Archive for the ‘Game Gear’ Category
This week Fred goes solo to celebrate Doom‘s 20th Anniversary and the Mega Man series. Keji Inafune’s legacy may live on through Mighty Number 9, but when he was a young new college grad Capcom employed him to create one of the most beloved and long running franchises of the company’s history.
Also if you want more Doom coverage, feel free to check out our podcast on Doom clones.
It’s hard to believe, but the typical cartridge game began to phase out of gaming in 1995 when the new wave of consoles and the subsequent movement to disc-based media began. I’m sure plenty will be quick to point out that the N64 was a cartridge-based console, but I truly believe this decision was the result of Nintendo not wanting to give up the control over manufacturing and sordid history making a machine that read discs. This change happened 18 years ago, which means there is a significant number of gamers that are now in their early to mid 20s that have never played games on a cart. This is truly a shame because the versatility of cartridges is much more abundant than most people realize, but the crutch will always be that carts offer little storage for massive prices. In today’s lesson we will discuss what makes up a cartridge, benefits/setbacks, and how the cartridge was used to literally upgrade consoles for more than two decades.
Anatomy of a Cartridge
For the most part a cartridge is a plastic-encased board containing “read-only memory” or ROM data that has exposed pin connectors (male) that fit into a slot on the reading device (female). Since it’s a complete circuit board, multiple ROMs can be used to store data, which we will get to in a second, and allow for an expanse of memory based purely on the connected printed circuit board (PCB) and the device reading it. Of the most popular uses for ROM carts is software for computers that expands almost solely into gaming once game consoles begin to release. It was the dominant format for many microcomputers, mostly used outside of the United States, and almost all game consoles for two decades (mid 1970s to mid 1990s). Many believe that the use of a cartridge was due to no other decent format being available, but this is simply untrue. By the time carts were in use, programs/games could be loaded via floppy disc (5.25″), compact cassette tapes (not unlike audio cassettes), and removable circuit boards (think arcade machines). The decision to use cartridges was due to the fact that the memory was permanently stored in the chip and memory mapped into the system’s address space (ie: it was basically integrated into the machine). As a result data access was almost instant (no load times), the cart could be used for hardware expansion in addition to loading code, and due to the streamlined process it was very difficult to extract the code and thus safest for mass distribution of software. Unfortunately it was also quite expensive and thus storage space was expensive, not to mention that the code could never be altered or accessed, which made for difficulty with saving and loading.
The first console to use cartridges was the Fairchild Channel F, a game console that predates the Atari VCS/2600 by a year and featured many of the same aspects of the pop culture sensation. It is not as widely known due to the similarity of titles that were mostly archaic sports titles or educational material. Naturally in 1977 when Atari introduced the VCS with arcade ports and diverse addicting third party titles like Pitfall resulted in the streamline of the format. Due to the fact that the cartridge is an integrated part of the machine, Nintendo made heavy use of the cartridge to make both the Famicom and the NES capable of keeping up with changing times for quite a while. Not only that but some carts, especially in Japan where custom chips were allowed, were capable of acting as a game, a hardware upgrade, a save state, and an anti-piracy device all at once. This practice was pretty standard for most consoles that utilized carts until the aforementioned 32-bit era where expansions moved to actual hardware expansion ports and even the N64, which could lean on carts, used ports instead to expand the on-board RAM.
