Archive for the ‘Now & Then’ Category
Switching It Up
A lot happened both in the talent pool of Mortal Kombat players and in the game design overall between the release of Mortal Kombat II and Mortal Kombat 3 (MK3). For starters there was a mass exodus of on screen talent due to royalty disputes, so almost no one from the original two games returned for the third release. In addition, Boon and his team were trying to turn Mortal Kombat into a viable fighting game with things no one had ever seen before and mechanics that could compete with the massive rush of fighters in arcades. The game was completely Americanized, with all hints of Eastern influence including symbols, locales, and the soundtrack completely absent without a trace and instead replaced by urban stages, 90s hip-hop soundtracks, and cyborgs replaced the signature ninjas. These locations were now composed of pre-rendered 3D backgrounds and the character sprites were almost totally digitized as opposed to the digitized/hand drawn hybrid of the previous games. Along with it came an overhaul of the controls, including combos and a “run” button to address rightful claims that defensive players ruled the previous title. It’s all one giant 90s metaphor but that doesn’t change the fact that MK3 (and it’s update Ultimate MK3 or UMK3) stands as the moment I felt the series went into the mainstream fighter territory. Couple this with the fact that it was on just about every console that existed at the time, still dominated arcades, and had more content than rival Street Fighter II could ever dream to do with its iterations and I see why it’s creator Ed Boon’s favorite. Mortal Kombat 3 definitely upped the ante.
God of War feels like a series that just exploded in popularity but has now been lost in the gaming community abyss. Last year the God of War Collection (featuring the first two games in the series) was released to the Playstation Vita to such a poor reception that a lot of friends were generally surprised it was actually released. Then again the same group of friends were gob smacked that Borderlands 2 also came out on the Vita. Now, it could be argued that this lack of enthusiasm may be due to the lack of interest in the Playstation Vita. But forgotten or not, I’ve played through both God of War games so it’s time to see how they hold up today.
I was originally a massive fan of the very first God of War game on PS2. When I was first introduced to the game by a friend I got so into it we played through the entire game together in one single sitting, something that I rarely do with a video game. We spent a lot of the experience just gob smacked by how the PS2 was able to include great graphics and set pieces. Of course a lot of the great visuals are attributed to a fixed camera control and the set pieces being controlled entirely by quick time events (a feature I’m glad has started to disappear in the gaming industry). The game felt like a breath of fresh air. Although the game did not introduce a completely original experience it seemed to take elements that worked with other games like an anti hero storyline, hack and slash gameplay and upgrading your character with orbs. The game was not perfect, even for the time people criticised some of the challenging sections in the game most notably the infamous Hades area where you had to get pass various traps and obstacles. If you were hit just once you died instantly, leading to some massive gamer rage grinding your enjoyable experience to a complete halt. What made God of War stand out at the time was the epic adventure, where you travel into areas no man can supposedly enter (and the game clearly displays this by having dead bodies littered everywhere). You really felt like you were on this impossible quest. Every time you beat a gigantic boss or got pass a deadly trap you really felt a sense of achievement. The bosses were also enormous like the infamous hydra, a fantastic way to open the game and a design feature that seemed to carry over to all future games in the series as well. The game was well received by critics and gamers so it pretty much guaranteed a sequel. The developers seemed confident of this as well as the message “Kratos will return,” appears once the credits have finished at the end of the experience.
Sorry this is going up on Sunday night. Normally Retro Game Night is recorded on Friday and goes up Saturday morning, but we had to delay recording a day and these HD videos take a lot longer to render and post to YouTube. Either way, the video speaks for itself, but Fred got a retail copy of Resident Evil HD Remaster on PS3 that will be coming to the US in “early” 2015 (according to Capcom). Well since there was another option, we grabbed it early. Enjoy!
Digital Release? Yes, PSN version compatible with PS3, PSP, and Vita for $5.99
Price: $20.87 (disc only), $33.99 (complete), $130.00 (sealed) per Price Charting
Note: I did not have screen shots available from my last play and it appears all screens online are from emulation. This title does not look this good on the PS1.
Dichotomies exist in all forms of media. Whether it’s Elvis or the Beatles, Shakespeare or Marlowe, Alien or Aliens, and even Star Wars or Star Trek, the rule remains the same: you are allowed to like both but you always prefer one. In the realm of survival horror, the clear competition is Resident Evil or Silent Hill. Longtime readers and listeners know where I stand (RE), but that’s not to say the Silent Hill isn’t just as easily justified, if not moreso, as the better game even if it’s not necessarily the more popular one. Despite the original Resident Evil being a living haunted house, the game still rooted itself into a world of intense action, the ability to kill just about every opposing force, and a heavy science fiction/biological manipulation concept – proven even more by the game’s Japanese title Biohazard. Silent Hill, on the other hand, is classic unexplained horror and phenomena at its best. Where Resident Evil employed pre-rendered backgrounds and forced camera perspectives, Silent Hill was fully rendered and seemed to follow the player, thus linking the character on screen with the player. This makes it more terrifying because what happens to Harry (your playable character) seemingly happens to you as well. Not only that, but the perspective of the title is completely different. Harry is a regular guy, not a soldier, and he’s frantically trying to find his missing daughter, not to simply survive. It’s all just a different perspective to the horror game where instead of trying to scare you with jumps and big gross monsters (although you will get those in this title), Silent Hill thrives on the unknown and maintaining tension instead of random fear. In short, it’s Alien to Resident Evil’s Aliens.
