Gravity Rush Week: 5 Things I Mostly Like About Gravity Rush 2

Gravity Rush has an appropriate heroine in Kat. She’s gifted with unique abilities, devoted to protecting the people around her, and all too often marginalized and misunderstood. So too is Gravity Rush shuffled aside, and it only deserves that fate in a small measure. It’s not polished to a triple-A gleam and it’s not cautiously encoded for mock-ironic subculture fetishes. But it’s fascinating and unlike anything else out there.

I never tire of playing Gravity Rush, and I never tire of talking about it. Not even in that desperate, convenient list format the kids seem to enjoy these days.

These aren’t the only reasons I like Gravity Rush, but I can’t overload these daily entries.

1. THE WORLD

Gravity Rush presented a strange picture: cities floating on partly natural, partly man-made islands, all orbiting a strange stone pillar and cloaked in endless, frequently clouded sky. The game dropped Kat into this realm without memories or direction, but before long she and her cat, Dusty, found their way from one section of Hekseville to the next. Questions never stopped, though. What is that giant column, and why does time creep slower further down? Where did Kat come from? And just what keeps this little archipelago afloat in the air?

Gravity Rush 2 doesn’t answer all of these. It doesn’t have to.

Instead, Gravity Rush 2 drops Kat in new places. A ragtag fleet of sky barges is home to merchants and misfits. The tropical spread of Jirga Para Lhao brings bustling markets and buzzing airships. Skyscrapers floats like bees. Mansions and elegant terraces lie above. Kat plunges into stranger places: she’ll mine crystals in the murky depths, float through dimensional rifts, and dash about a ruined city just as it’s ripped from reality. And then she’ll head back to Hekseville.

Exploring it all is marvelous. The game never explains or connects too much, and thus it leaves a little edge of uncertainty, that dreamlike sense of forces powerful and incomprehensible churning just beyond the world. When Gravity Rush 2 pulls back the curtain, it only reveals more mysteries, sending Kat on a slide through a glittering world of mirrors and asteroids or a foray through a starlit sepulcher where ammonite shells hang like enormous tree ornaments. Thank goodness.

Gravity Rush Week Begins

I didn’t write about Gravity Rush 2 nearly enough. Yes, I talked it up a great deal before its release and even ran a contest about a ridiculous note pad, but I was silent about it after it arrived.

This was by design. I didn’t want to review it in the traditional sense, because that would mean rapid playthroughs and quick impressions and a patina of hasty accomplishment that would nag at me. I wanted to savor Gravity Rush 2 in the traditional sense, which involves settling in and taking a month or two to finish a game instead of hurling through it for nothing but the warped obligations of social media.

And Gravity Rush 2 was worth it.

I know it wasn’t the best game of 2017 when put under merciless critical scrutiny. It lacks the spacious worlds of Super Mario Odyssey or The Legend of Zelda: Breath of the Wild, the bleak turns of Danganronpa V3 or Persona 5, and the wonderful narrative knife-juggling of Nier: Automata. The Gravity Rush formula is still flawed, after all. Technical problems are inevitable when you send a superheroine flying through the sky, walking on the undersides of floating isles, and fighting monsters with unfettered aerial freedom. Gravity Rush 2 even makes some less excusable missteps by including a few mandatory stealth missions, never realizing that it’s the worst possible game to host them.

I loved it anyway. Gravity Rush 2 may not cohere the best, but it’s my favorite game of the year even with its inbuilt advantages. Kat her companions are endearing, their world is a lovely blend of Mobius-manga cities spread atop a marvelously surreal cosmology, and I never tire of visiting it. Soaring through a skyscraper archipelago. Plunging into the toxic mists of bizarre city ruins. Sending Kat off a building, watching her plummet, and then reminding her that she can fly the second before she hits the ground. I could play it forever.

There’s a problem, however. Sony plans to take down the Gravity Rush 2 servers this January 18, which leaves us only a week and change to enjoy the game’s online features.

This may not seem a great loss. The online element offers no multiplayer battles or vital interaction. It just lets you leave hints and challenges for other players, with Dusty Tokens for rewards. The single-player storyline will remain intact, minus a few of the bonuses available only through online tasks. It’s not as grievous as, say, a Street Fighter game losing its netplay.

Yet it’s unfortunate all the same. Gravity Rush is a series forced to fight for any scraps of attention, and losing any piece of it is a shame. One gathers that Gravity Rush 2 didn’t sell up to Sony’s standards, and it probably won’t get a sequel. Perhaps it was lucky to exist in the first place. That’s all the more reason to save every bit of it, especially a bit that lets Gravity Rush fans share the game.

Those fans will not endure this in silence. There’s a small campaign making the rounds under the Twitter hashtag #dontforgetgravityrush, and you’ll find the usual pleas and protests. I doubt it’ll do any good, but I’ll plead right along with them. Surely the tide will turn once Kid Fenris himself tells Sony to keep the servers up.

In fact, I’ll dedicate this week to talking about Gravity Rush. Each workday will see a new entry about the series, even if it’s just a list of merchandise I’d like to see for it. Space pens and balancing toys are the keys to Gravity Rush’s future, I swear.

Day One: You're...uh, reading it.

Day Two: Things I enjoy!

Day Three: Troubling Questions!

Day Four: All About Raven!

Day Five: Dressing Up!

