Showing posts with label so bad it's horrible. Show all posts
Showing posts with label so bad it's horrible. Show all posts

Monday, December 12, 2011

Game Review: Ethnic Cleansing

Ethnic Cleansing
  • Publisher: Resistance Records
  • Developer: Resistance Records
  • Release: PC, 21 January 2002
  • Genre: Action, First-Person
  • Players: 1
  • Rarity/Cost: Direct order / US$15 and your immortal soul

DISCLAIMER:  The following review contains discussions of race and racism.  The Strawberry Dragon Project does not advocate racial or any other form of discrimination, and as such does not share nor advocate the views of any and all persons involved in the creation of the product being reviewed, including but not limited to Resistance Records and the National Alliance.

With a disclaimer like that, you know you're in for some serious shizzle.

One thing that strikes me as odd when comparing other nations' video game ratings systems to the North American ESRB is that, unlike the ESRB, some systems have concept descriptors for portrayals of discrimination or racism in video games.  Ironically, you would think this would be of greater concern in America, where we've been struggling with the issue of civil rights over at least the past century, but then again, the Holocaust is probably still fresh in Europeans' minds as well.  Which brings me to my next point: neo-Nazis and the Ku Klux Klan.  They exist.  For people from this generation, who may be living a sheltered life in this respect, there are people who, for whatever self-professed "justification", believe in hatred of Africans, the Jewish, what-have-you.  And wouldn't you know it, someone made a computer game for these kinds of people.

Enter Resistance Records, a music label specialising in white supremacy and neo-Nazi themed punk and such, who developed and self-published the PC game Ethnic Cleansing in 2002.  Just that sentence alone should raise a red flag immediately: namely, we don't let companies that deal in music make their own video games.  What is this, 1981?  Now, I know what you're thinking, but as a journalist, I am "legally" obligated to state that everyone is entitled to have and express their own opinions, as provided by the First Amendment and all that jazz.  After all, I am sensitive about infrigements on this personal right, so I'd be a hypocrite if I denied others from doing the same, amirite?  Moving on.

The plot for this first-person shooter is thin and silly, although those select few who share the developers' *ahem* beliefs probably won't care.  Basically, you start out fighting an African-American gang in some ghetto neighbourhood somewhere, then break into the subway and encounter an alleged Jewish plot to take over the world in eight years' time - in other words, 2010.  ...Yeah, who's got the last laugh now, bub?  Note that all this is done in the span of only two levels.  And they're not long, either; if you know what you're doing, you can count the number of minutes it takes to finish this game on your fingers.  The boss of the first level, the gang leader whose name... rhymes with "Big Digz", is ridiculously easy to beat, given that he can't shoot past the two-foot table in front of him, whereas the final boss, former Israeli president Ariel Sharon, takes a frustratingly large amount of bulltes to bring down.  Plus, not only does this make the whole game seem like a bad fanfic come to life, but just a few years after the game's release, Sharon would seek more peacable relations with Palestine and his nation's other rivals.  Again, last laugh: not you.

The enemies you face can be divvied up into three categories: 1) Africans, who sometimes wear shirts with the N-word on them (Yeah, I doubt even real gang-bangers would throw around that word so casually) and make monkey noises when shot.  2) Hispanics, decked out in poncho/sombrero ensembles, who revive themselves a couple of minutes after going down because they were "only taking a siesta".  3) Jews, wearing full Hasidic regalia and saying "oy vey" upon death.  ...Now that I think about it, this game doesn't have any portrayals, insulting or otherwise, of Asians, homosexuals, Arabs... I could go on.  So not only is the content horribly debasing racism, it's not even complete racism!  ...I'm just saying.  Not that you'll hear their clips anyway, since the sound is so unbalanced that your gunshots will drown out everything else coming from your speakers.  Oh, and I hope you like that white-power-punk in all its hate-filled glory, since the volume control in the game's options doesn't work, nor does the ability to re-map the controls.  (Just for kicks, I replaced the music with the worst song I could think of - "Anime" by Soulja Boy Tell'Em.)

