Darkstalkers‘ Morrigan Aensland is one of my favourite female videogame characters. I guess that’s a fairly unoriginal statement to make in 2019 but it was a different case back when Capcom’s Darkstalkers/Vampire fighting game series was a little more obscure and more the preserve of the genre faithful. Whatever your age or gaming experience, however, it isn’t difficult to fall for Ms. Aensland’s charms and so it’s no surprise that there are many figures and statues based on the sexy succubus.
There are only three that matter in my opinion though: the Max Factory statue (based on Kinu Nishmura’s Capcom Vs SNK 2 artwork), the reclining Yamato resin figure (with realistic feathers) and this nurse-themed figure from Capcom themselves, released under their Figure Builder line. The uber-talented Ms Nishimura was also behind the artwork that inspired this figure. Like the Max Factory statue (which I also have), I took one look at the preview pictures for this figure and knew I HAD to have it, despite the fact that I was adamant that my days of buying statues were over.
First of all…just look at it. Whoever sculpted this figure knocked it out of the park and dialled the sexy factor up to eleven. A lot of credit for the design must also go to Kinu Nishimura and her visual design of Morrigan’s nurse outfit. The metal bat incorporated into the stocking/garter is such a nice touch. Then there is the translucent ‘blood’ base with a cute lil’ bat popping up out of the blood. Morrigan herself is posed brilliantly, giving her patient a devastating view as she produces a thermometer.
Obviously, PVC figures can’t hold a candle to the vastly superior quality of the limited polystone statues that cost hundreds of dollars, but the finish here is still pretty damn good. If I have any criticisms then the first would be the inclusion of the oversized injection needle behind Morrigan. Yeah, it looks cool and fits the horror theme but I think the figure would have been just fine without it. Secondly, I’m not sure that her breasts needed to be so enormous. Don’t get me wrong, I’m certainly not complaining, but just a little bit smaller and they’d still be pretty damn big as well as better proportioned overall.
In conclusion, this figure is second only to the older Max Factory Morrigan statue in my opinion but that’s just because I love that particular pose and the artwork it was based on. On balance, this nurse edition of everybody’s favourite succubus is of better overall quality and pretty much essential if you are a fan of the character.
I first played Street Fighter Varound a year after it came out. By that time, it seemed that a great deal of those who had been disgruntled with the original launch had cooled down somewhat and were now accepting of the game. I wasn’t one of those people. I was highly critical of Capcom’s fighting game and recall branding it a “disgrace”. The game was released in what appeared to be a sparse unfinished state. In truth, Capcom had simply adopted a variation of the F2P approach with an increasing amount of content hidden behind a paywall. That approach is fine if it is advertised as such. But to go down that route AND sell the game disc for full RRP is to take the piss (to put it politely).
Single-player content was more-or-less extinct and you had to pay for everything, even down to colour swaps. The rub was that you could earn all of this stuff for free using the in-game Fight Money currency but amassing enough of it to unlock everything was impossible if you were an offline player. Believe me, I tried.
What Capcom did with SFV was appeal to the hardcore tournament types who were all about being online and increasing their win tallies. Single-player? What’s that? The lack of offline modes and the fact that Fight Money was easier to earn online was proof of that. In fairness, I can’t 100% blame Capcom for that because fighting games have always been about competitive play so it’s understandable that Capcom’s focus would be on the online side of things.
[Source]But it was still a bitter pill to swallow for somebody like me who has been playing fighting games since the 90’s and was used to loads of single-player content/modes and working to unlock stuff. The genre has changed a lot since those days however and fighting games in general don’t have a lot of SP content. As for those unlockables, they are now on the Playstation Store (and whatever the Xbox equivalent is) for you to unlock with your credit card, not perseverence and skill. To say that I’m still angry about this would be incorrect because it’s just how videogames have evolved and how publishers operate as businesses in 2019. I get it. I don’t have to like it at all but I get it.
Street Fighter V felt like a step too far however. I played the game for a while and enjoyed what I played. The gameplay is pretty damn tight and I did dig the art style and exaggerated characters. SFV also saw the return of Rainbow Mika – one of my favourite fighting game babes of all-time – so I had to play it. But I lost interest in the game fairly quickly and set it aside. I was enjoying the likes of The King of Fighters XIV, Dead or Alive 5 and even Mortal Kombat X more. True, all of these games had DLC strategies too but nothing as in-your-face as Capcom’s game. KOF for example had a mixture of free and paid-for DLC updates. DOA charged the player to play dress-up with more DLC outfits than were ever needed but at least there was ample single-player content and a standalone F2P edition (Core Fighters) that didn’t encroach on the ‘normal’ game. As for MKX, I just waited for ‘XL’ edition which had all of the DLC on the disc.
And I haven’t even mentioned the ridiculous censorship that Capcom forced on SFV, just in case people were had nightmares about a blink-and-you’ll-miss-it shot of Cammy’s gusset or were offended by Mika smacking her juicy booty. I’ve already said my piece on this before so I won’t go into it again. All I’ll say is that it was so unnecessary and the edits were nothing other than quick hack jobs.
Retro nostalgia plus curves aplenty. Yep, I’m pretty easy to sell to despite my deep cynicism.
So I’d stopped playing SFV and, quite honestly, didn’t feel like I was missing anything. The new characters that were drip-fed over the course of several season passes didn’t really tempt me back in either. But fast-forward to the present and I have decided to give Street Fighter V a second chance. It all started when I noticed that Capcom had raided their back catalogue of slightly obscure characters and brought Final Fight 3‘s Lucia to the game. I always enjoyed FF3 so this was a nice surprise. Following this, another of my favourites – Poison – was also introduced to SFV. Yes, I like the female characters with the exaggerated curvature and big boobs – guilty as charged.
Clearly, I was a victim of the “sex sells” philosophy because I thought “fuck it” and decided that the introduction of a few more bodacious babes was the ideal excuse to give the game another shot. Aside from the expanded roster, I was distantly aware that some new offline modes had also been added. Maybe I’d enjoy the game now? I managed to pick up a cheap copy of the ‘Arcade Edition’ since it includes all of the characters from the first two season passes. A bit of a blow for those who paid for them originally but this is Capcom – what did you expect? The first thing I discovered was that you absolutely MUST buy this game sealed because the additional content isn’t on the disc itself.
That’s right, it’s a download code on a piece of paper which means that used copies of this game are effectively worthless. This fact is also not advertised on the back of the box so be careful! As with the original version of the game, the Arcade Edition‘s Blu-Ray disc is essentially just a coaster that will be worthless in the future since there is far more DLC and digital updates for this game than whatever is actually on the disc itself. Speaking of updates…
Yes, it had been THAT long since I’d last played this game or updated it. A whopping 27GB of data needed to be downloaded and with my extremely average internet speed, it was estimated to be a five-hour wait. This is yet another aspect of newer games that does my head in versus the put-the-disc-in-and-play simplicity of older generations. But it is what it is and so I played something else for the next TWO DAYS while this King Kong-sized update did its thing in the background.