Might Have Been: Trax

Most of us know all about Kirby. He’s the puffy pink hero of a popular Nintendo series. He’s a smiling, rotund creature who swallows foes and gains their powers. He’s a fixture of excellent games, stuffed toys, and comic strips about how it’s subtly disturbing that he’s eating his equally cute enemies.

The insatiable, adorable monster first appeared in 1992 with Kirby’s Dream Land, the creation of HAL Laboratory and Masahiro Sakurai. It’s a breezy, bouncing side-scroller littered with cartoonish effects and whimsical details. It made Kirby a star, though it wasn’t Hal’s first attempt at spherical heroes. The Adventure of Lolo series preceded it, of course, but less well known is a shooter that arrived just a year before Kirby’s debut.

Trax is a brave little creation, attempting a fast-paced overhead shooter on the Game Boy of all places. Nintendo’s handheld may be a wonder of late-1980s engineering, but its small screen wasn’t friendly to the speed and visual complexity that a traditional shoot-’em-up needed. In appearances, however, Trax plays it simple: you pilot a round proto-Kirby of a tank with equally round wheels, spew round bullets, and hover through stages of frequently round enemies. Your craft fires in eight directions, with one button launching shots while other rotates the turret. It sounds far too ambitious for a compact Game Boy outing.

Yet Trax holds together. The controls are never as smooth as a simple dual-joystick setup would be, but the game paces everything well enough to give you a fighting chance. It moves at a fair clip, with minimal flickering and seemingly intentional slowdown, and Hal packed it with all sorts of elaborate sights. Level bosses fill the screen, homing missiles circle and sputter, and bombs explode into smoke clouds and tiny Looney Tunes stars that we’d later see in Kirby’s Dream Land. Your tank, commandeered from the enemy in the prologue, even recoils with each shell fired.

No grim shooter, Trax is quick to reveal its cartoon overtones. Just about everything can be destroyed, from supply trucks to boulders to presumably evacuated neighborhoods. Your tank’s turret spins around dazedly just before it explodes. Each level offers a mid-boss as well as a climactic tilt, and they include a bumbling knight, a giant version of your own tiny tank, a telescoping-limbed mechanical clown, a googly-eyed dragon worthy of Dr. Wily, and a final boss who looks like a cross between Mario and Mutoid Man from Smash TV.

The Saga of Seaspray

I seldom buy new Transformers. It isn’t easy. Hasbro’s modern toys are little plastic torpedoes locked on to the nostalgia nodes of every kid who dug Transformers in the 1980s or 1990s. Countless new Autobots and Decepticons are modern takes on older characters, delivering the poseable, cartoon-accurate action figures we always wanted. That’s a tough poison to resist.

I try to abstain, but a few toys make it past my defenses. The most recent one is Seaspray, a Transformers: Titan Returns incarnation of the hovercraft-bot best known for talking like he was permanently underwater. Or drunk. Or both.

The updated Seaspray follows a design similar to his 1985 version, changing from a slightly tubby robot to a compact hovercraft. The current version has much more articulation, of course, and I like how his enormous feet could suit a clown, a water skiier, or a drowned mobster. I could see his many moving parts getting weak after a few dozen transformations, but then I’m no longer a ten-year-old kid who treats every toy like a stage from Wrecking Crew.

Seaspray also looks fine as a hovership, though I note one little shortcoming: his old ‘80s version had wheels on the bottom, and this new one does not. I know that most hovercraft don’t have wheels, but nor do most hovercraft turn into alien robots. All things considered, it’s a good little toy.

Yet there’s another reason I bought it, and it’s the same reason that Seaspray is one of my favorite Transformers.

Seven Perfect Halloween Arcade Games

Arcade games are unappreciated Halloween decorations. True, they’re harder to arrange than plastic severed zombie feet or cheap, potentially toxic spider webbing, but I maintain that they’re worth the trouble. Whether you run MAME on a laptop or actually have a basement full of original cabinets, nothing sets apart a Halloween gathering or mood table like some appropriate old arcade games.

Why old arcade games? A few reasons. They’re easy to grasp, they’re often visually striking, and they display generous game footage when no one’s playing. That’s the beauty of it: even if they go untouched, these games look great just running in the background, as fitting as Addams Family episodes or every Sleepaway Camp movie.

I picked seven lesser-known examples of Halloween-friendly arcade games. Ghosts ‘N Goblins, Ghouls ‘N Ghosts, and Splatterhouse are the first-round choices of just about everyone, so I don’t need to extoll them here. I also left out anything that requires a light gun or other proprietary hardware to truly appreciate. House of the Dead isn’t the same without big plastic Wicked City revolvers, Crypt Killer loses something without a massive shotgun to pump, and a full Golly! Ghost array is probably beyond the price range of the average Halloween shindig. I went after games easy to appreciate in any form.

DARK ADVENTURE

Released: 1987

Aka: Devil World

It’s tempting to stick Gauntlet in your arcade lineup and be done with it. After all, Gauntlet is a reliably entertaining race through top-viewed dungeons. Yet there’s a more seasonal alternative available: Dark Adventure, Konami’s unabashed 1989 knock-off of the Gauntlet ideal. Three players control two archeologists and an unlucky reporter in a realm of mazes full of skeletons and minotaurs and…well, evil rats. Yet mundane rodents are forgivable when the first stage has giant mud swordgolems chasing you.

While you’re at it, throw in the Japanese version of the game, Devil World. No mere language swap, it differs a great deal: only two players can join, but the characters get projectile weapons instead of melee attacks, power-ups are more complex, and the expanded arsenal includes a rocket launcher that beautifully demolishes everything. You won’t find that in off-the-shelf Gauntlet.

