Released on November 21, 1994 — the four year anniversary of the Super Famicom — Donkey Kong Country ushered in a new era of SNES gaming. Using pre-rendered 3D graphics and a technique known as ACM (Advanced Computer Modeling), Nintendo pushed DKC as an answer to the 32-bit war machines looming over the horizon. Nintendo’s message was loud and clear: 16-bit ain’t dead yet. No, as a matter of fact, 16-bit has a lot left in the tank. Donkey Kong Country is arguably the most hyped game to ever come out on the SNES. One thing is for sure: it’s the second best selling game on the system. Moving NINE MILLION copies, it’s second in sales only to Super Mario World. So whether you love DKC or find it overrated, there’s no denying the game was a commercial smash hit in every respect of the word. Let us return to the jungle…
HOW RARE REINVENTED 16-BITS
In the fall of 1994, Donkey Kong Country dominated the gaming press. You couldn’t pick up a video game magazine without seeing DKC on the front cover. It was a revolutionary effort set to redefine 16-bit gaming as we knew it. Magazines like EGM and GameFan hyped it beyond the moon. The screenshots looked absolutely amazing. We never thought such visuals were possible on the SNES and nearly crapped our pants the first time we saw it live in the flesh. It’s one of those moments in your gaming fandom that you never forget.
One of my favorite memories with this game came over 20 years ago. My old best friend Nelson was in love with Donkey Kong Country. I vividly remember one frosty Friday morning Nelson and I were chatting on the playground before school. Nelly said, “I’m buying Donkey Kong Country after school. I’ve been dying to play a good adventure game!” For some reason that always stuck with me. When I think about Donkey Kong Country, the very first word that comes to mind is adventure. From snowy mountains to lush treetops to shark-infested waters, this game exudes ADVENTURE. Whether you control Donkey or Diddy Kong, one thing is for sure… it’s going to be one hell of an adventure. At the end of the day, isn’t that what video games are all about?
IT WAS A DARK AND STORMY NIGHT…
OTHER KONGS IN THE JUNGLE
LEVEL 1: JUNGLE HI-JINXS
Barrels featuring the letters DK unlocks your partner (if necessary). These barrels somehow always seem to be positioned just right on most stages. A job well done by Rare who clearly thought out each centimeter of their game with meticulous care.
Break the barrel to free a young and vibrant sidekick by the name of Diddy Kong. Now you can switch off to play as either Diddy or Donkey. Diddy is faster and can jump a bit farther than Donkey, but Donkey has the power advantage. Donkey can kill certain enemies that Diddy can’t. The differences in the two add to the fun and strategy of the game.
Rescue animal friends throughout the levels to assist you in your quest. The first being Rambi the raging Rhino! These animal friends each have their own pros and cons. Rambi is one of my favorites. It’s tough to beat riding a rhino and goring the hell out of anything that gets in your way.
Hidden bonus rooms are scattered throughout. Try to find them all.
Cranky Kong interjects with his classic “back in MY day” spiel. I love how he breaks the fourth wall. Back in 1994 this blew my 11-year-old mind.
LEVEL 2: ROPEY RAMPAGE
LEVEL 3: REPTILE RUMBLE
Barrels can be used to find hidden bonus rooms. Be experimental!
LEVEL 4: CORAL CAPERS
STAGE 5: BARREL CANNON CANYON
Barrel Cannon Canyon (try saying that fast five times) is, as one might expect, littered with a classic Donkey Kong Country staple: barrel cannons. Some spit you out instantly while others rotate continuously, forcing you to manually leap out. Timing is everything!
Zingers made going from one barrel to the next a bit more difficult. Laugh it up while you still can. Because later on you won’t be laughing so much…
LEVEL 6: VERY GNAWTY’S LAIR
LEVEL 7: WINKY’S WALKWAY
LEVEL 8: MINE CART CARNAGE
LEVEL 9: BOUNCY BONANZA
LEVEL 10: STOP & GO STATION
Interesting gimmick here. The rock-like monsters with red glowing eyes cannot be killed. You have no choice but to skillfully avoid them. Do this by touching the various barrels carefully positioned throughout. When you touch a barrel to stop, Rockkrocs assume the fetal position, allowing you just enough time to safely pass by. It’s a nice change of pace.
LEVEL 11: MILLSTONE MAYHEM
LEVEL 12: NECKY’S NUTS
LEVEL 13: VULTURE CULTURE
LEVEL 14: TREE TOP TOWN
Barrel cannons galore — only the boldest of adventurers will pass.
LEVEL 15: FOREST FRENZY
LEVEL 16: TEMPLE TEMPEST
LEVEL 17: ORANG-UTAN GANG
LEVEL 18: CLAM CITY
LEVEL 19: BUMBLE B. RUMBLE
LEVEL 20: SNOW BARREL BLAST
EXTRA EXTRA — READ ALL ABOUT IT!
“B-B-BUT IT’S TOO EASY!”
Many found Donkey Kong Country to be too easy. Rare probably knew that as well, because they weren’t afraid to poke fun at themselves. While I do agree it was easy on the whole, there are a few levels sure to kick your ass.
Cranky breaks the fourth wall, AGAIN. What an endearing character!
WHAT THE CRITICS SAID
Donkey Kong Country was a critical and commercial success. Prior to its release, the hype surrounding it was off the charts. It graced endless gaming magazine covers. And not surprisingly, Donkey Kong Country was met with rave reviews. EGM awarded it Game of the Month with scores of 10, 9, 9 and 9. GameFan gave it a perfect trifecta. It scored 100, 100and 100%. Super Play was a bit less than overly impressed, but still gave it a robust 90%. The hype for Donkey Kong Country stirred much gaming discourse, lifting the game to nearly mythic proportions even before it could reach gaming stores worldwide.
WHAT *YOU* SAID
Curious as to see what my readers consider to be their favorite DKC game, I put it to the test with a survey years ago. The results of the poll were pretty much what I expected, and matched overall online consensus. Donkey Kong Country received the most votes at 39.3%. Diddy’s Kong Quest finished just a hair behind with 37.5%. And Dixie Kong’s Double Trouble came in last, with a respectable 23.2%. From my online travels over the years across various retro gaming forums, when discussion of the DKC trilogy pops up, it seems to be a dead even tie between the first and second games as people’s favorite. Those who prefer the first game find it to be most “pure” of all, plus the nostalgia never hurts.
Folks who prefer Donkey Kong Country 2 love it for its refined and more difficult gameplay. They tend to also prefer controlling Dixie (with her smooth hair spinning ways) over the bigger and more cumbersome Donkey Kong. Last but not least, there’s even a small pocket of fans who claim Donkey Kong Country 3 to be the best of the trilogy. They often cite it as having the best graphics and the most satisfying level design.
I can see the argument for all three games — it’s just a matter of personal taste. There’s no right or wrong answer. Myself, I agree with the majority. The first game is my favorite in the series. I concede that perhaps Donkey Kong Country 2 does play a bit better overall, but for pure fun and enjoyment there’s nothing like the original. The first one has a special spot in my heart and that will never change.
CLOSING THOUGHTS
Donkey Kong Country isn’t the mega epic adventure it was hyped up to be back in ’94, but it’s definitely a great overall package. I love the sense of adventure that it exudes — lush jungles, snow-capped mountains, mining caverns and more bring the action to vibrant life. The game’s adventurous atmosphere resonates deeply with me. The journey that Donkey and Diddy Kong embarked on left an indelible mark on countless gaming hearts. Rare did wonders on the Super Nintendo that few thought was even possible. By the end of 1994, with the 32-bit era looming, Donkey Kong Country stood as a proud testament to the power and potential still remaining in Nintendo’s trusty old 16-bit wonder. Do not go gentle into that good night. Your time is no doubt coming soon, 32-bit, but DAMNIT — NOT TODAY!!
Some complain that the game is too easy. I’ve always cared more about how fun a game is rather than its difficulty. Whether it’s easy or hard, if it’s fun then I’m sure to play it. And do so with a big fat grin on my face. I love romping through the diverse world of Donkey Kong Country. It’s one of those games where you can race straight to the exit or you can take your sweet time carefully uncovering all of the secrets. It’s as basic or complex as you want it to be. The game has a lot more depth than one might initially think. DKC has layers of substance behind the style and to me that’s the mark of a great game. The visuals were revolutionary for its time (hell, I still think it looks awesome today) but more importantly the gameplay holds up to this very day. It may not be one of the top 10 greatest Super Nintendo games but it’s certainly a bonafide SNES classic.
The additions of Diddy Kong and a fun diverse group of animal allies round out a remarkable adventure. Diddy was an instant star. Switching between Donkey or Diddy was seamless and smooth, helping to make Donkey Kong Country feel different from other platformers of its era. And of course, that soundtrack. Some of the most memorable tunes in all of SNES lore. While not a flawless masterpiece by any stretch of the imagination, Donkey Kong Country is a fantastic game that has stood the test of time. Even more than 20 years later it’s still as fun to play today as it was back in the fall of 1994. Well done, Rare. Well done.
Graphics: 10
Sound: 9
Gameplay: 9
Longevity: 8
Overall: 9.0
Give both a listen for yourself…
Listen to the first 10 seconds in particular…
Pretty similar, right? I love both tracks. They’re so whimsical and fun ^_^
The Super Nintendo enjoyed many years of commercial and critical success, but of all the years I’ve always considered 1994 to be its most memorable. It just seemed to have the best games that year in terms of quality and quantity. 32-bit systems were starting to seep into the pages of gaming magazines in ’94 but it was still largely all about 16-bit. ’94 saw the release of such iconic titles as Super Metroid, Super Punch-Out!!, Donkey Kong Country, Final Fantasy III and so much more. EGM and GameFan didn’t miss a beat, either, as I felt ’94 was also the best year for those respective magazines. 1994 was just a great time to be a kid. But aside from your AAA classics, there were a bevy of games that flew under the radar that year. Michael Jordan: Chaos in the Windy City was one of them. Sure, the concept was bizarre. Control one of the greatest basketball players ever in an action platformer? Doesn’t exactly ring my bell. And made by EA Sports of all people? They weren’t known for their action games. But when I saw it in the pages of GameFan, a big part of me was instantly intrigued. It took me two decades to finally play it…
AIR JORDAN
Michael Jordan was a freak athlete. Born February 17, 1963 (happy belated, Mike), Jordan went on to become one of the most iconic figures in all of sporting history by the year 1993. However, with the tragic murder of his father during that summer, Jordan announced his retirement from the game of basketball on October 6, 1993. Citing the death of his father and a loss of interest in playing basketball, Jordan went on to pursue his dream of playing professional baseball.
He toiled in the Minors for a year and a half before declaring his infamous two words on March 18, 1995: “I’M BACK.” Jordan went on to 3-peat once again, leaving the game with six championship rings and an amazing 6-0 record in the NBA Finals. Today he is still considered in many circles as the greatest NBA player to ever play the game.