At last, I was back into the game. Now, I did say that I thought SFV played well and I won’t retract that statement but I WILL say that it isn’t an easy game to just pick up and play. I don’t think so anyway. The basics are the same as any Street Fighter game but working out how to use the V-Trigger stuff isn’t necessarily so straightforward. Until I’d spent time experimenting, I didn’t feel as if I was playing the game properly, if you get what I mean.
Then there is an overload of rewards and in-game currencies. Fight Money, gems, Fortune Tickets…it’s all a bit too much. I’d much rather just have the game and the DLC – not all of these attempts by Capcom to make it look like you can earn stuff for free. Not easily anyway. You have to spend Fight Money to earn Fortune Tickets in Extra Battle mode for example. And even then, you can just skip this shit and pay for the stuff from the store which is what I suspect Capcom knows people will do.
All of that said, the core gameplay is still enjoyable…when you’re playing that is. I find that SFV is a very sluggish and slow-loading game. Playing the new Arcade mode for example is just boring in my opinion. I find myself looking at loading symbols spinning around or ‘dramatic’ animations announcing the next battle…just get on with it already. Being beaten and having to continue is also an irritation as it means staring at several black loading screens and having to go through the character and V-Trigger selections all over again. While this happening, I’m staring into space or at the carpet – bored. It isn’t a problem with my PS4 either because it’s just this game in particular which is so damn lazy.
Oh and I bought a costume (Mika’s School outfit) for £3.29 from the store and felt absolutely taken advantage of for doing so. But there was no way I could see myself collecting the 32000 units of FM that it would cost to obtain for “free”…
Was this worth paying £3.29 for? Honestly, I don’t even know. [Source] I’m not going to give up on the game. I’m going to keep playing and try out more characters beyond my usual Cammy/Mika/Akuma trinity. But at the moment, I still don’t really feel anything when I’m playing. It’s a solid game but that’s all. There’s a certain magic that I feel whenever I play Alpha 3 or Third Strike for example but not here. As with my first tour of Street Fighter V, I feel that there is a good game suffocating beneath all that F2P and online-biased structure.
But the game must have been a success for Capcom to have warranted the continued support and new DLC characters. Perhaps I’m just out-of-touch with what “works” now and what gamers are willing to accept. Overall though, my sentiment towards Street Fighter V is still a resounding…
Well, Evo 2019 has come and gone and the fighting game community has had its fill of exciting news. However, as much as I class myself as a fighting game devout, I must admit that I was a bit tardy on keeping up with all of the announcements from the event. I kind of like it that way though. I could have stuck with a live Twitter feed or whatever but there’s something about gorging on ALL of the news in one go post-event.
So yes, lots of exciting stuff was shown but there was one reveal that made me sit up and take notice: the immediate return of Cassandra Alexandra to the Stage of History in Soulcalibur VI!
[Source]Pre-release, I made a post listing the characters that I’d most like to see return for SCVI and Cassandra was on that list. In fact, she is the fourth character from that list (counting the honourable mentions section) to make the cut, following in the footsteps of Seong-Mina, Tira and Zasalamel so I think that I’m doing quite well here with regards to my wants list.
The best thing about that Evo 2019 announcement was that we only had to wait a matter of days to gain access to Sophitia’s spunky lil’ sister. Being late to the Evo newsfeed meant that Cassandra was already available so I immediately put the game disc back in my PS4 and updated it, once again thankful for owning the season pass that came out of the otherwise rubbish Collector’s Edition.
First impressions: Cassandra is really fun to play with. I’ve always “mained” Sophitia throughout the series and can’t say that I’ve ever sunk much time into her sister but I can already tell that her moveset has been much overhauled. Nevertheless, she retains her more aggressive, beatdown style of play. I also really dig her Critical Edge attack and haven’t yet tired of the animation. Additionally, I think I appreciate her sassy and self-confident personality a lot more than I have in previous installments. She’s just a lot of fun, especially in her all-new story mode chapter that the development team went to the trouble of creating.
[I’m also a sucker for another buxom blonde sporting notably bouncy physics. Seriously, SCVI gives DOA a run for its money with certain characters, Cassandra most certainly included…]
You also get this old-school SCIV outfit for Cassandra in the form of character creation components. Much appreciated. [Source] Cassandra aside, SCVI is going to keep on giving thanks to the announcement of a second season of DLC which promises four more characters and even more creation parts. What’s more, one of those characters is going to be Haohmaru from SNK’s Samurai Shodown series! It’s a perfect crossover of franchises from different companies and one that I have often wished for in the past.
More importantly, this is DLC done RIGHT. I tend to hammer SCVI then shelve it to play something else (currently: Yakuza 0) but I will be straight back on it as soon as new content is released. It’s keeping me playing the game and – as far as we can see anyway – it isn’t cynical DLC conceived pre-release and held back. All of the new characters that have been released thus far are faithful to previous iterations for example, but have been heavily updated gameplay-wise so it is clear that effort and love is being put into SCVI by the development team. Yes, I didn’t have to intentionally buy my season pass but I will 100% be purchasing the pass for the second season on the strength of how well the game has been supported post-release so far.
My faith in Project Soul has been well and truly restored after the disaster that was Soulcalibur V and I am still soimpressed with VI as you can tell by the way I’m banging on about it here as if it’s the second coming. The gameplay, the character roster and the general feel were all so well-realised this time around and that’s before taking into account the post-launch support that I’ve just been talking about.
As far as I am concerned, you can keep Street Fighter V and Tekken 7 because Soulcalibur VI is the most enjoyable fighting game of the generation and just a real success story that speaks to the fans. The only other fighting game that comes close this gen for me is The King of Fighters XIV for pretty much the same reasons: fantastic gameplay, enjoyable DLC, spot-on legacy respect and plenty of content right out of the gate.
I can’t wait to see what comes next and that enthusiasm isn’t always in abundant supply when you’ve been gaming for over twenty years so I know that this game is doing something extremely right.
I’ve made no secret that Dead or Alive is one of my favourite fighting game series’ and I’ve also made no secret of the fact that I enjoy the unashamed smut that Tecmo’s fighter has peddled ever since its debut. So I was disappointed when they decided to get serious with DOA6 and dial back the sexy stuff for the sake of being more “acceptable” and modern. Thankfully, that change in philosophy didn’t turn out to be too radical and we didn’t see Kasumi and co. trying to duke it out dressed as nuns.