DARKSTALKERS

Released: 1994-1997

Aka: Vampire, Vampire Hunter, Vampire Savior

Also On: PlayStation, Saturn, Dreamcast, PS3, Xbox 360

I’ll have you know that this list was not an convoluted excuse to push the Darkstalkers games. Yet I will admit that I cheated here. Underrated as it is, Darkstalkers is still popular enough to see recent reissues, and Capcom can’t make a Marvel crossover fighting game without including succubus antiheroine Morrigan at the very least. Even so, Darkstalkers escapes a lot of people when it comes to Halloween-appropriate games, and that is a bitter shame.

In fact, I will count the Darkstalkers line as the best thing to play on Halloween. It’s a great series of fighting games stocked with wonderfully animated monsters, from a karate werewolf to a mercenary Red Riding Hood to a vampire lord who transforms every character on the roster into a biteable young maiden. And that barely scratches the surface.

I recommend either Night Warriors or Darkstalkers 3, both of which are impressive and approachable even for casual players who haven’t touched a fighting game since trying Mortal Kombat at a deli in 1993. Some of the more risque Darkstalkers characters might not sit well at an all-ages party, but just remember that Felicia, the technically naked catgirl, is intended as a “cute” character. She’s not supposed to be sexy. It says so right in some official artbook that I can’t locate at the moment.

DEMON’S WORLD

Released: 1989

Aka: Horror Story

Toaplan’s conventional spaceship shooters overshadow some of their decent side-scrolling arcade outings, and Demon’s World is among them. Its heroes dress like dollar-store Ghostbusters and carry a plentiful supply of rockets, lasers, and other seemingly overpowered weapons. The stages are full of ghosts, Frankenstein abominations, Jason clones, and more, but my favorite might be this dapper, barrel-riding mummy from the first stage.

The casual appeal of Demon’s World is diminished by cheap hits; it’s a half-hour arcade outing from the 1980s, when no game could afford to let players walk all over it. Even so, it’s good fun for players who’ll either credit-feed or memorize their way to the admittedly disappointing final boss. It looks neat, but its pupal trappings promise a horrific final form that never emerges. You’re a big tease, Toaplan.

NIGHT SLASHERS

Released: 1993

Nothing brings revelers together quite like a classic arcade brawler in the tradition of Final Fight. Two of the genre’s best offerings, Capcom’s Alien vs. Predator and Irem’s Undercover Cops, are good for any list of gruesome arcade titles, but even more essential is Data East’s Night Slashers. It’s a battle through every possible Halloween staple: zombies supply most of the grunt forces, but the game’s three playable leads (including a hilariously gung-ho American cyborg) also face vampires, mummies, Voorheesian thugs, mutant cyborgs, skeletons, and an evil puppeteer and his creation. It’s as though Double Dragon ate an old video store’s entire horror section.

Night Slashers sells itself mostly on its grisly sights, but some details perk up the familiar gameplay: the heroes can pound enemies into the ground, block when health runs low, and use impressive screen-clearing specials that deplete enough life to be costly and strategic. With two or three players along, it’s a great ride from its opening van crash to the villain’s cheap last stand. The only caveat: grab the Japanese version, which preserves all of the bloody effects and the “Go…TO HELL!!!” arrow that spurs you through each stage.

SATAN’S HOLLOW

Released: 1982

Arcade selections from the late 1980s and 1990s may prompt complaints from older guests, who’ll tell you that that games were better back when they were single-screen shooting affairs like Galaga and Space Invaders. For them, you can roll out Satan’s Hollow.

Beneath the vintage-1982 gothic wasteland, Satan’s Hollow is straightforward: dodge bullets and zap dragon-gargoyles until a tiny Mephistopheles floats into the picture and spews fire. It’s game relatively obscure even in its day, as all ports to home consoles got canceled. Was it the unwholesome theme or just the fact that Galaga-esque shooters were common as quarter-munching dirt? No matter. Satan’s Hollow should entertain those who find games made after 1985 too violent and sexy and interesting.

SHADOWLAND

Released: 1987

Aka: Yokai Dochuki

Also On: PC Engine

Shadowland gets a Halloween angle by accident. It lacks traditional Western werewolves or vampires, but it has every sort of hellish creature that Japanese legends devised. It follows Tarosuke, a kid resembling a more sensibly coiffed Gegege no Kitaro hero, on a stygian trek through the eerie gray cliffsides and lava pits of the underworld. He has unimpressive spiritual bullets at his disposal, but Shadow Land hides a lot for an arcade side scroller. Stages branch out and lead to healing springs, gambling mini-games, and a mermaid dance revue that might turn Tarosuke elderly–a condition curable only by buying angel poop from a shopkeeper. There’s a good conversation starter for the party.

ShadowLand might not look enticing at a glance, as the designers labored under the idea that players had to see a map and a huge lifebar at all times, leaving only half the screen for actual gameplay. Stick it out, however, and you’ll find all sorts of unconventional weirdness, plus various endings that penalize you for picking up money and killing enemies. And there’s another conversation starter.

WARDNER

Released: 1987

Aka: Pyross

Also On: Genesis, FDS

Bear with me. I know that Wardner is not a great game, that it has no distinct Halloween atmosphere, and that I remember it only because of its long tenure in one of my defining childhood arcades. Yet I submit that Wardner has a valuable role in any roundup of scary arcade games, simply because it’s harmless and middling. It’s ideal for small children or those of dispositions too gentle to stomach exploding zombies or completely non-sexualized catgirls.