Eventually, the icky subject matter will get shoved to the back of your mind once you register how horribly this game runs and plays.  For one, the collision detection is simply atrocious.  You'll get snagged on walls at the slightest brush, which becomes a problem in the second level with its narrow passages.  You only get to use one gun throughout the entire game, but it hardly ever runs out of ammo (if the unintuitive HUD gauges are to be believed).  The draw distance only lets you see a few meters in front of you - despite the fact that all the character models are low-polygon toys with racist features, and have little to no animation.  And the enemies' AI only consists of "walk in a straight line towards your position and shoot", completely unable to find their way around obstacles - even the final boss.  One could look at this at one of the game's more subtle jabs at the minority groups portrayed within, in that they're too dumb to survive.  Well, that idea backfires when you consider the WASP player characters' love affairs with walls.

My dear friends, I'd like you to recall Quake.  Developed by id Software (as you know, the same team who made Wolfenstein 3D and Doom) and released in 1996, this was the first game in the first-person-shooter genre to use fully 3D-polygonal characters and environments.  And even its graphics totally outclass those of Ethnic Cleansing, released five and a half years later.  Or look at it this way: if video games like N64 Superman and Atari E.T. are like The Room in that they're so bad they're good, then Ethnic Cleansing is shockingly horrible, like A Serbian Film.  ...No, this is not like A Serbian Film, because at least that had a worthwhile message in between all the... you know.  (Newborn porn!)  Plus, as a film it's, what's the word, competent - which I certainly can't say about this game!  Maybe a more apt comparison would be something like Trash Humpers - look it up.

By now, even though America may have achieved the establishment of civil rights as a nation, racism still exists on an individual level, so there's not much we can do about that.  (Doesn't mean we shouldn't try.)  So despite how ridiculously over-the-top it is to outsiders, I'm sure the makers of Ethnic Cleansing believed in what they were creating.  Now, officially, I'm not going to condemn them for expressing said beliefs in the manner they did (or maybe that's just my lawyer talking).  One thing not subject to personal morals, however, is how much this game sucks.  Even if you replaced the enemies and settings with the most morally worthy thing you could think of, the game is still an affront to all five of your other senses (yeah, it stinks that badly).  It should come as no surprise at this point that I'm going to slap this game with a score of 0%.  No, not zero out of five, I said zero precent.  Trust me, you've really got to work to get that low.  Oh, and by the way, even the game is physically sold from Resistance Records' website (no link provided, for obvious reasons), I'm not afraid to say that I downloaded it elsewhere for free in order to review it.  That's right - I just admitted to piracy in order to avoid giving these purveyors of hatred one cent, and I am [verb]ing proud to admit it.  So if you still believe in what Ethnic Cleansing preaches, I'm not going to stop you.  I'll just be over here playing some fun games instead.

Graphics: 0 stars out of 5
Sound: 0 stars out of 5
Control: 0 stars out of 5
Design: 0 stars out of 5
The Call: 0% (What you’ve just made is one of the most insanely idiotic things I have ever played.  At no point in your rambling, incoherent product were you even close to anything that could be considered a rational thought.  Everyone in this room is now dumber for having played it.  I award you no points, and may God have mercy on your soul.)

Next Episode: I'm gonna take it easy until the new year starts.

Tuesday, June 21, 2011

Sonic Month: Sonic Spinball

Sonic Spinball 
  • Publisher: Sega 
  • Developer: Polygames / Sega interActive 
  • Platforms/Release: 
    • Game Gear: September 1994 
    • Master System (Europe only): January 1995 
  • Genre: Action 
  • Rarity/Cost: 
    • Game Gear: Very common (US$1-5) 
    • Master System: Rare (US$10-30) 
You remember Sonic Spinball, right? This title for the Sega Genesis was essentially a pinball simulator with Sonic as the ball. It was one of the franchise's first games that tapped into the character's extreme-to-the-max edge, if the HUD chatter is anything to go by. Call it personal, but I've never been too fond of pinball games, such as this, where you're expected to hit specific targets with the ball. After all, pinball relies more on luck than skill - either that or I'm not that good. So, imagine that experience, and beat the physics engine to within an inch of its life. That's what the Game Gear port of Sonic Spinball is like.