That said, I still haven’t picked the game up. Partly because I still feel that I have some mileage to extract from DOA5 and partly because I wasn’t a fan of the in-game unlock system for new costumes. However, I sat up and took some notice when the new Seaside Eden season pass was announced, compromising of a new beach stage and a truckload of bikinis. The pass is to cost $79.99 USD which is a lot of money but I assumed that wouldn’t matter. After all, if I finally took the plunge with Dead or Alive 6, I could just cherry-pick individual costumes…couldn’t I?
This was where I discovered something pretty surprising and annoying. For those who have been playing DOA6 for a while now, this is probably a really dated rant but I genuinely had no idea that costumes can be purchased individually on every platform EXCEPT for the PS4…in the West. Playing DOA6 on the PS4 in an Asian market? No problem. Xbox One or PC? We got your individual costume purchases covered, buddy. PS4 in America or Europe though? Fuck you, says Tecmo.
What sense does this make exactly? I can’t see one although I have come across two possible theories that I think are both a load of old cobblers.
Sony is to blame for wanting to keep the PS Store uncluttered and streamlined
It is a marketing strategy in order to make more money in the West by forcing punters to purchase season passes or entire sets of DLC
The first theory makes some sense initially. Anybody who dabbled in DLC for either the PS3 or PS4 incarnations of DOA5 knows how awful the organisation of the DLC was and the nightmare of pissing about with compatibility catalogues or trying to make old DLC purchases work with updated versions of the game. So it would be understandable if Sony insisted on keeping things clean with DOA6. But this theory falls apart when you remember that PS4 owners in Asian markets can buy whatever the hell they want.
The second theory also has no legs when Xbox One and PC owners don’t have to commit to a season pass.
So why are Western PS4 owners snubbed? I honestly don’t know but what I DO know is that I won’t be buying Dead or Alive 6 until Tecmo sort this shit out. Some may argue that missing out on the DLC (especially superficial sexy stuff) won’t harm my enjoyment of the actual game and while I agree with that, I also know that I purchased a lot of DLC for DOA5 and I would likely want to do similar with 6. This isn’t even an anti-DLC rant. I want to buy what Tecmo/Team Ninja are selling but it’s the principle of being forced into buying a mega-expensive season pass that turns me off, especially when owners of other platformers don’t have to deal with that crap.
In the interests of balance, I will begin by clearly stating that I have no intention to buy Mortal Kombat 11 anyway regardless of this microtransaction issue. The game looks fantastic and in another universe, I would purchase it day one purely on the basis that MK9 and MKX were so damn good. But this is THIS universe and here, I don’t have as much time or the drive for gaming as I used to. When I do feel like picking up a controller for a few hours, I have other fighting games that I’m already enjoying and want to get my money’s worth from. I have big story-driven games that never seem to end as well as a large enough backlog of unplayed stuff on the shelves.
What I’m saying is this: yes, I am going to grumble about something I’m not even buying into but I just wanted to make clear that my initial reasons for not picking up MK11 have nothing to do with what I’m about to talk about here. I feel that the microtransation topic is worth discussing however as it effects an entire genre – a genre of gaming that I am most passionate about.
So basically, NetherRealm Studios has locked masses of cosmetic items such as character skins, taunts and intros behind a microtransation paywall. You CAN earn the “Time Krystal” currency in-game but as you may have already guessed, it takes ageeeeees to amass enough of this currency to buy anything. Conveniently, you can also purchase Time Krystals with real money…funny that, isn’t it? There are no LOLs to be had when investigating the prices however. At the time of typing this post, the exchange rate is $1.00 for 100 Krystals (I’m UK-based but using a US article as my source so dollaz it is) which means that a character skin is costing $5.00. Intros are a whopping $7.50.
Each character has approximately 90 pieces of add-on gear and if you want to buy the skins alone then your wallet will be held up for something in the region of $300 which I find insane.
[Source]You aren’t being forced to purchase any of these bolt-ons of course and it’s perfectly possible to buy the game and just enjoy some Mortal Kombat without being parted from more of your money. But this is how publishers get away with implementing these sorts of systems. That and the fact that they DO allow players to accumulate the bespoke currencies in-game for no extra cost. Unfortunately, there is also nothing preventing them from fixing the acquirement rate so low that people will inevitably cave in and start spending real money. If you’re anything like me and have the need for completion then this will be immensely frustrating.
To summarise my main issues with what Mortal Kombat is doing using quick bullet points:
This microtransation system was kept under wraps right up until launch, giving nobody time to accept the game’s structure for what it is and know what they were buying into. Sucks if you pre-ordered.
All of this was pre-planned content, locked away before the game was even released.
It is a full-price retail release that already costs in the region of £40, not a freemium or F2P game where you should expect microtransactions as the nature of the beast.
It’s cynical design, playing to consumers’ need to have everything NOW and enticing them with shiny goodies that only cost “a few dollars”.
This mobile phone game style of making money seems to have infected consoles and fighting games in particular in recent years much to my dismay. As I said above, it’s easier to swallow if you are downloading an F2P game, not so much after dropping a stack of notes on a full-price retail release. Dead or Alive 6 has implemented something similar while Street Fighter V was an utter disgrace in my restrained opinion. Now it has arrived in Mortal Kombat too.
I have no issue with genuine post-release DLC. Right now, I’m enjoying SoulCalibur VI a lot and the developer is putting out new DLC over time which takes the form of new characters and packs of customisation equipment. It keeps me playing the game beyond the initial launch window and is genuine post-release content that the developers have been working on. It comes with a price-tag and you just buy it. Straight-up, traditional DLC with no tricks or attempts to hide monetary outlay behind smokescreens of in-game currency accumulation or philosophies of “well, you don’t have to buy it…”
But to me, these microtransations are simply bullshit that spoil modern gaming. It’s why I had no love for Street Fighter V when I’m happy playing offline but can’t amass enough fight money to buy anything – a real problem when Capcom want you to pay for simple things like palette swaps. It’s why I would probably boycott MK11 if I was in the market for a new game and my aforementioned reasons for giving the game a miss were no longer obstacles.
As I say, I don’t have to pay for any of the extra content if I’m THAT against it. After all, the “buy it if you want it that much; don’t buy it if you don’t” way of looking at things is a valid and usually accurate approach to all things DLC and add-ons. That said, I firmly don’t believe in these money-grabbing systems when the game is a full-price release. Street Fighter V was exactly the same and I waited until I could pick up the game for £15 or thereabouts because I know there would be some bits I’d want to buy but not if I’d already put £40-£50 up for the disc in the first place.
You can grind, grind, grind for alternate costumes like this…or just give Capcom money. [Source]It wasn’t so long ago that there was uproar when Capcom were asking a lot of money for a bunch of extra characters in Street Fighter X Tekken…extra characters that had been found to be on the launch disc by data miners. In other words, post-release DLC had been exposed as already existing prior to launch and closed off to the consumer. Your money didn’t buy brand-new content; it simply unlocked a part of the game you already owned. People were pissed and SFxT‘s name was dragged through the mud. Yet here we are with the same companies pulling the same shit and now we seem content to just shrug our shoulders and accept it.