Wardner finds a tubby hero trudging through forests and factories to the castle where his ladyfriend sits imprisoned, and it’s a basic side-scroller with Mario-esque rules that any kid can follow. It’s not an easy game by any measure, as one hit dooms the hero at first, but it’s paced slower and with less threatening foes than Ghosts ‘N Goblins. The gloomy woods, dank buildings, and monstrous hazards are all cartoonish in tone no matter their pitfalls. Wardner simply can’t offend anyone except for the hosts of those anti-Halloween cable shows about finding the devil’s face on a fun-size Snickers.

I have no doubt that, even with my restrictions in place, I missed a few arcade games ideal for the season. Add your own! Do you prefer to show off the bizarre Ninja Kids, the even more bizarre Pu-Li-Ru-La, or the guaranteed room-clearing spectacle of BloodStorm in your Halloween decor? As long as it creeps you out, it belongs.

Mission One Start

Last month brought the first trailer for Spielberg’s Ready Player One movie, based on Ernest Cline’s book about a virtual-reality treasure hunt in a dystopian future. This prompted me to finally read Ready Player One, and it convinced me that the future of profitable literature is all about nostalgia: pure, vacuous, unreflective nostalgia that namechecks as many childhood fascinations as print allows.

Well, I want a piece of that. I’m now at work on a science fiction novel called Mission One Start, and I know it’s bound for the best-seller lists. Here’s a sample.

 

I always liked Critical Mass Eisley. There were hundreds, maybe thousands of clubs across the OMNIWAY based on the Cantina from Star Wars Episode IV: A New Hope, but this one went beyond rote imitation. The layout echoed an alien version of the classic sitcom Cheers, and tonight a Skeksis from Jim Henson’s The Dark Crystal tended bar, wearing mirrored cyberpunk shades while mixing a Pan-Galactic Gargle Blaster from Douglas Adams’ The Hitchhiker’s Guide to the Galaxy. Here they knew the difference between a Trandoshan and a Gorn.

Even the patrons were a more eclectic mix. As I grabbed a Romulan Ale, I ducked around a winter-camo Robocop, a gaggle of teenage girls dressed as the Bangles in Voltron pilot outfits, and an impressively well-rendered Destro from G.I. Joe wearing Ghostbuster gear. It was great.

I slipped behind a table styled like the monster checkerboard from the Millennium Falcon and tapped my line open.

“You sure she’ll be here?” I asked.

“Totally,” Rhodel said in my ear. “The Minicons may be weird, but they always follow through. Besides, they need our passcodes, and we need their access.”

“I think I see her.”

She wove through the crowd like a ninja about to kidnap the president. Her avatar was a slim, sharp-featured woman with long red hair and just an adorable hint of anime around the eyes. She wore a Dune stillsuit that glowed with subtle crimson highlights, topped off with a visor and yellow trenchcoat right off Jubilee from the X-Men.

“Quit gawking and talk to her, man!” Rhodel piped up through my ear. I’d forgotten that he had a link to my visuals. “And don’t get caught up talking about that awful Dune movie.”

“You’re not supposed to be listening in,” I said. “That was part of their agreement. And Lynch’s Dune is great.”

“Oh, come on. That blithering, blundering mess destroys everything good about the—“

I cut the link before Rhodel could finish.

She was right in front of me, and even cuter up close.

“You’re Gawainterceptor, aren’t you?” she asked. “Nice name. Are you looking for the Holy Grail or Shadow the mercenary?”

I struggled for a reply. She’d caught my nods to both the Arthurian knight and the dog from Final Fantasy VI…or Final Fantasy III, as it had been known when it released on the Super NES in 1994.

“Uh, you can call me Wain,” I blurted. In an attempt to save face, I staggered my words to imitate an obscure Final Fantasy VI line: “And…who…might…you…be?”

“I am Elaine of the planet E-Square,” she said, and a wave of blue ran down her hair. She had an on-the-fly avatar editor as well, probably one a lot more expensive than my Belarusian knockoff.

“Well, then let me hop into my Flintlock,” I replied, picking up her reference to Xexex, the 1991 arcade shooter from Konami.

“So you’re looking for the Fifth Abyss?” She cocked her head to the side, a grin worthy of Ally Sheedy in St. Elmo’s Fire on her lips.

“I’m looking for a lot of things,” I said.

Including a girlfriend like you, I thought.

“Then follow me.” She grinned. “If you can keep up.”

With that, she turned and delicately threaded the crowd on her way to the door. I leapt from the table and followed.

She stepped out into the busy Nexus Prime street and flashed me a smile. Then she morphed.

I’d seen avatar-editors before, but never one so smooth. Her human shape dissolved into pixels and reformed as a sleek motorcycle that I instantly recognized as the titular bike from the Street Hawk TV series.

Her new vehicle incarnation sped off down the street, dodging everyone in its path. I frantically primed my own avatar editor and switched, perhaps less gracefully than she had, into another motorcycle. On a whim, I picked the Condor from the M.A.S.K. toy line.

We tore through the streets like two Tron light cycles, leaving behind neon contrails and indignantly scattered players who probably hadn’t seen Krull even a dozen times. She made a game of it, whipping around corners and slowing just enough in straightaways for me to almost catch her. I somehow managed to keep on her trail like a Gradius homing missile, ready to switch to the Condor’s helicopter mode if she took to the skies.

