Love this piece of art from Disney artist Vince Aparo, who’s mashed up two of his (and everyone’s) favourite things, Ducktales and Castlevania.
BRING BACK COUNT DUCKULA!!!
You can follow Mr Vince at @mrvinceaparo.
Love this piece of art from Disney artist Vince Aparo, who’s mashed up two of his (and everyone’s) favourite things, Ducktales and Castlevania.
BRING BACK COUNT DUCKULA!!!
You can follow Mr Vince at @mrvinceaparo.
The minute that Minit was announced, my interest was piqued. It looked like Downwell – a big mobile and PS4 favourite of mine – had crashed an old NES RPG party. Around its launch on PS4 however, my new Nintendo Switch became all-consuming and as it looked like a perfect fit, I avoided buying my long-awaited Minit in the hope it would appear one day on there. Just a few (dreadfully hot and sunny) months later, the start of August 2018 brought that day.
The premise is unique – your weird dolpin-thing hero is alive for 60 seconds. Then you die. Within this constraint, you’re dumped into a Zelda-esque black and white 8-bit pixel-art styled world with no introduction, but once you’ve got the lie of the little bit of land around you, you’re soon doing simple quests, solving puzzles and killing monsters, and crucially exploring a little it further and teasing what might come in your next life.
Sounds stressful, but it really works! What you need to do to progress your story quickly clicks, and without realising it you’re planning out your next 60 second life as you carry out the next set of activities in this one, and thus the story unfolds with 60 seconds becoming a mechanic rather than a frustrating constraint. A very clever rogue-lite system means that 60 seconds is literally just enough to do what you need to do and work out what to do with your next minute having done all that. The progression through the story, the puzzles and the world is very intuitive, and again, literally just enough that you don’t need a map.
I love the art style, and the character and atmosphere it manages to generate despite its simplicity; and the sense of claustrophobia it creates in many areas, with very little visible inside the enveloping blackness, but which actually encourages exploration. There’s really nice attention to detail too – the little wisps of smoke coming from chimneys, washing swaying on the line and insects doing their thing all add life to what is a very sparse 8-bit styled world. Similarly sparse, simple sound effects layer to add to the sense of atmosphere depending on where you are – the seagulls crying over the sound of waves as you approach the lighthouse or an ominous fire-like crackle with some confused sounding dolphin noises occasionally kicking in when you come across the Secret Temple. And all of this regularly and organically interrupted by the game’s ear worm chip-tune soundtrack.
It took me exactly three hours to get through the story, but it told me I’m only at 51% “collectibles” which is a term I’d consider loosely – we’re not talking Riddler trophies in Batman here; more likely finding the last coin, the last heart, a few octopus tentacles(!) and some items I haven’t found yet that I think might trigger a couple more side quests I’ve noticed on my travels but don’t seem to have the right gear to access yet. There’s also the mysterious haunted house that I’m certainly missing something in! And I definitely plan on carrying on with that, and have a go at new game plus which limits your life to 40 seconds.
I can’t recommend this enough if you’re into old school Zelda-type games or just fancy a gradually evolving puzzle experience in a beautifully simple pixel-art world.
For a couple of years, aged fourteen and fifteen, my then-best friend Thomas and I decided it would be a good idea to get each other no income-friendly Christmas presents. For Christmas 1986, knowing a Spectrum +2 was on the way, he acquired a C90 mix tape of Spectrum games for me from another Speccy-owning friend of his. Unfortunately the majority never worked, though I do remember being blown away by my ill-gotten copy of wire-frame helicopter sim, Tomahawk, for actually loading as much as anything else! Speaking of wires, we both dabbled in electronics at that time too, and I recall getting him a selection of different types of wire in return! Anyway, things went slightly better in 1987 when he got sweets and I fared even better than an industrial load of our favourite lemonade crystals with what would become one of my top five favourite games of all time!
I’m not entirely sure how Olli and Lissa eluded me for another year; it was a £1.99 budget game from Firebird in 1986 and I bought some right turds at that price through the year! Everything about it was right up my increasingly spooktastic street, albeit in a very cute, cartoony way. But finally we were united, and on Christmas Eve I rode home across town from Thomas’ house on my bike, present safely secured in the pannier bag on the back, completely unaware of how much I was going to fall in love with jumping about an eight-roomed, cruel, beautifully atmospheric yellow castle over the next few hours… until I was dragged off to midnight mass, though at least it got that out of the way for Christmas Day to be lived to the full!