Chaos Emeralds control your progress.
As per the backstory, Sonic has invaded Dr. Robotnik's fortress and must progress through its four levels: Toxic Pools (sewer), Lava Powerhouse (power plant), The Machine (laboratory), and Showdown (spaceport). Hard to imagine a spaceport named "Showdown", but that's beside the point and, quite frankly, the least of our troubles. Each 'level' is made up of, to put it simply, a series of interconnected pinball tables. Access to the boss room in each map requires finding the multiple Chaos Emeralds strewn around, the number per level ranging from three to five (And they're all blue. Canon? What canon?). Falling through the gutters into the trap du jour causes Sonic to lose a life, although you can save yourself by triggering force fields between the flippers, which last long enough to almost be a game-breaker. Since Sonic can't get hurt by the traditional methods in his platformer games, bosses can come off as easy - and you'll be thankful for getting such a breather after the stressful navigation you're forced to endure beforehand. You also get another breather in the form of the platforming bonus stages in between every level... at least they were supposed to be less stressful than the main game, but I'll tell you why not later.

The pinball segments, which comprise 95% or more of the game, use buttons 1 and 2 for the flippers. Getting Sonic to where you need him to go doesn't rely entirely on luck or traditional pinball wizardry; you have the limited ability to steer Sonic in midair with the D-pad... in theory. In practise, the midair "controls" are a little floaty and, while better than what you'd expect an after-touch ability in regular pinball to be, don't always get Sonic to hit the target you wanted to. The real trouble lies in the general ball physics; sometimes Sonic will stick along walls when it seems he should've bounced off them, and on certain rare occasions you can even pass through solid objects.
On-foot controls are just horrible.
As less-than-passable as the pinball segments are, there are brief periods (albeit more prevalent than in the Genesis version) where Sonic can travel on foot, such as in the aformentioned bonus stages. In these, you progress through a series of three chambers, unlocking the next one by collecting enough rings. Item boxes (which you have to hit three times in a row) yield extra points, rings, lives, or continues, but since you start off with five lives and three continues on the hardest setting, you may not always need them. Good thing, too, because trying to get to them is a feat worthy of a pro acrobat. Sonic's floaty mid-air controls carry over to on-foot segments, making it nigh-impossible to land on the desired platforms, and the many bumpers littered around the bonus rooms only make matters worse. Much worse.

In the audio/visual department, Sonic Spinball does little to stand out, for better or worse. The graphics are par-for-the-course by Game Gear standards, although the smaller size of Sonic's sprite in this game is a blessing in disguise, since it gives you the illusion (?) of seeing farther ahead. The music is even more boring than the Genesis version's already non-catchy (albeit screechy) score. Speaking of which, as far as all the Sonic ports on Game Gear go, this one bears the greatest similarity to its big brother. Not only are all four stages shared between the two, but the map layouts themselves are rather similar, too. Of course, I can't really give any props to the developers for going the extra mile in that direction, not when the rest of the game is so flawed. It would be holding-your-hand easy if not for the atrocious physics and frustrating, luck-based navigation methods. For anyone wishing for pinball action on the go, you would be far, far better served by tracking down the real thing - by which, of course, I mean a real pinball machine.

Positives:
+ A faithful port of the Genesis version.
+ You're given a lot of lives and continues.

Negatives:
- Nigh-broken physics engine.
- It's tough to control Sonic to where you're supposed to.
- The soundtrack is not up to the series' catchy standard.

Control: 1 Chaos Emeralds out of 5
Design: 2 Chaos Emeralds out of 5
Graphics: 2 Chaos Emeralds out of 5
Audio: 2 Chaos Emeralds out of 5
The Call: 30% (F)

Friday, April 1, 2011

Music Review: Friday

It is April Fool's Day as I write this, so I hope you've been having a happy one of those.  We've got an interesting subject up for review this time around: the song "Friday" by Daniel Bedingfield.  It's part of his 2002 album Gotta Get Through This, and to my knowledge it was only released as a single in the United Kingdom.  As such, I only know about it from its inclusion in Dancing Stage Max, which was, again, a European exclusive DDR game (I have my ways).  ...I take it this isn't going to be the real review.