She rounded a bend and led me into MechAlley, a long avenue lined with statues of anime robots. Her avatar pixel-flickered again, turning into a small robotic creature, and she disappeared somewhere in between Giant Gorg and GoShogun.

I skidded to a halt and scanned the wide stretch of mecha effigies. It took me a minute to spy a tiny hole in the wall right between the feet of Gunbuster, the title robot from a six-part anime series by Hideaki Anno, the creator of Neon Genesis Evangelion.

Rolling toward the tiny entrance, I switched my avatar to the first small thing I could think of: a hamster. I slipped into the hole and found myself in a winding labyrinth that glowed green and black, like the primitive polygons of an early 3-D video game.

It led through so many turns I lost track of how far I’d come, but eventually I emerged into a small room where every surface was black glass. She was waiting at its center.

The tiny room was shielded, I realized. If this was an ambush, no one in the OMNIWAY could hear me, much less help me. At least I had a better look at her new avatar. She was a Ro-Bear Berbil, a mechanical koala creature from the classic Thundercats cartoon.

“We can talk here,” she said. “Most of the dark zones got deleted, but this one’s too small for Nextek to notice.”

“And here I thought you were taking me to see Lion-O and Cheetara.”

That made her smile.

“Nice rodent avatar,” she said. “But what’s with the getup?”

I glanced down. I’d given my avatar a robe festooned with glittering hearts.

“This?” I asked. “I’m Greg ‘the Hamster’ Valentine.”

She laughed at my invoking the old-school WWF wrestler. Then her avatar shifted to a pattern of pink and black stripes.

“All right,” she said. “I’ll be Brutus ‘The Berbil’ Beefcake.”

And then I knew for certain. I was in love.

A Remake of Mana

I sure like Secret of Mana. That’s why I wrote three separate entries about it a few months ago. And now I’m compelled to write one more, because there’s a remake on the horizon.

Square Enix’s Secret of Mana recast was inevitable. The original Seiken Densetsu (which, of course, we knew here as Final Fantasy Adventure) got a recent Vita and mobile-device remake under the domestic name Adventures of Mana, so the second game in the series needs a turn. After a decade or so of Mana games that fell short, Square Enix returned to what worked best. I’d say that it’s craven nostalgia mining, but I’d also have to say that the first two Mana games are the best of the whole line.

This new Secret of Mana recreates the old game with polygon graphics, remixed music, and new gameplay features. The new look is a little primitive by modern 3-D standards, perhaps because the game has to fit on the Vita’s handheld hardware as well as the PlayStation 4 and Steam. Even so, that shot of Randi, Primm, and Popoi riding Flammie is a freeze-frame of adorable perfection.

Less welcome is the voice acting that pops up in the trailer. It’s not terrible. I just question its necessity. Secret of Mana thrives on its speed, its smooth pace, its refusal to over-explain or lengthily dramatize. Grafting voice-overs to the lines only makes them drag.

It’s also not clear how gameplay might shift in this revised Secret of Mana. It adds a corner map and presumably fixes the original game’s hit detection and the confused AI routines of the player’s companions, but it’ll maintain local multiplayer for up to three people. It also seems to stick to the original game’s perspective and layouts. Adventures of Mana sticks noticeably close to the Game Boy edition in its level layouts and general flow. Will this Secret of Mana remake do the same?

Bounty Arms: The Demo in Full

If you’ve followed this website for a while, you likely noticed my obsession with an unreleased game called Bounty Arms. Data West announced it for the first round of PlayStation games in 1995, and it brought a novel idea. The game’s two anime heroines wander overhead-view stages, much like the protagonists of Mercs or Outzone or dozens of similar shooters. Instead of standard-issue firearms, however, they wield telescoping Relic Arms that serve as whips, grappling hooks, and all-destroying flamethrowers.

Alas, this promising title vanished from sight around the middle of 1995, with Data West moving on to another game and subsequently retreating from the industry. A scrap of Bounty Arms made its way to the public, though.

Demo Demo PlayStation, a Japan-only line of discs meant primarily for kiosks, includes a Bounty Arms preview video on its fourth volume and a playable half-stage on its fifth. The demo’s very limited: protagonists Rei Misazaki and Chris Prenaculutaoraroato (which is how I’ll translate her last name for the time being) don’t take damage at all, and the game reboots once they destroy the mid-stage boss. Yet the graphics for the entire first stage appear to be in the demo, and I always hoped that someone would figure out how to play the entire level.

Well, someone did! Tumblr user Human of Mi-Com Age ran the demo alongside Cheat Engine and tricked the game into letting you play the whole first stage, including a clash with the electricity-spewing robotic serpent boss. I’ll let Human’s brilliant post detail the actual method. It’s a relatively easy hack once you figure out Cheat Engine, and I pulled it off despite having no programming knowledge beyond remembering some passwords for the NES version of Strider.

To sum it up, the mid-boss won’t appear when its value is disabled, and this allows Chris and Rei to march beyond the usual cutoff point. From there, the rest of the first level of Bounty Arms is yours to explore.

There are no grand secrets beyond, I admit. The game just throws denser waves of the same enemies Chris and Rei faced in the level’s first leg, and since our heroines are invincible we’re left to imagine how difficult it all might be in finished form. Even so, some new and interesting sights await.

