Retrospective: Street Fighter – Round 1, Fight!

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I’ll be honest: I did originally dismiss the idea of doing a Retrospective on the Street Fighter series back when I looked over Tekken last year. The thing is, after the Classic MegaMan article ended up being split into multiple parts, any excuse I had for not writing about Street Fighter evaporated. This series isn’t necessarily going to be as prominent as the other Retrospectives have been. I plan to mainly just write these whenever I’m not writing something else, so they’ll trickle out infrequently. Still, considering the fact that Capcom will be releasing a Street Fighter 30th Anniversary Collection this May – featuring a whopping 12 games – now seems as good a time as any to do a wistful look back at one of Capcom’s most enduring franchises. The only limits I’m putting on this series of retrospective articles is that I will be sticking mostly to Street Fighter games that managed to see Western release. Granted, most games in the series came out here, but there are a few rarities that were Japan-exclusive.

The thing is, I owe a lot of my interest in video games to Street Fighter. The 2D fighting game genre is among my favorites across the entirety of mass media, and like a majority of the children of the ‘90s, that love stemmed from the first time I played a Street Fighter game. In my case, the first game I played was the original version of Street Fighter II for the Super NES at my cousin’s house when I was around 5 or 6 years old. Another cousin had the Special Champion Edition on the Sega Genesis and eventually, that first cousin would obtain a copy of Street Fighter II Turbo for the SNES as well. I became enamored with the game, almost to the point of obsession and I was incredibly happy when I was finally able to own a version of the game of my very own. Of course, that was the IBM-PC version, which was a complete train wreck, but you try telling that to a happy child. Not long after, I finally had a legitimate home version of my very own: Super Street Fighter II for the Sega Genesis. While Street Fighter is probably no longer one of my favorite fighting game series, it still occupies a special place in my heart. As such, I’ve got a fair amount of the games in various forms in my collection as it is: the 30th Anniversary Collection just affords me the opportunity to own several older titles on the PC, my platform of choice.

Street Fighter II is probably one of the most important video games of all-time. It popularized the fighting game genre in a way that no previous game had and managed to extend the life of arcades in the West. Back in my childhood, we just thought of it as “Street Fighter”: even though the “II” was omnipresent, none of us had ever really experienced a “Street Fighter 1”. As naïve as we were back then, the mystery was nothing we really pursued at the time, but SF2 actually owes its existence to multiple titles. What better place to start than by taking a look at some of the earlier titles that preceded, inspired or even simply shared the name of one of Capcom’s greatest all-time hits?

Avengers

On February 1st, 1987, Hissatsu Buraiken – which roughly translates to “Deadly Ruffian Fist” – was released in Japanese arcades to relatively little fanfare. It would be released in the West sometime that year as either “Avengers” or “Avenger”: the game’s title screen and many of the arcade cabinets themselves use the former title, but some promotional material uses the alternate title. I would argue that this is the earliest ancestor of the Street Fighter line, despite lacking any obvious connection to the franchise in general. Of course, at this point in time, Capcom had a minute fraction of the acclaim they currently enjoy in the West. Their most popular games by this point were Ghosts ‘n Goblins and 1942, which were respectively an arcade platformer about fighting occult creatures in a medieval fantasy setting and a shoot-‘em-up taking place during World War II. While both of these titles were fairly popular in their heyday, they would be completely eclipsed by future Capcom titles.

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Not the most unique concept, but hey, it was the 80s.

Avengers actually shares a fair amount of staff with the original Street Fighter. Most notably, the games shared a producer: “Piston Takashi” Nishiyama. Nishiyama actually started his career at Irem, working on some of their early hits like 1982’s Moon Patrol and 1984’s Kung-Fu Master. Likewise, two of Avengers’ character designers – “Short Arm Seigo” Ito and “Puttun Midori” were listed in Street Fighter’s credits, under Special Thanks. One of Avengers’ composers, Yoshihiro Sakaguchi (better known as “Yuukichan’s Papa”) would also go on to work on both the original Street Fighter and the first MegaMan game.

Of course, Avengers ran on one of Capcom’s proprietary arcade boards, generally referred to as the “Section Z Hardware”, as 1985’s Section Z was the first Capcom game that used this particular hardware. Avengers was apparently the last of four games made to run on it, with Legendary Wings and Trojan – both released in 1986 – rounding out the set. Like most of Capcom’s early arcade hardware, this board utilized a 6 MHz Zilog Z80 processor as its main CPU as well as 2 4MHz Z80 chips for its sound CPU. The hardware was rounded out with two YM2003s acting as the sound chip.

As with many arcade games from this era, Avengers’ storyline was simple but got the job done. It’s a two-player game, but both characters – Ryu (hey, another Street Fighter connection!) and Ko – are essentially palette swaps of each other. The game’s villain, known simply as “Geshita” has taken over Paradise City and kidnapped six girls, handing off five of them to his henchmen. It’s up to Ryu and Ko to “banish” Geshita from their city. The game’s English translation leaves a lot to be desired, but it doesn’t seem like too much was lost in translation.

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The most interesting part of the game’s intro.

“Beat-‘em-up” is probably the best way to describe Avengers’ gameplay, but it approaches the genre from a totally unorthodox style. Unlike many beat-‘em-ups of this period (or in general), Avengers is a top-down game, in a similar vein to games like Ikari Warriors or Capcom’s own Commando. As such, players are able to move around freely in 8 directions. There are also two attack buttons, punch (fast, but short range) and kick (long range, but slower). Honestly, the best description I really have for the base mechanics of the game would be Irem’s Kung-Fu Master (known as Spartan X in Japan) meets Commando. There are also a variety of bonus items that can be found hidden in objects like trash cans and clay pots scattered throughout each stage. These can replenish health, increase the character’s speed or just act as bonus points. There are also various weapons that can be found, like the “Super Punch” which increases overall damage temporarily and nunchaku, as well as grenades and shuriken, which can be thrown. These weapons are generally found in bonus rooms, hidden across the game’s 6 stages. These rooms contain an assortment of enemies that have to be defeated in a set time limit in order to free hostages that give out a reward upon being rescued.

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One of Capcom’s all-time grates. …get it?

This is one of those situations where obscurity has generally helped a game. Most of the reactions I’ve seen to Avengers online have been negative at best, with a few declaring it to be “Capcom’s worst beat-‘em-up ever”. To be honest, I can’t really argue against this statement. While Avengers’ concepts were unique and interesting, the execution was severely lacking. Commando’s overhead view and playstyle just didn’t lend itself all that well to a fist-fight. The bosses themselves are particularly difficult, as many of them boast long-range weapons, making it impossible to deal damage against them. Granted, that’s a pretty common criticism of the beat-‘em-up genre as a whole, but when the game’s first boss attacks by swinging around a giant spiked ball on a chain that deals damage in an area that takes up over half the screen, you know that this was one of those arcade games designed to get as much money out of a paying customer as possible.

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Oh, I’m sorry: did you think I was joking?

With that being said, there are a few other Street Fighter connections aside from the shared staff members and the name of the main characters. For starters, some of the sound effects from Avengers – most notably various character grunts – were completely recycled in the original Street Fighter. There’s also a reference found in one of Street Fighter’s humblest characters, Dan Hibiki. One of Dan’s super combos is named the Hisshou Buraiken. Sound familiar? That’s right: this move was named as a parody and reference to Avengers’ Japanese title, Hissatsu Buraiken. If that doesn’t confirm that Avengers is a truly obscure progenitor to the Street Fighter line, I don’t know what could.

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It was even a piece of graffiti on Street Fighter’s title screen. What more could you ask for?

I have to assume that Avengers wasn’t a particularly popular game upon its release, because as far as I can tell, there were no home conversions made for the game around the time of its release. The first home release I’ve been able to find for the game was on the second volume of the Capcom Classics Collection, found on the original Xbox and PlayStation 2. It was also present on the PSP via the Capcom Classics Collection Remixed, the first of two collections that just rearranged games from the previous console-based collections. Since then, the game has only appeared as one of the games on the Capcom Arcade Cabinet, a digital-only compilation of Capcom’s early pre-CPS arcade games, released in both multiple packs consisting of three games each – Avengers was in the first pack – and a full set on both Xbox 360 and PS3. Aside from that, the game’s been pretty much forgotten, which may honestly be for the best. Avengers isn’t a particularly impressive game by any means and it’s a fairly rough product, even compared to some of Capcom’s earlier arcade games.

Street Fighter

With that out of the way, let’s get to the true beginning of the Street Fighter franchise. Released in Japan on August 30th, 1987 – with releases in North America and Europe that same year – Street Fighter was the first fighting game Capcom ever developed, though not the first game in the genre to have ever existed. Many cite 1984’s Karate Champ as the first true 1-on-1 fighting game – with head-to-head combat included in a unique revision, subtitled “Player vs Player” – and introduced the concept of bonus training stages, which would be prevalent in the early days of the genre. Konami’s Yie Ar Kung Fu (released the following year) introduced the concept of fighting multiple unique opponents in succession, another trademark associated with the genre. Street Fighter took inspiration from both of these games and expanded upon them, acting as another stepping stone in the genre’s development, while adding new concepts that would shape fighting games to this day.