Harry Mason wakes up to find that his car has gone off the road and his daughter Cheryl is missing. Not only that, but he’s in the woods on a cold snow-covered night, and in searching the local area for Cheryl comes upon the town of Silent Hill. With that basic setup you are tossed into a world that is almost like a Stephen King novel come to life. A heavy fog surrounds the entire town limiting your view, there are no signs of life, and nearly every door is locked. Eventually you see something emerging in front of you, but once it clears the fog you discover its a hideous bird-like creature with sharp fangs and talons coming right for you. A pipe works to ward off the beast, but as soon as one goes down another replaces it. You frantically navigate the town for any alleyway or door that offers shelter, but almost everywhere you turn there are blockades or locks to stop you. Eventually you find a refuge in an unblocked stairwell, unlocked door, or making your own way through with items available to you, but this only lends to put you in a worse situation than before. This is Silent Hill.
I think what’s most compelling about this journey is that Team Silent, an internal group at Konami that would later go independent due to creative limitations put upon them, has properly captured the feel of being the character without the first person perspective. It contradicts most of what you know about horror: fear of the unknown. There’s no unknown in Silent Hill. It flat out shows you what wants to kill you, makes it mortal, and even gives you the means to kill them instead. What’s compelling is that it surrounds you with visual, audio, and gameplay cues that create tension and unsettles you very effectively. Director Keiichiro Toyama created the scenario and specifically focused on David Lynch (Blue Velvet, Twin Peaks) and the occult for tone, despite Toyama not being a natural horror buff (he also integrated UFOs, but that’s only if you think the dog did it). He must have succeeded because Silent Hill will consistently make you confused just before it frantically forces you to react on the situation at hand, which is usually jarring. You will combat dead children in a dilapidated school, wonder the eeriest hospital I had seen at that point, and eventually watch it flip to a rust-covered prison completely overrun with gory creatures. At various points you may wonder how in the world Cheryl can still be alive in all of this, which only makes the game’s climax even more compelling. I must sadly admit that the game’s weakest point comes from the puzzles developed by Hiroyuki Owaku, which are more like riddles than anything else, and will most likely be the only obstacle that could make you put this game down. If you stick with it, Silent Hill will continually freak you out.
Nowadays the game doesn’t quite hold up as well as it used to. Since the sequel would release two years later on the Playstation 2, the visuals and controls had been greatly overhauled between generations and it makes the sluggish gameplay of the first game hard to take in. If you frequent the late 90s Playstation scene, it shouldn’t be much of an adjustment (and may also be of the best controlled titles for the time), but most gamers who look back tend to throw out the old description of “tank controls”. It’s also a muddy mess visually, which was about as good as that era could do, but especially on large HDTVs you may have a hard time figuring out what you’re looking at. Thankfully the reduced high resolution screens of the PSP and especially the Vita have been quite kind to Silent Hill and you shouldn’t have any problem knowing what you’re looking at or where to go. That doesn’t mean, however, that in a world with waypoints, indicators, and arrows telling you where to go that Silent Hill won’t come off as confusing. You will wonder aimlessly trying locked doors and in some cases get stuck with every apparent path explored before finding that one spot in the room you’ve already been to that has the item you need to proceed forward. In this first outing it’s few and far between, but it is a concern. You might also find yourself unable to move on because you wasted all of your ammo too quick and come to an area where you are forced to fight and have no means for which to do so. Thanks to melee weapons you may have an opportunity to still take out the beastie, but it can be much harder and lead to more deaths than if you had simply hung onto a handful of shotgun rounds. If you persevere, keep an FAQ bookmarked on your phone, and do your best to immerse yourself in the world of Silent Hill before cheating your way into solutions, you will find this game is as effectively tense and scary now as it was 15 years ago. Resident Evil may have won the Playstation battle, but even I can’t argue that Silent Hill captures the base words “survival” and “horror” much better than the competition ever did.
Now & Then is different from both a retrospective and a review. It tackles games you probably already know and is a place for gamers to discuss these games. Below is an overview of a game’s presence in the market then and now. Authors of these articles share their personal experience, so we encourage all of you to do the same in the comments.
Editor’s Note: Although I love classic games as much as the next guy, few games get to be restored as often as Resident Evil 4. Therefore, the recently released Ultimate HD Edition has the most cleaned up, 1080p native graphics to date and thanks to screenshot technology being what it is we were able to grab those assets directly from the game without any quality loss. We at GH101 have decided to feature screens from this version in the interest of clarity, despite the fact that they do not faithfully represent the graphical fidelity of the many previous versions. Hopefully purists will forgive us. – Fred Rojas
The Story of the Scrapped Versions
Whenever a game sits in development hell for too long, it has an adverse affect on everyone’s feelings for the game. The examples are too many to count but a couple quick mentions are the likes of Diakatana, Too Human, and of course Duke Nukem Forever. With a few exceptions, games that take too long to make can’t help but not live up to the hype and therefore disappoint an all-too-eager audience. One of these exceptions is Resident Evil 4. Originally announced in 1999, the concept was a Playstation 2 game with a brutally strong protagonist that was more action focused per the ongoing desires of Shinji Mikami (series creator that has been trying to go more action oriented since Resident Evil 2). This new iteration was appropriately tasked to Hideki Kamiya, notable for his director work on Resident Evil 2, and in connection with Noboru Sugimura, writer of Resident Evil 2. After a European trip that netted a Gothic art style and given the goals of the game it was decided that the camera would have to be dynamic and movable (much like Capcom had started in Dino Crisis) and thus ditch the traditional pre-rendered background in exchange for a fully rendered world. Much of the development style, tone, and even Kamiya’s direction involved a what was described as a “cool” world and eventually it got so far removed from the roots of both the survival horror genre and Resident Evil series and instead integrated demons and a new protagonist, Dante. A small fraction of the Capcom Production Studio 4, named Little Devils, converted this new concept with the juggling bug this team had seen in Onimusha: Warlords and eventually renamed the project to Devil May Cry in November 2000. While it spun off to a good game and an ongoing franchise that still lives today, Devil May Cry left Resident Evil 4 in a rut without a dev team (and some hardcore RE fans still refer to the game as Resident Evil 3.5 since the core concepts remained intact).