As I write this, I’ve got the title screen playing its looping bursts of multi-layered gothic Spectrum chip-tune, interspersed with pauses for a clap of thunder (white noise) before it ends in a subtle crescendo and you get what seems to be a slightly longer clap of “thunder” before it starts again. It really is one of my favourite pieces of 48K Spectrum music, which I realise isn’t saying a lot, but it does a wonderful job of setting the scene for what follows!
The “menue” screen then introduces the characters while the music thankfully keeps looping for extended enjoyment. The story goes that the ghost of Sir Humphrey needs you, the titular Olli, to get him a load of ingredients so Lissa can mix up an invisibility potion in her big cauldron and he can scare off the folks that are planning on shipping his castle to America. We could debate the amount of fear induced by visible versus invisible ghost, though I suppose it depends on what he’s planning on doing while he’s invisible, so let’s just accept the storyline might not be the game’s greatest strength!
The very first (of the aforementioned eight) screen is everything I love about this game. The creepy atmosphere is just incredible, and bizarrely everything being yellow somehow adds to the atmos! The attention to detail in the little 3D castle windows or the ornate stone flourishes above the portcullises really bring the castle alive. And it doesn’t stop with the backgrounds – don’t move for a second and Olli’s blobby sprite will turn and question what you’re playing at, then start tapping his foot impatiently. Meanwhile, up at the top of the screen, Sir Humphrey’s ghost paces (in a floating kind of way) up and down the platform where Lissa is waiting to mix stuff up.
When you start, Sir Humphrey will tell you what ingredient you need to find next in a little speech bubble, then off you trot to get it. A strange menagerie of gnomes, ghosts, spiders, little paranormal octopus things, bats and a nasty caterpillar will hinder your progress as you hunt around the castle then outside it through the woods and caverns and back across the ramparts to find the his ingredients then make your way back to Lissa and her cauldron where she’ll reward you with a kiss before you set off for the next one.
Not that you’re ever going to see much of that saucy action – this is one brutal, pixel-perfect left, right and jump platformer, and the sight of Sir Humphrey battering you with a brush when you run out of energy (which quickly ticks down regardless of you hitting stuff) is a much more familiar sight!
You will spend a very long time jumping over beasties then trying to go up and down stairs before that come back for you in the gap before their rapid return from their movement loop in the first two castle screens before you even get a occasional sniff of the outside world! But given how much I love that castle, it never really put me off, and seeing the spiders on the spooky trees or jumping across the lake was only ever an infrequent but unnecessary bonus. Instead, I did (and still do) while away many a happy hour just dying over and over again… in the cruellest, yellowest, best ever castle in gaming history!
As a footnote, there was eventually a trilogy of these games, but neither of the sequels ever really did much for me. Olli and Lissa II: Halloween, released a year after the original in 1987, had you as a witch on a broom and was a poor-man’s Cauldron (literally!) for as much as I ever played of it. By the time Olli and Lissa III: The Candlelight Adventure arrived in 1989, I’d jumped ship to Atari ST and only played it much more recently. In its defence, it is a more direct evolution of the first game with a more multi-coloured, Firelord-esque graphical style, but it definitely ain’t top five games of all time material like its predecessor!
When the Game Boy Advance SP arrived in 2003, I was a couple of years into the job at a Japanese electronics mega-corp that I’m still to escape, which has had me travelling the world on a far too regular basis. Now I still owned the original Gameboy, and a Gameboy Advance, and a vast collection of games for both, but in reality, they weren’t that portable, and for the latter, playing in anything less than the equivalent of midday summer sunshine was a major challenge.
The SP, with its tiny, travel-friendly folding shell and it’s backlight, and not to mention its awesome battery life, was an absolute game changer for the nerdy regular flyer! Whilst we’re only talking 15 years or so ago at the time of writing, air travel wasn’t anything like what it is now – your limited electronics (giant Archos MP3 player for me!) were forbidden for the best part of an hour that seemed like an eternity wherever you were going; there wasn’t the huge selection of films on tap like you get now on every long-haul flight – you rented a pair of headphones with a customised adaptor and watched whatever crap they were showing; and unless you carried half a library with you (which I often did), you didn’t want to blow the whole of your book on the journey there!
And that’s why I’ll always think of the SP as the beginning of flying in relative comfort, although Nintendo still haven’t solved the problem of being six-feet one inch in economy class… And more than any other, I’ll think of V-Rally 3 as the game that saw me through thousands and thousands of miles.