ROM types and Special Chips
The oldest ROM type is Mast ROM, which refers to information stored permanently via integrated circuit when the chip is manufactured. The term “mask” refers to the masking pattern on the integrated circuit when it is created. This is the oldest form of ROM and definitely what went into the creation of Nintendo carts, which were manufactured by Nintendo and worked as a supplemental business to the license fees and cut of each unit sold on the NES. This is the cheapest way to get the most memory, however unless you have a mass production line the masking of the integrated circuits can be a costly endeavor and without the vast quality controls like Nintendo had one poorly made program or coding error can ruin an entire production. You can understand why Nintendo was so strict back in those days, especially because masked integrated circuits cannot, by their very nature, be re-written or reused. The up side is that there is little chance once successfully produced that the chip will suffer decay, failure, bit rot, and various other issues that can plague other ROM types, which is why you will see most classic carts last nearly forever (please note that the save battery memory is a different story). I know that this was the most common type in all Atari consoles, NES, Turbografx-16, and Sega Master System. Beyond that it is entirely possible that the SNES, Genesis, 32X, and portable consoles may have used other formats like Erasable Programmable ROMs (EPROM) that allowed you to reprogram chips with ultraviolet light or Electronically EPROMs (EEPROM) that allow you to erase and re-write electronically. There are generic PROMs that can be created with a ROM burner and remove the need to produce them like a mask ROM, but they are still one time use and were more for arcade and pinball repair, which may mean they can be found in Neo Geo carts. As for Jaguar and N64, I’m guessing EEPROMs, but there’s still a striking possibility that these companies known for mass production of carts since the 80s still made traditional mask ROM carts, especially with the lowering price of PROM and the relative high emulation/piracy of the late 90s. It has been said that PROM, EPROM, and EEPROM may have a higher chance of failure, but most carts don’t seem to have a problem no matter what is used and plenty of fixed arcades have had no problem whatsoever (especially because they can be wiped and reprogrammed). ROM chips typically varied in size from 2 kbit (not to be mistaken for the large 2 kbyte) that held roughly 256 bytes all the way up to the expensive 32 megabit chip that held 4 megabytes. This is why you saw statements on Street Fighter 2 that said things like “32 MBit Chip!” because it was touting massive storage space. Some games are rumored to have even larger ROM chips that compressed data and justified hefty price tags like Final Fantasy III launching for $80 in the US or Street Fighter Alpha 2 having load times on the SNES while data uncompressed. It was all par for the course when trying to get as much data on a cart as possible. I do believe that as RAM was integrated into consoles, like we saw on the N64, that compression and temporary storage allowed for more data to be stored for the larger 3D games of that console.
In addition there can be extra chips placed into the carts to allow all kinds of extra functionality, which basically means the carts acted as hardware upgrades. This makes sense when you think about the massive leaps between launch games and later releases. 2600 carts were pretty straightforward, but NES carts had a few extras like the anti-piracy NES10 chip that was required to be on the PCB in order for the NES to play (if it doesn’t detect this due to a loose connection you get the popular blinking console effect, which is the NES10 chip on the console rejecting the cart). Saving became a large feature as well, which led to almost all cart-based save states to be stored on Static Random Access Memory (SRAM), which was able to keep save data stored after power is cut (uncommon for RAM) provided that a small current still passed through. This is why a lithium button cell CR2032 battery is used in most cases and once that battery dies (typically around 20 years, but can go much longer) the SRAM no longer functions. To fix this, simply de-solder the dead battery from the SRAM leads and solder in a fresh battery to the leads. In Sonic 3 as well as a few others, Sega decided to use much more expensive non-volatile RAM (NVRAM), which was an early form of flash memory we have today and retains information after power is cut, which is why Sonic 3 carts should retain save data indefinitely.
As for expanding the functionality of a console, special chips could literally upgrade a console to allow it to do things it was never intended to do. In Japan the Famicom was allowed to have special chips put into its carts so companies could go crazy on internal development – due to no video game crash, Nintendo did not force Japanese development studios to manufacture carts through them like in the US. This explains the VRC6 chip in Akumajo Densetsu (Castlevania III) that allowed for extra channels on the Famicom’s unused sound port. In America Nintendo began releasing special Memory Management Controller (MMC) chips that allowed for some of the Japanese innovation to happen on the NES, albeit in a stripped form due to the different hardware profile of that console. Here are some of the popular chips:
- UNROM: Split the program data from a 32 kbit chip into two 16 kbit chips, one that stored the data and one that transferred data to RAM chip for faster loading and effects. This was seen early with impressive titles like Ikari Warriors and Mega Man and assisted in side scrolling of dynamic characters and certain effects.