April Fools!  No, my real quarry is another song entitled "Friday".  This one is performed by a miss Rebecca Black, a 13-year-old upstart from Anaheim, and was released in early 2011 by the label Ark Music Factory, who have a unique business model.  Anyone who wants to get into the music business can pay them a couple thousands of dollars and have a song written with/for them.  Its founder, a mister Patrice Wilson, co-wrote "Friday" and also cameos as a guest rapper1.  So, now that I've got the objective portion of this review out of the way, I'm free to say that personally...  I find this song nigh-unlistenable.  See, over the past year or so, I've encountered many popular songs I regard as "so bad it's good", including "Hey Soul Sister" by Train, "OMG" by Usher & will.i.am, "Like a G6" by Far East Movement and company, and pretty much everything else covered by ToddInTheShadows.  (BTW he stated on his Twitter channel that he would not be reviewing this particular song, oddly enough, because he felt it wasn't quite bad enough.  I get the feeling that enough requests could change his mind... but I ain't saying nothing.)  But what, you may ask, takes this song past that threshold into the realm of no return?

Welp, it starts with her vocals on the song.  They are the worst set of pipes that have ever been piped into my own earpipes.  All joking aside, Rebecca's voice on this track are so grating, raspy, nasally, and for lack of any cleaner adjectives, unpleasant.  Combined with the lyrics, which we'll get to next, her sound has a bad habit of sticking in my head and leaving me willing to do anything to it them out!  It doesn't help that a copious slathering of Auto-tune was involved, and what's worse, even with them she only sings in one note for a sizeable chunk of the song!  Lady, please, you don't get anywhere in life by singing in fewer notes than you can count on your hand.  Except Flo Rida, but he's technically a rapper, so he doesn't count.

But would replacing her with the likes of Mariah Carey make this heap any better?  Technically, yes, but it wouldn't be anywhere remotely near good.  I mean, we start off with a description of her everyday life.
7 AM, waking up in the morning
Gotta be fresh, gotta go downstairs
Gotta have my bowl, gotta have cereal
Yeah... not something you should talk about in a pop song.  When Tiga did it in "Bedrock" ("She watchin' that Oxygen, I'm watchin' ESPN"), at least that was a representation of how their differences are skin deep, but they bond through that which they both enjoy, namely sex.  But here, there isn't a point.  And yes, the only note to be heard in these three lines is B.  Lady, if you're going to be this monotone and sing so quickly, just rap and get it over with!  ...No, we do not want to hear you rap.
Gotta get down to the bus stop
Gotta catch my bus, I see my friends (My friends)
Kickin’ in the front seat, sittin’ in the back seat
Gotta make my mind up, which seat can I take?
One, you say you have to catch the bus, but (if the music video is any indication), your friends roll up in a car. I can has consistency?  Two, you're 13 years old, so your friends must be considerably older to be able to drive themselves (I take it you know the legal driving age in the US is 16).  At the very least, you probably won't be in the same school as them, but other than that, never mind.  Three, and I say this again, what's the point to stressing out between sitting in the front or the back seat?  You would think (again, according to the video)
It’s Friday, Friday, gotta get down on Friday
Everybody’s lookin’ forward to the weekend, weekend
[...]
Partyin’, partyin’ (Yeah), partyin’, partyin’ (Yeah)
Fun, fun, fun, fun, lookin’ forward to the weekend
And this is the part which gets stuck in your head and kills anything nearby.  Read it in your head with the voice I previously described, only over 9000 times worse, and you'll see why.  On second though, don't do that.  You'll thank me later.
7:45, we’re drivin’ on the highway
Cruisin’ so fast, I want time to fly
Fun, fun, think about fun
You know what it is
Why does everyone assume we know what "it" is? First Wiz Khalifa, then you, and I think there's some more... And you're all newbies to the game! We know nothing about you, much less whatever "it" is!
I got this, you got this
My friend is by my right
I got this, you got this
Now you know it
I counted three lines of nothing and one line of you giving us some pointless description. Once again, thank you Captain Obvious, I said with sarcasm.
Kickin’ in the front seat, sittin’ in the back seat
Gotta make my mind up, which seat can I take?
The heck, you're saying that again when you're already in the car? Again! I can has consistency?
Yesterday was Thursday, Thursday
Today i-is Friday, Friday (Partyin’)
We-we-we so excited
We so excited
We gonna have a ball today
Tomorrow is Saturday
And Sunday comes after...wards
I don’t want this weekend to end