I’d actually picked up V-Rally 3 on release a year or so before I got my SP, and even without a nice backlight, this thing was really special. For starters, it looked absolutely stunning, especially in my preferred cockpit view; actually, that was probably the biggest draw for me – ever since playing Chequered Flag on the Spectrum, I’ve never wanted to drive a car I’m ten metres behind and three metres above! Everything is in full 3D, with detailed textures flying past you everywhere you look with never a hint of slowdown. I’d even go so far as to say this wasn’t that far off what you’d have expected on a full console at the time.
Once you get past the breathtaking visuals, it’s all about the handling of the car, and I’d maintain that this is still one of the best feeling rally games there was before or has been since; as I write this, I’m dipping in and out of Dirt Rally 3 on the Playstation 4, and as much as I want to enjoy its ultra-realistic driving experience more than a 15-year old game on an ancient handheld, I simply don’t! Once you’re in cockpit mode, it just feels like you’re chucking a real car across dirt, snow, sand, gravel, tarmac, up and down hills or over jumps. Everything behaves like you think it should, which again, when you consider it’s on this old tiny handheld, is some achievement! And if I’m making it sound like some stony-faced simulation (also see Dirt Rally 3), it definitely isn’t – for all it’s great physics, this definitely feels like an arcade racer.
The meat of V-Rally 3 is a career mode, where you sign up with a real car manufacturer and compete in a championship that spans different countries, from miserable Great Britain to an incredible looking Kenyan Savannah. You race across five stages in each race, with a chance to repair damage after every other race – especially important if you’re in cockpit view and the windscreen is covered in a load of cracks that appear one at a time with every bump, and ends up looking like an inpenetrable mass of spider webs that often spell game over! You can, should you wish, also modify the car set up, but in all the racing games I’ve ever played this has never appealed to me! I’m not sure how much difference that would make, but I’ve never had a problem getting through the first championship fairly comfortably, at which point you’re given a bunch of better teams to sign up with, and a bigger engine. The challenge does pick up a lot here, and winning this one does take some delicate finger work!
There’s also a time trial mode that I don’t think I’ve ever really bothered with (and again, you could apply the same to pretty much any other racing game I’ve ever played), and there’s a really cool mode where you’re forsaking the lonely regular rally experience and going head to head against other cars in a more traditional car race. However, playing it again now you’ll notice that collision physics have come a long way in the last 15 years, and wonder how you ever put up with being slowed down regardless of where your car was in relation to the one that it’s just made contact with!
It’s a tough call to say whether I’d take this over Mario Kart Super Circuit as the best GBA racer, so let’s just say this is the best rally game on the Gameboy, and probably my favourite rally game ever!
Old gaming magazines like Computer & Video Games, Crash and Zzap! 64 quite deservedly still get a lot of attention, but whilst looking for a specific copy of C&VG from a pile that covers most of the eighties for my last post, I found a rogue magazine in my carefully ordered, er, pile! That magazine was issue one, November 1989, of something I’d completely forgotten existed, ZERO, “the brand new magazine for you, the 16-bit and consoles games player.” As I’d forgotten about it, I thought others might have too, so here we are!
What I expect drew me to it, and the subsequent issues I bought during its three-year lifespan, was the cover disk, which featured not only demos, but actual full games for the Atari ST and the Amiga. Actually, this mag did cause a bit of controversy when it stuck a strip poker game, Cover Girl Poker, on the cover. In the interests of a well-researched post, I did seek out this game and play a few rounds… It appears to have been linked to the UK’s finest newspaper, The Daily Sport, and features some of its finest regular glamour babes, including gaming favourite, Maria Whittaker. By complete coincidence, this is the second post in a row that mentions her – the previous referencing her most well-known work, the Barbarian cover! Anyway, it’s not a great game but I’m sure served it’s purpose for ZERO mag.
Issue one featured a couple of games, worth £40 according to the first issue’s cover! On the ST you had Recoil by Jonathan Smith, who’s previous works included classic Spectrum conversions Green Beret, Hypersports, Batman, Mikie, Cobra and more. This was a Defender clone that was pretty fun. On the Amiga you had Merv the Merciless, which I’ve never played but you seem to be a troll collecting stuff and avoiding other stuff whilst trying to keep up with a top-down scrolling screen. Also looks very nice.