It wasn’t until nearly a year later, late 2001, that the large scale Capcom Production Studio 4 team regrouped to begin development on Resident Evil 4. Sugimura was still involved at this time and his scenario company Flagship and the original concept was Leon Kennedy breaking into Umbrella’s European headquarters to save a girl (who’s identity has never been revealed) while fighting various types of zombies and other creatures a la the original game. At this time the third person view was already the gameplay style although Leon was overcome by the Progenitor Virus, thus giving his left hand special abilities, and included first person action sequences like we saw hints of in previous games.
As time went on the concept developed into the demo that was shown at E3 2003 known as Maboroshi no Biohazard 4 (Hallucination Biohazard 4 in English), but it has been come to be nicknamed Resident Evil 4: Hook Man Version by those that talk about it in the RE circles (FYI: Resident Evil is Biohazard in Japan but not here due to the metal band’s trademark). Development of this version began when Flagship’s original scenario was dropped and Mikami brought in Yasuhisa Kawamura, scenario writer for Resident Evil 3, to make a scarier game. At first the movie Lost Souls was the template and it featured an unnamed female protagonist that found herself in an abandoned building with a killer on the loose. An in-between version re-introduced Leon as the lead, had him working with a mutated dog as a sidekick, and eventually making his way through Umbrella creator Spencer’s Castle to rescue a girl and fight his way out (with Hook Man as the killer and a newer version of the Nemesis character). Eventually this was adapted into a final version that would become the demo. In this version Leon was traversing a haunted castle, infected with a virus, and it was causing a mix of various jarring camera effects and hallucinations. To help with the goal of a scary atmosphere and merge the perspective of the player with Leon, an over-the-shoulder camera, laser sight, and quick time events (QTEs) were integrated, some of the more notable attributes of the final game. Enemies in the demo ranged from suits of armor that came to life and eventually a the Hook Man, a ghostlike zombie with a torn hook for a left hand, as a final enemy for the demo. You can find a 5 minute video of this build on YouTube (pardon if the link isn’t valid over time) that was found in the Biohazard 4 Secret DVD that came as a pre-order bonus for Resident Evil 4 on GameCube in 2005. Cost of development and technical obstacles forced Mikami to step in and assist in scenario writing and development, something Kawamura has gone on record saying he’s ashamed of, and completely scrapped the game. It was 2004 and Resident Evil 4 was back to square one. Fortunately you can find most parts of this version (aside from the demo video) in other Capcom games: many of these assets ended up in the PS2 game Haunting Ground, the Progenitor Virus concept was the base for Resident Evil 5, and of course the Spencer Estate concept was revitalized in the RE5 DLC Lost in Nightmares.
The Deal With Nintendo
In November 2002, Capcom announced a 5 game deal with Nintendo that would see five of the titles coming to the GameCube, known as the Capcom Five, and among those (despite some miscommunication) only Resident Evil 4 was to remain console exclusive. After rumors suggested that users and investors were adding pressure to move the game to the much more successful Playstation 2, Mikami even came out and claimed he would “cut his head off” if RE4 ever made its way to another console. In late 2003 Shinji Mikami took over directional duties and had a large part in scenario and writing duties to completely re-invent the series. He spread a massive campaign in interviews and told the Capcom Production 4 Team that the focus was to be on action and not horror. To assist with this he dropped the Umbrella involvement completely, created the Ganados concept, and clearly borrowed from many earlier versions of the game, including the new Dante-like look and personality for Leon. By E3 2004 Capcom locked down a January 2005 release for Gamecube and then to everyone’s shock an awe a Halloween 2004 announcement for 3 new Resident Evil PS2 titles revealed that a port of Resident Evil 4 with expanded content would be hitting the PS2 later in 2005. This made Gamecube fans livid, some of which admitted to purchasing the nearly dead console purely for the now three year prospect of finding the game only on Nintendo’s console. For the record, Mikami did not cut off his own head and the PS2 version did come out. I have never been able to find out if there was any action from Nintendo for breaking the exclusivity, although in those days it wasn’t always a paid or contractual deal so perhaps Nintendo had no leg to stand on.
After all that hype and pressure, it’s a miracle that Resident Evil 4 is as wonderful as it turned out to be. If you’ve never played it, the genius of Resident Evil 4 is that it sticks to the basics of game design while also offering a look and feel that is fresh. Easily one of the most gorgeous games from that generation, I still contest that the Gamecube version is the best looking from that time period, so if you have a choice that game really was developed for that console. Additionally the game was long, like 15-20 hours long, and didn’t feel as such. Each of the five chapters feel like complete games in and of themselves and while enemy types and bosses do reappear from time to time, the environments and scenarios are unique for the most part. Even more striking is the way that game develops alongside the player as a whole.