...


Wow.  This sums up everything you need to know about the song right there.  Is the realization of what days of the week come before and after Friday such a profound discovery that you feel you needed to share it with the world?  I think not!  ...Okay, so maybe you have a point.  Maybe you're trying to show the distinction that Thursday is bad, and Friday, Saturday, and Sunday are good.  But it would take the lyrical genius of Shakespeare to make that sound anything but dopey!  Oh, and I caught you saying "we so excited".  Because poor grammar be cool.


After this black hole, the aforementioned writer jumps in with his own rap verse which, quite frankly, is the only decent part of this song.  Sure, it rehashes much of the points from the song thus far from a different perspective, and his delivery is nothing to write home about, but like most guest rap verses this one plays it safe, which is more than I can say about the rest of this song.


So there you have it.  I just dragged myself through audio heck for your amusement.  And the worst part of it is, that was Patrice Wilson's intent all along, more or less:
'Tomorrow is Saturday, and Sunday comes afterwards.' I mean, everybody knows that, obviously, but I wanted the song to be simple and kind of sweet," Wilson says in the interview. "People talk so much about how silly or stupid the lyrics are, but pop songs, they're meant to be catchy and to tell things in a simple kind of way. I feel bad that Rebecca has been getting so many people criticizing the song. Because it was me that wrote it.1
Silly pop songs?  What's wrong with that?  (Shut up Paul.)  Seriously, catchy does not have to mean the same thing as stupid, but you, sir, have fallen on the stupid end of the spectrum.  Do you have anything to say in your defense?
And the truth is, if you look at the numbers...even though people say they hate the song...really, they love it.1
*gasp* I am shocked and appaled by your assumption!  ...I'll be the judge of that.  But before I do, I wish to explain something.  On my new 5-starwhatever scale, I've considered whether or not to include a zero as the lowest grade instead of one.  This would be something reserved for things that are obviously broken or unfinished.  For example, "Break Up" by Mario/Gucci Mane/Sean Garrett is something I would give a zero to, as well as possibly "Imma Be" by the Black Eyed Peas.  Just take ToddInTheShadows' word for it.  Oh, and it corresponds to a letter grade of E.  E comes before F, so that's not so bad, right?  Wrong: it stands for 'Epic fail' or 'Emergency', since this grade is reserved for emergency use only.  So, is it worth breaking it out for "Friday"?

...

YES.  It is, as I warned you, unlistenable.  Anyone can write a hack song, but it takes a special x-factor to make the lyrics sound so revolting that the whole mess becomes stillborn.  In doing so, Rebecca Black displays a lack of talent so great, that in a sense she displays her own kind of talent.  And no, you do not have to see it to believe it.  We need to forget about this ordeal as quickly and as widespread as possible.  Please, to all of the people trying to elicit a laugh (or genuine interest, you never know) by sharing this music video online, I beg of you, stop.  If we stop giving her attention, she may go away.  And if she does, well, then capitalism isn't such a bad thing after all!

Lyrics: 0 weekdays out of 5
Production: 0 weekdays out of 5
Composition: 1 weekday out of 5
The Call: 0 weekdays out of 5 (E)

1 Lee, Tiffany. "Rebecca Black's Not To Blame: Meet The Man Who Wrote 'Friday'". Stop The Presses! 30 March 2011 <http://new.music.yahoo.com/blogs/stopthepresses/392183/rebecca-blacks-not-to-blame-meet-the-man-who-wrote-friday/>.