I don’t know whether the younger generation of gamers are on-board with paying through the nose for costumes and colour swaps but I’m an old-school gamer. I remember having to beat Tekken 2with all characters to unlock everybody. I remember having to hunt down shit loads of weapons to play as Sophitia in a bathing costume in Soul Blade. I remember having to have perfect runs and then beat horrendous over-powered bosses to unlock sweet stuff. I remember earning in-game currencies at sensible rates. Nowadays it seems that everything in fighting games is either already unlocked or needs paying for. I miss the thrill of chasing content and earning it with effort. I miss paying for the game disc and that was it – the complete, straight-up deal.
When I read about what Mortal Kombat 11 was doing, I felt very disappointed. Yes, I wasn’t planning on buying it anyway but even so, I certainly wouldn’t now because I wouldn’t want to give NetherRealm my money and support such a crappy method of squeezing every last penny from the playerbase.
Release Date: 2005 | Developer: Nihilistic Software | Publisher: EA Games | Also On: Xbox, Gamecube, PSP, Nintendo DS
Gather ye round, little ones and listen to this old man’s tale. Once upon a time there was a fantastic wonderland known as 90’s Gaming. It was a time of great change, innovation and colourful arcade games that made everybody go deaf and blind such were the booming audio and bright visuals. Today, we live in a second gaming wonderland with access to all of the old goodies plus huge, immersive experiences that previous generations of gamers could only fantasise about. But in between these two ages there was a dark age. It was a time when everything had to be moody, brown and uber-violent to pander to the teenage boys locked in bedrooms with closed curtains and crusted, very soiled socks hidden beneath beds. Games had to be brutal and gangsta and feature women with enormous breasts and blank, “sexy” expressions. Because reasons.
And games that had no reason to get serious were affected too. If – like me – you were a massive fan of the magnificence that was Marvel Vs Capcom 2 then you could have been forgiven for feeling the hype when EA announced Marvel Nemesis: Rise of the Imperfects. After all, it was a 3D Marvel fighting game backed by the might of EA. It was going to be huge! Holy shit! And it was huge…a huge fucking disappointment that has been lost to the mists of time. Nobody talks about it and very few remember it. here’s why…
Devoid of imagination
For some reason, I had always assumed that Marvel Nemesis was a 3D fighting game but no, I’m an idiot. It’s a 3D action game where you move about arenas/stages defeating enemies in a beat ‘em up fashion. The game’s story mode opens with The Thing walking along a bridge when aliens suddenly attack New York City. Your job in this first stage of the game is to defeat all the enemies on the bridge, punch through some blockades and that’s it. The next stage demands that you defeat all enemies on the streets. The third stage is back to the bridge again with the task of (guess what?) defeating all enemies. Okay, there’s a time limit this time but it isn’t anything taxing. Then it’s back to the streets again to…you get the idea. These opening stages with The Thing really show you what Marvel Nemesis is about. All of the stages in the game are essentially identical. Some have time limits or other conditions including handicapped health but the underlying requirement is always to beat all enemies or destroy a certain number of objects. The level descriptions sometimes almost attempt to disguise this mundane exercise but others can’t be bothered and simply state “Spiderman must defeat all enemies!” or “Daredevil must defeat all enemies!”
There’s nothing inherently wrong with this set-up because – as you may be eager to point out – even the classics such as Final Fight have the same paper-thin game structure. The PS2 has its own collection of competent 3D beat ’em ups such as Urban Reign and Beatdown: Fists of Vengeance so the formula could still work back in the mid-00’s. It has to be interesting to play though and aesthetically appealing on some level. Marvel Nemesis could only dream of being these things.
Spiderman vs some bloke that nobody cares about. With added brown for that gritty effect.
There’s very little challenge for example with most of these ‘missions’ finished in a matter of minutes. Honestly, I felt like I was looking at loading and saving screens more than I was playing the game. Some of the missions are just plain embarrassing too such as the one where Wolverine must “navigate the traps in the Avengers mansion and defeat all enemies”. This translates to bypassing one set of security lasers then clearing a single room of enemies. Big mansion, huh? The character bios in the manual make mention of the ‘New Avengers’ so why the hell is the Avengers mansion even here? Anybody who reads Marvel comics knows that the mansion was destroyed before the New Avengers were formed. Obviously I’m nitpicking on a dangerously nerdy level here but that’s what happens when you play Marvel Nemesis; you get so bloody bored that your brain exits stage left and goes for a wander.
The graphics do a supreme job of reflecting your mood when playing this game. Everything is dark, muddy and desperately dull in a game world that barely manages to look much better than a PS1 title. The music is similarly complementary in that beautifully forgettable ‘stock music’ fashion. The soundtrack isn’t criminal but you won’t remember it thirty seconds after shutting the game off. I’ll let you decide whether that’s a positive thing or a big fat neg.
You’d expect the controls to be rotten as well wouldn’t you? Well you’re wrong! Shockingly, the controls are actually functional here; one analogue stick controls movement while the other offers generous manipulation of a reasonably compliant camera. You have buttons for attacking, blocking, grabbing/throwing and jumping so there’s very little to get wrong. Holding R1 while attacking allows for some more powerful moves (such as Storm’s lightning or Daredevil’s club) while doing the same with L1 allows for bigger jumps or some characters i.e. Human Torch and Spiderman to fly or swing.
Complimenting the controls is like trying to apply a tiny plaster to a massive, gaping wound that is gushing blood from a main artery however.
Marvel Nemesis shouts about having fully destructible environments but this really boils down to having arenas littered with projectiles such as cars, furniture and oil drums. As suspiciously numerous and carelessly abandoned as these drums are, they swiftly become your best friend in the whole wide world because most tight spots and boss battles can be negotiated by simply spamming drums and throwing them for big explosions – a tactic that remains effective no matter how far you get into the game. Stand in the wrong place when an enemy is throwing a drum though and you can instantly lose over half of your energy in one massive blast when getting caught in a chain reaction of exploding drums and cars. Well, you gotta take the rough with the smooth. Swings and roundabouts and all that.
Surely this cannot be visually appealing to anybody?
I said that the game is really easy but there are ways for your ass to be handed to you in no time at all, the aforementioned random explosions for example. Like all poor 3D beat ‘em ups though, you can also get caught between multiple enemies and trapped in a loop of hits that will leave your character with hardly any health. Boss fights too swing from pathetically easy to being extremely cheap. The boss battle against Storm for example saw me getting hit by a bolt of lightning before I had the chance to move then stuck in a cycle of follow-up hits, leaving me with no energy and open to a finishing move in seconds. After many copy/paste starts to the battle, I finally won by jumping around and…throwing oil drums…sigh. The only way to overcome some of these battles is to fight fire with fire and be cheap by abusing oil drums or ranged attacks. Other times I have witnessed boss battles end instantly thanks to the opponent graciously walking themselves off the edge of the stage and to a ring-out defeat.