CHAOS IN THE WINDY CITY
Michael Jordan: Chaos in the Windy City came out while Jordan was attempting his hand at playing baseball in the Major Leagues. The game acknowledges this and uses it (somewhat) as part of its storyline.
Jordan unearthing an underground prison where his friends are held captive deep within the bowels of a museum? You can’t make this stuff up… and this is how our adventure begins!
Rescue your friends in the holding cells (five levels there) and make your way through the rest of Chicago. This includes riding the local trains, the laboratory, the factory and more. Unfortunately, the lab and factory have five levels each themselves and the backgrounds can get a bit repetitive and dull. Although the game has a decent number of levels, they’re not spread out very well since the theme is repeated for five levels.
WEAPONS OF CHAOS
Mike begins the game with a regular standard orange basketball. It shoots in a straight line and has unlimited ammo. It shoots out pretty fast too and you can fire multiple balls at once. For a standard default weapon it’s more than serviceable.
I see what you did here, EA. Clever. One of the balls is, appropriately, a baseball. I like this one as you can fire it through walls and solid objects. Sweet!
Bounces around when it hits a horizontal surface, or splits into two balls when it hits a vertical surface. I like using this in tight spaces — it turns you into a killing machine.
Does double damage to enemies. Spike it to create a trail of flame along the floor.
Tracks down enemies who are within range. Spike it to split it into multiple missiles. I like how spiking certain balls can change its use.
Channeling his inner Sub-Zero, Mike’s Blue Ice ball freezes most enemies into a solid chunk of ice. It’ll shatter if you hit it with another ice ball. Enemies will thaw out and escape if you don’t destroy them while they’re frozen. You can stand on frozen enemies and use them as platforms. Spike an ice ball to coat part of the floor with a layer of ice and make it slippery.
Spiking certain balls can lead to different effects. It added a nice layer [I C WAT U DID DERE -Ed.] to the game and also added some strategy in addition to picking which ball to use.
Doesn’t go far if you throw it, rolling along the floor to hit enemies. It explodes when spiked, doing one point of damage to all enemies on-screen.
It makes everything shake when you spike it, doing massive damage to all enemies within range.
THE HOLDING CELLS
Be on the look out for your friends, and watch out for mutant spiders. Keys are key (sorry) to success.
Backboards are scattered throughout. Dunking on them has a different effect. Some drop items (like keys) when you dunk. Others may even damage all enemies on-screen. It’s a neat little way of bringing basketball into the gimmick.
Saving your friends opens up a bit of dialogue. It’s nothing to shout about, but it adds a bit of variety as it breaks up the action a bit. Hell, you may even get a key for your troubles at the end. But the way Mike’s friends evaporate is slightly bizarre.
Sometimes there’s a weak wall that Mike can bust through. Ah, Wheaties. The Breakfast of Champions.
Dunking in an action platformer — who woulda dunk it… [har har -Ed.]
Spiking the ball isn’t just a secondary option, sometimes it’s necessary to advance. Spike balls to break away weak floorboards.
Purple swirling doors lead you to bonus bits that range from slam dunking to killing enemies to bouncing off giant springs. Find these doors to unlock extra goodies and points.
Bastards zip fast so be ready for the fast pitch. BOOM [SHAKA LAKA -Ed.]
Whoever thinks that Jordan never passes never played this game.
Enemies on a tier below you can be damaged by the spiking technique.
Defense is played in the form of nullifying. Wish more games did this.
Use the White Knuckleball to retrieve items lodged away. Sweet!
You know what’s cool about that animation above? You know how in most games if you let it ride out nothing happens but the status quo? Well, not so here. If you leave Mike in that vulnerable position for more than a few seconds, he actually falls over. I was quite taken aback the first time I saw it as I don’t recall many platformers from the ’90s that did this as well. The animation is ugly but I can appreciate the concept.
Some backboards have the number 23 on them. If they do, slam it home and you’ll be rewarded with everything freezing for 15 seconds. A shot clock just like the NBA appears on the screen, counting you down. Pretty cool integration.
Speaking of timers, there are none in this game. I hate it when there’s a timer that presses you to zip through a level. A generous timer is all good in my book but even better is when there’s no timer at all. Make sure you take the time to explore all the nooks and crannies, as you don’t want to miss out on bonus doors.
Golden hearts add another ball to your health meter. Super valuable!
D’OH! MJ might be the GOAT when it comes to basketball. But when it comes to swimming he doesn’t stand a chance! He automatically bites the dust the moment his head is submerged in water. Boo! Come on…
Press the L button to break into a sprint. Jumping while running allows Michael to do a super jump, which allows him to reach items in faraway places. Not bad, right? Until you factor in EA Sports wasted the L button on running when they could have made running double tap. Then that frees up the L button to cycle back on the special balls. Cycling one way only with the R button can get a bit annoying when you have all eight balls in possession.
Remember the epic shot Jordan hit over Craig Ehlo in the Playoffs on May 7, 1989? Props to EA Sports for recreating that celebration here.
THE L TRAIN
THE FACTORY
Charles Barkley on steroids? He has good defense. So not Chuck, then.
PSST, WHAT’S THE PASSWORD?
As many action platformers did from the 16-bit era, there’s a password system in place. However, you’re only awarded a password after defeating the entire section. For example, the Laboratory has five levels. You have to beat all five to get the password rather than just one level. As far as user friendliness is concerned, passwords are 11 characters. Not the best but definitely not the worst. Although the passwords do take into account your lives. Beat a section with 0 lives? That password is essentially useless. Pretty unforgiving…
WHAT THE CRITICS SAID
Michael Jordan: Chaos in the Windy City is one of those games that you expect to be crap, but isn’t. It has a pretty decent reputation with most retro gamers. GameFan gave it respectable scores of 82, 79and 74%. Browse online and you’ll see most people find it to be pretty decent despite the odd use of the license. However, Nintendo Power back in 1997 had a different opinion. They posted a list of their top 100 games but they also posted a list of their top 10 worst games. Chaos in the Windy City made that list at #7. That always bugged me. Especially when they wrote in the description: “Not that this game was even that bad, but it wins the award for Totally Blowing the Best License in the Universe. What’s next, Michael Saves Nike Town?”
It bugged me that they put a decent game on the worst list. A list plagued by such filth as Bebe’s Kids. Chaos in the Windy City deserved better. I love Nintendo Power otherwise, but that one blurb always rubbed me the wrong way. Put it on your Top 10 Wastes of a Good License list but don’t put it on the Top 10 Worst list. Anyway, I told myself I’ll write that whenever the day comes that I review Chaos in the Windy City so yeah.
CLOSING THOUGHTS
Like I said earlier, 1994 was a good year to be a Super Nintendo owner. We got so many good games. But it wasn’t a good year to be a Michael Jordan fan. We did get Chaos in the Windy City as a bittersweet reminder that Jordan had retired from the game of basketball. His minor league baseball career was pretty bad in 1994, but thankfully his video game turned out to be fairly decent. I like the versatility of the different powered balls. I also like the locked doors and keys formula that EA incorporated here. It helped to give it a slightly different feel from most other action platformers. The visuals are grimy and pretty much the complete opposite of most 1994 SNES games in terms of style and tone. The animation could have used some extra work, though.
For all the nice things Chaos in the Windy City does, however, there are a few missteps here that prevent it from being a hidden gem. For starters, the music is pretty forgettable. And what I do recall is only average. The control is a bit loose and the scrolling suffers from slight bouts of herky jerky action. Enough for you to notice it in a negative light. But perhaps the most annoying thing of all is that whenever you pick up a powered ball it automatically becomes your default weapon. This wouldn’t be such a big deal if either the ammunition was plentiful or if you could scroll the other way. The problem is… bingo. The ammunition is low (single digit only) and you can’t cycle the other way. R cycles one way, but L is used to run. Being that there are a total of eight balls, imagine trying to cycle back to your regular ball in the heat of the moment. Not only is it infuriating but it can also prove to be costly. Zombies Ate My Neighbors also suffered from a lack of two way cycling. It’s not a huge deal when you only have a few different weapons but that’s not the case for either ZAMN or Chaos in the Windy City. And speaking of low ammo, why do I have, say, five Knuckeballs but I pick up another Knuckleball icon and still only have five? It makes zero sense. The game would have been better served if you could bump the ammo count into double digits. I understand they probably didn’t want Michael to be overpowered but c’mon, throw us a bone here. The low ammo saps some of the joy away.
It just feels like a bit of a wasted opportunity. The different powered balls are pretty fun to use but you never feel like you really get to. At least in the way that you really want to. I give EA props for the spiking system and how it changes the effects of different balls, but I wish they shored up a few of the shortcomings that I listed above. Had they done so, this game could easily have been a high 8 and considered a hidden gem. Instead, it falls shy of its potential and is one of those weird games that’s both decent and slightly disappointing all at once. To EA’s credit you can tell they put in some effort here. It’s a pretty well thought out game that’s better than it probably had any right to be, but it’s far from being a slam dunk. Still, it’s a decent action platformer worth checking out if you’ve already conquered the giants that the SNES has to offer.
This Sunday, February 26, 2017, marks the 88th Oscars. Yup, the Oscars have been around since 1929. With that in mind, there’s no better time than now to look at a rather obscure Super Nintendo platformer by the name of… Oscar. It’s a game you might not have heard of before or even knew that it ever came out on the SNES. Released during the “final winter” of the system’s life in North America, Oscar arrived with zero fanfare. If you stuck it out with your SNES in 1996 and walked into a game store that December, you definitely weren’t buying Oscar over Donkey Kong Country 3. So it’s no surprise that Oscar was left to reside in obscure pastures. Here at RVGFanatic I pride myself in reviewing not only the masterpieces of the SNES library but the lesser known games as well. Sometimes you never know when you might hit upon a gem. Oscar most definitely isn’t, but that doesn’t mean it’s devoid of any merit. Let’s take a closer look…
THE FINAL FOUR THREE
January 17, 2006. On that fateful day I became a “born again” SNES fan. Having burned out on the Sega Saturn, and shockingly listless toward gaming in general, there was but one flame left flickering in the darkness: Nintendo’s 16-bit wonder. All my childhood favorites. All the classic games I missed out on. And all the funky little games I’d always been curious about but never got to play. Six months later I amassed all the SNES games I ever wanted — 397 to be precise. There were now only three more games remaining on my want list: Harvest Moon, Mr. Do! and Oscar.