Wednesday, February 16, 2011

Game Review: Taz-Mania

Taz-Mania
  • Publisher: Sega
  • Developer: Recreational Brainware
  • Platform/Release: Genesis, 24 December 1992
  • Genre: Action, Platformer
  • Players: 1
  • Rarity/Cost: Common (US$3-10)
Back when I declared that Rollerblade Racer on the NES was the worst video game I ever played, I was referring mostly to how little thought had been put into it.  Although it's certainly a broken game, it's not quite as unplayable as other titles out there.  As such,  I don't hate Rollerblade Racer quite as much as those as other more frustrating games, even if they don't make as many pointless decisions like having ways to clear levels unscathed.  However, one game on the Sega Genesis has a rap sheet of other mistakes as long as my arm... depending on how big the font is.    Brace yourself, because I'm talking about Taz-Mania.

As the name suggests, Taz-Mania stars the Tasmanian Devil of Looney Tunes fame.  The first thing you are treated to when starting the game is a one-screen cutscene in which some old relative of Taz explains the plot.  He regales you with a legend of giant prehistoric seabirds who used to rule the island of Tasmania and laid eggs big enough to feed a family of Taz's ancestors for a year.  Apparently, they must still be around, because Taz sets off on a quest to find one of these eggs.  The environments you'll go through aren't that special; a desert, jungle, mines, and an ACME factory.  The problem lies within these biomes.

Taz hates bombs.  So will you.
Taz-Mania has some of the worst level design I have ever seen in a video game, so I'll focus on that for now.  In the first level alone, you'll be forced to cross pits of quicksand, jump over indescructible rock monsters, and ride up waterspouts or else suffer the spikes below.  Aren't first levels supposed to ease you into the game's mechanics, not throw challenging gimmicks at you right off the bat?  As if all that weren't enough, the play control seems designed to get in your way at every step you take.  Holding the B button (controls can be customized from the options screen) sends Taz into a whirlwind spin he can attack enemies with, and pressing Left or Right while doing so keeps him moving at high speed in that direction until you change direction or let go of the spin button.  Unfortunately, you can also knock helpful items, like life-giving food, fire-breath chili peppers, extra lives and continues, off the screen while spinning.  And yet there are also bombs which will take off half your lifebar if you eat them unless you spin into them or scramble with the action and/or spin buttons to let them go.  Both things can happen frequently if you spin just to move along faster, and the limited space you have to see in front of you often renders you unable to react to what you need to.  You know how a lot of the good 2D platformer games out there, the Marios and Sonics of the world, let the camera hang back so you can see more of what's in front of you?  Yeah, that would have been nice.  Occasionally, enemies stand nearby items, rendering your spin attacks worthless if you care about nabbing the goodies, and although it is possible to take them down by jumping on top of them, Mario-style, you have to be exact in order to pull this off.  The floaty, imprecise jumping mechanics don't help matters in the least.


The levels, of which there are 17 in all, show their true colors mid-way through the game, and you will curse it for them.  In the first jungle level, you must make many blind leaps over bottomless pits, where you can't see the other ledge until you are already in the air.  In order to gain more distance, you can spin while in mid-air, but doing so could send you off the other edge of the platform to your death.  In this level, there's a 1-Up next to a checkpoint; the funny thing is when you die and respawn in this game, all the items you picked up reappear, so if you keep getting the 1-Up after restarting at this checkpoint, you'll essentially have infinite lives for the following segment.  Normally I would complain about this bout of thoughtlessness, but given the frustrating nature of spinning off all those platforms, I suppose I shouldn't look the gift horse in the mouth.  Shame we won't be getting any similar TLC from here on.