- MMC1: Allowed for save games. In addition to having 16 or 32 kbit ROM programs, 4 and 8 kbit SRAM was integrated and powered with a button cell lithium battery. This was essential to getting Famicom Disk System titles that had save data to run on NES carts such as Legend of Zelda, Metroid, and Dragon Warrior. Although Metroid didn’t support saved checkpoints like the FDS version did, massive passwords allowed pre-stored save data.
- MMC2: Basically split a 32 kbit chip into a 24 kbit chip with two sets of 4kb banks for pre-loaded graphical data. It allowed more graphics to display on screen at once due to the additional banks being only referenced without assets in the main code. Only used for one game, Mike Tyson’s Punch-Out!! to load the massive sprite opponents.
- MMC3: This massively split the memory allocation and integrated a scanline IRQ counter to allow for certain assets to scroll while others remained stagnant. Necessary when keeping dynamic items like consistent scores, life bars, and more fixed on the screen and moving while a second “window” was performing more dynamic gameplay. Nintendo’s most popular chip and key in many large titles such as Mega Man 3 and Super Mario Bros. 3.
- MMC4: Utilized only in Japan for the Fire Emblem titles to create effects similar to the MMC2.
- MMC5: The biggest, most versatile, and most expensive chip Nintendo offered. Developers avoided it like the plague due to the high cost and reduced profit margin. This had several different memory allocations, IRQ counters both horizontally and vertically, allowed for very dynamic effects, and opened extra sound channels along with a 1KB of active RAM. Since Koei was almost the sole user and none of its MMC5 titles came out in America, the only title to really use it was Castlevania III to create a similar, but still inferior, version of the Famicom title in America. The MMC5 chip was so complex that almost all clone consoles do not support it and emulation took a long time to decipher integration of the ROM. For this reason alone Castlevania III was one of the few games you had to have original hardware to run. Emulation is currently no problem however clone systems that run actual carts still do not support the title.
- MMC6: This final mapper chip extended the size of SRAM over the MMC3 chip by 1KB, which allowed for the larger save files of Startropics and its sequel to save games.
There were more custom chips that did eventually show face in America, but these were the most common and basic chips. Nintendo would loosen their policy and generate several custom chips for the SNES as well allowing for all kinds of impressive hardware tricks. Some of those are as follows:
- DSP: The digital signal processor chip allowed for various 2D and 3D calculations in several iterations that allowed for asset conversion for older graphics techniques, rotation effects, raster effects, and mathematics that could all be performed independently on the cart instead of using the SNES. Popular games that used this rotation technique are Super Mario Kart and Pilotwings.
- Super FX: This was a supplemental CPU for performing graphics calculations that the SNES simply could not do. Think of it as an external graphics card for the 16-bit console, as it was a separate 16-bit CPU integrated into the cart. Since it had simpler duties than the SNES, the Super FX chip’s iterations were capable of 10.5 mhz and eventually 21 mhz of processing power, which blows past the 3.5 mhz processor of the SNES and allowed for the 3D rendering of titles like Starfox. Later updates allowed for support of larger ROM sizes (for a long time the game program had to be less than 8 mbit or 1 mbyte of data).
- Cx4: This chip was Capcom’s way of showing off rotational, polygonal, and wire-frame effects in the Megaman X series. While the first title used a traditional chip, Megaman X2 and X3 had special test screens and crazy title screens that to this day cannot work on cloned consoles, flash carts, or even later hardware emulation (like the Megaman X Collection on PS2/Gamecube). Of course the emulation community has successfully gotten this working on software-based ROMs.
- SA1: The Super Accelerator chip that independently worked with the SNES as a co-processor creating a faster 10 mhz clock speed over the 3.5 of the original hardware, faster RAM functionality, MMC capabilities (see the NES section above), data storage and compression options, and new region and piracy lock out protection. This chip was essential in certain impressive titles like Super Mario RPG! and Kirby’s Dream Land 3, which cannot currently be replicated on flash carts. Software emulation on both the openware PC scene and official Nintendo Virtual Console titles do support the chip.