In the first act you are traversing the woods of Spain as Leon, completely unaware of what’s to come but you know it’s not going to be good. Eventually you get introduced the Ganados, who at this point are townsfolk that have established farming villages along the countryside, but of course they are violent toward you. After killing off a pair of cops that accompany you, the Ganados turn full attention on you and with the different ways they attack based on where you shoot them and how close you are too them, it’s clear that these are no zombies. Ganados will throw weapons at you (that yes, you can shoot out of the air), duck under your laser sight, run around you, and overall give you that sinking feeling of being entirely alone against the world. Not only that, but the world is quite jarring for the time, with the over-the-shoulder camera and focus with the laser sight on where to shoot everyone, it’s a steep learning curve. That’s why the first main area, a central town, is so pivotal and one hell of a demo. You enter into this town that is fully populated by Ganados that all give chase upon your arrival. You can go in and out of houses, down different paths, jump out of windows, and navigate a small space where you have almost no idea where to go next. Since your perspective only allows for what’s directly in front of you, a somewhat accurate interpretation of what being in that situation in real life is like, it’s dangerous to take a corner without knowing what’s going on and you always take a risk of being jumped when you dare look behind you. Sure it’s seen as somewhat tanklike controls today, but back then it was about as good as you were going to get out of Capcom. Then the chainsaw guy arrives, a larger sized villager with a potato sack on his head and eye holes cut out, and he begins to chase you at a much faster pace than the others. This doesn’t meant that the horde of Ganados back off either, you’re now thrown in the mix with all of them. No matter how many times you shoot Chainsaw Guy he won’t die for good and you have limited ammo at this point and most people will probably get caught by him at least once, which triggers and instant death where Leon’s torso is sawed diagonally across the sternum. It’s freaky and it demonstrates the biggest change in Resident Evil 4: you won’t be scared, you’ll just feel immense tension, which triggers a different kind of fear. When those church bells ring after a certain period of time and clear the town of danger, I had to literally take a break and step away from the game. My thoughts at the time were, “damn, that was close.” It was a great rush.
From there the game digresses into a somewhat interesting storyline that contains a mass of interesting and tactical scenarios. Whether it’s fighting the sea creature in the lake, tackling El Gigante for the first time, eventually meeting and dealing with Salazar, knife-fighting Krauser, and eventually unraveling the mystery of Las Plagas, Resident Evil 4 is a thrill ride. Each new area of the game will challenge the skills you had previously learned and try to force you to use them in new ways to the point that your cumulative skills make the initial Ganados fight seem like a walk in the park. When I completed the game for the first time after getting the game for my birthday in 2005 (I had a Gamecube for the few other Resident Evil games on the platform) and again that Christmas on PS2, it was fantastic and I couldn’t offer it up to enough people to experience. Capcom and Mikami had gambled big – the series was to be discontinued if a failure – and they had succeeded admirably. For better or worse, Resident Evil would never be the same.
It sold well. 1.6 million units on Gamecube and more than 2 million on PS2, not to mention eventual ports to the PC (terrible initial attempt) and Wii before receiving HD remakes on 360/PS3 recently and eventually the Ultimate HD Version on PC this year. I think the reason it keeps being remade is that Resident Evil 4 still looks amazing today, now with updated assets and filters, and the gameplay, while seemingly dated, is still that perfect mix of locked in time and tolerable to a modern audience. If you have yet to experience this game and are even somewhat of a fan of Resident Evil, you should pick this game up and give it a go. It was a steal at $50 back in 2005 and today it’s a reminder that not all re-invented games in development hell end up being underwhelming, dated messes.
This week we are tackling quite possibly the two most popular titles of survival horror: Resident Evil 2 and Silent Hill 2. Resident Evil 2 was scrapped only a few months before completion and completely redone, resulting in many of the staples that carried the franchise forward and stands as a fan favorite. Meanwhile Silent Hill 2 waited until the Playstation 2 hit the market and with one of the creepiest atmospheres of all times redefined what horror gaming could be. We openly discuss the notable aspects of both.
Starting today the reboot of Strider hits home consoles and PCs as developer Double Helix attempts to capture the charm that came with the original’s dedicated cult following. When I try to look back at Strider – and yes I grew up playing every version from the arcade at my local bowling alley that was ported to the Genesis along with the completely different NES version – it’s hard to see what exactly needs to be in the new game. Still, there’s no denying the hardcore appeal of this unique and odd addition to classic gaming that justifies looking back for those that didn’t grow up with it.
If you haven’t played it, the original arcade version of Strider is all over the place. There are multiple languages, settings across the globe, massive mechanical ape bosses, and even lead protagonist Hiryu riding on a whale at the end. As one of the pioneer titles of Capcom’s new CP arcade platform – think of it as a cartridge-based cabinet that allowed quick swapping of games with only a few ROM changes – the graphics are indicative of the cartoon style all CP titles shared (ie: Ghouls’n Ghosts, Willow, and of course Final Fight). Graphics aside, the game is also noted for its crazy gameplay that features hanging from walls and ceilings, fighting massive enemies, and reversed gravity. To accompany this eclectic melting pot was an equally frantic soundtrack that covered all the bases from electronic progressive music to ambient classical style. While the soundtrack is uncredited to original composer Junko Tamiya (she also did the solid NES version of Bionic Commando as well as my personal favorite Sweet Home), the original versions of the arcade game didn’t feature the Aerial Battleship or Third Moon stages (replaced instead by the first stage music on a loop) so it can be deduced that someone went back and composed those additional tunes. While the game itself covers a scant five stages that will take the average person probably 60-90 minutes in total (pros can do it in half that time) the high difficulty and game design that was more indicative of home consoles was fresh. Instead of trying to rack up a high score or conquer a single mechanic over and over you were progressing through brutally difficult levels with the carrot on the stick being that provided you could afford to continue as many times as it took, you could see the ending. This is why most people who play it today will either set it to free play on the cabinet or emulator and also explains why the PS1 port flat-out gave you unlimited continues.