With the gameplay confirmed as tedius, poorly designed and possessed of stupid difficulty spikes and a severe lack of fun, what about the playable characters? You need to remember that Marvel Nemesis was released in the mid-2000’s so the roster is a good reflection of the pre-MCU era of Marvel cinema and who was popular as a result. There’s Spiderman (complete with Tobey Maguire era costume), Daredevil, Elektra, Iron Man, Wolverine, Storm and Magneto to name a handful. There really isn’t much more to say but I can’t avoid discussing Elektra.
For some reason, Elektra is the only character to have been given a visual revamp by EA and her new outfit looks like a bra/thong set from a racy lingerie catalogue with the red trousers from the crappy Jennifer Garner Elektra film thrown in for good measure. Oh and a spiked gothic choker. She looks nothing like Elektra should other than being garbed in red and her model is just plain fugly. All of her attacks seem to be accompanied by sexual moans and groans and even sans super-powers Elektra can still rip parking meters out of the ground and smack enemies about with them. Who needs the Thing?
Worse still however are the ‘Imperfects’, the foes of the game. The Imperfects are humans modified with extraterrestrial technology by the game’s alien villain so that they can do battle with Marvel’s finest and capture them for their powers (it’s a really crap storyline) but EA’s villains receive no injection of originality and appear to ape the powers of existing Marvel characters. Can you guess what sort of superpowers the likes of Solara, Fault Zone and Johnny Ohm (good grief!) have at their disposal? Asking these characters to stand next to Marvel characters is like you or me going back in time to when Arnold Shwarzenegger was still on the body building circuit and being asked to compete on-stage next to him. It would be a competitive massacre and the same applies here in Marvel Nemesis. I think I can say that Stan Lee didn’t lose sleep over being beaten to creating Johnny Ohm.
Conclusions
In hindsight, this game had all the ingredients of a disaster but we were naïve and could not have known that Marvel Vs Capcom 2 would remain the definitive use of the Marvel license until Capcom came riding in to save us in 2011 with MvC3. Likewise, it’s only now that we can look back on EA’s mid-2000’s output and realise just how many shoddy movie tie-ins, licensed trollop and relentless yearly updates their logo ended up being slapped on. If I had paid £40 for Marvel Nemesis: Rise of the Imperfects then I would have been absolutely devastated. Thankfully, I chose other games back in 2005. Aside from functional controls and the almost perverse desire to go back in time and experience shit games, I can’t come up with any other legitimate reasons to recommend Rise of the Imperfects. If anything, it shows just how far Marvel has come and you can’t imagine that precious money-printing license being permitted to associate with garbage like this game in the same way that films like the 2003 Hulk or Jennifer Garner Elektra would never happen in 2019.
Summary
The controls work at least
Repetitive, non-imaginative gameplay
Miserable visuals and forgettable music
Original characters are unispired and uninteresting
It seems like a long time ago now that Dead or Alive 6 was first announced but guess what? It’s finally here. At the time of writing this however, I still haven’t picked the game up nor had the time to watch any footage of it in action so I’m still sceptical about Tecmo’s promise to tone down the titillation and how this will affect the series. That and Sony’s recent shift towards tighter censorship for games appearing on Playstation platforms. Don’t misunderstand me though: I have no doubt that DOA6 is a superb fighting game (and one that I WILL eventually buy) but for me, the silly sexualisation and appealing female characters are a traditional part of the series.
And I enjoyit so shoot me if you disagree.
Obviously there are pros AND cons to adjusting Dead or Alive‘s DNA. Tecmo clearly want DOA to be taken as seriously as the likes of Tekken and Street Fighter at a competitive, e-sport/tournament level, an ambition that can only go so far when many of the characters’ outfits in the outgoing DOA5 are banned from being selected. Also, as much as I personally approve of skimpy alternate outfits and being able to play around with breast physics in the options menu, these aspects no doubt restrict DOA‘s audience to the faithful core of loyalists, doing nothing to change the outside opinion that DOA is “just a game for pervs” (a real-life quote from somebody I know).
With all of this in mind, I thought it would be timely to take a quick look back at Dead or Alive 5 and why it was so good. After all, if 6 does decide to be a bit too serious then it’s comforting to know that we can always break out our copies of DOA5: Last Round.
The Guest Characters
These days, guest fighters from rival games (or even completely unrelated genres) are a standard feature in fighting games but this doesn’t necessarily mean that they always fit right in and compliment the roster (Noctis and Negan in Tekken 7 for example). DOA5 quietly got it so right though. The four Virtua Fighter guests feel right at home and retain their familiar moves whilst also seamlessly slotting into DOA‘s fighting system. It has proven to be one of my favourite fighting game crossovers of all-time, even if CPU Jacky and Sarah sometimes seem suspiciously difficult to beat.
Even better was the signing of SNK’s Mai Shiranui. After all, who fits a Dead or Alive game better than a loosely-garbed female ninja with huge boobs? The best thing about this specific guest appearance however was that it seemed like the kind of thing that fans of fighting games would have been asking for in their dream scenarios. Mai looks fantastic in DOA5 and comes with her signature special moves from KOF while learning some new combos to help her ‘work’ in her new, 3D environment (KOF Maximum Impact doesn’t count as prior experience…). Happily, she was recently confirmed as part of DOA6‘s roster.
The New Characters
New characters in long-running fighting game franchises are always a tricky one. The developers must:
Come up with a distinctive and unique fighting style that hasn’t been done before in the series.
Design a visually-appealing character that isn’t too similar to existing characters
Get it wrong and you end up with clones or characters that are simply uninteresting to play as. With DOA5 I feel that they mostly succeeded with the new characters as far as the overall fanbase and reception was concerned. I wasn’t personally a fan of all of the new challengers but I’ll get to that in a second.
I really liked Mila for being a more rough ‘n ready fighter with an MMA-inspired style of fighting and slightly more realistic look that wasn’t all about the supermodel looks and massive boobs (although Tecmo ensured that she put up an ample fight with the latter). Then there was Rig who looked really bad-ass and brought Taekwondo to the series. The last of the new characters that I liked was Nyotengu who I just think has a really cool design and interesting fighting style.
The other new characters have all been successful for Team Ninja but aren’t personal favourites of mine. Phase 4 was a Kasumi clone that I couldn’t really get that excited about and Honoka was a typical archetypal schoolgirl with mountainous breasts and a fighting style that I didn’t really think that much of. Finally, there was Marie Rose who – despite being classed as 18 years-old – always struck me as uncomfortably young in appearance given the game’s inclusion of swimsuits and sexy attire. More importantly, I don’t care for her fighting style either.