Back to the mag itself, reading it again it’s pretty cool. Usual stuff – previews, reviews, competitions, developer features, tips, comic strips, and best of all, The Price I$ Right, a feature on budget games that is actually presented by Leslie Crowther! Or at least there’s a picture of him on the page, which I really wasn’t expecting when I flicked through it today!
This month one of the opening features was a kind of lighthearted mass review of some of the big flight sims making waves on ST, Amiga and PC at the time, including Falcon, F-16 Combat Pilot, Interceptor and F-15 Strike Eagle II. Quite rightly, Falcon came out on top with a score of 92% – Top Gun had finally arrived on your home computer with this corker – MIG21’s, burning it up over desert mountain ranges, outside views for a cool fly-past and some brilliant cockpit action (my words not theirs)!
I’m a little disappointed by the main event review this month – Tintin on the Moon. No interest in Tintin ever, and I imagine that 17-year old me was equally unimpressed. Continental Circus, the pioneering “True 3D” arcade racer was next, justifiably getting a better score than Tintin; interesting fact here – it was supposed to be called Continental Circuit but without Google Translate in 1989, they had a few Japanese to English translation problems! Also reviewed were Steel, Dynamite Dux, Gunhed, Vigilante, Bloodwych, APB, Oil Imperium, and the mighty Strider, which received a disgraceful 84% on the ST, and 81% on the Amiga, which makes me a bit happier! In retrospect, it probably wasn’t the best month ever to launch a new games mag! To be fair, things did hot up a bit in the Review Shorts section, which mostly featured conversions of older gems like Paperboy and California Games, but also the 3D alien Pong favourite of mine, Shufflepuck Cafe (83% on the ST and 82% on the Amiga – justice done again!), which was actually a longer review than the non-Shorts reviews earlier in the mag!
After the reviews, one of the features made me smirk… Chip Shop Boys, a feature on getting the most out of your MIDI music features with some bloke from Bomb the Bass, which begins with “Fancy yourself as Jason Donovan? Garry Glitter? Richard Clayderman?” I can’t believe they spelt Gary Glitter’s name wrong…
The tips section featured a complete solution to Spherical, which I don’t have any recollection of, and a map for Mr Heli. Again, hardly magazine sellers, but with £40 of games on the cover, who cares? There’s even a section for hex, POKEs and hacks to type in!
Near the end now, and it’s time for the Price I$ Right, featuring £9.99 budget titles such as Populous Promised Lands, which scored 80%, and Postman Pat at 77%; funny how nowadays you don’t hear about the Postman Pat game only 3% less than you hear about Populous…
Even in 1989, computer games mags still insisted on an adventure game section, quite rightly at the back of the mag where no one cared about it, but ZERO really knew how to close a magazine, and in issue one it did so with an interview with none other than Jeremy Beadle. Genius!
I had a great time flicking through this, even if most of the games in October 1989 were a bit crap. What’s really cool is seeing the adverts you used to see every month everywhere again after a near 30-year gap! Remember this one with the MIDI keytar?
I bought Computer & Video Games magazine religiously every month between the end of 1983 and around 1991. By April 1987, my school journey consisted of either one slow bus from about ten minutes walk away from home that went right across town, or a quick one from the end of the road into town then pick up the slow one there. As well as less of a walk, the latter also allowed a cheeky visit to WHSmith, which at around 7.45am was always an interesting shop because only the newsagent bit was open, signified by the lights being on there whilst the rest of the shop was in darkness! Anyway, until I realised that Smash Hits wasn’t really covering the type of music I liked anymore, it meant I could buy that every week, then for a few days every month go in wondering if C&VG would be out yet.