Before we get into discussing the game itself, we’ve finally reached the point where I’ve actually got some childhood memories attached to this game. Of course, the memories aren’t associated with the original arcade release, but rather one of the home ports. I already discussed these in-depth in one of my Repressious Memories videos from a few years back, so I’ll just summarize by saying that it’s colored my perceptions of the game in a much more positive light than many of my contemporaries. Put simply, the Hi-Tech version was so terrible, it made the admittedly-flawed arcade version seem like manna from heaven.  Few people I’ve encountered around my age actually managed to find the arcade version of Street Fighter in the wild back when it was brand-new, so most of them only experienced it well after the much more popular second game. Obviously, Street Fighter pales in comparison to its vastly superior sequel, but I’d say it’s still an interesting curiosity all the same.

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Admittedly, shirtless men in red jeans weren’t the most dynamic of opponents, even in 1987.

The two major players in the development of the original Street Fighter were “Piston Takashi” Nishiyama and “Finish Hiroshi” Matsumoto, the game’s director and planner respectively. It’s claimed that both of them also worked on Avengers, but as of right now, I can’t really find any information about Matsumoto’s involvement in that project. Likewise, it’s also said that this was the first project for Keiji Inafune (of MegaMan fame), who claims to have designed Adon, but again, this hasn’t really been confirmed anywhere else, especially not in the game’s credits. Street Fighter was developed on another of Capcom’s early arcade hardware systems, christened the “68000 Based”, due to the fact that it used a Motorola M68000 as its main processor. Capcom started using this hardware in 1987, and quite a few of their arcade games used this setup, including Tiger Road, Mad Gear, Last Duel and most notably, Bionic Commando.

Of course, the most fascinating thing about Street Fighter would be the fact that it had two completely different arcade cabinets. While the version commonly seen today used the traditional six-button/joystick layout generally associated with Capcom fighters, there was also an alternate model with a different control scheme. This model had two large buttons, associated with punch and kick respectively, and depending on how hard the button was pushed, a different strength of each attack would occur in-game. Not exactly the most precise method of control, but an interesting gimmick nonetheless.

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Seriously, playing Street Fighter on one of those machines with the giant buttons is on my bucket list.

Street Fighter offered players two characters to choose from: Player 1 was Ryu, while Player 2 was Ken. At this point, the characters played identically, the only real difference between them being their colors and Ken’s head being redesigned – in fact, early prototypes just made Ken a complete recolor of Ryu, with no other modifications. Instead of selecting one’s character, players were given the chance to choose from 4 countries – although some versions only offered 2 countries (Japan and U.S.A.) at the start – each boasting two opponents. Japan was home to Retsu, a monk excommunicated from his temple for using forbidden techniques and Geki, a master ninja wielding a claw, shuriken and the ability to teleport; the U.S.A. gave us the incredibly generic kickboxer Joe and bare-knuckle boxer Mike; martial artist Lee and the aged but deadly assassin Gen represented China; and the massive punk rock hooligan Birdie and staff-wielding bouncer Eagle are the fighters from England. Beating both representatives of a country allows Ryu to partake in a bonus stage, either breaking bricks by building power or cracking boards within a time limit. Only after all of the first eight opponents are defeated does Ryu (or Ken) gain access to Thailand, the fifth and final country. There, players are forced to defeat Adon, the champion’s top disciple, before taking on the King of Muay Thai and Street Fighter champion Sagat himself. After that, Ryu (or Ken) is treated to a montage of all of the fighters he defeated on his way to the top and declared “King of the Hill”, but also told that they have no time to rest on their glory, warning that there will always be new challengers.

Compared to later games in the series, the original Street Fighter’s controls are incredibly clunky. The physics are floaty, the controls not nearly as responsive as one might expect, and the CPU-controlled opponents are able to deal way more damage than the player. Having said that, the game came out back in 1987 and considering that the game took inspiration from Karate Champ and Yie Ar Kung Fu in a genre that was barely fledgling, Street Fighter could have only have been primitive. It seems unfair to judge the game against its own legacy, as opposed to its contemporaries, but alas, that’s how most people view it.

Having said that, Street Fighter did introduce a feature that would become synonymous with the genre: the special move. Of course, back then, the “special move” lived up to its name – because it was nearly impossible to pull off consistently. While the motions for the Hadouken, Shoryuken and Tatsumaki Senpuu Kyaku – referred to as the “Fire Ball”, “Dragon Punch” and “Hurricane Kick” respectively in the English versions of the game – are common knowledge to anyone who paid attention during Street Fighter II’s prime, but back in 1987, they were secrets. Of course, to perform these moves in the first SF, one needed to be precise. In fact, the motions themselves worked differently: instead of hitting the button after completing the corresponding joystick motion, players needed to release it at that point. Quite the change from how special moves were performed back in 1991, let alone today.

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We did 20 takes and that was the best one.

 

The bonus stages may not have been a genre first, but they don’t really resemble those found in future games very much. There are two types of bonus stages found in Street Fighter, with two version of each, for a grand total of four. The stages themselves alternate after completing each country. First, there’s a segment where Ryu is tasked with breaking a stack of bricks (replaced with cinder blocks on the second attempt) in front of an audience that cheers or boos, depending on the results. This mini-game resembles the “Test Your Might” mini-games found in the original Mortal Kombat, except it relies on timing instead of button mashing. The other mini-game involves splitting wooden boards that are held in various positions by men dressed in fighting attire. In this mini-game, precision is key: some boards can only be struck with specific attacks. These bonus stages have very little impact on the game itself, only adding to the player’s score, but they are a well-deserved break from the action.

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This might actually be my favorite part of the entire game.

The art is pretty standard for a late-80’s arcade game. The graphics are advanced far beyond what most home platforms at the time were capable of displaying, but on reflection, are kind of ugly. The character sprites themselves showcase the growing pains present in arcades at the time, adapting to wider color palettes and larger resolutions. The final product is something that is inarguably ugly yet endearing in the same way one would look at a gangly, awkward teenager. The backgrounds, on the other hand, are actually pretty breathtaking for the time. My personal favorites are the cliffside adjacent to Mount Rushmore where Mike is fought, Gen’s Chinatown-inspired setting, the forest with the castle in the background associated with Eagle, and Geki’s locale, which appears to be a river near Mount Fuji at sunset. While nothing special compared to future games, they are pretty impressive for their time.

The sound design doesn’t fare much better. Don’t get me wrong: there are actually quite a few good compositions present in Street Fighter’s soundtrack, but the odd instrumentation has a tendency of masking their quality. Fortunately, one home port – more on that later – has a rearranged soundtrack that reimagines these songs using Redbook CD audio, making them much easier to enjoy. The sound effects, on the other hand, are just silly. The real star here are the voice samples. They were generally the same in the Japanese and English versions, with the only exception being Ryu’s attacks. At their best, they’re extremely garbled: people still argue to this day whether Ryu is saying “Dragon Fire”, “Psycho Fire”, “Hell Fire” and probably several other things whenever he fires off a Hadouken in the English version. However, the Engrish present in this game, particularly on the win screens is downright amazing.

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I still quote this to this day. (Hey look, it’s white Birdie!)

Surprisingly, Street Fighter actually had several home ports. Growing up, the only version of the game I knew about was the IBM-PC version, published by Hi-Tech Expressions, but it actually also managed to come out on several computer systems throughout North America and particularly Europe, namely the Commodore 64, Amiga, ZX Spectrum and the Amstrad CPC. The version that was the best received was the game’s sole console port – available for the TurboGrafx-CD. Retitled “Fighting Street”, it was released in 1988 in Japan and 1989 in North America. This was the version that included the rearranged soundtrack I mentioned earlier. The only real flaw in this version stemmed from the TG-16’s controller: two buttons limited the ability to perform attacks of different strengths, but this was a common flaw in most home versions. Arcade-perfect ports would eventually surface on the second volume of the Capcom Classics Collection for the PS2 and original Xbox, as well as Capcom Classics Collection Remixed for the PSP. It’s also planned to be included on the upcoming Street Fighter 30th Anniversary Collection, being released on PS4, Xbox One, Nintendo Switch and PC later this year. Sadly, this isn’t one of the games with online play.

I think the most impressive thing about the original Street Fighter is the legacy it left behind. Believe it or not, it inspired more than just Street Fighter II and the rest of its series. Aside from the two games I’ll be discussing below, it also managed to get an unofficial sequel. One that predates SF2 by quite some time – it was released in Europe back in March 1989. Many of the computer ports I mentioned earlier were developed by a company called Tiertex and published by U.S. Gold – the same companies behind the infamous Strider Returns. Their ports of Street Fighter ended up being so popular that they made a spiritual successor for the European PC market. Simply titled “Human Killing Machine”, the game holds the distinction of being even worse than the already poor ports of the original Street Fighter. The game was also incredibly bizarre. I mean, the main character was a Korean martial artist named Kwon – normal enough – but his opponents included a dog, two prostitutes, a waiter, a bull and even some terrorists. It really defies all description. While I’ve never played HKM myself, all the information I was able to find on it declared the game outright terrible. It’s really no surprise was promptly forgotten to the sands of time, to an even greater extent than its inspiration.