On a commercial level however, all of these characters were a big success for Tecmo and Team Ninja. Honoka and Marie Rose for instance became immediate fan favourites and the cover stars of Dead or Alive Xtreme 3 as a result.
The Cinematic Look
Before I played the OG version of DOA5, I have to admit that I was pretty apprehensive about the game’s big action movie approach with cinematic set pieces and dynamic, multi-layered stages. After all, being able to deal extra damage by booting an opponent over the edge of a rooftop or launching them into a piece of interactive stage scenery seemed to break the rules of fighting games to me. True, we have seen this sort of thing before but it looked like it was going to be more heavily-promoted this time and moved front-and-centre.
Truth be told though, I actually ended up really enjoying it all. It gave DOA something unique and a little more interesting and definitely contributed to the excitement of the fights. A particular favourite of mine was one of the city stages where you can kick an opponent off a collapsing rooftop just as a fuel tanker crashes and triggers a massive explosion. Thankfully, you can turn this stuff off if you prefer to be a bit more traditional but on the whole, I don’t think it interferes too much at all anyway and it’s worth remembering that while you can suffer “cheap” damage, you can also win rounds yourself by taking advantage of a stage’s hazards.
Also, the additional battle damage detail such as the dirt, realistic perspiration and the water-related wet effect were nice touches that made a battle seem just a touch more realistic after it was over and your character struck their win pose.
The DLC
Now this one is a double-edged sword. DOA5‘s DLC was certainly too expensive and far too vast, prompting many of us to reach the not-unreasonable conclusion that Tecmo were simply abusing the fans and the marketing force that is “sex sells” by releasing an endless stream of outfits that grew progressively more outrageous as time went on. The online store was (and still is) an utter mess with outfits difficult to find, certain packs not working unless you downloaded compatibility “catalogues” and DLC from previous versions of the game not working with the updated releases. Other outfits simply state that they are not available to purchase for no apparent reason and making people pay for DLC characters that were later included on the disc in Last Round felt a bit shitty.
On the flipside, the constant stream of DLC did at least mean that there was always something to keep the playerbase playing. Very little of it was conceived prior to release so it was a good example of a developer constantly providing for owners of the game as the years passed. Obviously, the cynical motives behind the overall DLC strategy will be impossible for many to ignore and there’s no denying that the pricing and organisation are unforgiveable BUT if you can look past all of this, then DOA5 is a game that endured. You also need to remember that just because a DLC strategy rubs you up the wrong way, doesn’t mean that you are being forced to purchase any of it. I personally enjoyed the DLC and was only really aggrieved by my downloads from the base version’s collector’s edition not working with Last Round, causing me to piss about for ages downloading compatibility packs etc. Ultimately, I’m still playing the game today and a small part of that is because there are still a great many bits and bobs that I can still buy from the store.
Parting Thoughts
All of these reasons aside, Dead or Alive 5 was simply a great game. Many like to poke fun at the series and call it a “game for pervs” and there’s no denying that there is some truth in that viewpoint – let’s not embarass ouselves by spouting airs and graces. However, DOA has always been a fantastic fighting game in its own right. Fast and fluid with organic combos that are easy to learn for button-mashers and difficult to master for pros, DOA is a unique game. The hold system separates the amateurs from the learned and there are endless ways to link moves together.
Additionally, DOA5 (in any incarnation) looks utterly fantastic. The graphics and character models are impressive and the detail with regards to things like sweat and dirt only help to enhance this.
By the time DOA5 reached it’s Last Round incarnation, it was truly one of the great fighting games of the last generation. The roster was filled out and very comprehensive as far as the series’ legacy goes, the available DLC was enormous and there were some very nice special features available such as being able to customise the soundtrack with tunes from previous DOA entries. Add to that the collaborations with other videogames/anime for interesting DLC and the guest characters that I talked about earlier and it’s not difficult to see how DOA5 lasted for so long. Yes it has its flaws and the titillation will not be for everybody but it was a great game and always will be.
At the time of writing this post, it is Monday the 22nd of October. Soulcalibur VI was released on Friday the 19th and quite honestly, I’m still getting over how impressed I am with the game. Obviously, I knew that the game was going in the right direction from all of the previews and teasers that showed off a more nostalgic character roster harking back to SC, SCII and SCIII but I deliberately held off on knowing too much which may be why I was so pleasantly surprised when I had the actual game in my hands at long last.
It’s great to see Tira back with her SCIII “sexy green rags” and even that decidedly non-15th century hair colour.
In short, this game feels a lot closer to SCII and SCIII as far as I’m concerned. More competitive players might feel otherwise but as somebody who has heavily enjoyed the series from the very beginning, I feel qualified to say that. I absolutely abhorred the reinvention that was SCV so it is absolutely joyful to discover that – Critical Edge ‘super’ moves aside – literally everything about that game has been chucked into the dumpster, hopefully in the most unceromonious way possible.
Gone are the new characters and descendants/disciples that nobody asked for in the first place. Gone are all the new gameplay mechanics that they introduced for SCV. Those super moves are still cinematic and damaging but this time, they don’t feel quite so decisive and the meter that governs their use appears to fill at a more sedate pace. There is also some single-player content this time in the form of a main story mode and a secondary story mode which involves some levelling-up, side-missions and attractive production value. I haven’t gotten anywhere near finishing the latter yet but it feels like it could take some time so that’s nice.
I’m also extremely satisfied to see the classic Guard Impact feature return with no restriction. SCV made GI a meter-dependant technique which (in my opinion at least) killed the gameplay. Guard Impact was always about mastering the timing and committing to that risk vs reward element just like with the parrying in Street Fighter III. It separated button-mashers from practiced players and was a staple of the series so it is fantastic to have it back in a free-to-use capacity.
The best way to die in battle (if you have weird, perverse ideas like me anyway…) returns thanks to the re-inclusion of Sophitia.
Overall it simply feels like the development team have poured a lot of love into Soulcalibur VI. I have read that this game NEEDS to do well at retail or Namco-Bandai may very well can the series once and for all. SCV wasn’t ‘supposed’ to happen after all and only saw the light of day due to internal resistance to the idea of the series being put away in storage. It then sold poorly so perhaps Project Soul were permitted to make this game more to their tastes as opposed to reinventing Soulcalibur again in accordance to the wishes of marketing men.
The only negatives I have to report so far are pretty minor niggles. ‘Soul Points’ (used to ‘pay’ for unlocking certain customisation parts) are pretty tough to earn offline and the 5000 Gold > 100SP exchange rate within the Libra of Soul mode is pretty rough. I have no doubt that Soul Points are easier to earn by playing online (it’s usually the case with any of these reward systems in modern fighting games) but as I don’t actually have a Playstation Plus sub, I can’t comment on that side of things right now. The other mini-moan is directed at the character creator mode itself and the fact that the bulk of the parts are exactly the same as those we have been using to build characters with for several generations of SC games now. Some fresh bits and pieces would have been nice.