Seeing the cover on the shelf was always exciting, and over the years produced some incredible, iconic artwork that could sell you a game by itself, let alone the magazine! But now and then it was a bit crap, as was the case with the May 1987 issue – an evil looking, wounded elf-thing throwing two badly proportioned, overly-loaded dice with some purple pterodactyls flying about behind him. “Join the Guild of Thieves!” it exclaimed. Really didn’t do much for me, but slightly deflated, I still dutifully bought it and things quickly picked up inside…
But before that, I’m going on one of my asides. I went digging back through my old copies to find the pictures you can see here, and remember what I said about Smash Hits a minute ago? Well, right there in the contents is a picture of the guitarist from Dark Angel – Music, p.56… I’d completely forgotten about C&VG’s We Will Rock You section, which this month featured reviews of the aforementioned Dark Angel’s Darkness Descends, Joe Satriani’s Not of This Earth, classic Christian metal act Stryper’s To Hell With The Devil, and a tiny, two paragraph review of an album called Master of Puppets by Metallica, which they’re not very impressed with due to the lack of originality and their lack of songwriting skills! Maybe they should stick to games in future…
And the same probably applies here, so let me go back to where other things were picking up inside the May 1987 issue. Inside cover – advert for one of my favourite compilations, HIT PAK, featuring Scooby Doo, Fighting Warrior, 1942, The Sacred Armour of Antiriad, Jet Set Willy 2, Split Personalities and Duet (a previously unreleased bonus game that I really don’t remember being on my copy when I eventually got it). Some of my all-time faves all in one place! Opposite was an advert for Paperboy, then the heavy metal contents page, then a big double page advert for Enduro Racer. And for a Spectrum owner, this advert was very special because whilst the game was out on Amstrad and C64 (and possibly Atari ST or that might have been shortly after), the two screenshots were very definitely Spectrum ones and not the usual C64 fodder, so things were boding very well. Then we got to news, a couple more adverts, then Game of the Month… Arkanoid! Classic of course, though not as good as the Your Sinclair cover freebie Batty on the Spectrum. Then, what’s this? Another Game of the Month… Enduro Racer! And two more Spectrum screenshots!
I’ve gone on about this a bit because, as mentioned in previous tales, I very rarely got games at launch, but with my birthday only a month away, C&VG’s closing words of “Get it!” had a real resonance with me after reading and re-reading and re-reading their review and poring over the incredible looking Spectrum screenshots!
I do have a vague recollection of seeing Enduro Racer in an arcade in Great Yarmouth, but not so much the game as seeing people violently heaving back on the faux-bike they were perched on to try and get over the game’s big selling point – jumps! It was Sega’s follow-up to Hang On, and shared the above and behind the rider view, but now switched the action to racing an off-road bike.
You’ve got one minute to complete each race, with five different tracks that take in different vistas featuring deserts, snow, lakes and the seaside, all of which are filled with hills and undulations that scroll the track up and down brilliantly at a hell of a pace, other riders, cars, vegetation, water, far too many rocks and boulders, and of course, those wonderful jumps that you had to wheelie in front of just right so you didn’t slow down!
The Spectrum conversion was, quite simply, phenomenal. It is probably the best arcade conversion ever made for the machine – the graphics, the playability, the feel of the bike, the speed, the slight panic as you bounced off the ground after a jump, the little touches like the rider putting his foot down if you went far enough into a turn… and the 128K version even sounded okay! It really was a feat of programming that no other racer on the machine ever really equalled.
Without question in my top twenty games of all time – number fourteen to be specific, sandwiched between The Perils of Willy on the VIC-20 (with its own post here) and Journey on PS4! And just to conclude, we move forwards to the June 1987 cover of C&VG, where normal service resumed with an illustrated Wolf from Gladiators and busty Page-Three starlet Maria Whittaker, of course based on the legendary Barbarian cover art, but that’s another story for another time!
This is something I wrote in 2017 that started for someone else then fell between the cracks, but having just found it again I didn’t want it to go to waste…
My history with the original Ghosts ‘n Goblins is indelibly etched on my mind, from the second in the summer of 1987 that I bought it for £1.99 at a service station on the M4, on the way back from a holiday camp in Dorset, possibly Pontins; although the only real memory I have of the camp itself was its shop, which had a fantastic array of pop badges, where I got a fantastic reflective Adam Ant badge that I still wear to this day! Back at the service station, two games jumped out at me from a bargain games rack (which must have been an eighties service station thing) that I’d heard about in C&VG magazine, but like most games, didn’t have the money to buy on release. For completeness, the second game was Southern Belle, which, apart from the London to Brighton speed run mode, never really got a look in for quite some time once we got back home to my Spectrum! That conversion of Ghosts ’n Goblins was all I was interested in that hot and sticky afternoon, and in time would become one of my favourite games ever, despite never getting very far!
Ghouls ‘n Ghosts admittedly made less of an impression – maybe because by the time I’d picked it up on the Atari ST, I’d been playing platformers for the best part of ten years, and the ST offered so many newer things in gaming to me – Hard Drivin’s 3D replays and mooing cows, Defender of the Crown’s cinematography, Carrier Command’s vehicular variety, Speedball’s sporting violence, etc. But for all the familiarity of the genre by now, it was still lots more of Ghosts ’n Goblins in every way, especially when you consider that I was coming from the dumbed-down Spectrum version! The graphics were beautifully detailed and drawn (and without a hint of colour clash!), the soundtrack was one of the best on the ST to date, and the simplistic, hard as nails gameplay was on another level. Which meant not getting very far all over again!