As fate would have it, a reputable member at a gaming forum I frequented was going through a quarter-life crisis. He decided to sell his entire game collection. He listed Oscar on eBay with a starting price of 99 cents — the first copy I had ever seen for sell. I didn’t want to chance it, knowing the other board members would be interested and watching it, so I reached out to him and offered to take it off his hands for $12. He agreed, and the rest is history. Thanks Chris. I hope you and your wife are doing well
But I’m getting ahead of myself. Let’s rewind to a cold night in December of 1996 when Oscar first caught my eye…
WINTER 1996
My brother was subscribed to EGM in ’96. I will always consider 1994 as the very peak of EGM, but 1996 wasn’t bad in its own right. Of course by ’96 my brother was heavily into the PlayStation and N64. I was too, but to a lesser degree. And unlike my brother, I still cared about my old 16-bit friend, the Super Nintendo, which provided me with so many rich gaming memories over the years. The SNES coverage in EGM was minuscule by ’96 to say the least. And by late ’96? Nearly non-existent. Wasn’t EGM’s fault, of course. After all, you can’t really cover what ISN’T there. And you can’t blame the game companies for jumping ship to a 32-bit market that had become much more viable. It’s Darwin’s theory…
Still, I scoured the back pages of each EGM issue that year in the hopes of catching a glimpse of my dear old friend. To see how he’s enduring in his final days. A bit morbid, yes, and quite possibly a bit lame, but hey, I was 13 and clinging onto an old friend I wasn’t ready to quite yet let go.
But in that glorious December holiday issue of ’96, I needn’t look to the back pages. For right in the middle of the magazine boasted a mouth-watering 16-bit special for those few remaining super loyal 16-bit fans.
I’ll never forget this amazing piece. It was one of EGM’s best that year; the article even had a retro feel in the way that they used the colors and fonts. It was fitting. With this article EGM made my beloved old friend’s rite of passage into the afterlife a little easier to bear. It was my friend’s final “big” winter.
And as I sat there reading the article by a crackling fire (or not), a handful of games caught my eye. These games made me think, “I know this game probably won’t be great or anything but damn if they don’t look kind of fun and interesting!” … in a very non groundbreaking 1993 sort of way, mind you. But sometimes, that nostalgic simplicity is exactly what you crave, especially in a generation where games were becoming increasingly more complex.
And of course, Oscar was one of them [I didn’t see that one coming -Ed.]
What a blast from the past, I thought, staring at the little Oscar screenshots. It looked exactly like one of the hundreds of “me too” mascot platformers that saturated the SNES back in 1993. It was a comforting sight, and there was something about Oscar that spoke to my gaming soul that cold December night of 1996. Running from movie to movie just like my friends and I used to, I was intrigued by the idea of visiting different themed sets. It gave off the vibe that Oscar could be a fun little diverse platformer. I also remember vividly thinking that hat Oscar was wearing was one of those “pajama hats.” Like Scrooge McDuck from Mickey’s Christmas Carol. So I deducted then and there that Oscar was not only an aspiring thespian, but that he was also an insomniac. Wow, I was weird… [Was? Eh? *poke* -Ed.]
Oscar began its life on the Amiga and MS-DOS in 1993. It was rather obscure, and certainly not a gem in the least, so you wonder why, from a financial point of view, Flair decided to port it over to the SNES in late ’96. I once read a rumor, just a rumor mind you, that Rampage: World Tour on the Sega Saturn only sold a lousy 600 copies. Always made me wonder how many copies SNES Oscar sold.
Nevertheless, Oscar left its imprint on me that winter evening of ’96, but I knew I probably would never play it. Nearly 10 years later, thanks to an old internet buddy leaving the retro gaming scene, I finally got my hands on Oscar. Surely a happy ending, right? Well…
NOT GONNA WIN ANY OSCARS…
Some SNES pundits and connoisseurs may be screaming right now, “1996 was not 16-bit’s final Christmas!” Hey, take it easy. Of course, a trickle (and I do mean a trickle) of games came out for the SNES in North America throughout ’97 and even as late as ’98, but ’96 undoubtedly marked the last “great” (and I use that term loosely) push for our beloved 16-bit systems.
Movie fiend Oscar finds himself at the local multiplex with four showings. Instead of watching from the comfort of his seat, the little guy jumps into the silver screen one by one to become the shining star of each movie! Each film has three scenes (i.e. stages) to conquer and you may select the films in any order you wish. Not only are the sets hazardous, but Oscar must perform his own stunts and there are no retakes. Can you survive the movie marathon madness?
Kids these days. Obviously somebody missed the “no dumping” sign in the lobby.
Let’s all go to the lobby To get ourselves a treat. Delicious things to eat. The popcorn can’t be beat. The sparkling drinks are just dandy. The chocolate bars and nut candy. So let’s all go to the lobby To get ourselves a treat.
[I’ll be back in 5… -Ed.]
Even though the fat and cholesterol will clog your arteries, Oscar reminds us nothing completes the full movie experience like a jumbo bag of heart stopping extra buttery popcorn. Yum.
MOVIE SET #1
Right off the bat you can see that the visuals are poor even by 1993 standards (and mind you, it came out in October of 1996). Of course, visuals aren’t the end all be all, but just be aware this ain’t exactly eye candy we’re talking about here.
Initially, your only form of offense is the classic hop and bop. Control is a bit slippery and it suffers from a herky jerky camera that whips a bit too much when changing directions, but it’s not something you can’t overcome with a bit of practice. That little blue disc up top is a film canister. They contain points, power ups (even power downs but more on that later) and such.
The goal is to locate all the oscars scattered throughout each level. Some are out in plain sight while others, as you probably guessed, are a bit trickier to find.
Oscar will say “THANKS EVERYBODY!” each time you grab one. It’s an endearing sound effect that reminds me of Dr. Nick from The Simpsons — “HI EVERYBODY!”
But don’t take my word for it. Listen for yourself!
Pretty uncanny if I do say so myself!
Once all the oscars have been collected, locate the clapperboard to exit the level. Upon doing so, you’ll hear a strange and somewhat creepy voice scream, “AND CUT!” It’s always a little jarring, even when you know it’s coming…
Each stage houses a yoyo that’s hidden inside one of the film canisters. Finding it will make your life much easier as you no longer have to rely on the hop and bop to dispose of an enemy. But can you find the yoyo in each stage? Some are rather tricky…
The yoyo completely changes the dynamic of the game. Suddenly Oscar becomes an offensive force of nature. I kind of like how the first part of a level is approached with a more defensive mindset. But should you locate the yoyo, things suddenly switch to a more offensive plan of attack. It’s actually a bit refreshing because most platformers don’t offer such a 180 mid-level like this game does. Sure, you can always kill enemies by jumping on their heads, but due to the loose control and speed of the game this isn’t always recommended.
This comes in handy as you can knock off unsuspecting foes from different tiers! Talk about efficient and effective.
Last but not least, it can be flung upwards. As you can imagine, the yoyo makes this a much easier game. You can still complete the levels without the yoyo, but the floaty jumps and fast-moving baddies are difficult to time properly. The trick is finding the yoyo in each stage. Once found it’s yours to keep for that level. You start from scratch on each new stage. Sometimes the yoyo is hidden near the beginning. Other times you’ll have to claw and dig to find the damn thing. It’s just a shame that the yoyo does not operate as a grappler. A little Bionic Commando action would have really made this memorable, but alas it wasn’t meant to be.
Oscar has two components. The first, where you begin each stage without the yoyo, you’re erring more on the defensive side. But once you’ve found the yoyo, the second part of the game kicks in where suddenly you’re more aggressive. With the levels designed the way they are, I find this dynamic works pretty well.
In addition to the various power ups, there are also power downs or icons that can really hamper your chances for success. For instance, one icon when touched turns you invisible for a good 20 or 25 seconds. Invisible, but not invincible. This is super annoying as you’re likely to eat some damage if you try to move around during this time. Not very fun!
He’s a quick little bugger who picks up a lot of speed in no time flat. But you only have three hearts to work with, so avoid running unless you absolutely need to.
Oscar, a diehard fan of Jim Henson’s old family show “DINOSAURS” on TGIF, pays homage to Sherman Helmsley’s former character.
MOVIE SET #2
Flair Software failed to snag the rights to Leatherface, so they had to settle for just the chainsaw instead. Yes, true story.
Oscar might be a rodent but the dude is practically an amphibian. Unfortunately he finds himself cornered here. How do you pass the blocks?
Plenty of goods to be found underwater. The various icons match the theme and tone of each movie set. It’s a small touch I appreciate even though it doesn’t make a difference in the overall gameplay.
Behold — the oddest feature from Oscar, or quite frankly perhaps any SNES platformer… the Game Boy icon! Truly bizarre but completely harmless, this imbues your TV screen with strangely familiar shades of pale green! The effect is temporary and good for a few laughs… although Oscar here does not find it particularly amusing one iota! It’s things like this that show off the game’s offbeat sense of humor, and reminds you not to take it so seriously. You kind of have to enter a certain mindset if you are to enjoy Oscar at all…
Endearing and quirky in its own unique way…
Hmmm, now that I think of it, Oscar might very well be bipolar.
Each stage contains five letters hidden within the film canisters. These five letters spell out BONUS when all collected. If you can secure all five, at level’s end you’ll be transported to a bonus stage. From there collect all the goodies you can within the allotted time.
MOVIE SET #3
Careful. These gnomes are real nimble suckers. They zip along like they’re skating on ice. As a result it’s real easy to lose a heart to these small bastards.
The numerous icons scattered throughout serve as bonus points. More points equals more lives. It’s not uncommon for the screen to explode in an array of yellow stars. By the way, those weird face houses remind me somehow of The Wizard of Oz or Alice in Wonderland.
Warning sign points to falling rocks but oddly, there are none. Huh.
That’s definitely no invincible Mario star power up! Make sure you have the yoyo before entering the murky waters. Though possible, it’s very tough to head-bop enemies here.
It really does. With the yoyo in tow you become more of a hunter rather than the hunted. Besides, who doesn’t enjoy picking off walking dill pickles from high above?
This is temporary, but a good icon to grab. It replaces the yoyo if you’re in possession of said item. Once it wears off, the yoyo returns.
Wings don’t come by often. When you find them it usually means there are oscars hiding in very high places nearby. Better grab them all before the power up wears off…
Platforming rule #487: there must be a falling bridge somewhere.
MOVIE SET #4
Watch out for these gunslingers who have a tendency to hide in sneaky places and pop up out of nowhere.
Seriously, Oscar might be gaming’s first bipolar protagonist…
“Hmmm, should I get a haircut at the barber? Or off to the bank first? On second thought, maybe I’ll just stare at some ass.”
“Well howdy, partna!”
“Quit it!”
“Quit what?”
“Saying that!”
“That?”
“ARGGGH!!!”
In one particular stage in the west, the BONUS letters lay conveniently next to one another. If you’re smart, you’ll take them one at a time.