Those small issues aside, I’m loving this game. It’s been great to leap back in with my ‘main’ – Sophitia – and instantly get back into the groove with all of her well-practiced moves. I intend to learn Zasalamel and Tira next since those are two more of my favourites, Zasalamel in particular being a character that I wished for pre-reveal but didn’t expect to actually see in SCVI given that this game takes place before SCIII (Zasalamel’s debut). I’m guilty of being a cynical old git when it comes to modern gaming so the fact that SCVI has exceeded my expectations and shocked me with how much it appeals to the SC series veteran in me feels like a small miracle, especially following SCV which I didn’t think I would ever get over.
Stay tuned and I will get some pictures up soon of the collector’s edition (European version).
Console exclusitivity…it sucks, right? By and large though, we have pretty much moved beyond these practices over the last few generations and while some may say that it ruins the individuality between platforms, I say “bring it on”. There’s nothing worse than not being able to play all of titles you are interested in without owning multiple systems that cost hundreds and hundreds of pounds each, not to mention the storage space required.
This generation has been pretty kind to me in this respect. Nearly everything I want to play is available on the PS4 with the only Xbox One exclusives able to invoke envy within me being Killer Instinct and Rare Replay. The arrival of the Nintendo Switch didn’t initially mix things up at all but as the decent exclusives began to flow, I was seeing more and more things I liked. The Switch is, after all, the first Nintendo console that I haven’t owned since the N64. That said, consciously deciding to NOT buy a Nintendo console will always automatically lock you out of their exclusive properties so there can be no hard feelings about not being able to experience the likes of Mario Odyssey if you make a decision not to purchase the hardware.
Unfortunately, it certainly does grate my gears when something like this happens, ‘This’ being Nintendo striking a distribution deal with NIS America to make the physical edition of SNK Heroines: Tag Team Frenzy and Switch exclusive in the West.
It’s time to get my moan on!
It’s more fan service-y than a serious fighting game but I’m still interested in playing Tag Team Frenzy.
The game had originally been slated for both the PS4 and Switch. I had personally been aware of the game’s general release window and was looking forward to picking it up but this crappy news only popped up on my radar yesterday. Annoyingly, there IS a physical release available for the PS4 here in the UK (and – I assume – the US) but to get at it, you have to buy the ‘Diamond Dream Edition’, a big Collector’s Edition box that comes with loads of extras and weighed it at around £100. Unsurprisingly, the asking prices for copies on ebay UK as of making this post are edging closer to £200. *sigh*.
This is my own fault for being a bit of a magpie when it comes to having a collection of physical games I suppose but downloading full retail games digitally has never sat well with me. DLC, retro re-releases and indie games…sure, that’s fine but when it comes to the full fat stuff, I want a box and disc for the shelf. Call it future-proofing or obsessiveness but I feel a bit deflated if the only option is digital.
The contents ARE admittedly very cool but (a few exceptions aside) I don’t buy these kinds of CE’s anymore. They are expensive, take up too much room and I’d never touch the extras again (other than the artbook perhaps).
Then there is the other consideration to take into account: The PS4’s HDD space and how fast that sucker fills up just with regular game installs, let alone full games. So the options left for me right now are:
Don’t buy the game at all
Buy digitally (yuck)
Import a physical Asian/Japanese copy but be locked out of any DLC
I will likely opt for the third route even if means not being able to purchase any DLC down the line. I just need to get a good price which is a lot more difficult when dealing with imports versus domestic releases which usually drop in value quite quickly if you are patient enough.
So thanks for that Nintendo though I’m not sure that this game will be the big exclusive hit that you hope for on the Switch.
It’s well past time that I published this third and final part of my look at the fighting game’s “Golden Age” but, well…life/shit happens and I’ve been a bit lacking when it comes to those all-important creative juices. With that said, I’m back now so I apologise to anybody who has been waiting for Pt.3 but here it is – at last. So far in parts one and two, I have declared that the genre was at its peak from 1991-2000/01 and have discussed the reasons (as I see them) for its eventual, disappointing downfall. All things have to come to an end after all but worry not for Part 3 of this mini-series will focus on the happy stuff, namely what made this point in time so bloody fantastic for fans of fighting games…
A decade of innovation
It would be an outright lie to say that modern-day fighting games don’t bring new ideas to the table but it’s a stone-cold fact that the majority of genre staples and general mechanics (that are now taken for granted) were introduced throughout the 90’s and thus is was a very exciting time to be a player of fighting games. What we tend to see in modern fighting games by contrast are refinements, gimmicks (not necessarily always a bad thing) and attempts to be as flashy as possible.
Street Fighter II kicked things off in ’91 and while I have previously said that SFII cannot take any credit for being the original one-on-one fighting game (a statement I stand by), it certainly created a template that is still in use today. Best-of-three, special move inputs (now commonly used across the majority of fighting games), play styles (grappler, charge, projectile etc.) and character archtypes were all either born or made mainstream with SFII. SNK’s Art of Fighting would introduce ‘Super’ moves to the genre (before Super Street Fighter II Turbo popularised them) and Capcom’s other fighting game, Darkstalkers, debuted air-blocking. It’s actually astonishing that for all the visual and mechanical evolution of fighting games, Street Fighter II is still running in the background.
How easy is it to forget that air blocking/guarding originated in Darkstalkers?
The next important innovation was already happening at the very same time that Street Fighter was dominating the scene however. Sega released Virtua Fighter in 1993, creating the first 3D fighting game. Comical moon-jumps aside, VF also championed more realistic fighting styles as opposed to the pyrotechnical wizardry and unlikely gymnastic feats of Street Fighter and began to carve out a niche of its own that would see major fruition with Virtua Fighter 2, a sequel widely regarded as one of the all-time greats within the genre. The likes of Tekken and Dead or Alive would follow (and overtake Virtua Fighter in terms of popularity) but Sega had got there first and created the genre’s second ‘main’ style.
So many smaller innovations were happening at the same time however. Fatal Fury experimented with plane-swapping, The King of Fighters brought team battles to the mix and Capcom’s Vs series would kick off the concept of crossovers between more than one company. Namco’s Soulblade (or Souledge in other territories) gave us weapons-based fighting while developers also experimented with taking fighting games into a more arena-based environment with the likes of Capcom’s Powerstone and Taito’s Psychic Force. Meanwhile, Super Street Fighter II XFor Matching Service and Vampire Chronicle For Matching Service were quietly introducing online play to Japanese console gamers via their Dreamcast modems.