I remember playing it when I was about 10 years old and being blown away by the neo future envisioned in the story’s 2048 Soviet dictatorship, indicative of the continuing fear of Cold War oppression and Socialist/Communist popularity. Each sound effect, especially the signature slash sound each time Hiryu swings his sword, had a crisp edge and realism I had not heard before. It was even more impressive that some of these sounds made it into the NES port, which was a technical feat in its own regard. While the plot is very hard to follow, even today, only playing for a few minutes proved that Hiryu, the youngest ever high-tech ninjas known as “Striders”, was a force to be reckoned with. This is counter to the gameplay in that the extreme difficulty and new mechanics meant you would die quite a bit through even the most basic levels of the game. Few titles I’ve ever played master the art of both empowering the player and kicking their butt at the same time, which Strider did in spades. Each stage and even area of a stage was drastically different from the last and I will never forget the large-scale of each boss. Not only that but beating the boss did not always mean the end of the level, especially with regards to the massive gravity sphere that destructed the ship you are on when it was defeated, resulting in a frantic escape run before completing the level. Oh yeah, and there were massive cyborg interpretations of King Kong (large gorilla) and Godzilla (large T-Rex) as well. Sweet.
Unfortunately I have to admit that I think a title like Strider is a perfect example of a game you most appreciate if you grew up with it. In a wild development cycle that included three independent companies working on an arcade version, an NES version (who also happened to develop the simliar but different Ghosts’n Goblins port), and a manga in Japan, Strider was unlike most projects in video games at the time. Ironically enough the Metroid-style open world NES version of the game that directly connected to the manga were completely severed by the business decisions of worldwide business. A Famicom version of the game was never manufactured or released in Japan and the manga never saw its way to our shores (not to mention the language barrier that separated each medium), so in retrospect it’s one disconnected mess of a story. One thing all regions had in common was that the teens of the time were enticed by the arcade port and many of them picked up and loved the later Genesis/Mega Drive version that came as close to the arcades as we saw in the late 80s. Even more odd are the random sequels that share the franchise such as the horrid US Gold/Tiertex sequel Strider II (known as Journey From Darkness: Strider Returns in the US) that probably isn’t worth emulating. Capcom later fixed the issue by ignoring the licensed sequel and releasing Strider 2 to arcades and later in a near-perfect port to the original Playstation. While I wouldn’t say it changed the world, it was a cool take on the mechanics of Strider and the odd 3D graphics of the time. If you play any version, I highly recommend the Genesis port because it really comes with no caveat. With Grin’s 2009 project being scrapped and Double Helix’s recent success with Killer Instinct 3, here’s hoping that the reboot doesn’t disappoint. Look back near the end of the week for that review. Either way, what other game can you say ends with you riding the back of a freaking whale for no reason?
Growing up, I played Max Payne for the excitement I got out of the gameplay, that slow motion diving and shooting mechanic. It felt perfect when I was in my teens playing these games for the first time. It was over-the-top action fun. I wasn’t looking for realism or a great story, I just wanted to shoot things. The Max Payne games were a perfect fit with their smooth and methodical gunplay.
I’ve played through Max Payne 1 and 2 about four times each, always playing the second title just after the first. It isn’t hard to do. Each game is only about 5 to 6 hours long. If I wasn’t completing one of the games in less than 6 hours it sure as hell felt like I was.
Other things that kept me coming back were the locales. They’re iconic and memorable – a frozen New York City, a grimy subway station, a sleazy hotel, an old church turned gothic nightclub, just to name a few.
Even though the locales were iconic, the gameplay superb, and the playtimes short, the story of Max Payne was something I had never paid attention to. I haven’t played the first two games in years, but I recently went back and finished them again before playing Max Payne 3.
I originally had no intention of playing the first game again. I own the PC version of the second, but the original Max Payne came with Max Payne 3 as a digital download. Even though I bought Max Payne 3 used, the code was still in the box, unused. I got lucky. I’m so glad I replayed it.
There are no choices. Nothing but a straight line. The illusion comes afterwards, when you ask “why me?” and “what if?”
Max Payne used to be an NYPD cop, but when his family was murdered and he was framed for it, everything went to hell. As he attempted to destroy the people responsible, Payne discovered it wasn’t just a random drug-induced psycho murderer responsible. Forces more sinister, and a story much darker, destroyed Max’s once beautiful suburban ideal.
You probably hear a lot of people say, “Just skip [insert game title] and play the new one because otherwise you’ll get burned out.” This says a lot about a franchise if people think it better to skip entire installments because you might otherwise become bored of the series as a whole. It signifies not a bad game, but one that doesn’t innovate enough, in one way or another, between installments. I hear this sentiment about the Assassin’s Creed franchise a lot. I am now more enthusiastic about the Max Payne series than ever before. I champion for it now, not only for the gameplay and locales, but more for the plot and method of storytelling.
The Max Payne titles follow and adhere to one another as if they were one complete story, with each game referring back to its predecessor, including Max Payne 3. Going back and playing through the first two titles first had a vast impact on my appreciation for the series as a whole – I would not feel the same way had I not gone back.
“Punchinello was burning to get me. The feeling was mutual. He was trying to put out my flames with gasoline.”
The man who created Max Payne is Sam Lake. He wrote the script, he created the story, and he was the literal face of Max Payne in the original game. Lake’s studio, Remedy Entertainment, is responsible for developing the game – of which he also assisted in level design – and also created Alan Wake. (Notice their names sound similar: Alan Wake and Sam Lake.)