POST CREDITS
After all four movies are completed, that’s 12 stages in all for those counting at home, you’re done! No other worlds to conquer, no final big boss, nada. That’s it, you’re finished. All that’s left is heading over to the exit. It’s all rather a bit anticlimactic.
WHAT THE CRITICS SAID
Er, not much. EGM and GameFan were busy covering the 32-bit titles and didn’t bother to review it. Since Oscar arrived late in the Super Nintendo’s life, it was met with very little fanfare.
CLOSING THOUGHTS
One of the truly awesome things about this hobby is the ability to buy and play the games we missed out on back in the day. Whether the box art had you mesmerized, or that tiny half-page preview in a game magazine grabbed a certain hold of you — there’s always those games you never got to play but had always wanted to. Nearly 10 years after seeing Oscar in the vaunted pages of EGM, I was finally able to quell my curiosity of it. Truth be told, I was extremely let down. In fact, I even hated it upon initial play. A while later, after I adjusted my expectations, I gave the game a second chance. Going through all 12 stages in a little over an hour, I’ll be damned, Oscar grew on me. It isn’t a good game by a long shot. But it can be oddly enjoyable at times, especially after the yoyo is secured. There’s also something slightly endearing about the quirks — from Oscar himself to the level design, the game has a strange appeal in a way I can’t quite put my finger on. Oscar does suffer from loose control and a rather poor camera; at first you may suffer some motion sickness. But press on and you just might find some merit hidden within. I would not recommend it, however, unless you are a diehard SNES fanatic who loves his (or her) platform games as much as I do. There are far superior action games worth your time and exploration but I’ve played plenty worse than Oscar, that’s for damn sure.
I particularly like how each level begins with a more defensive mindset, as jumping on baddies’ heads may leave you wide open if mistimed. You’ll find yourself desperately opening all the film canisters you can as quickly as you can, hoping to find that magical game changing yoyo. Once you do, it’s game on. In a flash you go from the hunted to the hunter. Maybe it’s just me, but that transformation in each stage is a pretty damn cool feeling.
Graphically it’s a bit disappointing. Although a ’93 game at heart, I expected much better visuals. The levels vary — there are some cool looking bits but some really odd color schemes as well. The baddies are poorly animated and rigid; they sometimes border on being lifeless. Not the kind of visual quality you’d expect from your Super Nintendo. The music is fairly lame, although I did somewhat enjoy the cartoon theme.
The scrolling is a bit herky jerky to say the least. Oscar is a bit of a touchy fella. If you’ve played Bubsy, then you’ll know what I mean. The levels aren’t huge; you’ll search high and low for the missing oscars. It can feel a bit like playing hide-and-seek. There are no bosses at all, which is a bit lame but in hindsight given the erratic scrolling is probably a good thing. Still, zero bosses whatsoever certainly left me feeling a little bit hollow upon completion.
In the end, I’m glad I gave Oscar a second chance. It’s really not that bad. But it’s not going to make any top games list ever, either. And that’s OK. Not every game can be as epic as Super Mario World. Many simply serve as niche titles — games that you may consider buying and playing once the rest have been taken care of. Oscar has a weird atmosphere that may well grow on you as you work out the kinks. And if nothing else, stuff like the Game Boy gimmick and the Show Girls set piece will put a stupid little smile on your face. The game has some humor and I can appreciate that about it. Oscar is a perfect example of a guilty pleasure.
The ’90s was a time fraught with platforming action titles. For every heralded classic, there were about 50 others ranging from bad to good. And many of those games got lost in a vastly overcrowded genre. It was the “me too” era where seemingly everybody and their brother were trying to cash in on the platforming craze. Enter Wolfchild. It’s a perfect example of a game that got lost in the shuffle back in the summer of 1993. It’s forgotten to time, but not to RVGFanatic. Today I am proud to add this game to my SNES review library. It’s not the best game by a long shot, but I always enjoy highlighting lesser known titlesu and this one fits that bill quite nicely. Also, in late 2014 I was able to interview Simon Phipps. He worked extensively on Wolfchild and dropped some excellent knowledge on the game which you can read at the bottom of this review.
THE “TAIL” OF THE TAPE
I remember seeing the ad for Wolfchild in EGM back in the ’90s. It caught my eye as a game I wanted to play. But I never did. Fast forward some 12½ years to 2006. I grew nostalgic for all things SNES and wanted to buy all the games I ever loved as a kid as well as the ones that I wanted to play but never did. As I was building my want to buy list Wolfchild was one of those games that made me go “Oh yeah, this little game. Wolfchild… YOU JUST MADE THE LIST!“
[You know what happens when you steal Chris Jericho’s gimmick? Huh?! Do ya? You wanna know what happens? I’ll tell ya what happens… Steve from RVGFanatic, YOU JUST MADE THE LIST! -Chris Jericho, probably]
When Wolfchild came out there was essentially no press for the game. Well, at least in the pages of EGM and GameFan. But the ad looked cool, it had a neat title and the idea of playing as a werewolf never failed to resonate with a 10 year old kid. I bought it for dirt cheap in 2006 but like so many other games I bought it was another game on my huge to-play pile. I’d been meaning to play it but there always seemed to be another game more pressing to play. That was… until fate stepped in. One night in December 2008 I was browsing Hardcore Gaming 101. A topic about Wolfchild came up. In the previous months I actually had the strangest urge to finally try it out. I never did though, but it’s funny how these things work. You think of a game and not long thereafter, there’s a post or video about it. The HG101 topic was the very inspiration I needed to bump the game to the top of my queue at long last: Wolfchild was next!
In that topic the name of Simon Phipps came up. He’s the man behind Wolfchild. I sent him an email in 2008 asking him if he would be available for an interview about his game. He generously agreed. But then my life got busy and I never sent him my questions. For more than half a decade I’d meant to but just never did. Finally, in the summer of 2014 I emailed Simon to see if he was still around, and in the chance that he was, would he be game to finish a proposed interview some six years in the making. Remarkably, he was still at his hotmail account from 2008 and he was kind enough to follow through. That interview comes at the bottom of this review and to this day, with all due respect to Brian Greenstone’s interview from Harley’s Humongous Adventure, remains my favorite Q&A that I’ve personally conducted. Simon went into great detail about Wolfchild and shared some quirky facts. Thanks, Simon!
THE STORY GOES…
For three decades Kal Morrow has been regarded as one of the world’s leading scientists, pushing back the barriers of biogenetic research with a force that few have equaled. His many medical breakthroughs have resulted in the eradication of several major fatal diseases and have increased human longevity by over forty years. His research has had far reaching effects, touching the areas of agriculture, deep sea and space exploration, as well as sport and military technology. For the past five years, Morrow has worked for the government perfecting advanced gene splicing techniques which allow the alteration of the human form in ways never before imagined.
He’s also worked on the development of psychic powers such as telekinesis and levitation. His life’s project has been anchored around the combination of human and animal physiology to create a new breed of lifeform. A perfect war machine augmented by animal instinct within a body that is immune to pain and capable of incredible feats of physical strength and psychic power. Totally adaptable to any possible environment, such a force would be virtually unstoppable. It would be the ultimate response to terrorism and crime.
Morrow’s research has been conducted at the Keppler Observatory on a remote island somewhere in the Southern Pacific. His location has been kept secret due to the sensitive nature of his work. And because of it his family, his wife and their two sons have lived with him under constant guard. However, not long ago his whereabouts were uncovered by the international terrorist organization known as CHIMERA.
Led by the fanatical and maniacal Karl Draxx, a sociopath possessing natural telekinetic abilities, CHIMERA has perpetrated many acts of terrorism throughout the world. Analysis of Draxx’s personality and the nature of these incidents has led experts to one conclusion: through CHIMERA, Karl Draxx is pursuing his megalomaniac fantasy of world domination. There’s a reason why he was recently moved into the top slot of the FBI’s Most Wanted.
Until recently it was never believed that Draxx could ever realize his dream. 36 hours ago CHIMERA made a sweeping attack on the Keppler Observatory and kidnapped Kal Morrow. The attack was swift and vicious, overwhelming Morrow’s security force. There were no survivors. Morrow’s wife and eldest son were both brutally murdered before his very own eyes.
Kal Morrow’s youngest son, Saul, was at sea conducting oceanographic research for his father when the attack took place. By the time he returned to the island CHIMERA was long gone, leaving only the observatory behind in complete utter ruin.
Frantically he searched for his family… before finally discovering his mother’s body slumped in a dimly lit hallway. Through tears of grief and anger Saul clutched her broken form, swearing vengeance on the perpetrators of this terrible, unforgivable act.
Making his way to his father’s secret laboratory, concealed deep below the island, he reviewed security tapes of the attack. His rage grew as he watched his father being dragged away helplessly while his family was slaughtered in full view of the security camera’s cold gaze. There was no other option. Saul was going to rescue his father and seek vengeance on CHIMERA. But, although he was a considerable athlete, one man alone is no match for CHIMERA…
… unless he makes himself much more than just a man. Accessing his father’s secret computer files he uncovered PROJECT WOLFCHILD, a genetic program designed to create a lycanthropic warrior. A human with the ability to transform into a powerful man-wolf with awesome psychic powers. With such strength, he would have a fighting chance. Activating the program, he stepped into the transmutation booth…
THE WEAPONS
1. BASIC
This is Saul’s standard shot each time he transforms into a werewolf. It’s not very powerful but it gets job done on regular enemies. It has unlimited ammo so you never have to worry about conservation. Serviceable but you’ll want something with a little more oomph soon.
2. DUAL SHOT
Not surprisingly, it can fire two shots at once.
3. ARC SHOT
My least favorite weapon. Why? Your shots arc at an angle. Usually I find it most effective firing straight ahead but you can’t do that with this gun because, er, well, it’s the freaking arc shot. But it comes in handy when the enemy is slightly below Saul.
4. BOOMER
Surprise surprise, it acts like a boomerang. It provides you some decent coverage and protection. I also like the way it looks. It’s only appropriate for a wolf who howls at the moon to have a moon-shaped projectile, eh?
5. MÉNAGE À TROIS
One of my favorite weapons in any action game is the classic spread shot. Thanks, Contra. Functional and convenient, the spread shot always makes me feel in total control of my destiny. It’s highly useful as you can see here. No longer do you have to carefully time your leaps. Simply fire away from a safe position. It might not be super strong, but what it lacks in firepower it makes up for with sheer coverage.
6. HOMER
This weapon definitely doesn’t elicit a “D’OH!” Not only can you fire multiple shots at once but they automatically lock on to the nearest enemy target. It’s a shame though that it doesn’t come into play until late in the game and there aren’t many opportunities to get this power-up.
7. FLAMER
Hmmm… my two favorite power-ups are FLAMER and HOMER. FLAMING HOMER, anyone? This shot goes through ANYTHING and can only be stopped by hitting scenery that is unbreakable. This is awesome because not only does it save you ammo but you can fire a shot, run all the way across the screen and watch the chaos unfold before your eyes.