There was one thing missing though, which it took me the best part of another twenty years to realise… There were no dirty great virtual buttons all over the TV screen! Fast forward to 2017, and Capcom have finally solved that huge (literally) omission with the release of Ghouls ’n Ghosts for iOS!
Ghouls ’n Ghosts arrived onto iOS a few months after its predecessor, which was released earlier in 2017 together with mobile versions of 1942 and Commando; two more games that are among my favourites of all time! They’re all pretty much arcade-perfect versions, which blows me away every time I load any of them up – we’ve come a long way since Snake on phones, and even further since the Spectrum!
Unfortunately, the few months between releases weren’t spent on the dirty great elephant in the room that all of these versions occupy – the controls. Now, I play a lot of games on iOS and I’ve got absolutely no problem with touch controls, virtual buttons, swipe controls, etc. but these are something else! And rather than trying to optimise them for Ghouls ’n Ghosts after all the “constructive criticism” they can’t have missed for the other releases, Capcom have simply offered the same wealth of bizarre alternatives…
Type A gives you left and right arrows, two slightly misaligned (but massive so it doesn’t really matter) up and do wn buttons, and on the other side massive attack and jump buttons, all with convenient icons in case you can’t read the massive words on them. Type B offers two massive up and down arrows with invisible left and right between them, and massive attack and jump as before. Type C gives you invisible up, down, left and right and the standard massive jump and attack. Then there’s virtual controls, which give you a more normal looking directional control that should be the best of the lot but I’m still strangely drawn to Type A as my preferred method.
The good news is that if still can’t decide on the method that suits you best, rather than connect a bluetooth controller, Capcom wants to save you all that messing around with pairing and connecting, and gives you the choice of Normal or Compact control modes! If you’re taking advantage of the arcade experience on an iPad’s big, lovely screen, the Compact method might be the more user-friendly option unless you have giant hands, as the Normal mode spreads the action to all four corners of the screen for you. In their unplayable defence, they are a bit smaller in this mode. This really is a new level in touchscreen design!
But what about the game hiding beneath the massive controls? I’m pleased to report it’s definitely Ghouls ’n Ghosts in all its gorgeous, brutal glory! Every element of the original side-scrolling, medieval-shooting arcade platformer is intact – the stunning, crisp, atmospheric graphics; the Phantom of the Opera on a chip-tune organ soundtrack; the oddly high-pitched sound effects; and, of course, the mystifying amount of fun to be had from a game so horrendously difficult!
That difficulty isn’t helped by the controls, and it takes quite a lot of playing before you stop mashing the wrong buttons in panic when you’re surrounded by grim reapers and a swooping vulture! But when I faced similar problems with Commando (or Wolf of the Battlefield: Commando in case you’re struggling to find it by its Western name), having this on my phone and tablet meant too much to me to let the controls beat me – the game did a good enough job of that by itself! Just find the least offensive control method and persevere, and there’s the same endless enjoyment you had taking Arthur through hordes of undead, demonic stuff that you experienced in the eighties!
A new casual mode is offered if things get too tough. You get more lives, a double jump, and I can’t put my finger on exactly why, but it is a bit easier – possibly less enemies – though it all still seems pretty frantic to me! Regardless of the mode you choose, you’ve still got all those lovely touches that made this game stand out all those years ago – losing your suit of armour on the first hit and playing in your pants; the magician popping out of a chest and turning you into a defenceless duck; the grim reapers peeking out from behind trees; and I want to give a special mention to the wind effects, should you ever get out of the graveyard, which hinder your progress but reward you with the most stunning trees getting blown about that you’ve ever seen in a game, and they really pop on an iPhone 7 or iPad Pro screen!
Many will find the control issues a game breaker, but every time I get frustrated with them I just think of myself thirty years ago and wonder what that fifteen year old would have thought about not only carrying a version of this around in his pocket, but carrying around the arcade version in his pocket… That had cost him less than half the price of a Mastertronic game… Then I hit that virtual start button again!
Before I leave you, one closing word on the controls. If you think these are bad, just check out Sega’s new port to mobile of Phantasy Star II, released just a week ago at the time of [original] writing. At least Capcom had the forethought to show you most of the action, but if you have any interest at all in the story behind this text heavy, creaking RPG, you might want to find a different way to play it!