Blade Strangers and Stranger Places

What was the biggest surprise of E3? Metroid Prime 4 and a Metroid II remake? A PlayStation 4 revamp of Shadow of the Colossus? Microsoft actually calling a system the Xbox One X? All were unexpected, but nothing caught me off guard like Blade Strangers. A PS4/PC/Switch fighting game that nabs its roster from Code of Princess, Umihara Kawase, and Cave Story? I’d sooner have bet on Sony announcing another Hermie Hopperhead.

Blade Strangers isn’t so farfetched a crossover when you look behind the scenes. It’s the work of Studio Saizensen, a developer with a hand in both in the brawler Code of Princess and the puzzle platformer Umihara Kawase, while Cave Story, an indie marvel ever since 2004, has a link through publisher Nicalis. Apparently in an early state, the game could use more animation frames and background detail. Even so, the characters have a vibrant look thanks to a 3-D engine that imitates hand-drawn animation.

As with any fighting game, it’s the cast that intrigues me. Umihara Kawase’s eponymous heroine and Cave Story’s android Curly Brace are unorthodox picks for a fighting game, though they’re both suited to the genre; Kawase has a grappling line and giant fish at her command, while Curly has a machine gun and, presumably, other Cave Story power-ups. However, Blade Strangers leans heavily on Code of Princess. Early footage of the game includes protagonist Solange, thief Alie, and the powerhouse Master T (the mace-packing nun Helga and masked swordsman Liongate are apparently in there as well). That accounts for half of the game’s ten character-selection icons.

There are two reasons for such favoritism. Code of Princess has a wide selection of playable characters, including a magic pharaoh cat and a zombie sorceress, from which a fighting game might choose. Code of Princess also has Solange, who wears more armor on her elbows than she does on her entire torso. Not kidding.

Little Things: Final Fantasy Tactics Advance

Final Fantasy Tactics Advance often rates low among those who canonize the original Final Fantasy Tactics. The Game Boy Advance outing skews much younger, discarding possible stories of doomed nobles and dark secrets in favor of a lighter tale about misfit kids warped to a magical realm full of colorful creatures and too-perfect wish fulfillment. That’s not an unpardonable drawback, but Final Fantasy Tactics Advance doesn’t fill enough of its plotline. For a game that lasts over 30 hours, there’s scant attention to the story. The battles, meanwhile, burden a good combat system with laws that randomly bar the player from using certain commands. It’s a passively fun strategy-RPG that just makes a few bad choices and doesn’t try hard enough.

I really like the look of Final Fantasy Tactics Advance, though. The sprite-work is remarkably detailed, giving the creatures of the world of Ivalice charming style. I’m even more impressed by the game’s prologue, which shows hero Marche and his friends Ritz and Mewt having a bad day at school and wandering home through their mundane, semi-modern town.

We see fantasy realms so often in sprite-based RPGs, but rarely do we find realistic worlds rendered in the same fashion. I appreciate all the small and unnecessary touches that Tactics Advance’s developers put into this conventional scene. Instead of a vacant street, we get a snowy boulevard with trash cans, café signs, and a car that might be a classic model or merely a current design in this city of appealingly vague time and place.

Best of all is the room Marche shares with his brother, Doned. It’s worth going over inch by inch, just to pick out everything: the skateboard leaning on the wall, the pop-singer calendar, the pennant and shelved soccer ball by the closet, the steaming kettle on the tiny stove, and what appears to be a trophy above one of the beds. Most of all, I like that television. It sits there like a three-eyed tomato bunny robot.

Of course, there’s a silly personal reason for my praise. These details bring back memories of my family’s late-1980s stay in Germany. I never found myself transported to a mystical realm of lizard mages and Moogle knights, but I’d see all sorts of old and unconventionally shaped European electronics paired with more modern things. Hook up a boxy NES to that TV, and you’d have a good piece of my childhood.

A Letter of Mana

I didn’t intend for this to be a Secret of Mana month, but the series bobbed to the surface with Square Enix’s newly launched Switch collection of the first three titles. It brings back childhood memories of questing through Final Fantasy Adventure (aka Seiken Densetsu) on the Game Boy, sitting entranced by Secret of Mana (aka Seiken Densetsu 2) on the Super NES, and then watching in frustration and despair as Square never translated Seiken Densetsu 3.

Yes, it’s happening again. Seiken Densetsu Collection is Japan-only as far as anyone knows, as Square Enix has announced no plans to localize it. This would be a good opportunity to fatten up the Switch library and finally bring over an English version of Seiken Densetsu 3, but their silence says a lot.

You might contend that Seiken Densetsu 3 isn’t worth the trouble. I disagree. True, its lineup of six selectable characters fragments the story, and the gameplay exacerbates a lot of Secret of Mana’s annoyances: unconvincing hit detection, cheap bosses, and so forth. But it’s a gorgeous game with that undeniable 16-bit Squaresoft grandeur to it. I don’t like it nearly as much as Secret of Mana, but I’d like to play an officially translated version of Seiken Densetsu 3 on the Switch.

So I’ll do what I did back in 1995: I’ll write Square Enix a letter.

Well, that’s my letter. It might be just as ineffective as all my letters were back in 1995, but I like to recall a time when I honestly believed that I’d sway a company into localizing a complex and potentially unprofitable game for the dwindling Super NES market just because I’d put something into an envelope and mailed it.

You were delusional, younger me, but you were earnest. I owe to you to write a letter about Seiken Densetsu 3 once again.

And if Square Enix does nothing, I probably owe it to you to play through the fan-translated version that I periodically start and never finish.