8. PLASMA BALL
This crazy shot bounces across the screen from wall to wall and ceiling to floor. A wild card, it’s not very reliable but it’s fun rolling the dice.
NULLIFY!
A cool thing about Wolfchild is that your shots can cancel out the enemy’s shot. This gives the game an extra layer. Your power-ups not only serve as offensive tools of destruction, but they can also act as defensive buffers. Nothing is cooler than nullifying a bad guy’s shot only to shoot him down the very next second. I wish more games did this.
TIME TO GO SAVE THE OLD MAN!
Morrow’s dramatic entrance is a bit reminiscent of NES Karnov…
Karnov was one of my most favorite NES games back in the ’80s
Science experiments gone horribly wrong hide before bursting out and giving chase. Creepy. Reminds me of all those black and white monster B-movies from the 1950s.
WHAT THE CRITICS SAID
Despite having seven different console variations, Wolfchild on the SNES flew under the radar. There was no preview of the game in either EGM or GameFan. So when EGM dropped the tiny review blurb it was like “Huh, what game is this?” To make matters worse, the SNES version only received ONE score rather than EGM’s traditional four. That’s because EGM was going through a phase where all their side reviews (the small ones tucked on the side) were judged by one person only. So a game reviewed this way sort of lived and died on just one man’s opinion. Wolfchild only managed to garner a measly 5 and was quickly dismissed in a very short review. Ah, such is the life for obscure video games, eh?
CLOSING THOUGHTS
One of the best feelings as a retro gamer is beating a game you’ve been curious about (since you were a kid) in one sitting. There’s something undeniably satisfying about that. It’s like killing two birds with one stone. Wolfchild was one of over 100 games I wanted to play back in the day but never did. I remember thinking back in the ’90s when I saw the ad that it didn’t seem like a great game but it looked decent enough. It’s always nice when you find out, years later, that your gut feeling was right all along. There isn’t anything in particular that stands out about Wolfchild. The graphics, sound and gameplay are all slightly above average. It does nothing particularly well, but it doesn’t do anything horribly bad. There are only five short levels, with each level containing two or three zones. The game can be beaten in about an hour. The levels aren’t inspiring but they’re enjoyable enough. If you’re a Super Nintendo diehard who loves action games then Wolfchild may be worth checking out. I won’t go as far as a thumbs up; I’ll go with mildly recommended.
Back in December 2008 I had the strangest urge to finally play Wolfchild. It’s always a blast to quell a 15+ year curiosity. I went on to beat Wolfchild in an hour. While it wasn’t a great game by any stretch of the imagination, it was highly satisfying. Few things after all rival the sheer thrill of beating a childhood curiosity on your very first try. I didn’t like however that you can only hold one weapon at a time — it would be a lot better if you could cycle through the weapons. I also didn’t like that each gun shares the same ammo. It definitely didn’t take full advantage of the SNES capabilities. Nevertheless, Wolfchild is decent enough to entertain you for an hour or two. If Super Mario World is gourmet award winning 5-star pizza, then Wolfchild is the equivalent of frozen pizza. It’s cheap, easy and not as good as the real deal, but it can satisfy your midnight craving in a pinch. Just as the song goes: I’m lost in a crowd and I’m hungry like the wolf. Similarly, Wolfchild was lost in a sea of contenders. It finds itself somewhere in the middle of the, er, “pack.”
Graphics: 6.5
Sound: 6
Gameplay: 6
Longevity: 5
Overall: 6.0
RVGFANATIC EXCLUSIVE: Simon Phipps Interview
STEVE: Were you into video games growing up? What were some of your favorites, whether arcade or console?
SIMON: I was fortunate enough to be 12 years old when Space Invaders first appeared in the arcades in 1978 so I’ve been privileged to experience pretty much all of video game history watching those early coin-ops make their way into homes and evolve into the amazing experiences we play today. So, yes, growing up, I have fond memories of pushing 10 pence coins into those early arcade cabinets. Most notable ones being playing table-top Galaxians at a local leisure centre, getting a callus on the inside of my right index finger from playing way too much Ms. Pacman during the summer of 1982 on a vacation to Ontario, Canada, being physically shaken the first time I played Sinistar in a local arcade in my home town of Nottingham when the machine boomed ‘RUN COWARD!’ (I didn’t know it could speak) and many lunchtimes playing the obscure side scroller Vastar in the back of a local record store with my buddy (and later colleague at Core Design), Terry Lloyd.
But interestingly the reason I got a computer at home wasn’t because I wanted to play games, it was because I’d always been fascinated with animation as a kid and computers were a way into making my art move.
I bought my first computer in May 1982 — a BBC Model A Microcomputer and started to teach myself BASIC and 6502. Of course, computers being interactive, making controllable animating characters was the next step and soon I found myself making games.
Of course, I played a few along the way — the very first to really blow my mind, being David Braben & Ian Bell’s Elite on the BBC in 1984. I progressed from the BBC to an Amstrad CPC464, then an Atari ST, always learning, trying new stuff, and the first piece of dedicated games hardware I ever bought was a Japanese Mega Drive with a copy of Insector X and Strider…
STEVE: How did you break into the video game industry?
SIMON: It actually grew out of having my BBC Micro. I started writing games for myself and by mid-to-late 1983 my school friend, Stu Gregg (who would also go on to work with me later at Core) encouraged me to send the game I was working on off to a few publishers as he thought that what I was making was good enough to be seen by the wider world. I put my game on a tape cassette and sent it out. Within a few weeks I was contacted by Leeds-based publisher ‘Micro Power’ who sent me a great letter saying they’d publish if I made a few changes. I did, and so, by the age of 18, while still at school, I had a game (a single-screen platformer called Jet-Power Jack) in the Top 10 of the UK Games Charts.
I continued to work on my education and at 21 I finished my Computer Studies course and went to do a job writing BCPL code for a desktop publishing firm. I sat in a cubicle for about 5 months writing code and one evening, my buddy Terry (Lloyd), who’d since joined the games industry, working as an artist for Gremlin Graphics gave me a call. They needed someone who could give them a helping hand drawing art for ‘Masters of the Universe: The Computer Game’ for the Amiga and Atari ST and Terry asked me if I’d be interested. I said yes, so turned up with a disk showing what I could do and they offered me a job.
It meant a pay cut, and back then, the games industry really was in its infancy, so I consulted my then fiancée, Jayne (we’ve been married now 25 years) as to what she thought. We agreed to ‘give it a go’ thinking that if all else failed I could go back to the world of serious computing.
Well, it’s now some 27 years later and I’m delighted to say that I have the privilege of being an artist, coder and designer, having done all manner of amazing stuff working with some great people on a huge variety of games.
If I could go back and show my younger self all the cool stuff I’ve gotten to do, I think it would have blown my mind…
STEVE: There were so many different versions of Wolfchild. For a game that didn’t necessarily receive a lot of coverage, it’s pretty amazing to think about how many systems got a variation of it. Which systems, other than the SNES, did you work on with Wolfchild?
SIMON: I think it would be fair to say… ‘All of them.’
Core was in a phase where it made business sense to get our games on as many platforms as possible. So, yes, I worked on the Atari ST and Amiga originals. We then ported it to the SEGA Mega Drive, SEGA Mega-CD, the SNES and finally the SEGA Game Gear and SEGA Master System… by the end of them… I was DONE!
STEVE: Have you been able to play all variations of Wolfchild? Where does the SNES version rank in your opinion?
SIMON: Yes, while we were developing them.
The original version was on the Amiga, we ported down to the Atari ST which struggled a little since it had no hardware scrolling and I had to bring all the graphics down to work in one 16 color palette.
We then followed that up with the SEGA Mega Drive and Mega-CD versions, which were cool because we got to build additional maps for the Mega-CD and these versions were the first console games I’d ever worked on.
Then came the SNES — which played the same as the other versions but has the best graphics, since the SNES hardware allowed for many more colors and palettes.
Finally we down-converted everything to the SEGA Game Gear and Master System which were a fun technical challenge, since, by that time I had all the art from all the versions and the trick that Sean Dunleavy (who coded these versions) and I had to pull off was cramming it all down into the tiny console. But within the limitation of the devices we managed to pull it off.
STEVE: Where did the concept of Wolfchild come from? What were some of your inspirations? How big of an influence was Altered Beast to you?
SIMON: I got to Wolfchild after spending about 4 years making cartoon platform games. The simple fact was, that I made one, and then was asked to do another, and while fun, the artist in me was craving to try something a bit more serious with more realistic characters.
I was massively influenced by Strider, which I thought at the time was quite amazing. Yes, Altered Beast gave me the idea of taking a hero from human to a super-powered werewolf… but the thing that really inspired me, as crazy as it sounds, was a belt buckle…
One of my colleagues at Core, Bob Churchill (who worked on such titles as Chuck Rock) was hugely into bands like The Cult during the late ’80s / early ’90s and often wore a belt with a buckle that had the word ‘WOLFCHILD’ in cut-out silver letters on it.
To this day, I have no idea what it meant, but that ‘title’ just worked for me, so all those things came together to make the game.
Other influences would be Capcom coin-op art of that era (hence the Manga-like characters, which back then still hadn’t become mainstream so they were cool and exotic), the graded metallic art of the Bitmap Brothers games and from a story point of view, all those half-human-half-animal creatures draw from The Island of Doctor Moreau (hence the main characters’ surname: Morrow).
STEVE: Ahhh, now looking back at Wolfchild with that inspiration in mind, I can see the Strider influences. Wolfchild was kind of an obscure game despite having seven variations. Were you disappointed that magazine publications such as EGM and GameFan didn’t cover it much?
SIMON: At the time, being in the UK, magazines like EGM and GameFan never really made it across the Atlantic. We made games for the UK market and it was only over time, as consoles started to go global that we started thinking beyond our shores.
The big problem Wolfchild had was that it was never built first for console hardware. We made a game for the Amiga and the Atari then some time after it had been finished, when the opportunities came around, got to port it over to the various consoles.
As is always the case, if you do not build something for a specific console / piece of hardware (or at least go in bearing that in mind before you embark on a multi-format project) you’ll never take advantage of its full potential. In the case of Wolfchild, the other consoles had dedicated sprite hardware, character-map based scrolling playing fields and some funky scaling routines on both the Mega-CD and SNES that we were never going to be able to take as much advantage of, coming from a game that mostly used software-based sprites and was originally intended for just 2 formats.
That said, the problem still exists in the industry today — if you look at the best and most successful Nintendo games, for example, they’re always the ones that are built for the hardware and take advantage of not only its graphics hardware but its unique controls too. When working on multi-format titles it’s a constant drive to make sure you’re thinking about utilizing the various platforms’ unique features while trying to make the best core game possible.
