as there’s so much danger happening all around you, but the levels are nice short, bite-sized chunks of action so there’s definitely an addictive element as you want to keep getting higher and higher.

Graphics and Sound:  
Of the two, Final Fight is definitely the graphically superior; sure, there’s more happening at any one time in Magic Sword and the game’s faster and has more visual appeal thanks to its fantasy aesthetic, but Final Fight favours quality over quantity. Magic Sword’s sprites aren’t onscreen for very long to have many frames of animation and the avatars are required simply to perform basic functions so, while they look great, they’re not exactly the most detailed, especially compared to Final Fight. Guy, Cody, and Haggar all have very distinct visual identities that tell you everything you need to know about how they play and fight just by looking at them; Cody might be extremely basic compared to the hulking Haggar and skilled Guy but the range of animation in his combos is impressive for such a simplistic game. Both games feature some very appropriate and bopping tunes, though again I favour Final Fight’s as the soundtrack perfectly matches the beat-‘em-up gameplay and switches mid-level, too, though that’s not to say that Magic Sword’s fantasy-themed soundtrack isn’t suitably appropriate, just that it’s easy to dismiss when you’re ploughing through floors so quickly. Both games utilise large sprite art and text/dialogue to tell their story, but only Final Fight sees your characters strapped to a chair before a stick of dynamite if they run out of lives and includes them walking back through the previous stages as the credits play (though I still don’t get why Guy attacks Cody at the end…) There’s essentially at least fifty rooms to Magic Sword; many don’t look much different but are still unique enough and contain hazards such as falling axes, flaming pits, damaging water, and deadly spikes. A helpful compass, of sorts, at the top of the screen shows you whether you need to go right or, shock of shocks, left towards the nearest exit; though there’s no onscreen timer and most floors are pretty short, there are a lot of enemies onscreen and a timer will appear if you dawdle.

Both games have fantastic presentation.

While there’s a fair amount of depth and attempt at variety in Magic Sword’s environments, there’s no getting around the fact that you’re stuck inside a stone tower for the entire game save for the start, where you battle through a village, parts where you’re on the outside of the structure, and the finale, where you face Drokmar in a surreal, cosmic room. Some rooms feature an impressive shimmering heat effect to sell the notion of the boiling hot flames, others are overrun by vegetation or have strange Lovecraftian monstrosities in the background, and others have more of an Aztec/Egyptian flavour to them, but most are simply palette swaps of the same stone blocks and platforms. It works because each floor is so brief but there’s only so much you can do with that aesthetic; the developers could have leaned more into the elemental themes for a few floors, had some take place underwater or completely in forests, but that would probably be a bit out of place in a stone tower so you have to settle for crashing waterfalls, flame pits, and what looks like blood rapids here and there. By contrast, there’s quite a lot of visual variety in Final Fight; ironically, you spend more time on the city streets than in SEGA’s home console counterpart and will battle through the desolate slums, the subway (complete with flickering lights and moving subway train), a busy and dangerous factory, a construction site, and the elaborate inner sanctum of Belger, head of the Mad Gear Gang. There’s always something happening in the background, from barking dogs to enemies emerging from doorways to graffiti on broken toilet doors and chandeliers dropping from the ceiling. It’s a far more urban aesthetic, to be sure, and one that has been done to death in the genre, but it really works here thanks to the multiple transitions to different areas in each Round.

Enemies and Bosses:
Every scumbag and roided-up thug in Metro City is out to get you in Final Fight; each one has their own name (many of them being named after rockstars like “Axl” and “Slash” and “Poison”) and life bar, with some defeated in a couple of hits and others taking a bit more punishment. The basic skinheads and punks aren’t much of an issue, but they’re often accompanied by more skilled fighters who stab and toss knives at you, annoying buggers who quickly appear just to toss Molotov cocktails, cartwheeling hookers who hit you with flipping kicks, and larger thugs who have an annoying tendency to guard against your attacks. You’ll also face larger, more rotund enemies who charge at you from off screen, though you can still toss these with ease, and members of the “Andore” family; these hulking brutes have all the grace, finesse, and power of the late wrestling legend André the Giant and will charge at you with a body strike, effortlessly toss you aside with their meaty hands, and often spam a jump splash to easily drain your health bar. In Magic Sword, Drokmar’s forces encompass a wide spectrum of supernatural and fantastical foes, most of whom are defeated in a single hit: lizard-like gargoyles fly about throwing spears at you, skeletons attack with swords, wizards cause rocks to fall, summon lightning, or surround themselves with flame-spitting skulls while teleporting about, bats, poisonous rats (who temporarily keep you from attacking), and Mummies are all over, as are elemental dragon-type enemies who leap out of fire and water alike. Wandering spirits, mace-wielding ogres, raging bears, and large stone golems also inhabit the near-endless tower, as do strange rock monsters modelled after the Easter Island heads and little dragons who flutter about the place. Unlike the enemies in Final Fight, who can be “shy” and stay offscreen, Magic Sword’s charge at you head-on and never stop coming; you also will need to be wary of your partner in Final Fight as friendly fire cannot be disabled, unlike in Magic Sword where co-operation is often key to survival.