Secret of Mana: The Villainous Unknown

The Cutting Room Floor finds many things deleted from games: never-seen animation, unused backgrounds, extended music, and other stuff absent during play but still present in the code. My favorite sort of discovery? Full-fledged characters who were cut from a game.

I’m always intrigued by the idea of a hero or villain yanked from a storyline and lurking bitterly in the ones and zeroes. Secret of Mana has a fascinating case.

Secret of Mana lost a great deal of its original outline when it came from the never-released Super NES CD system to the humbler Super NES, and there’s plenty to uncover in the code. Messing around reveals some character poses never glimpsed during gameplay, and there’s one entire villain who doesn’t appear in the game.

Well, the standing theory is that he or she is a villain, at least. The unused character appears among the graphics for Secret of Mana’s familiar antagonists, so it’s fair to assume that this was a servant of the Empire or the sorcerer Thanatos. That, and the obscuring white robes and headdress don’t evoke a good guy. Faceless characters look less human and are therefore less sympathetic, after all.

But where would this deleted figure have appeared? The most logical choice is the ruins south of Pandora, where brainwashed townsfolk and masked cultists gather. The hooded villain would fit right in there, perhaps in a boss battle where it lifted its hands to summon one monster after another.

Of course, this leads to the most likely explanation, and it’s a killjoy: Robesy McHood is just a disguise for Thanatos himself. He first appears to the heroes at the ruins, and while he doesn’t fight them directly, it’s possible that he was to appear in this surreptitious, white-swaddled form before revealing himself. Which means this isn’t a real secret character after all.

Sifting through the Secret of Mana code also reveals the above character, a guard apparently meant for a castle or fort that never came to be. He’s not as interesting as a faceless cult leader, but I do like how he resembles Pete from Disney cartoons not a little.

Despite evidence to the contrary, I like to think that the white-clad villain is a discrete character, and not Thanatos. And if that’s true, the unknown cult leader at least deserves a name. What sort of apt Secret of Mana title fits best? I’d go with something like “Paltus” or “Sidonak,” but I know you’ll all submit better suggestions in the comments!

Secret of Mana's Sloppy Miracle

Why is Secret of Mana such a tough act to follow? It ranks among the best adventures on the Super NES, and no subsequent Mana game matched its reputation; not the directionless, world-building Legend of Mana, not the combat-heavy prequel Dawn of Mana, and not even the directly descended Seiken Densetsu 3 (which would’ve been Secret of Mana 2 over here). Anyone tasked with making a new Mana has a mountain of nostalgic player expectations to climb.

Some contend that Secret of Mana is just a lucky game, not a good one. It arrived in 1993, right when American kids had few options for grand epics on par with The Legend of Zelda or Final Fantasy, and Secret of Mana capably mixed the two. Certain critics point to the game’s limited character arcs, its missing content, and its manifold glitches. They dwell too heavily and too cynically on what Secret of Mana might have been, no matter how little they actually know about a game that never was.

Here’s what we do know: Square intended Secret of Mana for Nintendo and Sony’s Super NES CD-ROM system. When said system failed to appear, the game switched to the plain cartridge-based Super NES and changed accordingly. Director Koichi Ishii stated that it lost about 40 percent of its planned content, and writer/producer Hiromichi Tanaka’s initial storyline switched out “darker” tones for a more lighthearted plot.

Cut corners appear throughout the Secret of Mana that Square released to the world. Characters are noticeably shallow in motivations, some later dungeons are far too simple, and programming gaps and slowdown suggest a game crammed onto a system that could barely handle it.

Secret of Mana is slapdash in both scope and story. There’s no question of that. Yet it’s a fabulous meridian of an action-RPG, with a grandiose saga on one side and a fairy tale on the other. And that’s all because it’s a mess.

Our story treads expected ground. An unassuming orphan boy (officially called Randi, though we didn’t know that for years) tumbles down a waterfall, pulls a sword from a stone, and launches himself into world-spanning heroism. Driven to restore the mystical force known as Mana, he joins up with a rebellious warrior girl (either Purim or Primm, depending on how you phoneticize) and an impudent, poofy-haired sprite (Popoi). Together they meet dwarves, mushroom people , white dragons, beleaguered royalty, bizarre cults, mysteriously youthful Mana attendants, and Santa Claus himself. Their clear foe is a ruthless empire backed by a body-switching sorcerer who wants to revive a dormant superweapon known as the Mana Fortress.

Clichés lurk at every turn, but Secret of Mana eludes them by never slowing down long enough to notice. The game breezes from one quest to the next, and in doing so it preserves the initial fascination of each moment. You’ll see Primm vowing to rescue her boyfriend Dyluck from the empire’s clutches, and in the next beat you’ll recover a Mana Seed from the Scorpion Army, a cadre of thieves who bumbled right off the Time Bokan cels. Secret of Mana’s creators trimmed their original story, and translator Ted Woolsey believes that the script slimmed down even more for the English version. The uncompromised tale might dig deeper, but it would also deny Secret of Mana that all-important briskness. Scenes would last longer, and familiar sights would shed their charm.

Five Games I Own For Stupid Reasons

I try to be picky about the video games I own. This means that I still have over a hundred of them, of course. Most I keep because they’re personal favorites or stuff that I haven’t fully played yet. A few games, however, stick around on thinner justification. And here they are, posed with appropriately disdainful toys.

ALSHARK (Sega CD)

I last went to Japan back in 2007, and I prowled the retro-game stores relentlessly. Nearly all of them were filled with Japanese systems and games, naturally, but I stumbled into a small Akihabara spot that stocked American toys and video games.