Final Fight

One of the most unique things about video games as a medium is just how quickly people will accept a spin-off of an existing franchise. Case in point, there are almost as many flavors of Mario as there are of ice cream at Baskin Robbins. However, there are few that can compare to Street Fighter, which managed to receive a spin-off merely two years after its very first game… and nothing else. Let that sink in: the original Street Fighter, itself only a relative hit in Capcom’s eyes, managed to receive a full-blown spin-off with only a moderate amount of ports (ranging from mediocre to terrible) to back up the moderate success of the original arcade release. Of course, considering just how trigger-happy Capcom eventually became with spin-offs – particularly in the 90s – maybe it was just a sign of things to come.

In 1988, both Takashi Nishiyama and Hiroshi Matsumoto had left Capcom and started their careers at SNK – going on to develop such franchises as Fatal Fury and Art of Fighting. However, Capcom wanted a sequel to the original Street Fighter and tapped Yoshiki Okamoto to produce this new sequel. Okamoto cites the arcade version of Double Dragon II: The Revenge as his basis for developing the next Street Fighter title, eschewing the 1-on-1 fighting genre and focusing on the beat-‘em-up style of gameplay pioneered by Technos Japan. The game was originally shown off at trade shows under various working titles, most notably “Street Fighter ‘89” and “Street Fighter: The Final Fight”, but due to feedback from various operators, the game was rechristened simply as “Final Fight”.

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Pretty surprising, right? I especially like how they’ve practically finalized the SF2 logo there.

The game was also heavily inspired by Western culture, particularly the 1984 film Streets of Fire. In fact, one of the main characters, Cody Travers, was inspired by the film’s hero, Tom Cody. Likewise, various enemies found throughout the game were named after 1980s rock musicians, bands and albums: most notably Poison, Abigail (named after King Diamond’s second album), Axl (Rose) and Roxy (Music). Likewise, the boss character Andore was heavily inspired by professional wrestler, Andre the Giant.

Final Fight was the first game in the Street Fighter line to be designed on the Capcom Play System, a proprietary arcade system developed by Capcom. Unlike most arcade boards at this time, the CP System ran games on removable ROM cartridges, similar to SNK’s NeoGeo MVS. The CPS was developed in order to reduce hardware costs and to appeal to arcade operators, as it was often easier and cheaper to sell modification kits for existing cabinets – allowing arcade owners to provide their customers with the latest games at a much cheaper price, maximizing profits. The CPS (retroactively called the CPS-1) was fairly successful, but also plagued by bootleg versions of Capcom titles.

The game’s storyline is pretty basic when compared to the games from today, but for an arcade game released in the late 80s, it’s pretty fleshed out. A cutscene that plays in the game’s attract mode sets the stage: Metro City – clearly a fictionalized version of New York City – is ridden with crime and violence. Newly-elected Mayor Mike Haggar decides to clean up the city, making it safe for its citizens. However, the Mad Gear gang, the most powerful crime syndicate in the city, decides to take matters into their own hands. After a failed attempt at bribing Haggar, they kidnap his daughter Jessica, demanding that the mayor comply with their demands or else. Haggar decides to call Jessica’s boyfriend Cody and their mutual friend Guy, asking them for help to save his daughter. Of course, considering the fact that Haggar is a former professional wrestler, Guy a master of ninjitsu and Cody an accomplished street fighter in his own right, the three decide to bust some heads and save Jessica from the clutches of the Mad Gear Gang.

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I mean, it’s already on. How else could there be static on the screen?

Final Fight is one of the earliest games in the beat-‘em-up genre to offer multiple playable characters with different abilities and mechanics, as opposed to the identical palette swaps common in the early days of the genre. Cody is a well-rounded fighter, Haggar is the strongest but slowest of the three, and while Guy is the weakest character, he’s also the fastest. The game also has three weapons spread across its stages and each character gains special abilities with their corresponding weapon. The knife can only be thrown by Guy and Haggar, while Cody can choose to hold onto it, stabbing enemies. The lead pipe is the strongest weapon in the game, but its weight slows down both Cody and Guy, so only Haggar can use it to its full potential. The katana’s a good weapon for all three characters, but Guy’s speed allows him to use it to its full potential.

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Stabby stabby! No wonder Cody ended up in jail.

The gameplay is highly reminiscent to other games in the genre like Renegade and the Double Dragon games, but there’s also been some streamlining involved. The controls feel silky smooth and responsive, even by today’s standards, with characters gliding across the screen effortlessly and attacks coming out with lightning speed. Final Fight is a free-roaming multi-plane beat-‘em-up, meaning that the player characters and enemies can walk in 8 directions at will, meaning that characters have to be lined up to attack one another. The game has the standard joystick and buttons layout, with one button dedicated to attacks and the other allowing the character to jump. Pressing these two buttons at the same time allows the character to do a special move – Cody has a jump kick, Guy does a spinning kick not unlike the Lee Brothers in Double Dragon and Haggar does a spinning lariat – at the cost of some health.

The game has six stages, each taking place in some segment of Metro City. The game starts in the Slums, before moving onto the Subway, followed by the West Side, Industrial Area, the Bay Area, with the final showdown taking place in Uptown. Each level is capped off with a unique boss character that doesn’t appear anywhere else in the game. There are also two bonus stages, taking place after the second and fourth levels respectively. After defeating Sodom at the end of the Subway level, players are given the chance to destroy a random thug’s car in a time limit. The other, taking place after the Industrial Area and the fight with Rolento, involves walking on a conveyor belt and breaking panes of glass.

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OH! MY GOD CAR!!

By the time Final Fight had been released, Capcom was beginning to settle into the CP System’s capabilities, cultivating a look that would persist in many future titles, especially later Street Fighter games. The coloring is a bit dull compared to later games on the CPS, but everything else is top-notch for the time. Considering the fact that this game was originally released in 1989, it’s simply amazing that this game manages to sidestep the various aesthetical pitfalls that several arcade games from this era fell into. The soundtrack is also pretty good for its time, my favorite songs include the Stage 1-1 theme, the music that plays in Stage 5-1 and the second theme from the Industrial Area. It doesn’t necessarily hurt that these three themes would eventually resurface in later Street Fighter games, but those are my personal favorites. While Yoshihiro Sakaguchi was the only composer credited in the Final Fight’s credits, six more people worked on the game’s soundtrack. You probably recognize Harumi Fujita, Manami Matsumae and Yasuaki Fujita from the Classic MegaMan retrospective, but Junko Tamiya (who worked on the Strider arcade games, as well as 1943 and 1943 Kai) and Hiromitsu Takaoka (1941, Sweet Home) also contributed to the soundtrack. Yoko Shimomura also composed a couple of songs, but we’ll discuss her more later.

The game was unquestionably a smash hit in arcades. In fact, in the February 1991 issue of Gamest, a Japanese magazine dedicated to arcade games, Final Fight was named the number one game of 1990. It took home several other awards, taking home “Best Action Game” and ranking in fourth place on Best Video Game Music, ninth place on Best Graphics, second place in Best Direction and fifth Best Album of the same year. Final Fight’s popularity also extended to its characters, with Mike Haggar being named the most popular character of the year. Guy took second place, Cody was number seven, the sultry and mysterious Poison at #26, the massive weeaboo Japanophile Sodom took the #33 slot and damsel-in-distress Jessica ranking in at 40th place.

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I’m shocked that Rolento didn’t even place.

Western reactions are a little harder to gauge, but considering the sheer amount of home conversions, I think it’s safe to say that Final Fight was a hit in all regions. As with the original Street Fighter, several home computer ports were released across Europe on the Amiga, Amstrad CPC, Atari ST, Commodore 64, and ZX Spectrum. As with the Street Fighter ports, these were handled by U.S. Gold and aren’t particularly impressive. Granted, how much of this was due to the limitations of the computers in question and how much was due to U.S. Gold’s lax quality control often varies and is debatable. However, unlike Street Fighter, there were actually several home ports worth talking about, as opposed to one. For starters, there was a port on the Sharp X68000, a Japanese home computer. The interesting thing about this version is the fact that because this was the hardware that the game was developed on, the game is essentially near-arcade perfect, a true rarity at this point. Then there was the Sega CD version, which traded vibrant colors for a Redbook CD soundtrack and voice acting, as well as a new Time Attack Mode. Time Attack Mode isn’t what one might expect: they’re essentially three arenas (one per playable character) with endless waves of enemies that need to be defeated within a time limit. On the plus side, the Western release had far less censorship than other console versions.

