Category: Uncategorized

  • Dexterity (1990)

    Dexterity (1990)

    In the How to Play section of Dexterity’s manual SNK calls this a “jigsaw puzzle, maze, and labyrinth game“. That’s a pretty unhelpful description, so I’ll give you mine: Dexterity is a Fucker Game. For the unfamiliar, FUCKER GAME, DEFINED: “a game that involuntarily makes you call it a Fucker frequently and with increasing intensity.” Alumni of Fucker Game University are not necessarily bad, but they are typically frustrating, obnoxious, or both. Dexterity just happens to be all of the above! FGU! FGU!

    I would love to tell you what Dexterity is about, but SNK didn’t manage to figure that out before manufacturing the cart labels. In Japan it was called “Funny Field” which still doesn’t explain why this little boy is trapped in a series of increasingly horrible grids. The manual’s story page ends on “So find the magical key to unlock the door to not only Dexter’s but your own wonderful imagination!”. I tried, but a beetle sat on the key until I died of exposure.

    The goal of the game is to flip all the floor tiles to their other color before the timer runs out. This works similarly to Reversi, by which I mean if you flip a tile and there’s another flipped tile in the same row or column, it’ll flip every tile in-between to the same color. Please don’t get the impression that this is a cerebral, abstract affair. The game’s called Dexterity, y’know? It isn’t as much of a puzzle game as it is a real time scramble with enemies that’ll unflip your tiles, forcing you to double back to fix them. At first this is fairly simple to the point of being a bit dull, but eventually the stages transition to a particularly shitty maze game filled with enemies that hate the board, hate you, but most of all, hate predictable behavior.

    Games like this always involve variance but Dexterity’s luck factor is way out of whack. Enemies may or may not bother to flip tiles in any given direction or at any given time. Their movement styles are predictable in that some are slow, some are fast, some tend to turn, etc., but what they actually do is known only to them and god. If I voiced my opinion of that goddamn snowman I would get in trouble. This is exacerbated by the powerups. These range from giving you a few worthless points to all but winning you the level, but what you get is mostly random as far as I can tell, beyond the good ones being rarer. Because of course they are. Most of the time you’re playing from behind, trying to play Reversi uphill despite Wesley Snipes’ warnings, but it’s just as unsatisfying when the game occasionally just throws you a win for free!

    I was so convinced that this game was fucking with me that I swapped to a save state-capable device and started testing. Some of the enemies pretty much always do the same thing, and you can semi-reliably route some sections, but as I reran annoying levels again and again I noticed irregularities. Sometimes the enemies did practically nothing, other times they would go so far as to hold chokepoints and just refuse to move, wasting upwards of 10 seconds or getting me killed outright. Success isn’t earned in Dexterity, it’s eventually granted.

    Even the bonus game is borderline random! At first it looks like it’s just a memorization challenge, flashing a bunch of tiles on an otherwise empty board that you need to remember and flip, except one of them is secretly a skull that’ll kick you out with no extra life to your name. I think these patterns are preset and if you memorize the placements you’ll be able to 100% them, but that’s a level of time-sadism I simply do not possess, says the guy who’s playing all of these.

    By the time you manage to hold onto your continues long enough to get to the end you’re confronted by King Tojo, a bigass ghost boss who’s basically from a different video game with mechanics to match. The fight involves picking up and throwing enemies, a mechanic that doesn’t exist until then, meaning if you don’t immediately get the hang of it and successfully land the dozen or however many hits Tojo demands there’s a very real chance you have to play the entire video game over again. Did you know this game’s Nintendo-assigned designation is DMG-FU-USA? You cannot make this shit up! They know what they did!

    I like the jaunty little tunes. I guess. Half a point for those. Fucker.

    1.5/5

  • Castlevania: The Adventure (1989)

    Castlevania: The Adventure (1989)

    Ok. Deep breath. C:TA is one of Those Games, the particularly notorious kind. I’ve heard people say this is the worst Castlevania game, full stop. Of course it has its defenders – what doesn’t? – but I’ve seen so much bile spewed in this thing’s general direction over the years that I just assumed this game was going to hang out with Marble Madness on The List.

    Spoilers: nah! I thought it was fine. Incredibly uneven and punishing to the point where I couldn’t in good conscience recommend it to anyone who doesn’t share my particular strain of brain poison without heavy use of save states, but fine. Its issues are myriad, both design and technical, yet the vision is evident and it almost, sort of, kinda works. It’s an early Game Boy game, is my point.

    In tepid defense of this cart, you’ve got to look at the other games the DMG received in ’89. Beyond Mario Land there wasn’t a hell of a lot of NES-style action to be had on the platform. Konami was going for it, and I respect that! Granted they fucked it up to the point where some of the staff went on to form Treasure so they could make a good video game for a change, but the attempt was made!

    From first impressions alone you’d be forgiven for thinking they nailed it. The sprites look great, the whip feels snappy, and most importantly they managed to cram 80’s Konami music into a Game Boy and it sounds sick. Everyone talks about Battle of the Holy and justifiably so, but my standout was Revenge because I am eternally weak for Alberti bass or any kind of funky arpeggio, especially when I’ve got a whip in hand and a Dracula that owes me money.