There were several others that were utilized for specific function in addition to the Genesis having the Sega Virtual Processing (SVP) chip in Virtua Racing to make the most technically impressive 16-bit game ever created. Unfortunately it also cost $100 at initial launch, wasn’t impressive from a gameplay standard, and doesn’t work with any clone or flash carts out there. Emulation is possible but with varied results.
Well there you have it. A brief breakdown of the technical marvel that was the cartridge and the hardware benefits it provided. It’s almost difficult to imagine a world without load times, where data access is instantaneous (something even flash carts can’t currently do). While it wouldn’t be possible with the massive memory required today and the equally massive cost of manufacturing, there was a time where a few bits in a plastic case meant to world to each and every gamer.
This week we play the two 3D Sonic titles most of you have never touched. First up is the unreleased demo of Chris Coffin’s late in the development cycle version of Sonic Xtreme as discussed on this week’s podcast:
And next is the Brazilian Master System port of the Game Gear’s final Sonic title, Sonic Blast, which utilized much of the same technology as Donkey Kong Country:
This week Fred is teamed up again by Andy (@damien14273) and Ali (@thealmiesta) of the 42 Level One podcast (@42levelone) to discuss the second and final part of the history of Sonic the Hedgehog. For the second part we cover Sonic’s 3D outings including the sordid tale of Sonic Xtreme (and its many other project names and iterations) as well as all other 3D Sonic titles up to 2006 (Sonic the Hedgehog on 360/PS3/PC). Although it ends badly, trust us, it’s a great ride.
Opening Song – Living in the City from Sonic R (Saturn)
Closing Song – Sonic X Theme from Sonic X cartoon show
This week in honor of our Sonic podcast, I’m playing the 8-bit (Master System/Game Gear) outings of Sega’s mascot. If you’ve never seen them before, they are drastically different than the 16-bit versions.
First up is the original Sonic the Hedgehog:
Next is, obviously Sonic 2:
And finally, Sonic Chaos (Sonic & Tails in Japan), which was to be the 8-bit companion to Sonic 3 had it not been delayed:
This week Fred is joined by Ali (@thealmiesta) and Andy (@damien14273) from the 42 Level One podcast to discuss Sonic the Hedgehog. With a heavily documented history, Sega’s official mascot to combat Mario had quite the history. In part 1 we discuss the origins of Sonic and all of his 16-bit era outings (which include his 8-bit Master System/Game Gear titles, spin-offs, and his CD outing), complete with the games themselves and the stories of development. While long, there’s no lack of content or stories tethered with the beloved hedgehog.
Opening Song – Sonic Theme (from Sonic the Hedgehog on Genesis/Mega Drive)
Closing Song – Sonic Boom (from Sonic CD on Sega CD/Mega CD)
Developer: Midway / Probe Software (console)
Publisher: Midway / Acclaim (console)
Ports: Gameboy, Game Gear, Master System, Genesis, SNES, PC/DOS (all as T2: The Arcade Game)
Digital Release? No (probably due to license issues)
In 1991, the sequel to Jim Cameron’s film Terminator hit theaters and literally launched the careers of Edward Furlong and Robert Patrick as well as ushering in a new generation of computer generated image (CGI) effects. With a monster budget the film was accompanied by a marketing blitz like no other. At that time making an arcade game for the movie was a great and potentially cost-free endeavor (it would make as much in revenue that it cost to produce), which resulted in one of the heaviest cult following of a licensed game I’ve ever experienced. Not only was it a licensed arcade game, but it was also a bolt-on light gun game (which I describe in my Operation Wolf article) that made it significantly more approachable than any other format. For me, it was the “why can’t I beat the damn third level!” game.