On that note, I couldn’t do a round-up of Final Fight’s home ports without the most well-known version of them all. The Super Nintendo release of Final Fight hit Japanese store shelves on December 21st, 1990, with North American and PAL region releases on November 10, 1991 and December 10, 1992 respectively. While the game itself wasn’t a launch title, it did release within the same year the system launched in these three regions. Unfortunately, this version did come with a fair amount of limitations. Perhaps the most important omission was the loss of multiplayer: Final Fight SNES was a strictly single-player affair. Likewise, both Guy and the fourth stage were removed. There was also a ton of censorship, at least in the Western home releases. Damnd was renamed “Thrasher”, Sodom was renamed “Katana”. One change that was exclusive to the Western SNES versions was that Poison and Roxy were replaced with two scrawny guys named Billy and Sid. Even with all of these cuts, the SNES version is brutal to play: in fact, for many years I hated Final Fight, simply because the SNES version was the only one I’d played. Capcom did attempt to rectify this in a roundabout way years later, with the release of “Final Fight Guy”. Despite being released a whopping two years after the original Japanese version, the only difference in this version is that Cody has been replaced with Guy. The game did see limited release in the USA as well, but only as a Blockbuster exclusive in 1994.

There were a few other modern home ports of Final Fight. SNES ports were all the rage on the Game Boy Advance and Final Fight was no exception. Fittingly named “Final Fight One”, this version of the game is pretty much arcade perfect, not only restoring the content cut from the SNES release, but even adding new content, like alternate versions of Guy and Cody. Arcade-perfect ports were also made available on the first volume of the Capcom Classics Collection for the PS2 and Xbox, as well as Capcom Classics Collection Remixed on the PSP. The most recent release was Final Fight: Double Impact, a digital release bundled with a new remixed soundtrack, online play, graphic filters as well as a bonus game, Magic Sword. This was exclusive to the Xbox 360 and PlayStation 3, though the latter was marred with a controversial always-online DRM protection which prevented the game to be shared with other PSN users. The 360 version of Double Impact also saw a physical release in the form of the Capcom Digital Collection alongside various other Capcom digital titles in March 2012.

Thus concludes my piece on Final Fight. Final Fight did manage to earn 2 direct sequels on the SNES – which are fortunately much better than its ports of the first game – as well as three spinoffs: a super-deformed parody game on the NES, a Saturn-only fighting game that was developed by Capcom USA despite only releasing in Japan and a gritty reboot on the PS2 and Xbox that is so bad, that it killed the studio that developed it. That being said, the most lasting contributions Final Fight has made to video games in general have been through the Street Fighter franchise. Even to this day, new references to the original Final Fight have surfaced in Street Fighter games, ranging from characters and settings to subtle Easter eggs. While we haven’t seen a new Final Fight game since 2006 (and believe me, Streetwise may have salted the Earth on that one for generations), the franchise remains relevant to this day.

Street Fighter 2010: The Final Fight

I wasn’t originally planning on doing a write-up for this game. Doing a write-up on Street Fighter 2010 was actually suggested to me by one of my editors, and once I found out that the game actually predated Street Fighter II – something which only raised further questions – I didn’t have a compelling argument against doing one. This game does have a pretty weird history behind it, so it would at least be interesting to explore.

There’s actually a pretty unique backstory with regards to this game’s release in North America. The original rumors were that the game was originally known simply as “2010” when released in Japan and the Street Fighter branding was a decision made by Capcom USA to increase the game’s visibility. As it turns out, this simply isn’t the case. The game was always meant to be a Street Fighter spin-off: the game’s full Japanese title is “2010 Street Fighter”. That’s not to say that Capcom USA didn’t modify the game. They changed the game’s protagonist – originally a cyborg interplanetary police officer by the name of Kevin Straker – into Ken (not yet given the surname “Masters”) from the original Street Fighter. They also completely changed the game’s storyline (more on that later) and added “The Final Fight” as a subtitle to both drive home the Street Fighter connection, as well as piggyback on the success of that arcade smash. In other words, Capcom Japan always intended 2010 as a Street Fighter spin-off, the USA branch just boosted its relevance to “sequel” and added a Final Fight reference to boot. Eat your heart out, U.S. Gold: Capcom USA managed to find an even cheaper way to make a contested sequel for one of their hottest franchises.

2010SF

I guess we owe Capcom USA an apology.

The game’s backstory actually varies a fair amount between the Japanese and Western release. I’ll start with the original plotline from 2010 Street Fighter. Humanity had grown far beyond the confines of the Earth and sought out new worlds. In this new interplanetary society, crime is rampant. Many criminals are powerful cyborgs, but they became even more powerful in the year 2010 AD, after the discovery of “parasites”: armored insects that merged with their hosts, causing them to sprout a beetle-like shell of armor and boosting their strength significantly. To combat this new threat, the Galaxy Police sends out Kevin Straker, a cyborg officer, His orders are to apprehend the parasites’ creator Dr. Jose, destroy the parasites and absorb their power, which opens a dimensional gate to the next outbreak area. However, Kevin has a mere 10 seconds to pass through the gate and if it should close, Kevin would die. With these limitations in mind, he sets out to combat the parasitic scourge.

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He even showed up on the Street Fighter V site. Dr. Jose too!

The English localization took things in a very different direction. The game’s main character was Ken, who retired from street fighting after winning the tournament and returned to college, eventually becoming a brilliant scientist. He ends up developing a new substance known as “Cyboplasm” which grants superhuman strength to any living organism. Unfortunately, soon after this breakthrough, Ken’s lab partner Troy is left murdered and the Cyboplasm stolen. Ken decides to upgrade his body with bionics and, using the martial arts mastery he developed in his street fighting days, tries to track down Troy’s killer. Following the trace amounts of Cyboplasm left behind in each planet in the “Frontier”, Ken eventually discovers that the culprit is Troy himself (replacing Dr. Jose from the Japanese version), who faked his death and is going to use the Cyboplasm to create a race of superhuman warriors loyal to him. Honestly, if you discount the Street Fighter connections, I think I prefer some of the plot points from this version – particularly the expanded relationship between the main character and the antagonist.

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I still think we got the better box art for once.

Street Fighter 2010 is a difficult game to describe. It plays like a weird mishmash of Ninja Gaiden and MegaMan, but never really reaches the quality of either game. Kevin is armed with a short-range projectile which can be rapid-fired on the ground but fired off only once in the air. While grounded, the projectile can be fired straight-forward, straight-up by holding up on the D-Pad, diagonally-up (with a weird kicking animation) by holding down on the D-Pad and straight down when somersaulting in the air. The range and power of this attack can be upgraded by collecting power-up capsules that are strewn throughout most stages. Collecting two capsules powers up Kevin’s attack one level and it can be boosted five levels. Another power-up gives Kevin an orb that follows him around that damages any enemy that comes into contact with it. The Flip Shield turns Kevin’s somersault into an attack that kind of resembles a Flash Kick, damaging enemies that come into contact with it. He can also scale walls by pressing the jump button against them and scale through platforms.

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Ah yes, the far-flung year 2010.

Levels vary from full-on platforming segments with bosses at the end to enclosed boss arenas. Most levels are timed and when the boss of each segment (referred to as “Target”) is defeated, a warp portal to the next area opens up. Kevin only has ten seconds to enter the portal before dying. The game offers unlimited continues – never a guarantee on the NES – but considering the fact that stages consist of multiple segments and health doesn’t replenish until an entire world is beaten, this game still offers a daunting challenge. Weapon power-ups remain constant between levels but revert to nothing when Kevin dies.

sf2010-02

Purple robo-gorillas are way more interesting than some shirtless guy!

The game’s graphics look pretty good for an NES game, especially considering the fact that the game came out roughly halfway through the system’s lifespan. The environments are colorful, character sprites are detailed and everything’s clear and visible. It’s probably not the most impressive-looking NES game in the system’s existence, but it was an early taste of what the console could do when pushed to its technical limitations. The game’s soundtrack is also top-notch, composed by Junko Tamiya – remember her from Final Fight? The tracks are energetic and manage to have a sound that’s much edgier than most of Capcom’s NES games.

The game feels like a lot of wasted potential. With unique stage layouts, beautiful sprite art and a good soundtrack, the game should be good. Unfortunately, the controls are too clunky at times and while infinite continues may seem like it would make the game easier, it just ends up feeling like more of a punishment considering how weak Kevin’s base stats are. Honestly, the game might be better if it only gave players one life, just because losing power-ups makes Kevin useless in combat and while some stages offer a lot of items, there are some with absolutely nothing. Worse yet, making a tie-in to the Street Fighter series that wasn’t a fighting game, even before SFII hit arcades, rubbed a lot of gamers the wrong way – a choice that got exponentially worse in hindsight. SF 2010 isn’t a particularly terrible game – for most companies at the time, it might be considered among the best – but Capcom’s pedigree at the time made for a hard act to follow. SF 2010 was released in August 1990 in Japan and a month later in North America. By that point, Capcom had released the first two MegaMan games, Ghosts ‘n Goblins, Chip ‘n Dale: Rescue Rangers, Codename Viper, Ducktales, Bionic Commando and Strider on the NES in North America. It’s just a shame that they never decided to revisit and refine the concepts present in this game, because there’s clearly a lot of untapped potential here.

sf2010-03

This deserved a 7th-gen sequel way more than Mercs.

