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?
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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”.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.