It’s quite an expansive experience that takes you through most of the pivotal moments of the movie, including several levels that take place in the post-apocalyptic future and subsequent present day challenges. Like other shooters of its type, you have a primary machine gun weapon and bombs that can be fired off for some of the stronger enemies or to take out clusters. I must admit that at the time it was awesome taking out the original T-800 cyborgs we first saw in the original Terminator and the neo-future setting. Then you hit level three. Most people don’t remember and even fewer talk about the fact that unlike arcade quarter-swallowing titles like Revolution X, level three requires skill to complete and no amount of money in the world will get you past it. This is why most people who have played this game get hung up on or never see beyond the third level. It’s a protection mission where you literally have to memorize the spawn points of the oncoming enemies that seek to destroy the truck John Connor is fighting in. This vehicle is very susceptible to damage and if you can’t intercept the airborne enemies right as they appear you have no chance of completing the level. If John dies, you have to restart with no true penalty. This resulted in long, repetitive, and frustrating replays of an escort mission you never wanted to play. It’s really disappointing too, because the remaining seven levels are both fun and provide much more fan service for those that have seen the movie. These levels are also brutally difficult to the point that I don’t think it’s possible to pass on consoles and requires more than 50 credits on arcades/MAME.
There are plenty of people out there that adore Terminator 2: Judgment Day but as for me the impossible nature of the third level remove all desire to tackle this game. At the same time, all you need is a pencil and paper to record where each ship spawns from and the level should be a breeze (they never change, always the same patterns). Still, even with only three levels played, this is a great shooter in the Terminator universe, but I still can’t let the frustrating third level go.
This title was ported to most home and portable consoles as the retitled T2: The Arcade Game due to the Terminator 2 game that had nothing to do with the arcade. While I don’t see much of a point to the gameplay on the Gameboy or Game Gear, the Master System, Genesis, and SNES ports are faithful recreations. You are forced to use the gamepad on the Master System, but I think that is a better option than trying to rapid fire the Light Phaser at the speed T2 requires. On the Genesis you could use the Menacer, which I didn’t care for, and on the SNES you can use the Super Scope and even the mouse that came with Mario Paint (a great way to play, might I add). Graphically they all look close to the same but the different graphics modes on the SNES (especially Mode 7) allows that port to look and act quite close to the arcade game. Basically if you have a choice, go with the SNES version.
Given the frantic and brief nature of most shmups, the genre is perfect for the portable platform, much like it was perfect for the arcade. For one reason or another, these titles can be rare to find on traditional handhelds and even harder to find actually good ones. On the other hand some of my favorite shmups are exclusive to portables (at least in the United States) so we’ve compiled a list of the portable shmups actually worth playing.
5. Space Invaders Extreme (Nintendo DS)
When Taito decided it would re-invent the Space Invaders formula I was skeptical. We were told in previews that the game would feature an upbeat techno soundtrack, plenty of screen tricks and explosions, dual screen integration on DS, and a hybrid between modern game mechanics and the original title. Just in case that sounds tempting to you, it’s almost verbatim what no gamer wants to hear when a beloved franchise is rebooting. Somehow Taito pulled it off and with no updates save for that fearful list Space Invaders Extreme was an addicting masterpiece. It released in a few forms on a few consoles but bar none the Nintendo DS version is the one to get. With non-linear level progression and utilization of dual screen to make the DS function more like a vertical arcade monitor, it’s like having Space Invaders on speed. Bonus rounds, boss battles, and power-ups were simple tweaks to the original formula that switched up gameplay without being a specific reason to play the game. Needless to say if you haven’t played Space Invaders Extreme, regardless of whether or not you’re a fan of the original, you should give this handheld game that’s easy to learn and brutal to master a try. It will keep you occupied for many a train, plane, or bus ride to come.