One final thought occurs to me: was Street Fighter II: The World Warrior in production while Street Fighter 2010 was being made? I mean, the game did come out the following year, so I think it’s safe to assume that it was. However, if that were the case, I have to wonder why Capcom continued with 2010’s development if SFII had been conceived. Given how much of a departure 2010 was from the original, both in terms of setting and gameplay, it just seems unusual. Chances are the game was already so far into development that it would’ve been a waste of resources to not complete it, but I wonder what could have happened if 2010 ended up becoming a huge success like Final Fight before it. Would 2010 have had sequels and the traditional 1-on-1 fighting game formula have been abandoned? Or would the mainline Street Fighter games have run in tandem with a series based around the 2010 continuity, sort of like the various iterations of MegaMan that coexisted? We’ll never know, especially given how little information there is about Street Fighter 2010’s development, but it’s interesting to consider.

That seems like the perfect place to cap off this section of my retrospective: a nice little appetizer before we get into the real meat of the series. Next time, I’ll be taking a look at the worldwide phenomenon that was Street Fighter II, in all of its various incarnations. I’m not sure exactly when the next article in this series will surface – like I said, I’m only planning on doing these when I have a gap in my schedule – but right now, I’m planning on doing Part 2 sometime this April.

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PC Ports Wishlist 2: Lost in New York

Around this time last year, I decided to do a new article in my long-running indulgence: port-begging for PC games. Of course, in the most recent article, I also added in some additional musings. I discussed what my favorite overall “victories” were since I’d originally started doing these lists, as well as focusing on both my overall top 10 most wanted games out of what I’d covered in older lists and the top games for each remaining list. I can’t really remember if I decided I wanted to make it a yearly tradition after the previous article – at the same time, I guess I just sort of assumed I’d be doing it again anyway. I had fun with last year’s lists, so why not?

This time around, I’m going to be focusing entirely on 2017 with the recap. As such, I’ll be starting with my top 5 confirmations of the years, which was a lot more difficult than I would have expected. Little has really moved since last year’s “Best of the Rest” list, but I’ve finally been able to cobble together an entire new list, so it only seems fitting to introduce it in this article. Finally, considering the fact that the top two slots in my previous top ten list – MegaMans 9 & 10 and Ys SEVEN – have since been released, I’ve decided to write up a new list. Not every game is new, but some have switched places.

Before we get on with this year’s lists, I’d like to go over the PC port announcements that were made since August, when I did the list for GOG games. Admittedly, I didn’t really expect that much in the way of announcements, especially considering the major announcements revealed from May until August. That’s not to say there was nothing these past four months. Killer Instinct was finally released on Steam back in September, technically not a new port – as it was previously a Windows Store exclusive. However, putting it on Steam and adding (albeit limited) crossplay with both the Xbox One and Windows Store versions was a nice touch. September also brought us the announcement of Zone of the Enders 2 receiving another re-release, adding a new VR option, on both PS4 and PC. While the ZOE HD Collection was on a previous list, I suppose getting a new release of the game that worked – apparently, the PS3 and Xbox 360’s version of the first game was broken – is better than nothing, so I’ll count that as a win. However, November alone definitely brought me some big-name releases – that ended up forcing me to modify the new game’s list not once, but twice. Capcom announced that Okami HD would be ported to PC, as well as PlayStation 4 and Xbox One. I wish I could say that I had considered this game for my list, but I thought of it as too much of a long shot, given the series’ Japan-centric aesthetic running counter to Capcom’s Western goals. Sphinx and the Cursed Mummy, a Zelda-like adventure game with platformer elements previously released on the GameCube, PlayStation 2 and the original Xbox, also managed to receive a remastered port on PC, Mac and Linux, courtesy of THQ Nordic. The game didn’t fall within my usual criteria for inclusion, but considering the game’s recent cult following, it’s definitely good news from my perspective. Injustice 2, on the other hand, was originally going to be on this year’s list, but it ended up receiving a PC port courtesy of the fine people at QLOC. Unfortunately, the game uses Denuvo, so I’m going to have to hold off on it until WB comes to their senses. And just like last year, the biggest surprise comes from SNK. The Last Blade 2 – based on the PS4 release this time around – was released on Steam completely unannounced. Ironically, this was another game I intended to put on this year’s list but had to swap it for something new at the last minute.

Speaking of last-minute announcements, there were two more PC gaming announcements I’d consider wins literally the day before this article was scheduled to go up. First, both Jazz Jackrabbit games were released on GOG, which means that the GOG wishlist I wrote back in August has finally borne fruit. Here’s hoping it’s the first of many. Earlier this week, XSEED announced a livestream on November 30th, with a mystery announcement. I was hoping for something Falcom-related and once again, I hit the jackpot. 2001’s Zwei!! – now retitled as Zwei: The Arges Adventure – is being translated and set to release on their usual storefronts (Steam, GOG and the Humble Store) sometime in “Winter 2018”. The work that went into bringing this to modern computers cannot be understated: the original game used DirectX5. XSEED managed to collaborate with Matt Fielding of Magnetic Games, the developer behind Exile’s End. As such, a majority of the original applications and mini-games from the original Falcom release have been maintained in this new version, with the exceptions of the calculator and the calendar. Frankly, I’m just surprised at the turnaround on this one and can’t wait for it to be released.

This year’s list of console ports also managed to achieve a win. Owlboy was originally announced for the Switch back in May, but since then, PS4 and Xbox One ports have also been announced. Last year’s list did way better. Back in March, Lethal League was announced for PlayStation 4 and Xbox One. Team Reptile also announced a sequel – named “Lethal League Blaze” – set to release some time next year on both PC and “console”. Undertale was also announced for release on PlayStation 4 and Vita back during this year’s E3. I was honestly surprised that it didn’t end up hitting the Nintendo Switch, but that’s life. Likewise, while NEO AQUARIUM – The King of Crustaceans – failed to receive a console port, its sequel ACE OF SEAFOOD has been ported to the PlayStation 4, as well as developer Nussoft teasing a future port to the Nintendo Switch.

Top 5 Successes of 2017

Before I get to my actual picks, I’d like to give an honorable mention to Arc System Works in general. They’ve made quite the evolution over the past couple years, going from re-releasing old PC ports of classic games on GOG to outright announcing PC versions of upcoming games – Double Dragon IV and BlazBlue Cross Tag Battle come to mind. I hope more Japanese companies take after their example and decide to offer major PC support for any games they decide to release in the West.

5. de Blob 1 & 2 – THQ Nordic (Wii, PlayStation 3, Xbox 360)

I honestly didn’t think this was possible, which is why this made the list over ASW. ASW’s transition into a more PC friendly company was alluded to for quite some time, but when Nordic Games rebranded themselves as “THQ Nordic”, the Darksiders III announcement wasn’t remotely surprising. Bringing back not one, but both de Blob games, on the other hand? Absolutely blew my mind. When Nordic first purchased the intellectual property and said they “had plans” for the series, I thought it was merely corporate talk. After all, the game’s rights had languished in purgatory while other major IPs were claimed by other companies at auction. Best of all, they hired Blitworks to handle the ports of both games. Eventually, the first game had ports announced for the Xbox One and PS4, and it wouldn’t surprise me if the second game follows.

4. Bayonetta/Vanquish – Sega/Platinum Games (Xbox 360, PlayStation 3, Wii U)

Speaking of amazing turnarounds, Platinum Games managed to grant us not one, but two of their cult classics from last-gen on PC this year. The fact that both games came out so close to one another made this even more amazing. It’s also been heavily rumored that both games will be released as a double-pack on the PS4 and XBO, though confirmation has yet to be made. With Platinum’s Twitter heavily implying that Bayonetta 3 may be on the horizon, it only makes sense to get the game in as many hands as possible. While a Bayonetta 2 PC port is a pipe dream due to Nintendo’s heavy involvement with the game’s development, I hope we can see even more of Platinum’s back catalog hit PC in the near future.

3. The King of Fighters XIV – SNK (PlayStation 4)

It’s funny: I was honestly expecting to put this one on this year’s list of new games: it was even the sole new addition to last year’s list. SNK managed to impress me with a timely Steam port that I assumed would usher in the game’s demise when it came to additional content, but apparently that wasn’t the case at all. With a port handled by Abstraction Games – an underrated company that handled the Double Dragon Neon PC port – KoFXIV is now capable of shining in brand-new ways, thanks to a fledgling mod community. Seriously, what they’ve been able to do with the game has been amazing.

2. MegaMan 9 & 10 (MegaMan Legacy Collection 2) – Capcom (Xbox 360, PS3, Wii)

I’m surprised this is coming in at number 2, but my top request definitely put up a good fight. I’m probably alone in the sense that I’d have been willing to pay $20 for these two games and all their DLC alone. Adding in two more MegaMan games that hadn’t shown up on PC before – MegaMans 7 and 8 – only served to sweeten the deal and make it a can’t-miss proposition for me. For a while, Capcom had been weird about what they’d port to PC – but in recent years, as long as it’s not a Nintendo-exclusive, PC gamers are likely to get love from Capcom. If anything, I wish they’d been a little less generous in some cases…

1. Falcom (in General)

Yeah, I get that it’s kind of cheating to put an entire company in the top slot, but if I’m going to be honest, they deserve it. Sure, the promises of day one parity with the console releases of Ys VIII: Lacrimosa of Dana ended up being a pipe dream, but considering the rumors of the port’s quality (or lack thereof), not to mention the outright poor quality of the original translation, it may have turned out to be a blessing in disguise. Aksys Games’ translation of Tokyo Xanadu eX+ is set to launch the same day as its PS4 counterpart as promised, but considering how late they started their own beta testing (similar to Ys VIII), well, “watch this space”. Even though Ys VIII didn’t hit its original release date on PC, some good did come of it. Ys VIII is actually the first game that NIS America is releasing on GOG, which is amazing. Whether or not that means other NIS games will hit the platform is beyond me, but that seems pretty cool.