If you frequent America’s retro-game stores and convention booths, you’ll notice that they mark up just about anything from Japan. Well, this Akihabara shop did the same for Western games. A Jaguar? That’s about $300. Hey, if you wanted to buy Atari’s little-loved final console and happened to be in Japan, this might have been your best bet.

The store also had a bin of common imported games for ten times what you’d pay at any American flea market. Yes, Super Mario Bros./Duck Hunt for the NES can be found in one out of three attics across the United States, but in Japan it’s a $40 rarity.

After seeing this spread, I had to buy something from the store. I wasn’t about to pay import fees on Zero Tolerance or Cybercop, but the shop also sold Japanese games. I fished a copy of Alshark for the Mega CD out of a clearance bin. It’s a space-opera RPG from Right Stuff, and that hit two, perhaps three, of my obsessions at the time. Even if it didn’t have the back insert, I thought it was a good deal for a hundred yen.

The shop owner further won me over by reminding me that Alshark was intended for Japanese systems. I liked that. When I visited Japan on school trips in the late 1990s, almost every store clerk would politely mention that a game was in Japanese or meant to run on a Japanese console, and I would smile and nod, knowing full well how to circumvent region lockouts. By 2007, foreign game collectors were so routine a sight in Akihabara’s stores that no clerk bothered pointing out that a copy of Burning Rangers was the Japanese version.

Whenever I see this battered copy of Alshark, I remember that store, its unnecessary cautions, and its Atari Jaguar.

AMAZING PENGUIN (Game Boy)

I have a weakness for penguins and old Game Boy cartridges. I need no reason for liking penguins, and I can rationalize my affection for handheld game cartridges. They’re tiny marvels, evoking the childhood fascination over just how an entire Zelda quest or Contra shootout could fit into a little plastic Triscuit.

On a trip to a retro shop called Game Zone in New Jersey, I really wanted to buy something but had little money to spare. Fortunately, the store maintains a rack of Game Boy games for a few bucks each, and I flipped through them until one called out to me: Amazing Penguin. It’s an enjoyable puzzle game where a penguin evades little creatures to fill in sections of a map. While too primitive in looks to charm us like Pengo, Amazing Penguin sates both my fondness for penguins and my desire to own at least one old Game Boy game.

I have another reason for keeping Amazing Penguin. It’s a Natsume release, and a few of Natsume’s Game Boy offerings, including Tail Gator and Ninja Gaiden Shadow, are worth decent money these days. If the tuber-based Spud’s Adventure and Amazing Tater can be Game Boy gold, why not a game about penguins? They deserve it more.

KEITH COURAGE IN ALPHA ZONES (TurboGrafx-16)

It’s tempting to defend Keith Courage and his Alpha Zones. On first play, it seems like a solid side-scroller that varies between bland kid-hero stages and speedy mecha-suit levels with cooler monsters and catchier, Rygar-esque music. Heck, it’s based on the anime series Mashin Hero Wataru, and anime tie-in games can get much worse than this.

Perhaps, you might think, people deride Keith Courage not because it’s a lousy game, but because it was the unimpressive pack-in for the TurboGrafx-16. Instead of giving system owners a free R-Type or The Legendary Axe, NEC and Hudson chose Keith Courage and looked downright primitive next to the Sega Genesis and its flashy, ridiculous Altered Beast showcase.

After a few stages, however, it’s easy to see that Keith Courage is mediocre. Levels simply repeat their ideas with nastier jumps and different enemy hues, and getting new weapons becomes a matter of tediously jabbing flying coin-cats over and over. Sorry, Keith Courage. There is no redemption for you.

So why I do I have it? Because it’s among the few TurboGrafx-16 games that isn’t preposterously expensive. Besides, any old cartridge-based systems seems incomplete without a side-scrolling game. The Super NES has Mario, the Genesis has Sonic, and the TurboGrafx, though it might not deserve it, has Keith Courage.

POKER PLUS (Atari 2600)

I could say that I’ve played every game I own, but there’s one exception. A friend and I give each other absurd games or related merchandise each Christmas, and one year his gift was Poker Plus for the Atari 2600. I don’t have the system, as Atari’s reign was before my time and I have no space for another console—not even if the 5200 has a good version of Pengo.

Until I can borrow an Atari 2600, I must make due with YouTube videos of Poker Plus. It seems like an acceptable Atari simulation of various casino card games, but it would have completely baffled me as a child. Perhaps that’s what I like about it. Today, it takes a convoluted game made entirely of Japanese text to truly perplex me. I like to remember an age when anything with numbers seemed as forebodingly grown-up as tax forms and NYPD Blue.

SUPER PUZZLE FIGHTER II TURBO (PlayStation)

There’s nothing wrong with owning Super Puzzle Fighter II Turbo. It’s a fantastic puzzle title still unmatched in its vicious two-player matches. Yet I have the HD Remix version on the PlayStation 3 (complete with obnoxiously loud menu music), and it adds new features and levels.

But I prefer the older version. There are a few options that HD Remix lacks, such as taunts and music that speeds up in the final moments of a match. More importantly, I like the old sprites. They capture the affectionate little details of the characters better, from Dan grinning in delusion to Morrigan nervously fondling her wings on the brink of defeat. The HD characters are too smooth, looking more like Flash cartoons than the work of Capcom’s sprite animators at the top of their game.

Hmmm. Maybe that’s not such a stupid reason after all.