I have a newfound respect for Remedy, and especially Lake, that I even want to go back and replay Alan Wake. I’ve realized now, how genius Lakes writing talent is. It’s because I’ve grown up (sort of) that I can appreciate a good story, no a great story, when I see it.
Dialogue in Max Payne 1 and 2 is witty, raw, and drenched in noir style. Coupled with the voice of James McCaffrey, Max Payne feels like a living, breathing, and ultimately heart-broken human being. He’s not a caricature, but a real, sad person. I wish I could meet Max Payne and buy him a drin- er, maybe that’s not such a good idea.
Max is a deep character. His interactions with others and the world have weight and consequence. His emotions and attitude have merit. You want him to overcome the death and sadness surrounding him. I felt like I was Max Payne, feeling the stab of every horrible moment he felt, and truly sympathized with him.
All of this is accomplished through Lake’s ability to write, with the necessary help of McCaffrey’s ability to voice act, and McCaffrey’s deep voice to inflect at every opportune moment.
Whoever at Remedy chose to use comic strips as cutscenes had a brilliant idea that lent heavily to the atmosphere. Many of the characters aside from Payne are caricatures by design. This causes a superb effect that brings the entire world of Payne into a surreal comic book existence.
But not all is depressing and dark. Lake also wrote some extremely funny stuff, especially in MP2, that will have you chuckling and shaking your head. This lightens up the mood at the most opportune, sometimes even juxtaposed moments. For instance, there’s Dick Justice. Just saying the title makes me laugh aloud: Dick, Justice. He is a rip-off character, his story is Max’s as a blaxploitation television show seen at certain moments throughout the games on TVs and posters. Another is in reference to video games. At certain points Max’s inner monologue will refer to the HUD interface and feeling like he’s being controlled, like in a video game. Don’t forget about the Captain Baseball Bat Boy TV show, which is continuously referenced throughout the series. At one point in MP2, you go to a someone’s home that is littered with fan items. This guy even has a huge full-body suit of the main character, which he is wearing when you find him. If he takes it off: Kaboom! A bomb is strapped to it, triggered to go off if he ever removes the suit. Lake writes in such a way that approaches the fourth wall but never quite breaks it. It’s hilarious and ultimately damn good writing.
Like Alan Wake’s name is a reference to Alan waking, so is Max Payne’s name a reference to maximum pain. Something I have yet to see anyone talk about, even after many Google searches, is Mona Sax’s name. The first letter of the first name and the last letters of the last name spell out “Max”. On top of this, Mona Sax’s hideout is located at a fun house entitled “Address Unknown”. Yet another almost fourth wall breaking item named after the television show with the same name that mirrors Max’s paranoia throughout the second game. This meta-level is when I officially jumped onboard the “champion Max Payne” train.
Underlying almost every title and name in the game lies something deeper still: Norse mythology. A nightclub entitled Ragna Rock, a drug pivotal to the story is called Valkyr, and the company you storm is named Aesir Corporation. All of these reference mythological entities and locations in Norse Mythology. I had never recognized any of this until this latest playthrough of the games. The scope of the storytelling grew larger during every minute of playtime, as did my amazement of it.
Finally, the theme songs for the series are haunting and excellent to say the least. They raise the hair on my neck and bring me to a state akin to Max’s sad and angry isolation (in a good way).
“The storm seemed to lose its frenzy. The ragged clouds gave way to the stars above. A bit closer to Heaven.”
Games rarely have me feel this way, let alone gush about them with love. I feel this way about the original Halo and Mass Effect 1 to some extent, but Max Payne is now my favorite video game character of all time.
If you have never played Max Payne 1 or 2, or thought about playing Max Payne 3 without playing the previous two installments, you should go back and give the original two installments a try. Even if you’ve played Max Payne 3 but didn’t understand the main characters motivations and liked the gameplay, or only played the original(s) years ago, like myself, you should definitely consider replaying them. The stories are mature (in the true sense, not in terms of content), and the gameplay is also damn fun. You can complete both games in around 12 hours and then hopefully jump enthusiastically into Max Payne 3 like I did. All of the same praise I have for these two titles continues in the third game along with an amazing finish.
“I lied to myself that it was over. I was still alive; my loved ones were still dead. It wasn’t over.”
If interested, my review of Max Payne 3 will be posted in the blog at EZ Mode Unlocked within the next two weeks.
Now & Then is a series where we dissect the culture of a specific series or genre or compare an influential game from the past and how it holds up today.
It’s a bit wierd that American McGee (yes, that’s his real name as far as I know) was given an opportunity to be a Creative Director on this ambitious project, even moreso as an early project with EA. He began his career at idworking mostly in level design for many of the first person shooter series that I grew up playing: Wolfenstein 3D, Doom, and Quake. He was fired from id for reasons not known and eventually ended up at Electronic Arts, where after a few sound design and writing projects he was given a large budget and the role of Creative Director for Alice. Why EA back then agreed to put his name as part of the title or allowed him to create such a vivid project (in the Quake III engine, for irony’s sake) is beyond me, but it was a solid and pivotal decision. American McGee’s Alice is one of the darkest, most twisted games I’ve ever played and takes the story begun by Lewis Carroll more than a century prior and turns it on its head. To be fair, Wonderland has never been a “normal” place, begot mostly of fantasy concepts and mind-altered states, but I never felt that violence, murder, and insanity were heavy themes. While the gameplay wasn’t spectacular even at the time, the imagery and graphics impressed gamers enough to sell more than 1.5 million copies.