Despite these setbacks from one of their new partners, XSEED more than picked up the slack when it came to representing Falcom on PC. The Legend of Heroes: Trails of Cold Steel, Ys SEVEN and Zwei: The Ilvard Insurrection (formerly “Zwei II” in Japan) all saw release on Windows PC this year. Also, they’ve announced that both Trails of Cold Steel II’s PC port and the first Zwei!! will release some time next year. Good stuff, but that’s not the major reason why they topped it out. In an interview with Techraptor, Toshihiro Kondo – Falcom’s president – said that he wanted “all of [their] games that come out to [release] on Steam”. Not just all future titles, not all of the old games that Falcom previously released on Windows, ALL of their games. Big words, but considering the massive collection of Falcom games we’ve amassed on PC so far, I wouldn’t be surprised if this comes to pass.

Our Feature Presentation

Before we go onto my new list, I feel like it’s worth going over the rules I’ve limited myself to in the past with these lists. It’s odd, I know, but it just ends up making the process of building a list much more fun. For starters, I’m limiting myself to games from the seventh (PS3/Xbox 360/Wii) and eighth (PS4/Xbox One/Wii U/Switch) generations of gaming. Porting anything else seems like it would require a brand-new release across the board and this is more about simple ports. Considering the sheer amount of games from these generations that have been ported to PC in recent years, it only seems fair. I also try to limit myself to one game per company, though considering the sheer number of buyouts we’ve seen, I’ve decided to expand that to one game per “brand” – but only if the buyout happened since the games were made in the first place. For example, I can ask for one game each from Sega and Atlus, but asking for two games from Square Enix is a no-no. I also consider one “series” as an entry, as long as the games themselves were all present in the generations available to me. Finally, no games that are clearly “console-exclusive”. So, even though Sony Music has started that whole “Unties” publishing label for indie games and Nintendo’s willing to do tie-ins on mobiles, I’m not going to be asking for stuff like Parappa the Rapper Remastered or Super Mario Odyssey. It’s just common sense.

Brandish: The Dark Revenant – Nihon Falcom/XSEED Games (PlayStation Portable)

I mentioned earlier that Falcom’s president wanted to put all of their games on Steam. The main goal most people have their sights set on is getting Trails of Zero and Trails of Azure on the PC platform. A segment of Falcom’s popular “Legend of Heroes” series, these two games – known colloquially as the “Crossbell games”, named after their setting – are quite literally the most commonly requested games. Unfortunately, they also lack any official English translations, so this would be a necessary part of porting the games to PC.

But do you know what Falcom game already has a full English translation and is also currently doomed to exclusivity on the inescapable purgatory that is the PlayStation Portable? That’s right, Brandish: The Dark Revenant. A remake of the first installment in a short-lived Falcom series, the games bring a new perspective to the first-person dungeon crawlers of old with its unique brand of gameplay. Brandish’s translation was a labor of love from Tom “Wyrdwad” Lipschultz, one of XSEED’s most prominent localizers. While the PSP remake saw its original Japanese release in 2009, it only managed to reach America in January 2015 as a digital-only release. It’s a shame that such an interest game was resigned to such a lackluster fate outside of its home market. Considering the fact that we’ve seen Ys SEVEN hit PC this year, I’d love to see Brandish achieve the same thing. At worst, it would at least give XSEED’s new partners a chance to hone their craft while XSEED is working on translating the Crossbell duology.

Rare Replay – Microsoft Studios/Rare (Xbox One)

This almost feels like cheating, considering I put the Banjo-Kazooie games on an earlier list. Considering they’re both included in this compendium of some of Rare’s most beloved titles (not owned by Nintendo), getting this collection would just end up killing two birds with one stone. It may seem unlikely given the fact that it hasn’t already come to PC, but that’s exactly what I thought about the Killer Instinct reboot back on my very first list. If I’m going to dream, I might as well dream big.

Tekken Tag Tournament HD – Bandai Namco (PlayStation 3)

This has the exact opposite problem compared to Rare Replay. I’ve already asked for the second Tekken Tag Tournament, so why ask for the original? The answer’s simple: despite being outclassed in every possible way by its sequel, I associate some really happy memories with the classic game. The re-release in the Tekken Hybrid package reminded me of that and so did replaying the game for the Tekken retrospective I did this year. There was just something amazing about the original game, some intangible factor that prevents me from letting go of it. That’s not to say I wouldn’t rather have the second game if forced to choose, but if Bandai Namco considers re-releasing both, I’m not going to complain.

Odin Sphere: Leifthrasir – Atlus/Vanillaware (PlayStation 4, PlayStation 3, PlayStation Vita)

Every list has got to have at least one pipe dream on it. A game that outright transcends any other baffling choice. I’ve got quite a few on this year’s list, but I’d say last year’s re-release of Odin Sphere is the big one this time around. Since I started doing these wishlists nearly four years ago, we’ve seen Atlus’s stubborn refusal to acknowledge the PC market go from the rule to the exception when it comes to Japanese publishers. Having said that, Atlus USA does do a good job of publishing various indie titles on the platform and Sega has apparently been applying pressure on Atlus’s PC-phobia, with various people speculating that we could see a Persona game hit the platform someday. Frankly, I’d rather just have Vanillaware games, considering the developer’s stated openness to releasing their games on PC. Leifthrasir is technically their most recent release, therefore it feels the most likely.

Azure Striker Gunvolt 2 – Inti Creates (Nintendo 3DS, Nintendo Switch)

This was honestly a last resort when it came to PC port requests. Don’t get me wrong: I loved Gunvolt 2 even more than the original game. It’s more that it seems like Inti Creates may have abandoned the platform when it comes to the games they publish themselves. Not to mention the fact that I think I’d rather have a release of the Striker Pack on PC, as opposed to just the second game. The original Gunvolt’s release on Steam was sort of wonky and it looks like the version included in the Striker Pack on Switch is a much more coherent experience, likely due to what Inti Creates was able to learn from their first attempt at transferring the title – which required two screens – onto a single-screen platform and improve their efforts. At the same time, asking for the Striker Pack feels a bit skeevy, considering we already have the first game on Steam. That’s what makes the whole thing so complicated. I mean, ideally, they’d just release the Striker Pack on Steam and give anyone who bought the first game a discount. That’s my opinion anyway.

Yakuza series – Sega (PlayStation 3, Wii U, PlayStation 4)

From what the internet has been telling me, the Yakuza games – better known as Ryū ga Gotoku in Japan – are the best games I’m not playing. I totally want to try them out, but I’m afraid I’m just no longer into playing big experiences like that on console these days and frankly, I wouldn’t even know where to start at this point. Much like Atlus’s Persona series, there is a massive wellspring of support for these games to make their debut on PC. Some people want the games to start with the latest game in the series – either Yazuka 6 (the next game set to hit the West) or Yakuza Kiwami 2, the remake of the second game set to hit Japan in a matter of days. Other people seem to be fine with the series starting up with Yakuza Zero – which has essentially been deemed the perfect place to jump into the series for newcomers. Meanwhile, I’m a little more extreme: I want everything. Start by localizing the Japanese-exclusive HD ports of the first two games on the Wii U, then just continue from there. Ideally we’d be seeing most of the cut content restored to its original glory in the process. It sounds ridiculous, I know, but honestly, a legitimate entry in the Yakuza series hitting PC is a pipe dream anyway.

(P.S. Nice try, Sega. But no one’s counting that smartphone game you’re working on as an actual PC release for the Yakuza series. In fact, most of us were just insulted.)

The Witch and the Hundred Knight – Nippon Ichi Software (PlayStation 4, PlayStation 3)

NIS America still appears to be pretty heavily involved in the PC scene, but personally, I wish they’d port more of Nippon Ichi’s games to the platform. The Witch and the Hundred Knight is a game that friends of mine have been raving about, and considering the fact that it’s an action-RPG, I’m onboard with it too. The game’s sequel released in Japan early this year and is set to release in the West sometime next year, so allowing the PC crowd to get their hands on the first one would be a nice treat. Though frankly, I’m still worried about which Disgaea game we’ll get next – I’m kind of worried that they might just skip right to 5, considering the game’s ESRB listing. I’d rather play through the rest of the old games first, personally.