4. Halley Wars (Sega Game Gear)
With the small screens of most portable consoles it never ceases to amaze me how many vertical shmups find their way over, but despite that fact Halley Wars is not to be missed. Set in space, this is the sequel to the 1986 arcade game Halley’s Comet entails defeating an alien invasion that is utilizing Haley’s famous comet as cover for an attack on Earth. In Halley Wars you progress through six levels that are not only lengthy but end with great pattern-based boss battles. True, this game did come to home consoles in Japan but in America the only version we received was on the Game Gear. While I can’t think of anyone who had this in their collection growing up, I found it surprising that this title is neither hard to find nor is it expensive locally or on eBay.
3. Solar Striker (Nintendo Gameboy)
Gameboy (and Gameboy Color) aren’t really hurting for shmups, but I don’t like many of the home console ports that seem forced into Gameboy’s little screen, especially when I’ve got a much better version I can play in another room. Solar Striker was developed purely for the Gameboy and it’s a vertical shmup that not only follows the Gradius theory of beating the game in one life, but it also takes to the green blurred effects of the portable nicely. Each enemy is larger, taking up real estate on the screen and not making their presence a secret, sub bosses and end stage bosses offer pattern learning that’s sure to aggravate today’s gamers with their initial unfair feel. You get power-ups throughout the game and building up five in a row gives you a primary shot that fills a big portion of the screen, which is why I say the game is best completed in one life. Maybe compared to all shmups that exist it’s nothing special, but for a game that is aware of and works with the limitations of the Gameboy, you can’t do much better.
2. Gradius Gaiden (as part of the Gradius Collection on PSP)
This is another game that was previously released to a home console, but unfortunately we never saw Gradius Gaiden on the PS1 in the US so your only option is through the collection. It’s really a shame too because Gradius Gaiden is easily the best in the series, utilizing 3D sprites in a 2D background and bringing a nice aesthetic to the Gradius formula. It’s not all smoke and mirrors either, this was the first in the series to feature fully customizable ships and power-up chains – you can literally use any previous Gradius ship and have your power-ups unlock in any order. If you want to have your first power-up be options, fine, you can have 5 options before the brunt of the level even starts. This doesn’t make the game easy by any means; the balance is that attacks and enemies are so varied you will need various power-ups to overcome many of the levels. Not only that but the new graphical tricks allow for some crazy encounters like ice caves crashing to pieces and dropping snow and debris into the play field as you traverse the level or a cube of Moai head statues rotating in all directions around you. While the Gradius Collection is the only of the three Konami collections to release on PSP in the US (there are fantastic Salamander and Parodius collections in Japan), it has become a title that’s a bit hard to come by with no digital version released. Still, I don’t see it for more than about $10-$20 when I do find it and you can always give in to eBay mark-up if you’re desperate, but the fact that you get Gradius Gaiden plus the original three titles (including the super rare Gradius II: Gofer No Yobo arcade version) makes this a must buy for shmup fans on the PSP.
1. Aerial Assault (Sega Game Gear)
I have no specific argument as to why this is my favorite portable shmup, except for the fact that it fulfills the need for catharsis with every move. You play as a simple airplane craft that navigates a horizontal landscape taking down mostly easy to shoot enemies and collecting power-ups along the way. Like the other Game Gear title on this list, the levels are lengthy and offer a decent run for a game designed to be played in short spurts. While I’m sure hardcore shmup fans find the difficulty to be pathetic, I personally appreciate the fact that the game isn’t too hard or requires too much concentration from you. It isn’t enough to make your bored, there is still some fight in the title, but it’s not Ikaruga by any means. I appreciate it because the developers seemed to understand that you will most likely be playing this in public where it’s difficult to offer the concentration of a normal shmup and you probably don’t want to throw a hissy fit in front of a bunch of strangers. It’s for those long days at the office or nervous moments before a dentist appointment when you can bring out your Game Gear, spend 10 minutes feeling like a badass by blowing up a ton of aircraft, then power it off and move on with your day. Thankfully this title is neither rare nor particularly expensive and as it’s the only fighter jet shmup series that’s set in my preferred horizontal perspective. As if this isn’t enough, growing up this was the first portable title that I played at home when I had other consoles at my disposal. I can’t help but love the fact that Aerial Assault exists.