Three of Final Fight‘s bosses can be tough customers to take on, especially with a friend!

Six Rounds means six bosses to contend with in Final Fight, though you will have to face two (or three in two-player mode) Andores at once in a cage halfway through Round 3. Each boss except for one is joined by a slew of regular enemies but this can actually be beneficial as you can toss them into the boss to do some much-needed damage. The first boss, Damnd, is the only one who actively calls for reinforcements with a wolf’s whistle, briefly taking a powder from the action to do so. Apart from his flipping about and the usual tendency of this game’s bosses to just tank through your attacks, he’s not especially difficult to beat down but the fight can drag a bit with him hopping away for a breather. After fighting through the subway, you’ll end up in an underground fighting ring where you’ll face the far tougher Sodom; this hulking armoured samurai wields two katana that he slashes at you. Though you can disarm him and use them against him, be sure to jump away (or in for an attack) after doing so or knocking him down as he has a pretty annoying dash attack that can be hard to dodge. Next, you fight Edi. E, a rotund police officer who looks like a reject from the Village People and who beats you senseless with his truncheon when up close and fires bullets from the hip from a distance. Probably the most annoying boss is Rolento, a super-fast military man who jumps and rushes all over the place, leaping at you with a diving kick and raining “granades” all over the arena. He also whacks you with his little stick-thing when up close and can be a real pain to land a decent hit or combo on due to his incredible speed. Battling Round 5’s Abigail isn’t all that different to fighting an Andore, making him the most disappointing boss; he does have the biggest life bar of any enemy you’ve faced up until the point, though. Finally, after battling through a gauntlet of the game’s enemies in his elaborate headquarters, you’ll get to fight Belger; oddly, he starts the fight in a wheelchair and with Jessica held hostage, though this is soon destroyed by your attacks. Belger will wander and jump about firing and raining arrows with his crossbow; luckily, you can hit these out of the air and he’s not too difficult to defeat as long as you can keep up with him and stave off the endless hoards.

While you’ll face a lot of repeating bosses in Magic Sword, Lord Drokmar poses a real challenge.

Although Drokmar’s tower boasts fifty floors, there are only eight bosses to face and you’ll battle two of them three times each, just with slightly different palette swaps and attack patterns. The first of these is Quimyra, a Chimera-like creature sporting three heads (a dragon, a lion, and a ram), wings, and hooves. While the Skull and Queen variants (who are referred to as Chimeras) are surrounded by skulls, the first one isn’t, and the battle goes pretty much the same for all three save for the arena differences (with spike pits and other enemies and hazards occurring in later bouts) and the Chimeras being capable of spitting fireballs in addition to relentlessly pouncing at you. You’ll also face three different dragons: the first, the Gold Dragon, swoops about an elaborate throne room shooting lightning while you’ll have to battle the Emerald variant without the aid of platforms and a weaker version even appears mid-way through one floor of the tower. The final dragon is actually a blue, two-headed hydra; it attacks in very much the same way, though in an ominous cathedral and with added speed and a swirling fire attack. Aside from these reskins, you’ll also have to contend with two Celestial Serpents; these monstrous, skeletal worms snake out from an asteroid in the background and can be tricky to dodge as they’re so big, but they share the same health bar and have no projectile attacks so they’re technically the game’s easiest bosses. Finally, at the end of the game, you’ll face the demonic Lord Drokmar himself; this vile demon floats around the swirling arena blasting lightning bolts from orbs and his hands to create walls of flames. His attacks only increase as you do damage, with him adding wheels of flame to his attacks, but once you defeat him he’ll offer you the chance to take his place as the King of Evil or bring peace to the land by destroying his magical Dark Orb. What you choose to do is entirely up to you…