Final Fight: Double Impact – Capcom/Iron Galaxy Studios (Xbox 360, PlayStation 3)

Truth be told, my backlog of PC port requests from Capcom is running pretty low. That’s not exactly a bad thing: it means that most of the recent games I actually want from the company have already been released on PC. Final Fight: Double Impact just seems like a safe choice to make. It contains arcade-perfect releases of both the original Final Fight and Magic Sword, two beat-‘em-ups with significantly different gameplay styles. Factor in the drop-in multiplayer using GGPO and it’s still worth playing to this day, in spite of the DRM present on the PS3 release. Considering that the 360 and PS3 have essentially been retired, it’d be nice to see this collection – or better yet, a bigger collection with more games included – ported to modern platforms, PC included.

Windjammers – Data East/DotEmu (PlayStation 4, PlayStation Vita)

Windjammers is among the most underrated multiplayer games of all-time, so when it managed to get a re-release on both PS4 and Vita this past year, it was exciting. The only thing that could’ve made it better would’ve been if PC had been involved in the fun as well. Fortunately, DotEmu’s released a whole lot of their ports on the platform down the line, so I’m pretty confident that we’ll be tossing frisbees in no time. In fact, I’d go so far as to say that out of all of the games on this year’s new list of games, this is the one I’m most confident will hit PC by this time next year.

Let It Die – GungHo Entertainment/Grasshopper Manufacture (PlayStation 4)

Let It Die and I have had a pretty turbulent history. I was originally excited for the game when it was first announced as “Lily Bergamo”, I’m a huge fan of Grasshopper Manufacture after all. Then the game was transformed into Let It Die and touted as a “free-to-play” experience, at which point, I totally lost interest. Flash-forward to earlier this year when I actually hear some actual information about the final product and I’m intrigued all over again. Let It Die may be a free-to-play game littered with microtransactions, but it’s built far more like a classic arcade game than the mobile cash grabs we associate the concept with. Let It Die is effectively a dungeon-crawler with rouge-like elements, you’re limited to a single life – but if you pay in a quarter, you can continue with your current character. Otherwise, you’ve got to start from scratch. Aside from that, the game maintains the typical Grasshopper off-the-wall insanity: for example, the player is guided by a skateboarding grim reaper named Uncle Death. The permadeath mechanic also lends itself to asynchronous multiplayer: dead characters appear in other players’ games. It’s an honestly interesting concept and one that I’d like to see on PC, though given the fleeting nature of games like this, I wouldn’t hold my breath.

Top 10 Most Wanted

Last year, ranking my top 10 list of the games I want ported to PC the most was more haphazard than anything. I’ve never really been all that good at ordering my favorite things in general and in many cases, there wasn’t really much of a difference in how much I wanted many of the games on the list. So to compensate for it, I’ve decided to factor in just how likely I think it would be to see a re-release on PC, which should go a long way toward explaining why various games have switched places from the previous year. Keep in mind that the top two games from the previous list were in fact the top two games I wanted, this new method just helps to keep things feeling a little more structured: I’ve never really been all that good when it comes to rankings and usually by the time I’m done with one list, I instantly regret the final product. Also, don’t view a game being snubbed from the list as a sign that I don’t want the game: it’s safe to assume that I want everything that’s ever been on any of my list, even games like the now-defunct Tekken Revolution. These are just the ten that would make me the happiest to see on PC at this point in time.

10. Catherine – Atlus (PlayStation 3, Xbox 360)

Like I said earlier, Atlus’s Japanese branch appears to be actively against doing PC versions of their games. That setback won’t stop me from holding out hope. But this was clearly the longest of the longshots last year and yet, here we are. Considering the fact that we were teased with a potential new entry in the series back in August, it only seems reasonable to bring the original back for those who missed it or simply want to play it on more modern platforms.  And what platform is more modern than the PC? Come on, Atlus: you’ve literally got nothing to lose – do a modern “HD” port on PS4 and PC, replacing the Xbox brand. It’s a Golden opportunity you can’t afford to miss.

9. Lollipop Chainsaw – WB Games/Grasshopper Manufacture (PlayStation 3, Xbox 360)

Lollipop Chainsaw dropped a fair amount this year and there are a couple of reasons for this. For starters, WB Games’ PC gaming record has been littered with ups and downs in recent years – ranging from the legendarily bad port of Arkham Asylum to hiring QLOC to fix the botched Mortal Kombat X port to adding Denuvo to a QLOC-developed port of Injustice 2 – Warner Bros. just seems to keep me guessing in strange new ways. More importantly, I don’t think WB Games has any interest in reviving the game, particularly given the game’s controversial content and our current social climate. I mean, the game hasn’t even been added to the Xbox One’s library through backward compatibility. Even Catherine managed that. I think our only hope to see this game again is if Grasshopper Manufacture’s new parent company GungHo Entertainment manages to buy the rights from WB Games and that just seems like a pipe dream.

8. Dragon’s Crown Pro – Atlus/Vanillaware (PlayStation 4)

Of course, even though Odin Sphere: Leifthrasir is the most recent Vanillaware release, we do know what their next release is. Last year, I simply had the original Dragon’s Crown on this list, but considering the fact that there’s a re-release coming up with a higher resolution and on a platform with a more PC-friendly architecture, it just seemed obvious to ask for the new version instead. Still seems odd that they’re doing a re-release so soon: they even released a patch for the PS3 and Vita versions allowing for crossplay with Pro. Truth be told, there’s a part of me that wonders if Dragon’s Crown Pro is just being made as a Trojan Horse to allow Vanillaware to toss their hat into the PC gaming market. I’m more than onboard with the concept.

7. NeoGeo Battle Coliseum – SNK (Xbox 360)

This one seemed like an obvious choice. I didn’t have any 2D fighting games on the list last year and frankly, that’s unacceptable. Considering the fact that many of SNK’s old games that have been re-released on this gen have made their way onto PC – particularly the ones handled internally – it only seems fair to ask for something from the previous gen. Hamster’s been killing it with their Arcade Classics releases of classic NeoGeo games, but SNK’s work after their long-running self-made arcade hardware is a rarity these days. Considering the rumors abound that SNK may be working on a second Battle Coliseum game, re-releasing the first on modern platforms seems like a no-brainer. I see it going down like this: initial release on the PS4, followed by a Steam release at some point down the line.  Not an ideal scenario, but perhaps the most realistic.

6. Super Puzzle Fighter II Turbo HD Remix – Capcom (PlayStation 3, Xbox 360)

Another significant drop from last year’s list, I just think that seeing either a re-release of the old PC version or a new port of the HD release just isn’t in the cards anymore. Puzzle Fighter’s recently been relaunched as a new free-to-play mobile game with a hideous art style and I’m sure that Capcom would try to avoid any undue competition by releasing the original game. And believe me, this new mobile game is going to need all the help it can get. Maybe we’ll see a re-release if it fails to meet Capcom’s likely insane expectations, but it’ll take some time to gauge the game’s success.

5. Tekken Tag Tournament 2 – Bandai Namco (PlayStation 3, Xbox 360, Wii U)

While we did finally end up getting a Tekken game on PC this year, I honestly still would prefer Tag 2 to make its way there as well. Unfortunately, as TTT2 was among the worst selling games in the entire series, it seems like the chances of this game getting re-released on more platforms are pretty slim. At least it’s on the Xbox One via backwards compatibility, but I’m still salivating over the thought of what the modding scene could do with this game.

4. Castlevania: The Dracula X Chronicles – Konami (PlayStation Portable)

It feels a little weird moving this up, considering Konami’s recent history. This year offered us an omen: Super Bomberman R, one of the Nintendo Switch’s launch titles, was a true return to form for the company. This has led to a great deal of speculation about a return to Konami’s roots, with potentially even more new games in the vein of classic titles. An easy way to test the waters for this kind of revival would be re-releasing actual old titles and I still can’t think of a better choice than the Dracula X Chronicles. Containing a full graphical remake of one of the most beloved Castlevania games, an official English translation of the original PC Engine version, as well as a retranslated version of Symphony of the Night, DXC deserves a better fate than being trapped on the likely-defunct PlayStation Portable line for all eternity. The remake could use a little polish to handle higher resolutions, but aside from that, it would be a perfect package.

3. Splatterhouse (2010) – Bandai Namco (Xbox 360, PlayStation 3)

2010’s Splatterhouse reboot did not get nearly as much love as it deserves. The game was a high-adrenaline romp through a horror-inspired environment that both paid homage to and build on the original games. Considering we’ve seen various companies choose seemingly random games for modern revivals, Splatterhouse feels like it could have a chance. The game’s only major flaw, its terrible load times, could easily be fixed on modern platforms and frankly, even if you’re not a fan of the reboot itself, it also comes with perfect ports of all three of the mainline games from the 90s. If that’s not worth a re-release, then I don’t know what is.

2.  MegaMan: Powered Up/MegaMan: Maverick Hunter X – Capcom (PSP)

I wouldn’t have considered putting this so high on the list, but considering the recent re-releases of Okami HD and Apollo Justice: Ace Attorney on contemporary platforms, it looks like Capcom may be raiding their backlog for some big cheap releases. For me, the most obvious choice would have to be a twin-pack of their MegaMan releases on the PSP. Both games were critical darlings crippled by the platform they were released on and their timing. Re-releasing both games with improved resolutions in a two-pack for $20 would sell like gangbusters. Considering the fact that Powered Up isn’t even available as a downloadable title outside of Japan, this would also go a long way to preserve what is objectively the best iteration of the original MegaMan in existence and the fascinating curiosity that is MHX’s Vile Mode. Better yet, don’t just release this on PC – release it on everything: PS4, Switch, and even the Xbox One. Come on, Capcom. It’s the Blue Bomber’s 30th anniversary, let’s celebrate!