    Then you actually start making progress and the cracks begin to affect the property value. Chris Belmont moves exclusively at a tiptoe and is oddly unresponsive aside from the whip button. I found inputs getting eaten upon starting and landing jumps. He also doesn’t know what a subweapon is – this game doesn’t have ’em! Hearts even heal you, which required more of a mental adjustment than I care to admit. Instead you pick up orbs (aka THE CRYSTAL per the manual) to give your whip some extra oomph and reach, then again to add a fireball projectile ala any Zelda game with the laser. Keeping that comparison going, if you get hit you lose your fireball. Get hit again and you’re reduced to snapping your belt at demons. Not ideal!

    You can imagine why they would’ve thought this change in system might work. Keep it simple for the Game Boy, then design the levels around those limitations. Sure, in theory! In practice every level past the first – and there’s only 4 in total, by the way – is an exercise in wringing blood from this already dry stone. Level 2 throws several pixel perfect jumps at you, some of which are on falling platforms that don’t always like to let you jump off of them. Level 3 is Oops All Autoscroll, chock full of traps that’ll just kill you if you don’t already know what to do. Level 4…is basically just a Mega Man level? Lots of single screen figure’em’outs as opposed to heinous insta-death trickery. Challenging for sure, but never as obnoxious as what precedes it. Game has good bookends, I suppose!

    These levels and their constraints wouldn’t be so bad if the game was more solid on a technical level, but C:TA chuuuugs. You can feel the sludginess increase with each individual moving sprite added on the screen. Chris by himself is fine, one enemy feels worse but manageable, and everything past that will slow the game down to the point where you’d think you were playing an overambitious shmup, even though you’re just trying to whip a bat while a zombie hits the griddy in the background. This is demonstrated especially well by the Punaguchi, an enemy that solely exists to attack your frame rate by wiggling in place and firing a bouncy ball that’s faster than literally everything else in the game. This bottlenecks the performance something fierce, which isn’t great when the game just turned into Breakout and you’re the brick!

    Compared to the levels they’re in charge of, the bosses feel like they’re intended to be a victory lap. The first is the classic “guy who gets demoted to normal enemy” scenario, second is a swarm, third is a bird man who can’t figure out how to actually hit you, and fourth is Dracula, complete with a second phase, neither of which are hard once you die to him once or twice to learn his pattern. Bosses being chumps is a pretty common thing in a linear ‘Vania and I get that Chris’ moveset is too simple to allow for much complexity, but I was surprised at how little these required of me.

    Don’t think I wasn’t very done with this game once I finally yanked Dracula’s wallet, though. C:TA is frustrating. It feels closer in spirit to an arcade quarter muncher than an NES ‘Vania, constantly introducing new ways to send you back to the start of the level that you have no hope of figuring out on your first couple attempts. The entire middle of the game just kind of being ass really hurts it, and as much as I’m complaining, it is still disappointing that this thing only has a whole 4 levels. I haven’t covered Mario Land 1 yet but I am familiar with it already, and I can tell you that Nintendo’s attempt to Game Boy-ify their NES flagship went far better.

    …so why the hell did I loop it?

    I could have stopped! I whooped Dracula’s ass! I beat The Bad ‘Vania! There’s no reason for me to subject myself to th-wait, I know why. It’s because this is actually a Ghosts ‘n Goblins game, and I have a sickness.

    Think about it for a sec. The upgrade system, lost piece by piece? The diabolical instant death traps? The rock and a hard place enemy placement? The performance not keeping up when things get hot and heavy? The fact that you can, in fact, loop? The amount of enemies you’re better off just ignoring? I know GnG when I see it, and that’s GnG! Forget the lack of subweapons – we should be grateful that the Konami top brass didn’t insist on adding poorly-placed pickups that replace your whip with a pool noodle! There is just something about this kind of brutal Capcom-ass design that works for me, even when it’s absolutely not at its best, and this is very much one of those.

    The internet loves a reevaluation. “This Game is Good, Actually”, “This Classic Sucks, Actually”, “This Game I Grew Up With is Actually a Secret Peak Game Design Masterpiece and You Just Don’t Get It”, take your pick. That’s not my scene. I just want to play these games and rank ’em, y’know? I won’t lie to you and say C:TA is great, but it is nowhere close to the worst game on the system. This isn’t even the worst time I’ve had playing a Castlevania game! I liked it enough to play it past completion and that’s worth something. Not a lot, granted, but something! You don’t need to play this, but if you’re ludologically curious or a ‘Vania completionist I have trouble believing you’d loathe it. Sure it’s a bit of a disaster, but it muddles through despite that, and we should all aspire to do the same.

    2.5/5

    – – –

    Bonus section! This won’t affect the placement on The List, but I do want to shout out the incredibly cool ReBalance created by Bofner. Chris gets the lead out and upgrades to a legitimate Belmont Strut! Your whip isn’t nearly as fragile! You get a checkpoint right before Dracula that doesn’t suck! It’s just fun start to finish, even on level 3! It’s also notably easier, arguably to the point where it compromises the original design intent, but given that even Masato Maegawa isn’t a fan I suspect no one involved would mind. If you’re Adventure-curious I’d definitely give the original a try first, but more so you’ll appreciate the changes made than anything else.