Instruction Manual: Helpful – Link
Played it as a child? Yes
Value: $8.88 (used), $39.99 (new) (pricecharting.com)
Other Releases: Yes – Simply known as Spider-Man on Genesis, Game Gear, and Master System
Digital Release? No
As we sometimes see in the 16-bit era, first party published titles became interesting exclusives on either side of the console wars and among the various Spider-Man titles I have to say this is my favorite. Amazing Spider-Man vs. Kingpin (or better known on all other ports as Spider-Man) tasks you with defusing a bomb set by the nefarious Kingpin within 24 hours (pretty sure that’s not real-time) by collecting keys from different foes in the Spider-Man universe. This was the first game I played that gave me exactly what I expected out of a superhero title. It allowed me to play as Spider-Man, it had solid controls that included web slinging and wall grabbing, and it did it all in a side scrolling platformer/brawler. Not only that, but the game embraces a non-linear structure where you visit locations throughout the city and face whatever is in certain locations, which felt like it freed the game up to your personal pacing, something quite uncommon in the days of early platformers. While the plot centralized around the Kingpin, you will take on almost all of Spider-Man’s key foes including Venom, Doc Oc, Lizard, and Electro, just to name a few. Graphically the game had that semi-real grit that Sega titles all seemed to offer in the early 90s with great animated storyboard art throughout.
The Sega CD version was enhanced in several ways. As with most titles on the console, animated moving cutscenes were integrated complete with voiced dialogue for all the characters – as a fan of the Teenage Mutant Ninja Turtles animated 90s cartoon, I’m pretty sure the same cast was utilized here. I must admit that the cutscenes made the game look more cartoon-like, a stark contrast to the traditional levels you would traverse moments later, but they are in the same style as Willy Beamish and I just thought it cool to see Spider-Man come to life. This game also had collectible comics in various locations, 21 in total, that were digital scans of actual comics that you could explore and read in the main menu, another nice touch. In all of the other versions of this game, Spider-Man is tasked with taking photos of enemies to sell to J. Jonah Jameson at the Daily Bugle to purchase more web fluid, however in the Sega CD version web fluid is a simple (and common) pick up within the world. Finally the soundtrack was much better than the cold metallic “beep boops” of the other Sega ports and instead featured a soundtrack by Spencer Nilson (a composer that almost solely did Sega CD titles, known best for the Sonic CD soundtrack) and performed by the rock band Mr. Big. Of all the updates made to the game, the drastically enhanced soundtrack stands out.
It’s just a fun game of exploration and bumping into the various foes of Spider-Man, which was always the key plot points for almost all of his comics so it felt like your own personalized adventure. Like so many other titles of this era, it took me more than two hours and several game overs before I even figured out where the enemies are and how to diffuse the bomb, although I’m certain there are a few dozen walkthroughs that can be found on the Internet today. There’s a twist after completing the bomb diffuse mission that completely twists what the game is about and makes the player more prompted than ever to capture Kingpin. I was also surprised that it is possible, and frankly for me a bit too easy, to fail in the final fight and have some very tragic endings (I think there are three different endings), which was something I didn’t expect and seemed like an idea Marvel would never approve. Amazing Spider-Man vs. Kingpin is easily the best port among the different versions on Sega consoles and is yet another stunning example that Sega CD does more than just port a game, but it’s still a bit disheartening that at its core the overall title can be found elsewhere with much cheaper hardware. In any form, however, it’s well worth a play for retro gaming fans and comic book fans alike; in fact, it’s the sole reason that Marvel continued its licensing deal with Sega and according to developer Randel B. Reiss, two-thirds of all Genesis/Mega Drive owners purchased this game. In hindsight, a 66 percent attach rate on a specific game is almost unheard of, even today, unless its one of the powerhouse exclusive titles (think a Mario or Sonic game) and Spider-Man should be highly commended for that feat alone.