Power-Ups and Bonuses:
Compared to Magic Sword, Final Fight is a little lacking in this area; both games see you picking up loot (gold, jewels, and the like) for points and various food items (roasts, fruit, and such) to replenish your health but only Magic Sword sees you acquire useful items from chests that can aid your journey. The King’s Crown will increase your ability to take damage, the gauntlet increases your attack power, the crystal ball allows hidden chests to appear faintly visible, and the diamond ring allows you to befriend certain enemies, among other useful buffs. You can also acquire additional shields from chests and will be awarded new swords from boss battles that change the nature of your projectile attack, though be warned as these can both be sent flying out of your hands by certain enemies and attacks. Some chests contain hazards, but others also destroy all onscreen enemies, so there can be a degree of chance at work whenever you open a chest. In Final Fight, you’re limited to your individual character’s special attack and the weapons you can use against your foes; you’ll find knives, pipes, and swords all over the place, all of which are great for some crowd control but be careful not to stand over a pile of them or you’ll leave yourself wide open for an attack as you endlessly swap or pick up weapons.

Additional Features:
There are twelve Achievements up for grabs in Final Fight: Double Impact; five for Final Fight, six for Magic Sword, and one tied to both games. You’ll earn Achievements for beating Final Fight as all three characters, for finishing all Rounds in co-op, and for between every level using less than eighteen continues. This latter is true for Magic Sword, where you’ll also earn some G for completing all levels (which you might need another run at as it’s possible to find secret exits and skip a floor or two), finishing any level without being hit or using your magic, and for seeing both endings, all of which are more than do-able. The last Achievement involves unlocking all of the concept art and bonuses in the game’s “Vault”; this is achieved by competing a number of in-game challenges for each title, such as finishing levels in a certain time or with certain characters or within a set number of lives. This is where Final Fight: Double Impact’s true challenge lies as some of these can be very demanding, but it’s fun seeing them pop up (even if they can obscure the gameplay) and looking through the concept art and such. Also on offer in this version are save states (though these are somewhat limited; once you finish a game, you cannot replay that save and they only save from the last checkpoint, usually the start of a level, rather than literally where you were when you saved the game), display and border options, leaderboards, and the ability to pick between the remastered and original music. I have to say I really dig the menu interface for these options, which is done up like an arcade cabinet, and there is an option in Magic Sword to start from certain floors to help with those challenges and Achievements.

The Summary:
Even now, years after I first played this collection on the PlayStation 3, I’m a little confused by it; why did Capcom pair Final Fight with Magic Sword and not, say, the other two Final Fight games? Don’t get me wrong, it adds some variety to the package but it’s a bit of an odd pairing, to say the least. Still, the number of options and unlockable bonuses on offer make this an attractive collection; the in-game challenges add a nice bit of replay incentive and the Achievements are largely nice and easy to earn, but all of that pales in comparison to the gameplay. For me, Final Fight set the standard for what an arcade beat-‘em-up should be; three distinct characters, an urban environment filled with disposable goons, bigger, tougher bosses, and some fun bonus stages to break up the action. It’s not too short and not so long that it outstays its welcome; it may be missing a dash attack, but the combo animations, super moves, and weapons are all the template for the genre, to say nothing of the thumping techno-rock soundtrack and large, detailed sprites. And then you get Magic Sword as a bonus, an addictive if quickly repetitive sword-and-sorcery adventure that stands out from similar games with its AI allies, basic level-up system, and floor-based mechanics. These would also crop up in other arcade titles, from Capcom and by others, but they’re implemented well here, even if the title’s not as memorable as Final Fight. Ultimately, fans of classic, 2D sidescrolling brawlers from the arcade heyday should find a lot to enjoy from this double pack and I certainly found it to be hugely enjoyable, mainly because of the simple and impactful gameplay of Final Fight, and it’s a shame that this particular version of the game isn’t as easily accessible any more, but thankfully Final Fight is still out there to play and you should absolutely seek it out if you get the chance.

Final Fight Rating:

Magic Sword Rating:

Rating: 5 out of 5.

Rating: 3 out of 5.

Fantastic

Pretty Good

Have you ever played Final Fight: Double Impact? How do you think it compares to other versions of Final Fight, and which of those versions do you have the most experience with? Which character was your go-to in Final Fight and which of Magic Sword’s allies did you prefer to fight alongside? Did you struggle with any of the bosses and levels in either game and, if so, which ones? Were you able to unlock everything in the game’s Vault? Why do you think these two were paired together for this collection and would you like to see more arcade titles re-released for modern consoles? What’s your favourite beat-‘em-up videogame from this era of gaming? To share your thoughts on Final Fight and Magic Sword, pop down to the comments or leave a reply on my social media and be sure to check out my reviews of SEGA’s answer to Final Fight next week.