STEVE: Looking back, how do you feel about the SNES version?
SIMON: It was a great learning experience because it taught me all about making graphics in the highest resolution and widest palette range possible and then scaling down and reducing colors to whatever the target machine needs.
You see, I started Wolfchild on the Amiga — I had a single palette of 16 colors for my main character, 8 colors for all the bad guys and 8 colors for the background art (or 4? It wasn’t many…)
When we moved up to the SEGA Mega Drive and Mega-CD the increased number of hardware palettes meant that I could add more color to the various elements of the game — that was okay, it was ‘doable’ — bad guys had their own 16-color palette, foregrounds another…
Then after that the SNES came along and the sheer number of palettes that were open for me to use, plus the resolution of the color palettes BLEW MY MIND. I can remember distinctly sitting with an art package on the PC adding extra detail and colors to all the graphics that I’d already added detail to for the SEGA versions and thinking — I wish I’d known I’d be doing this 2 years ago…
From then on, I’ve learned to draw everything as big as possible, in as many colors as possible and then scale down. That’s proven very useful when I’m working on some of my personal art commissions — I’ll guarantee a client will come back to me asking if they can have a slightly larger version of a logo or a wider format of print. Thanks to software like Photoshop, Manga Studio and Anime Studio (the latter two being resolution independent) I can’t see myself adding extra pixel details to anything again.
STEVE: Any regrets on the SNES game? Were there any ideas you wanted to implement, but didn’t, or couldn’t, for whatever reason? i.e. NoA’s strict family image back in those days…
SIMON: Only that we didn’t get the opportunity to make the game from the ground up on the SNES — it had to be the third-in-line conversion of our Amiga game. If we’d been making a title from the ground-up on SNES, that would have been a completely different story — we’d have thrown every hardware trick in the book at it.
As goes NoA and its approach — never a problem. I never intended to make the game anything other than the Capcom-inspired action platformer it was.
In later years, I worked on Shadow Man on the Nintendo 64, and for its time we really pushed the boat out in terms of horror and maturity and had no problems there — and even in ultra-conservative Germany where we had to change all the blood to green the classification board understood that in that game all the characters, however humanoid in appearance were all monsters, so we got the opportunity for a release there where other titles didn’t.
STEVE: Did you ever consider making a Wolfchild 2?
SIMON: No, after about 2 years of making it and then remaking it for another 18 or so months for various other formats, I was exhausted and needed to do something else.
It’s interesting to ponder what a modern version would be like though — I guarantee that in a world in which Chris Nolan’s excellent Dark Knight exists, it would have to be a very different… beast…
STEVE: In the end credits, who exactly is The Man On The Stairs? I like to imagine there’s a pretty decent story behind this…
SIMON: Crikey — that’s something I’ve not thought about for about 20 or so years…
The story behind that is that Chris Long (coder on Chuck Rock, Chuck Rock II and a whole heap of other classic Core games) used to draw ridiculous little cartoons all the time while he was working. They were intentionally crudely drawn but quite hilarious. One of which he called ‘Man on the Stairs’ — basically a guy standing sideways on a set of stairs one foot on one step, the other foot on the step above staring out of the page with a manic leering grin. This would get drawn everywhere — I don’t think anyone’s notepad was safe. So, yes, Chris’ art got an obscure name-check. And you’re the first person that’s ever asked me about it.
STEVE: Great backstory! I love those little neat obscure stories lost to time… I am honored to be the first one to ever ask. Speaking of backstories, do you still keep in touch with any of the Wolfchild team members? Any interesting “behind the scene” stories that you’d like to share?
SIMON: Yes, John Kirkland who wrote all the 6800 versions (ST, Amiga, Mega Drive) went to school with me — he no longer works in the industry, but we keep in touch.
One memory that I’ll never forget was one night John and I were working on the game until about 1 AM as we had a journalist coming to visit the following day to do a preview on the Amiga version. We had a bug — a horrible, horrible bug in the scrolling code that neither of us could figure out. We stared at it for hours, trying to get our heads around what was going wrong until way past midnight and eventually had to throw in the towel and go home exhausted. We went home, got some sleep, came in at 8:30 AM the following day, took another look at the code and fixed it by 9 AM! That taught me a lot about taking a step back — sometimes when you’re banging your head against a wall the only way to make things better is to just stop and walk away. And get some sleep.
STEVE: Ha, good story and a great lesson learned! Yes, sometimes we just need to step away from something and get a good night’s rest. The SNES manual of Wolfchild had a pretty detailed storyline with some striking black and white comic book-like drawings. Who was responsible for the storyline and drawings? Personally, I found both the story and drawings to be quite riveting.
SIMON: Cool, thanks. I came up with the storyline — I needed some kind of backstory to justify super-powerful genetic mutations and something to motivate our hero into going after the bad guy. Where precisely it came from, I’m not sure, but it was the first game I’d ever made with a substantial graphical intro (which were quite en vogue at the time after the Psygnosis games made such an impact with their ‘intro disks’).
As to the illustrations — I drew them all for the Amiga and Atari ST manuals. SEGA had their own artist reinterpret them for the Master System/Game Gear ones. As for the illustrations — I drew them all for the Amiga, Atari ST and SNES manuals. Back at Core since we were our own publisher we had freedom to make as much or as little of the manual as we liked, so I just picked up my pencil and made the most of the opportunity.
STEVE: Tell me about how you came up with the protagonist’s design.
SIMON: The design of Saul Morrow (the hero) was out of necessity — I decided I didn’t want our hero to do the full ‘Altered Beast’ transformation of going from a man in his underwear to a full-on hairy werewolf — I wanted to keep something common between both forms and have the reason for the transformation to be something… ‘science-y.’ I also needed to keep down the amount of memory for animation frames; it made sense to share the same pair of legs between both forms (especially as I needed variations for running up and down all those slopes). The big silver metal ‘hoops’ around Saul’s shoulders gave me something common to share between both his forms but left me enough skin to show the difference between his human and wolf-forms. Finally, his hair is long and white/blonde because I wanted something that looked a bit wild and unlike the rest of the muscular buzz-cut video game characters of the time, and I tried black hair but that merged with all the backgrounds so I had to lighten it.
STEVE: I like the design of Saul. You’re right, the buzz-cut pervaded the scene back then; it was nice to see a hero with long blonde hair for a change. How come on the SNES box art cover though he has black hair? Was that just a honest mistake that no one caught?
SIMON: Nope — this is one of those cases where I’m afraid the artist who did the box art wanted to do his own thing. I drew out a brief sketch detailing what Saul’s costume in the sprite looked like when scaled up. That I’m afraid to say, was dutifully ignored. I complained about it, but ‘it was too late.’ Years later I was on a plane to the US when I picked up the in-flight magazine and saw on the back page an Yves St. Laurent Eau de Toilette ad for ‘Kouros’ that bore a rather remarkable resemblance to what went out on the box… um… yeah…
STEVE: There were eight weapons for Saul to use. I enjoyed their versatility, although I wish they didn’t all share the same ammo. Do you have any insight to share about any of Saul’s weapons… whether it’s design or where you drew inspiration from? I personally enjoy the Homer and Flamer the most. The former because you don’t have to be precise and the latter because that sucker blew through almost everything on the screen and could kill multiple enemies.
SIMON: I basically wanted to do every kind of possible firepower I could in the game — big shot, triple shot, homing shot, etc. I guess games like Side Arms and Gradius in the arcades were some influences there. The reason for sharing the same ammo? Well, on Atari and Amiga we only had a limited number of joystick buttons to play with, so we made a game that worked for them and the rest of the conversions inherited the simplistic controls and weapon power ups simply changed the type of shot… a thing if I recall correctly, I’d played around with on my earlier Atari / Amiga game, Switch Blade.
STEVE: When Saul throws down a smart bomb, the screen pixelates. I thought it was pretty cool how everything on the screen would pixelate like crazy except for the character sprites and any projectile shots. The debris on the final boss fight is not pixelated either, which makes for a neat visual when you throw down a smart bomb. Talk about working on that aspect.
SIMON: The smart bomb effect is one of those cases when doing a conversion to a different platform where you’re trying to be seen to be using its hardware.
So, for example, in more modern times, taking a game over to Wii U, your first priority is getting gameplay on Wii U Gamepad’s touch screen, at the launch of PS3 it would have been being encouraged by Sony to use the tilt controls on the Sixaxis, or, prior to Microsoft’s about-face on the Kinect, getting gesture and voice commands into an Xbox One game.
You always have to do that — the customer (rightly) wants a game that uses the console’s unique features as much as possible, and the console manufacturer definitely wants that to happen.
So, doing a conversion, (often, in those old days, against a tight schedule), you’re looking for as many ways to get unique uses of the hardware in without impacting the time you have to complete the conversion.
With the smart bomb effect in Wolfchild, Alex (Davis) realized we could use the SNES’ signature pixelation effect in certain circumstances and suggested we put it in there. As to why the sprites don’t pixelate — that’s a limitation of the hardware — the character playing fields were possible to pixelate, the sprites didn’t do that.
STEVE: Karl Draxx (no relation or inspiration drawn from Guardians of the Galaxy‘s Drax the Destroyer, I presume) was an interesting villain. How did you come up with his name and design? I remember after beating his human form he transforms into a monstrous wolf. I always thought that final design was pretty cool for Draxx.
SIMON: Y’know, I just came up with a name that sounded suitably comic book and tried to come up with something that looked right… (I read a lot of Marvel’s Warlock strip in the late 1970’s so it’s possible that name rattled around in my head and came out years later). And of course, he had to turn into a massive-super-humongous-wolf-beast for the showdown, didn’t he?
STEVE: Did you work on the Dreamcast version of Shadow Man as well? I always thought that the premise of Shadow Man was awesome. Love the title and atmosphere of that game! Were you the one who created Shadow Man’s design and story? Not to deviate too far away from Wolfchild but I gotta ask, especially since it’s Halloween season: what were the inspirations for Shadow Man? It gave me a Candy Man Tony Todd vibe. I think a new Shadow Man game today could do very well…
SIMON: Yep — all versions of Shadow Man, as lead designer. In the wake of Turok’s success, we got the opportunity from Acclaim Studios Teesside to do an adaptation of one of Acclaim’s other comic-book properties. The coolest by far however was Shadow Man (the title had recently been rebooted by Garth Ennis and Ashley Wood) and although the comic when we got a hold of it was only a handful of issues into its rebooted run, it sure had potential. Mike LeRoi, Nettie, Jaunty and the Deadside Gates were the creations of Messrs Ennis and Wood, myself and my partner-in-crime at the time, Guy Miller were responsible for the rest. The premise we came up with was “What if all the bad people in Deadside (the World of the Dead) decided that they wanted to come back?” and using that as a springboard we spent the next 2 or so years exploring the wildest of dark places and cramming them all into an N64 cartridge and eventually a Dreamcast. Inspirations came from all over the place — Pieter Bruegel’s painting The Tower of Babel was our starting point for the Asylum — the citadel of killers in Deadside, films and TV such as Lance Henriksen’s show Millennium, the Clive Barker movies like Hellraiser and Nightbreed, Jacob’s Ladder, Silence of the Lambs, Eraserhead, Cape Fear all were influences.