As you play through the game, the previous history of a shooter level designer is more than clear: Alice is a clunky character and each level has tons of wasted real estate that I found in many shooters of the time. Interestingly enough, you don’t seem to notice or care as the sinister tale of Alice’s dead family in the hands of a house fire unfold and you travel deeper and deeper into her insanity. Along the way you will be greeted by evil versions of characters you probably grew up reading about or enjoying in Disney’s animated take. I also need to amend my “wasted real estate” description by stating that although no enemies or interaction happens in large parts of the level, they are definitely brought to life with plenty of detail. Couple that with a handful of so-so boss battles and you’ve got a game. American McGee’s Alice was the game every PC player had in the year 2000, but rarely did anyone beat it. I don’t recall cheat codes being in the game, and thanks to some wacky platforming it wouldn’t really matter anyway, not to mention the crazy mazes and extended final levels as you approach the queen. In fact, the final two areas are easily just as long as the rest of the game, so just when you think you’re at the Queen of Heart’s front gate, you’re only really halfway there. Alice’s mix of a strong story, gorgeous graphics, and violent world continue to make it a well-remembered game for the time, even if you have to adjust for the nostalgia factor.
A lot has changed since American McGee’s Alice premiered, although it doesn’t seem McGee has learned his lesson with the sequel – I almost wonder if he designs a few levels first and then tries to build a game around them. Putting aside his newest release, Alice does not hold up all that well. Like it or not, today’s gamers (even the ones who grew up with these titles) do not easily tolerate a limiting camera and the platforming delays and small ledges are aggravating. Fortunately the game allows you to save whenever you want at the touch of a button, which means you can literally save before each jump or turning the next corner, and in truth you may actually have to do at times. The down side to this is you become more focused on saving than you do with the actual game and it soon feels like you’re playing Mega Man 2 or Castlevania on an emulator – sure, you may beat the game, but you feel like you cheated to get there.
Not only that, the game is still freaking hard even if you do save with every move you make and cheat codes have definitely gone the way of the dodo, so regardless of whether you’re on PC or console, your online achievement provider will force you to beat it legit. If somehow none of these things I’ve mentioned discouraged you, perhaps the various maze levels and the fact that you can wander around utterly lost for hours may do the trick. There are plenty of walkthroughs for this game and although the 8 hour campaign may feel like a tiresome journey, realize that for $10 you’re getting a decent deal. In addition, plenty of those gamers that never finished it as a child may want to go back and prove they can best the Queen once and for all, which was definitely my draw. I also have to completement the music, which I never noticed before but I’m keenly aware of this time around. Most of the music is made up of percussion-like sounds from children’s toys, which I recently found out was written and performed by Chris Vrenna, better known for being the former drummer of Trent Reznor’s band Nine Inc Nails. It’s best to go into this game with an open mind and realize that by the time you want to quit, you’ll be just far enough along that you should proceed onward to the eventual end.
There is a charm to Alice: Madness Returns and it does an excellent job of taking a dated concept into the contemporary gaming space, but you appreciate it even more when you play the original Alice and see where these concepts were born. Sure, the big draws from more than 10 years ago have all gone from positive aspects to negative ones, but this title is far from unplayable. It just stands to show that while you may remember American McGee’s Alice as this creative masterpiece from your teenage (or in my case college) years, perhaps you glossed over some of the finer points that deterred you before. Keep in mind though, we rarely completed any of the games we played back then.
Midway must have known it had a hit on its hands with the original Mortal Kombat because no time was wasted creating the sequel. While most of us anticipated the home release of the first title, Mortal Kombat II (MKII) snuck into arcades and blew our minds. This game literally had it all – more characters, more fatalities/finishing moves, and more violence. For most MK series fans, myself included, this is considered to be the best and it’s one of the highest grossing video games of all time.
MK Meets its Match
The original Mortal Kombatwas an impressive fighter, especially for one that was developed with digitized actors in only 10 months, but creator Ed Boon wanted to do more. “[MKII] had everything we wanted to put in the original MK but didn’t have time for,” he said in an interview with EGM2 (issue 5, Nov. 1994). It does seem like there’s some truth to his claim, especially with the introduction of more stage fatalities, a second fatality for each character, and even joke finishers “friendships” and “babalities”. I’m not so sure the roster was an initial idea, nor was the background concepts of Outworld, but I can definitely see the Midway team wanting to break away from the perceived reality of the original. Not only was MKII the definitive version of the original concept, but it continues to be the template for which all other titles in the series are based on.
In the second installment, Liu Kang has won the tournament and Shang Tsung returns to his home dimension of Outworld, defeated. He begs his ruler, Shao Kahn, for another tournament, this time in Outworld. Kahn agrees and gives Tsung back some of his youth while Raiden gathers a new batch of fighters. As a result the cast of 12 characters is made up of half Earth realm fighters and half Outworld fighters. In addition, all backgrounds take place in the demonic realm of Outworld, giving a slight cartoon feel to the previous game. While the game was in development it was decided that the motion capture sprites would be replaced by chroma key implementation (an effect that allows multiple layers into a moving object). This technique resulted in more muscular and shiny looking sprites, which helped to remove the reality feel of the first. Finally with extremely violent fatalities and joke finishers the game gave a distinct “not too serious” impression on what originated as a very dark theme.