The two mine stages.  Be afraid.
After two more relatively easy stages in the jungle, you've got a mine cart ride ahead of you.  You can speed up, slow down, and raise the cart to avoid obstacles, but like the rest of the game, it's way hard to react to it all.  I'll be honest, I haven't cleared this level without using the slow function on my controller.  But just because the next level is done on foot doesn't mean you'll get a break; very much the opposite, in fact, it will present you with yet another wall of difficulty.  It's also set in the mines, but with elevators you manually control, some which move on their own, and others which bounce up and down like those drums from Sonic 3.  The hardest part comes when you have to jump across a couple of quickly-moving platforms over an instant-kill floor which only barely looks like it's covered with spikes.  It's hard enough finding the first one, since it's off-screen once you first get up to the spot where you have to board it, but the very next platform presents the hardest jump in this game, as well as a whole bunch of other games.  The problem is that this second platform moves insanely fast in the opposite direction as the first, so if you wait until the first platform is at its farthest right before jumping, the second platform will fly out of your reach and cost you a life.  Can this be pulled off with practice?  Sure, but it's not worth the aggravation!!


The level after this marks the end of the hump in terms of difficulty, but it's still a doozy.  Back in the jungle area, there was a level where you traveled along a river by jumping between logs and islands.  The catch is that the logs traveled along several horizontal rows, so you'd have to hold Up or Down to move in this pseudo-3D space.  This mechanic will seem broken at first, but you'll get the hang of it after practice.  A lot of practice.  Well, the two mine levels are followed up by another one of these rivers, without the benefit of islands to give you terra firma; you'll have to memorize the patterns of logs and rocks.  Falling in the water deals damage and bounces you back up until you can make it to some sort of platform or you're drained completely.  Oh, and should you be foolhardy enough to try playing on Hard mode, one dip means an instant loss of a life.  Having to deal with all that while wrestling with a barely-functioning mechanic?  What were they thinking!?  The good news is that upon clearing this level, everything else is straightforward and, dare I say it, easy.


I do have to give a wag of the finger at one of the later levels, which is an almost exact repeat of one from two stages before, except that the goal is in a different place.  Yeah, this is the level of creativity we're dealing with here.  For one, the graphics aren't terribly exciting; the backgrounds are undetailed, using only a handful of colors.  The worst example of this is the cave levels; apart from some blue rock patterns, the background is completely black!  On the other hand, the sound direction is... interesting.  Most levels don't have any music, or at least it's very minimal and quiet.  Nearly every action in the game, be it you jumping or an enemy walking on-screen or whatever, plays some sort of sound effect.  This was done to evoke the Looney Tunes cartoons, and I can appreciate that, but in many cases it's just annoying, especially the woodpecker-like ticks of mouse enemies which take an eternal-seeming minute to get out of my head.


They really had no excuse to make Taz-Mania so terrible.  There were good games out on the market before its release in late 1992: two Sonic the Hedgehog games, four Super Mario games, heck, even the (early) Pitfall! series succeeds where Taz-Mania fails.  While all those other series I listed present a worthy challenge, Taz-Mania frustrating for all the wrong reasons, namely barely-functioning control mechanics and some of the worst level designs you or I will ever see.  Oh, wait... it's based on a cartoon property.  That's a fine enough excuse.  But it still doesn't save this game from my wrath; I hereby declare it as my new worst video game I have ever played.


Graphics: 2 cartoon bombs out of 5
Sound: 1 cartoon bomb out of 5
Control: 1 cartoon bomb out of 5
Design: 1 cartoon bomb out of 5
The Call: 15% (F)

Wednesday, October 20, 2010

NES Month: Rollerblade Racer

Rollerblade Racer
  • Publisher: Hi-Tech Expressions
  • Developer: Radiance
  • Platforms/Release: NES:February 1993
  • Genre: Sports, Action
  • Players: 1
  • Rarity/Cost: NES: Common (US$3-15)
I'm going to be upfront with you: this is one of the worst video games I have ever played in my life. I mean, I know about some of the other worst games on the NES: Dr. Jekyll & Mr. Hyde, Friday the 13th, Back to the Future, etc., but I haven't played them myself. Out of all the famously bad games, the only one I know of that I've played was Superman on the Nintendo 64, and even I enjoyed it at the time -- yes, I know about the whole ring course thing. And if I were to play it again today, I would certainly have to acknowledge that game's horrendous controls. But at least you get to use lots of Superman's powers in the action stages in between. With Rollerblade Racer on the NES, there are no such redeeming qualities. It's so bad, I couldn't even find a high-quality image of the box art. Hint hint.