It was a really fun thing to work on — I’m not into horror movies that much, but I did enjoy the subversive intellectual challenge of coming up with stuff that I knew would mess with folks’ heads. It’s surprising sometimes how putting a handful of incongruous and often innocuous elements together can really affect people and evoke a strong reaction. I’m not doing it in video games any more, but I still like doing that sort of thing in the paintings I make for myself.
STEVE: Finally, last but not least… what is Simon Phipps up to now?
SIMON: Well at the beginning of 2014 I decided to leave my Designer job at Criterion Games / Electronic Arts and join the world of independent game making, to get myself back into coding after 20 years’ absence.
Since then I’ve hooked up with the wonderful and talented guys at the newly-formed Three Fields Entertainment and I’m pleased to say that I’m working on a cool new (retro-inspired) game as lead coder, designer and artist (which is why, when asked what I’d like my new job title to be at the company I came up with ‘O.T.T.’ — or, Original Triple Threat… I’ve met enough CEOs and CTOs over the years. I’m not one of those but OTT? Guilty as charged…)
I hadn’t realized how much I’d missed coding after having to give it up at the start of Wolfchild, so it’s great to be back, solving problems, learning heaps of new stuff.
The folks at Three Fields are super supportive and are giving me such creative freedom on the new game while collaborating with me to push it and make it the best it can be. As to when it will be out — well, after many years of cutting features on games and pushing teams to meet enforced deadlines, I’m pleased to say that Three Fields mantra is ‘when it’s ready.’ If anyone’s interested in what other art I’ve made and games I’ve worked on, they can visit my website.
—
Thanks for your time, Simon. It was fun.
I wish you all the best on your future projects.
-Steve
On November 29, 2014, Simon was sent a link to my review and our interview. He had the following to say…
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Great fun, Steve — what a wonderfully quirky presentation of the game — loads of work went into that and I love the whole personal story that you’ve brought to it. Really describes your journey to the game, how we hooked up and where we are now. Thoroughly enjoyed it. Take care. -Simes
—
Wow, that made my day. Thank you again, Simon. It was a lot of fun
For as long as I can remember, I’ve always had a fascination with oddball video games. You know the ones — the games that flew under the radar, failed to garner much mention and quickly faded into obscurity. One game that fits this description is Harley’s Humongous Adventure. I was immediately intrigued by it when I first saw it 24 years ago (!) in early 1993. It took me over 20 years to finally play it, and in 2015 I scored an interview with its programmer. That interview can be read at the very end of this review. Harley’s Humongous Adventure will never win any awards but it’s a surprisingly decent little (har har) game. It deserves the spotlight… even if only for a brief moment.
THIS ONE’S FOR THE LITTLE GUYS
Video game magazines were thriving back in 1993. It was a boom time for the industry. One of the best was Electronic Gaming Monthly, or better known as EGM. I’ll never forget issue #43 (February 1993). The cover immediately jumped out at me, grabbing my attention. Bubsy was hyped to the moon as the next great mascot platformer. The bold red and orange colors sucked me in. Best of all? This issue featured a 59-page (!) preview of SNES games recently released or coming soon. I wasted hours browsing those 59 glorious pages over and over again. There were so many intriguing games I wanted to play. Sadly, many of them I never did when I was a kid. One such title was Harley’s Humongous Adventure. I often say one of the best things about this hobby is the ability to play these long lost games once and for all. There’s something gratifying about putting a childhood curiosity to rest — even moreso when the game turns out to be decent or better.
There was something refreshing about this game. Maybe it was the claymation. But I think really it’s the fact that Harley wasn’t out to save the world, rescue a princess or even battle his bitter long time rival (hell, the boss is his pet rat). He simply wants to return to his normal kid size before getting devoured by a hungry ant or tick. It’s a simple “small-scale” (pardon the pun) adventure that works in its own weird way. I love epic games but there’s always room for niche ones too, and this filled that role quite nicely.
Saturday morning. 4th of July, 2015. 1 AM. I was staying up late to catch the special “Beast in the East” event live on the WWE Network. I had roughly 90 minutes to kill so I mulled over my collection to pluck out the next title to play. My eyes landed on Harley’s Humongous Adventure and right away I knew. Don’t you love that feeling? When you’re wondering what game to play for the first time ever next and once you see a certain title you just know. It was one of those moments for me. It was time to find out, once and for all, after over 22 years of curiosity. I spent the next hour or so traversing Harley’s madcap world and eventually beat the game later that weekend. While it wasn’t anything mind-blowing, it certainly was memorable. After all, few things are better than beating a game you never played before (but always wanted to) in one sitting. Plus I even got to interview the programmer of Harley’s Humongous Adventure, Brian Greenstone, the very next day. That interview can be read at the end of this review. It was the perfect way to cap off a 22+ year curiosity — beating the game and interviewing its programmer!
THE STORY GOES…
Harley gets shrunken down to about six inches. AY CARAMBA!
HARLEY FIGHTS BACK
THE ADVENTURE BEGINS
I’m just tryna make it back home by Monday morning.
I swear I wish somebody would tell me OOH THAT’S ALL I WANT.
[That says 45 seconds, not Four Five Seconds, ya git! -Ed.]
After defeating your pet rat a third time, Harley restores balance to the world. Er, his world, anyhow!
IF YOU NEED A BOOST BEYOND THE JET PACK
WHAT THE CRITICS SAID
Harley’s Humongous Adventure earned mediocre to solid reviews. EGM gave it scores of 8, 7, 7 and 6. GameFan gave it ratings of 80, 77, 69 and 65%. Super Play rated it 69%. Interestingly enough, both EGM and GameFan reviewed the game on two separate occasions. EGM’s sister publication, Super NES Buyer’s Guide (a bi-monthly SNES-exclusive magazine that ran back in the early-mid ’90s) rated it 8, 8 and 7. GameFan reviewed this game in its very first issue, giving it marks of 85and 78%. It holds the distinct honor of being the ONLY Super Nintendo game to be reviewed on two separate occasions by both EGM (technically speaking) and GameFan. At least Harley has that “claim to fame.” Sure, he’s no Mario or Sonic but I think there is a place for guys like Harley. He’s that lovable underdog. The uhh, ahem, “little” engine that could.
CLOSING THOUGHTS
As I sat there admiring the preview in EGM some 20+ years ago, something told me this game probably wasn’t a humongous adventure. But I also had the gut feeling that it was a fairly decent one. Fast forward some 22 years and I’m happy to say I got one right. This isn’t a great game by any means. Perhaps not even a good one. But it’s playable and enjoyable. It’s sprinkled with some interesting gimmicks and enough levels to entertain you for a weekend. It’s not particularly hard, although a few stages require some trial and error. I love the various weapons you can use, and switching them on the fly with the shoulder buttons is smooth and seamless. Harley controls reasonably well enough, except for jumping while running and turning on a dime. It takes him a second to turn around — in the heat of the moment that could lead to unnecessary damage. Visually, the game has a striking look thanks to its claymation. Although it’s a bit hampered by its somewhat bland backgrounds. Animation is hit or miss. Enemies animate smoothly while Harley could use more frames of animation. The tunes aren’t memorable and are kind of just there. But the game does have this unique quirky charm that reels you in. Well, at least it did to me. As always, your mileage may vary.
There’s a solid variety of things to do besides the usual. There’s a level where you command a tank. Another level sees you soaring on a jet pack. Other levels have sections where you parachute your way down, or even catch a ride on a bubble. There are 18 stages in all. None are overly long and you can beat the game in one sitting. Truth be told, I kind of miss games like this. You know the ones: little weird niche titles that were made on a tiny budget that didn’t set out to be anything more than quirky and amusing. You really don’t see games like this anymore in this day and age, for better or for worse. I guess there’s a part of me that will always long for the 8 and 16-bit generations where these countless above average platformers littered the shelves of rental stores. No, they’re not world beaters or anything but they’re fun in their own right, competently made, charmingly quirky, and can occupy you perfectly fine for a night or two. All in all, Harley’s Humongous Adventure is not a must-have game but if you love the genre and you’ve already played the best on the SNES, then this is worth a look. It’s not good enough to be classified as underrated. Nor is it a bonafide “hidden gem” but it certainly has an odd little atmosphere that is in some ways second to none on the SNES. If you like the idea of being shrunk while fending off giant bugs and dealing with normal everyday objects then this game is right up your alley.
Graphics: 6
Sound: 5.5
Gameplay: 6
Longevity: 5.5
Overall: 6.0
Me:Harley’s Humongous Adventure was your first SNES game. You created and programmed its gaming world. Do you still look back fondly on this experience, or is it one of those things where you’re more ashamed than proud of how it turned out years later?
BG: I consider that time the second Golden Age of video games. The first was the coin-op days in the late ’70s / early ’80s when Galaga, Dig Dug, Pac Man, etc. were huge, but the second Golden Age was when the Super NES came out in the early ’90s. It was a lot of fun, and very challenging to develop back in those days. The development devices were usually hand-made and held together with duct tape. All of the programming was straight assembly code, and every cycle and every byte counted. It took really skilled programmers to make those games — it’s not like today where pretty much anyone can make a game.
Me: Describe the origins of this game: how did it come about, what ideas inspired you, and how much of an influence (if any) was Honey I Shrunk the Kids?
BG: My boss at Visual Concepts came up with that idea, and I’m sure Honey I Shrunk the Kids played some role in there, but I think the original Incredible Shrinking Man had more to do with it than anything.
Me: How did the design of the Harley character come about? I find him to be a bit interesting: the spiky hair, the cool sunglasses, heck, Harley even had the letter “H” etched out in his haircut! (Not seen in-game but seen on the box art).
BG: The art design was all up to the artists, and we had a lot of very talented ones working at Visual Concepts. I believe Colin Silverman did the art for Harley, and he was one of the best that I ever worked with. I actually still have a huge framed Harley’s Humongous Adventure poster over my desk right now. I look at it every day, and it’s been here for the last 19 years, so that funky hairdo with the “H” carved into it is always staring me down. Now that I look again, he does seem to have a very late ’80s / early ’90s look.
Me: How long did it take to make this game from start to finish? What were some of the setbacks or challenges?