All of the original fighters were planned to be in the sequel, but memory limits claimed the deletion of Sonya and Kano and in their place Reptile and Mileena were added. For those that wonder why the same number of characters can take up less memory, these are all palette swaps with already existing characters and thus require much less space to implement. This also explains why secret characters Jade (a green palette swap with Kitana), Smoke (a gray palette swap of the various ninjas), and Noob Saibot (a shadowed black version of the ninja template) all originate with other characters. Extreme attention to detail was taken and this is clear with the inclusion of Kano and Sonya in the background of the Kahn’s Arena stage as well as plenty of secrets held within the game. We’ve already mentioned them, but each character this time around two fatalities, a stage fatality (used on the Tower for spikes above and the Pit II for cement below), a friendship that gifted the opponent in some way, and a babality that would turn the opponent into a crying baby. The Acid Pool level also had a way to uppercut enemies into it, however this move was specific to that level as opposed to stage fatalities that were specific moves for each character. Rumors of “animalities” sprang up with Liu Kang’s second fatality dawning a large dragon that bit the opponent in half, which may have later led to the inclusion of these finishers in Mortal Kombat 3. Each secret fighter had a specific way to fight them and they all posed difficult threats just as Reptile was in the original – side note: Noob Saibot’s name derives from taking creators Boon and Tobias backwards.
I still remember the day this first came out and in an instant dethroned the original Mortal Kombat as an arcade gem. No one touched the Mortal Kombat cabinet if MKII was there, even if it meant waiting in a long line. This also started the collecting and passing around of moves and fatalities – with the Internet not mainstream we actually had pieces of paper that we would bring with us to collect everyone’s moves – and was a true testament to word of mouth. While we all still picked up the original for playing at home, Midway had found a way to get us to the arcades just as often as before. As expected, when the game came to home consoles a year later, there wasn’t a video game system owner that didn’t want it and this time around Nintendo wouldn’t make the same mistake.
As was the case with the previous game, Probe would be responsible for the Sega ports including Genesis, Game Gear, and now 32x. Since the Genesis was expected to be the lead platform and the largest performer – remember that although the SNES version was technically a closer port, many gamers had opted to get a Genesis for the original and would then get the sequel on that console as well. This time around there was no blood code to unlock and tons of secrets were included in the game with everything from one button fatalities to the infamous “Fergality” (you could enable the “Oooh Nasty!” cheat and play as Raiden on the Armory and make Probe CEO Fergus McGovern appear). This version was faster performing than even the arcade version due to its strong processor and visual limitations, but the game did look rough around the edges. In addition several things like backgrounds, winning animations, and sound effects were cut or changed from the arcade version. For most gamers, though, this didn’t seem to matter as the game’s fighting mechanics were spot on and the six button controller closed the gap that some users of the first game complained about.
Probe’s 32x port was supposed to significantly improve the sound and visuals, creating a more complete version of the game, but after playing it I have to say it’s pretty much the Genesis version. A few sound effects are included and all the winning stance animations are now intact, but hardly worth it for the advertised improvements.
The SNES version did look and sound extremely close to the arcade counterpart, especially given that all the blood had returned to the game after lackluster sales of the original (in Japan the blood was changed to green and fatalities were performed in black and white). Not only that, but Nintendo was so scared of consumer backlash for the violence that the game had not only a large “M” rating in accordance to the ESRB, it also had a large warning label from Nintendo warning of the extreme violence. Although there were some bugs in the original release (you couldn’t face Noob Saibot, for example), they were fixed and updated by the second release window and I never heard any of my SNES friends complaining. For those of us in the Mortal Kombat gaming scene, this was the version to grab. Mortal Kombat IIon the SNES also broke the mold on how violent games on the console would be moving forward.
With Probe on board for both portable iterations and Nintendo laxing its rules on violence, there was a degree of brutality in each version. The roster was stripped by four fighters, obviously the palette swapped characters all making it into the game, and each character had one fatality and oddly enough a babality. Both the Gameboy and Game Gear versions were identical save for the addition of color, blood, and a few extras in the Game Gear version. Some of the fatalities in both versions were altered slightly to re-use animiations for the sake of storage space. For what they are, both games are an achievement on their respective consoles.
Interestingly enough, this game was also re-released on PC, Sega Playstation, and Sega Saturn a couple years later. While we did not get the Playstation version, most of the disc-based versions of this game were plagued with sound issues because Probe didn’t make the tracks into redbook audio (or CD tracks) and instead included synthesized data on the disc. Furthermore the game would completely freeze up with the MK dragon in the center as it loaded each character’s morph with Shang Tsung – the Sega Saturn version allowed you to pre-load a few characters before the match and it would also allow palette-swapped characters even if not selected, thus granting the player at least half the roster when selecting Shang Tsung. Aside from those minor hiccups, these ports are extremely close to arcade faithful.
You can also find this game on various other platforms like the Midway Treasures Collection Vol. 2 on Xbox, PS2, and PSP, as well as an unlockable for completing the PS2 title Mortal Kombat: Shaolin Monks. For a brief period of time a completely arcade faitful port was released on the PS3 as a downloadable PSN title, complete with online play, but it was removed once licensing with Midway expired. Now you can find the game in the download title Mortal Kombat Arcade Kollection on XBLA and PSN, which includes the first three games all enhanced with online play.
This game was one of the first to be banned in Germany (we covered many banned games around the globe here), and Jax’s arm rip became one of the official bloodiest moments in gaming history by IGN as well as one of the goriest games of all times in an issue of EGM (1995 buyer’s guide). Another interesting controversy surrounded something that wasn’t even in the game: the rumored “nudality” or “sexality” that many spoke of as being an unlockable feature in the game. Now I can scoff that off as proposterous, but back in the arcade days when we were discovering different secrets left and right, it sure seemed possible.