1. Ys: Memories of Celceta – Nihon Falcom/XSEED Games (PlayStation Vita)

It might surprise you to see that while much of last year’s list has remained pretty much the same, Memories of Celceta managed to jump a whopping six places to take the number one slot. For starters, the main reason that it was low was to keep things fair – after all, Ys SEVEN was my second most highly-requested PC port of all, and with that out of the way, MoC could flourish. But beating out a MegaMan game for the top slot? That comes down to pure psychology. With SEVEN coming out this year and Lacrimosa of Dana eventually hitting PC at some point, Celceta is literally the only remaining modern Ys game without a PC version in the West. You ever notice how the most painful losses are the ones where you come so close to victory? The most noticeable gap in any collection is a single entry? Same basic concept: PC is so close to being a perfect platform for the Ys series, it just needs that one last game.

Another element that puts this so high on my list is the sheer possibility of it. Everything else on here feels like a pipe dream to at least some extent – a majority of these games are from last-gen and companies don’t seem quite as keen on re-releasing old content as I’d hoped. With that in mind, I’d easily consider Ys SEVEN to be the less likely of the two missing Ys games when it comes to PC ports and that managed to become a reality. Considering the poor timing of SEVEN’s release date on PC compared to the American release date for VIII on consoles, I’d almost be willing to bet that we might see confirmation of a Memories of Celceta PC port from XSEED around the time NIS America announces the final release date for the PC version of Lacrimosa of Dana.

To put it simply, Memories of Celceta is the only game on this list right now that I don’t see merely as a hope. It’s an inevitability. Falcom has already begun focusing more on the PC market in the West, the fact that day-one PC releases were a big part of what led them to choose Aksys and NIS America only proves it. XSEED has been playing a game of catch-up, effectively proving that they are capable of following through with this new strategy given the fact that they released 3 Falcom games on PC this year alone, with one more set likely to release sometime next year. And while the Trails games are Falcom’s top brand in Japan, Ys is still the more popular brand in the West. The Western demand for Crossbell may be deafening, but there’s a much more viable option left to XSEED. The cry for Memories of Celceta on PC is literally deafening: it was riled up by a Twitter gaffe two years back, Joyoland’s attempt to put their ports on Steam Greenlight with pages entirely written in Chinese were met with salivation in English and SEVEN’s recent PC release proves that XSEED finally has the resources to make this request a reality. It’s time to complete my collection.

Thus concludes this year’s set of lists. It almost makes me wonder what I’d be able to write next year. The sheer amount of new games receiving releases on PC and old games being ported long after their initial release is what caused me to abandon this entire concept in the first place, so in a strange sense, it almost feels good to not have to write these nearly as often as I did in previous years. At the same time, I do miss writing up these lists: that’s why I’ve continued with the yearly April Fools’ list of console ports and managed to put together a wishlist for GOG this past summer. On the plus side, I’ve almost got a full list ready for next April, but as for December 2018, I’m kind of at a loss of what to do to extend an article like this to its usual length. Oh well, at least I’ve got a whole year to figure that out.

 

Don’t Resuscitate, Reincarnate!

Some of the best video games of all-time have been sequels. It’s generally accepted that sequels are expected to be superior to their predecessors, due to the inherent interactivity of the medium, which allows for more improvements to be made with each new iteration. In fact, we’re generally disappointed when this turns out not to be the case. However, this runs counter to the majority of more story-focused forms of media, like literature, film and television. Outside of gaming, sequels are considered inferior to the originals as a rule, usually due to a ham-fisted attempt at shoehorning in an extension to a story that’s already met a satisfying conclusion. As time marches on, video games become more and more story oriented, which means that soon video game sequels will fall victim to the same exact issues sequels in other media suffer from. At the same time, the idea that each new installment will improve upon the original will likely always be relevant with regards to video games. So how can developers compromise between these two conflicting viewpoints?

As I said before, video game sequels, in general, improve upon the predecessors: refining existing mechanics and adding entirely new ones to create an improved experience. Despite the fact that many gamers bemoan the lack of original IPs, sales figures imply that sequels are much more popular. This is especially important for publishers, where even a single flop could spell disaster for all but the largest companies. The video game industry just isn’t as conducive to new intellectual properties as it once was… back when there weren’t any existing franchises.

Ironically, the games of old were always more suitable for sequels from a story perspective in the first place. Most games from the 8-bit, 16-bit and even many from the 32-bit eras of gaming had fairly simple storylines, akin to those of Saturday morning cartoons. I mean, just how many times did we rescue Princess Toadstool from Bowser or stop Dr. Wily’s plots for world domination? But as with so many other aspects of gaming, most modern games’ stories are much more complex, akin to more refined forms of media, specifically movies. Self-contained adventures with a concrete beginning, middle and end. For example, before a sequel was taken into consideration, the original Portal had a very decisive ending, where Chell (the main protagonist) simply escaped at the end. This was later modified with an additional scene via a patch just before the sequel had been announced. Less lucky in this regard was the original Bioshock, which had two fairly decisive endings, neither leaving much room for Bioshock 2, which itself had to play around with the first game’s canon by adding entirely new characters to the existing setting of Rapture. This attempt at retconing was met with much less enthusiasm compared to that of Portal 2.

Of course, other games tend to leave their endings open-ended. Sometimes, it’s because the creator wants to make an entire series as opposed to a single game. Other times, it’s just because the publisher wants to leave the option for a sequel open if the game ends up doing well. Unfortunately, when plans change or games bomb in terms of sales, the main victims are fans of these games. After all, MegaMan Volnutt is still rotting on the moon and loads of people are still waiting for the third installments of both Shenmue and Half-Life, even though most of us have given up hope. Reboots don’t generally fare much better, take a look at how well recieved DmC and Bomberman: Act Zero were.

So how do you reconcile the unique advantage that video games have always had with regards to sequels with the increasing disadvantages a greater emphasis on storylines modern games suffer from? Why, by making spiritual sequels of course! Spiritual sequels, while commonly associated with creators who have lost the rights to their IPs, could very easily allow for iterative sequels of old, without the worries of retcons and unresolved cliffhangers. As an added bonus, now all those whiners can get brand new shiny IPs with the added benefit of using a tried and true formula, allowing for a safer sell on the part of publishers and their investors, compared to an entirely original IP.

I can even think of a few good examples of some existing spiritual sequels that did fairly well. There’s the aforementioned Bioshock, which was actually a spiritual sequel to the System Shock games. The original Paper Mario was originally intended to be a direct sequel to Squaresoft’s Super Mario RPG. Same goes for both Vanillaware’s Odin Sphere and Muramasa: The Demon Blade, respectively codenamed Princess Crown 2 and 3 while in development. Compare Platinum Games’ MadWorld to Clover Studio’s God Hand or hell, Bayonetta and Devil May Cry. Blazblue and Guilty Gear. Dark Souls and Demon’s Souls. The point is, it’s been done and in many cases, it’s worked out quite well. There’s your proof of concept.

Of course, in many of these cases, the original games in question haven’t been all that popular to begin with. I mean, Princess Crown never even made it outside of Japan in the first place and God Hand was a colossal bomb in terms of sales. What if you tried a spiritual successor with something like Call of Duty, Madden or Grand Theft Auto? A lot of what makes megaton hits like those three sell as well as they do is brand-name recognition. As depressing as this may sound, there is an enormous customer base that only buys games in specific series (CoD and Madden being the most popular) and nothing else. While most gamers are aware that series like this are exceptionally rare, publishers and especially investors are not. And in these rare cases, spiritual sequels would be incredibly detrimental to the future of any devteams working on said games. Unfortunately, in these conservative times, many publishers hold that intellectual properties are much more important than refined gameplay and given the realities of the marketplace, they’re not exactly wrong.

Maybe there’s a possiblity for a compromise. You could do something along the lines of a spinoff or even a sequel in name only, sort of like what they did with Street Fighter 2010: The Final Fight (which was referred to simply as “2010” in Japan and had nothing to do with either Street Fighter or Final Fight) or Red Steel 2, which had nothing to do with the original. You could also make distinct references to the previous game through advertising. And of course, in cases where the game’s canon has come to a decisive end, nothing’s stopping you from doing a prequel elsewhere in the universe: Bioshock Infinite comes to mind almost instantly.

Regardless of what happens, this problem needs to be solved if the industry is going to “grow up” like so many producers are trying to do with the medium. Personally, I don’t believe that dropping one of the key strengths video games have over most other forms of media is a good way to evolve. At the same time, perhaps gaming should strive to deliver on more experiences than just fun, like some creators want the format to do. Regardless of what direction gaming takes in the future, it is important to discover a compromise between the advantages of improvement of game engines via iterative development and the potential for self-contained narratives in video games.