BG: If I remember correctly, this was about a 9 month project. That’s generally how long it took to make one of those games back then. The main challenges were getting the development devices to work properly. We even had one of the guys at Visual Concepts write a compiler for us since the ones provided were so bad. The company that published the game, Hi Tech Expressions, was a Korean firm that was pretty new to this, so working with them was a bit challenging as we kept trying to squeeze more money out of them.
Me: You used a unique look for the time: (partial) claymation. You might have been the first to use claymation on the SNES. What made you want to do this kind of look? I remember as a kid it definitely stood out in the gaming magazines I read back in the day.
BG: The claymation ideas was my boss’, and the company that did that also did claymation for several of our other games. The best SNES game I did was called Claymates, and it won some awards but unfortunately EA’s decision to name it that killed it. That was not the name we wanted, and “Claymates” sounded idiotic, so it flopped. Also, we did Clay Fighter which ended up being a big hit.
Me: The jet pack was a pretty neat idea. Any inspiration behind this?
BG: The Jet Pack is what Alfred Hitchcock would have referred to as a MacGuffin — a plot tool used to get the character out of holes that the writers got him stuck in. I’ve used Jet Packs in many games, and they’re great for helping the player out of situations that you can’t find any other solution for. Plus, they’re fun!
Me: The game features 18 levels. Was there one you personally enjoyed most? I was particularly fond of Harley’s room due to the fact that you can climb some of his Lego sets.
BG: In all honesty, I can’t remember much of any of them. I do vaguely remember the bathtub, mainly because it’s on the poster over my desk, but also because it had some interesting ideas with soap platforms and such. I know we put a lot of neat things in the game, but having not played the game in over 20 years I can’t remember most of it.
Me: How many copies did the game sell?
BG: The game did OK but not great. I don’t actually remember the sales — for some reason the number 40,000 sticks in my head, but that might not mean anything.
Me: Were you and your team personally satisfied with how the game turned out?
BG: Yes, I was very proud of it, especially considering that it was my first professional game out of college.
Me: Was a sequel ever planned?
BG: I don’t think so. Hi Tech Expressions, the publisher, promptly disappeared.
Me: Why wasn’t Harley’s Humongous Adventure also made for the Sega Genesis?
BG: As hard as it was to develop for the SNES, the Genesis was actually even worse. Plus, the Genesis didn’t have the customer base that Nintendo had, so we stayed focused on SNES work.
Me: What other SNES games were you involved with, and do you have a personal favorite?
BG: I also did Claymates and Lester the Unlikely for Visual Concepts. Then when I went to work for Mindscape I did three Mario Early Learning educational games based on the Nintendo Mario character. My favorite was Claymates, however. It was all claymation, and was a really neat idea.
Me: Do you still keep in touch today with Scott Patterson, John Manley, Richard Robbins or Greg Thomas?
BG: No, I haven’t heard from any of those guys in over 20 years. I know Greg went on to be some bigwig at EA, but I don’t know what happened to anyone else.
Me: The ending credits were pretty neat. There was a list of people you liked, which was standard fare, but then there was a list of THINGS you guys liked, which gave me a chuckle the first time I saw it. It was different.
BG: I think we were inspired by the credits in the Jim Abrahams / David Zucker movies like Airplane. They would have crazy stuff in their credits like recipes and such, so we did the same in our game.
Once again I would like to thank Brian Greenstone for taking the time. I love hearing about and discovering all these obscure facts about obscure titles like Harley’s Humongous Adventure. It isn’t the best game around but it has its moments. It’s a relic of gaming’s past… you just don’t see games like this anymore.
Admittedly, I’m not a huge football guy. Never have been. Baseball and basketball are my go-to sports. But I always make it a point to catch the Super Bowl each year. Last night, which saw the New England Patriots and the Atlanta Falcons battle for football supremacy in Houston, was one of the best damn games I’ve ever seen. An incredible 31 unanswered points and the biggest comeback in Super Bowl history, Tom Brady captured his unprecedented fifth Super Bowl Championship (more than any other quarterback in the history of the NFL). Whether you love or hate him, you have to respect the track record. Watching the game last night inspired me to break out Tecmo Super Bowl, AKA the best football game on the Super Nintendo. Let’s stroll down memory lane…
TECMO BOWL MANIA
Tecmo Bowl was unleashed February 1989. This month marks its 28th birthday. My brother was obsessed with this game. Tecmo Bowl mania swept the nation as kids everywhere were glued to their TV monitors night and day. I wasn’t a football fan at the time so the game never appealed to me, but I remember the many nights that my brother stayed up late playing this game. It became something of a religion for him and countless others all across America.
Two years later, the (superior) sequel landed and despite the SNES having just been released, Tecmo Super Bowl caused many NES owners to keep their old friend plugged in. My brother played this game to death. Tecmo finally converted this game over to the SNES in November of 1993. It never made the big splash its little NES brothers did, but that doesn’t mean it’s not worthy of your time.
LET’S PLAY SOME FOOTBALL!
Here is the beauty of Tecmo Super Bowl: it’s simple and instantly accessible to all. Even if you don’t know a whole lot about football, like me, you can still have a lot of fun with this one. You get eight plays to pick from. Four passing, four running. Then the opponent tries to guess which one you picked. If they guess right then it’ll be a lot easier for them to stop you. You have to look at the game situation and guess whether your rival will run or pass. After that you have a 1 in 4 chance. Good stuff.
Passing in the pocket? Try not to force the ball where there are defenders. Switch off to an open teammate like you see here and throw the ball his way.
Always satisfying to see that FIRST DOWN! flashing.
Speaking of satisfying, throwing a bullet to a wide open receiver and seeing him haul it in for a big gain was simply the best. I also like the white X marker and knowing your guy is about to make a huge catch. It’s the little things!
Seeing your guy sprint into the opponent’s end zone never gets old. The SNES version gets these cool detailed end zones while the NES versions were a bit plain Jane. It’s not a deal breaker or anything, but I prefer the presentation of this game over the NES ones. Plus, that TOUCHDOWN! graphic is gold.
Taunting time! It’s also kind of fun to see old names from the past.
Bouncing the ball off the field goal post and through always led to a sigh of relief.
INTERCEPTION! Depending on which side of the coin you are, it can either pump new life into your team or completely demoralize it. Especially when you see the ball sail just past the outstretched arms of your receiver.
Likewise, these moments can mean the difference between victory and defeat. As they say: football is a game of inches… [And so is dating -Ed.]
Bizarre and nonsensical. At any rate, the Patriots lead 7-3 at the half.
Falcons open the second half in stellar fashion. It’s so sweet when your guy has a wide open field like this. Unless of course, if it’s happening against you!
Atlanta jumps on top, 10-7. I really like how this game received the Super Mario All-Stars treatment. It’s essentially the NES version but with 1993 rosters and much improved visuals. Love those end zones.
Seeing one of your receivers break free and make himself wide open for a bullet pass is another part I take great pleasure in.
Running it into the end zone like a boss. 14-10 Patriots!
Certain big plays, like a quarterback sack, triggers a cinematic shot.
Hitting a streaking player for a big gain never failed to get you pumped. Even better is the visual of 10 savages trailing you like a pack of hungry wolves eyeing a piece of meat. Oh, and barely running past two diving defenders. Epic.
Punch it in the end zone and kick the extra point. 21-17 Patriots.
Offensive and defensive accomplishments are treated dramatically.
Almost as dramatic as last night’s Super Bowl! Down 4 points with under a minute to go, Miller tries to connect with Williams during the most important drive of his career. Miller spots his target and throws a bullet pass. It looks like Williams is about to make an amazing diving catch to save the game but alas, INTERCEPTION! You can imagine how intense 2 player games can get…
Similar to last night’s insane Super Bowl game, the Patriots barely squeak ahead. A final stats screen is shown at the end.
“WEATHER” IT’S RAINY OR SNOWY…
The NES versions didn’t have this cool feature. OK, so it doesn’t affect gameplay (too bad, it should have). But hey, more options never hurt even if it’s just cosmetic. And quite frankly, I love the rain in particular. It lends Tecmo Super Bowl a lovely little atmosphere!
Check out how the rain splatters against the grass. It’s a really nice effect and makes playing this game during a rainy Sunday morning extra fun. Hell, you even see rain in the cut scenes. Neat!
Sometimes a play will be spliced in with a cut scene and only adds to the drama of the whole thing. These moments are handled perfectly. They’re seamless rather than intrusive. And let’s face it, they’re just plain fun.
Gorgeous! Gotta love that heavy rain. What could have been if only the Falcons kicked a field goal last night… tsk tsk…
Giving the snow some love too, although it’s not as impressive.
Definitely adds a nice flair, especially if you play this while it’s actually snowing outside.
WHAT THE CRITICS SAID
Most fans tend to cite NES Tecmo Super Bowl as the definitive version, but there are a handful that vouch for the SNES version. EGM gave it scores of 8, 7, 7, 6 and 6. Some were a bit disappointed that you still can’t switch defenders once a play is live. Or the fact that you can’t grab the ball out of the air on a booted pass. And speaking of missed opportunities, there’s no sound effect for the rain. Imagine how much better it would have been if you could hear the pitter-patter of the rain drops. I suppose one can’t have it all, eh?
CLOSING THOUGHTS
Tecmo Super Bowl is the best SNES football game you can play. It’s got fast and crisp gameplay, a playbook to customize your own set of plays, a battery backed season mode (I love how you can play a season in literally a single weekend), improved 16-bit visuals, and a couple new options the NES version never had. These include a diving play (handy for when you’re half a yard short of a touchdown or first down) and a touchback option. I’m not the biggest football fan but I love this game and would probably rate it even higher if I were a complete football nut.
It’s the kind of game you can pick up and play whenever, then forget about for a while but months or even years later come roaring back and find yourself spending a weekend or two with. There’s something magical about that. I also like that the games don’t take long; you can sneak in a quick game before bed. Also, injuries can occur if you play the season mode. When a player is healthy to return, you get an amusing cut scene of said player leaving the hospital (Tecmo Hospital, naturally) waving to his doctor and nurses. He’s armed with a bouquet of flowers and is decked out in his full football uniform, as if these guys wear their jerseys while recovering in the hospital. This scene never fails to make me smile. That and it’s always great to get an injured star player back!
Tecmo Super Bowl has earned its legend for a good reason. I think the SNES version is awesome and easily the best football title on the Super Nintendo. The Tecmo Super Bowl sequels weren’t as great and some of the Madden games are very good but it’s tough to beat the arcade action of a Tecmo Super Bowl. Sorry — this game definitely scores a touchdown!
Graphics: 8 Sound: 8.5 Gameplay: 9 Longevity: 9.5
Overall: 9.0
Few games have infiltrated pop culture like Tecmo (Super) Bowl.
And because it’s football, and it’s awesome:
Damn that theme never gets old. Timeless! Just like Tecmo Super Bowl