In Rollerblade Racer, which is in fact a port of a PC game of the same name, you play as Kirk, a boy who just purchased new skating gear and wants to compete in a championship. You have to help him get there, by scoring at least 5,000 points across four levels. However, this is one of the most pointless requirements in all of gaming, since you score points every time you jump - and you'll be doing a lot of it to survive the levels. The four worlds are a neighbourhood, city, beach, and park, plus a bonus level in between. Get this: you can breeze through the second and third levels by finding the right line and going straight forward, not maneuvering at all except for jumping, and lots of it to build up points. And that championship you've been psyched up for? It's just the three bonus courses smashed into one.
If you ever thought you enjoyed this game, you were thinking of Paperboy instead. [1]
This game is displayed in an isometric viewpoint, which combined with other things, gives you a very short range of visibility. For the two stages that actually test your skills, you are ill-prepared to survive everything being thrown at you, be it trash cans, open manholes, or even cracks in the pavement. Cracks are the worst; not only are they *everywhere* on all but the city and bonus levels, but you think you'd be able to roll over them. No dice. Even the hit detection is tipped a little against your favor. There are no continues in this game, either: you can only take four hits times three lives before the game kicks you back to the neighborhood level without so much as a title screen. Oddly, the injuries counter goes up while the lives counter goes down. Umm, consistency please?

As if it wasn't enough for the levels to gang-bang you, you have to wrestle with the controls at the same time. You hold Up to accelerate forward, but it takes so long to get up to speed that there had better be nothing in your way. Even worse, if your thumb accidentally slips to the Left or Right, you'll stop going forward as you unintentionally move to the side. Pressing A makes you jump, which as we discussed gives you points, and holding B makes you crouch down, which maintains your forward momentum. However, if you jump while crouching, you'll perform a spinning jump trick. In theory, this should net you even more points, but if you can believe it, this is impossible to pull off before landing, and you'll just take an injury for your efforts.

The graphics are poorly drawn, and the isometric camera angle is awkward compared to other games that use the technique. Even the music, which would sound natural on a pre-Atari 2600 game console, is well below the call of duty. Don't expect the story to give you any memorable moments either -- in a good way, at least. After finishing a level, the game gives you a safety tip for rollerskating in the real world. I suppose I shouldn't be so hard on a video game that encourages physical exercise outside of playing it, but I have been so far, and I'm not done yet. It turns out you have to score 20,000 points to get the best ending, so if you finish with anything less than that, the game just kicked you one more time after having beaten you half to death. And get this -- the best ending even has a typo in it! I'll spoil it so you have no reason whatsoever to play this game:
And I can't wait wait to stop playing this piece. [2]
Since Rollerblade Racer was released in 1993, when the Super NES and Sega Genesis were battling it out for people's money attention, not many people were exposed to its hazards. It was a low-profile disaster made by six people (two producers, two programmers, and two artists) who got way more credit than they deserve for the product of their figurative loins. I mean, this is so bad, I can't even bear to profane this day, the 25-year anniversary of the Nintendo Entertainment System's debut in North America, by posting this review today, but I did anyway because I'm a sucker like that. When we look back on all the games that proved to be a waste of cartridge or disk space, I urge you to mention Rollerblade Racer in the same breath of all those infamous duds we know and loathe. And it is with that request that I give this game the lowest rating I have ever given, and will give for the immediate future, on this blog.

Control: 1 set of skates out of 5
Design: 1 set of skates out of 5
Graphics: 1 set of skates out of 5
Audio: 1 set of skates out of 5
Value: 1 set of skates out of 5
The Call: 15% (F)

[1] "Rollerblade Racer - NES Screenshots". MobyGames. http://www.mobygames.com/game/nes/rollerblade-racer/screenshots.

[2] "Rollerblade Racer". GameFAQs. http://www.gamefaqs.com/nes/587587-rollerblade-racer/images