Obviously you can point out that it’s unfair to criticise modern fighting games for their lack of innovation due to the fact that there is only so much you can do with the genre and so the 1990’s would always boast the bulk of new, core mechanics. Regardless, the 90’s has to be remembered with greater fondness for this period of rapid evolution.
Virtua Fighter 2: the sort of huge leap forward that will likely never be seen again within the genre.
Art that blew us away
Outside of the technical stuff, this was THE most incredible period in terms of artistry for fighting games. Hand-drawn backgrounds and sprites were often beautiful to behold with the absolute zenith emerging towards the latter part of the decade. The likes of Street Fighter III, Vampire Saviour, The Last Blade 2, Marvel Vs Capcom and Arc’s Guilty Gear series boasted gorgeous 2D sprites that were a joy to behold and it was fascinating to imagine how many hours of painstaking work and skill we were witnessing on our screens. Today, the same developers behind these games are using 2.5d character models and ‘2D’ characters that are actually layered over polygons as well as cinematic super move animations with multiple camera angles. All of this is far from offensive and does actually look pretty nice but it simply cannot awe in the way that fully hand-drawn characters once did.
Backgrounds and backdrops were just as mind-blowing with the very best featuring ridiculous levels of detail and – in the case of larger crossover games – lots of hidden easter eggs and cameos to pick out. These were often more impressive than the characters themselves and even earlier 3D fighting games featured some lovely, static backdrops that were appealing in their simplicity without needing to rely on distracting background action. Below is a small selection to illustrate what I mean because art speaks for itself…
Savage Reign [Neo-Geo]. Incredible levels of detail. Tekken 3 [Arcade]. King’s stage. The distant, cloud-topped mountains in the background are a simple yet beautiful backdrop. Tekken 2 [Arcade]. Jun’s ‘Morning Fields’ stage. So, so basic yet so beautiful. The peaceful countryside is a stark contrast to the bone-snapping combat but works so well. Street Fighter Alpha 2 [Arcade]. One of the most atmospheric stages in any fighting game. Samurai Shodown IV [Neo-Geo]. Ridiculously beautiful. Capcom were the masters of sprites but SNK were the GODS of backgrounds.
More Samurai Shodown IV because why not when it’s THIS pretty?
And thisamazing, transitional stage from The King of Fighters ’99 that never fails to blow me away…
This is just the tip of a very large iceberg and if you (like me) have spent countless hours exploring the full spectrum of fighting games from this era of hand-drawn artistry, you will very likely have your own nominations and personal definition of the term ‘impressive’. Given the vast quantity of fighting games that were produced in the 90’s, there is so much to see and many, many hidden gems when it comes to stunning backgrounds.
Sounds good to me
Of course, tight gameplay and pretty aesthetics need suitably good audio to match and this golden age of fighting games just so happened to represent developer sound teams at the peak of their powers. Modern fighting games tend to have very orchestral ‘epic’ soundtracks, pulse-pounding techno or mixes of older themes. The former work within the game(s) and are of good quality but are usually not that memorable. The latter – to me at least – demonstrates a distinct lack of confidence on the part of the developers when it comes to composing original, catchy themes that will be remembered in years to come.
Fighting game music from the 90’s though? It stuck in your head and is the kind of stuff that gamers flock to Youtube to listen to again all these years later. Importing expensive soundtrack CD’s from Japan is WORTH it for these OST’s. This was also an era when console ports of arcade fighting games such as Virtua Fighter, King of Fighters ’96 and the Playstation Tekken trilogy featured arranged versions of the entire soundtracks that took advantage of the CD medium. Clear effort was put into re-arranging soundtracks and catchy arcade riffs suddenly gained transitions, extra layers of instrumentation and more depth in general. The best part was that BOTH the arcade and home arrangements were usually worth listening to and I can’t have been the only one who regularly switched them about in the options menus!
There are literally hundreds of amazing tracks to choose from so below are (Youtube) links to just 10 of my favourites from the era.
Those are just a fraction of my favourites and if I’m being honest, I feel that the list does a major disservice to some of the more obscure fighting games of the era as well as some of the major ones but I could genuinely sit here linking away forever to what I consider to be amazing pieces of music.
Heart and Soul
All of this – the innovation, art, music – are however, all mere ingredients that come together to form the biggest characteristic of the fighting game genre in ’91-00/01 that gives it the Golden Age status. That characteristic is SOUL. This was an era when developers were battling to outdo one another at a terrific pace, developing bigger and better arcade boards, fighting fire with fire and racing to be the first to introduce their new innovations to the market. Capcom and SNK slugged it out for the decade (before the incredible Capcom Vs SNK series paid tribute to their war), 3D fighting games evolved at a great pace and bigger and bolder sprites vied for our attention on a constant basis.
Let’s be honest: do modern fighting games feel as colourful and creative as this?
When the dust settled though, it was us – the fans – that were the real winners. Fighting games during this period felt like more than just simple money-making products (which they obviously were intended to be). They felt alive and you could feel how the developers had put so much creativity and artistry into trying to make the best possible product, pushing the available hardware to the limits and beyond (see the necessary RAM expansion cartridges for Sega Saturn ports of several Capcom and SNK games). The graphics, sound and even conceptual character artwork just kept getting better and better as each year passed and it was a real treat to behold.
Modern fighting games are still very enjoyable but there is a lot of focus on the almost clinical tournament play (as it is streamed over the internet as en E-Sport), online play and DLC. The creativity is still there but computer modelled characters and environments simply cannot stop the heart in the same way that hand-drawn animation once did. There is also so much recycling and updating of old music and stages from the past with an over-reliance on the glory days. True, fans don’t help this matter at times when they demand to see throwbacks in order to feel comfortable with a new generation of their favourite series but even so, the current fighting game scene certainly doesn’t feel innovative or aesthetically special (rare exceptions aside of course).
Taking one final, quick look at the stages and music for example, it felt like developers created these specifically to describe the characters that they belonged to, conveying their personalities wordlessly through the tone of the music and themes of the stages. Things are a lot more generic today by contrast.
This was actually a difficult topic to tackle because rose-tinted vision is a very real threat and we – as humans – love to tell the next generation how the old days were better (before they themselves do the same to another younger generation, despite believing that they won’t!). On the subject of fighting games however, I do genuinely believe that 1991 through to around 2000/2001 was the defining Golden Age for the genre. It was when fighting games had the most soul and a capacity to thrill with their visuals and move the heart with their sound. It was the birth of countless icons and still the place for superb gameplay.
And that concludes my three-part look at why I believe this was the one, true Golden Age of fighting games. I’d love to hear what others think!
Manufacturer: Capcom (Capcom Figure Builder Creator’s Model)
Release Date: 2005 | Developer: Nihilistic Software | Publisher: EA Games | Also On: Xbox, Gamecube, PSP, Nintendo DS
