[GAME REVIEW] Sonic the Fighters

Introduction

In the year 1993, a game named Virtua Fighter debuted in arcades worldwide. Created by Yu Suzuki, a member of Sega’s second arcade game development division (Sega AM2), Virtua Fighter became a gigantic success – both commercially and critically. What particularly stood out was its presentation. Whereas many pioneering fighting games used two-dimensional sprites to depict its characters, Virtua Fighter featured three-dimensional polygon graphics. For braving the world of 3D gaming a before it became the standard and offering a level of complexity few contemporaries possessed, Virtua Fighter continues to be praised to this very day with some calling it one of the most influential titles of all time.

During this time, Sega was experiencing a lot of success in the home console market as well. Their 1991 breakout title, Sonic the Hedgehog, gave them a character capable of standing on even ground with Nintendo’s own mascot Mario. With Sonic as Sega’s mascot, the company sought to give him spinoff titles to demonstrate the character’s versatility as well as capitalize on the character’s popularity. Yu Suzuki once spotted one of his subordinates having created a model of Sonic during the creation of another fighting game entitled Fighting Vipers. This gave Mr. Suzuki the idea for a Sonic the Hedgehog fighting game, which he presented to Hiroshi Kataoka – a fellow head of the division. This, in turn, caused Mr. Kataoka to approach Yuji Naka, the leader of Sonic Team with the idea. Although Mr. Naka expressed concern that Sonic couldn’t fight given his large head and short arms, he was won over by the polygon animations provided by Mr. Suzuki’s team.

With Sonic Team’s approval, Mr. Suzuki and the rest of AM2 began developing a fighting game for Sega’s blue hedgehog. The result, Sonic the Fighters, was released to domestic arcades in June of 1996 before appearing in North America a month later under the name Sonic Championship. However, despite starring a popular character, the game quickly fell into obscurity due to its limited release in the West. It wouldn’t be until 2005 that the game received a greater amount of attention. In that year, Sega released a compilation dubbed Sonic Gems Collection, which most notably included Sonic the Hedgehog CD – a popular game that was highly difficult to find at the time. Sonic the Fighters also featured on that compilation. Between the release of Sonic the Fighters and Sonic Gems Collection, Nintendo, with the help of HAL Laboratory, conceived a fighting game starring their own mascot named Super Smash Bros. With Sonic having a three-year head start over Mario in this genre, was Sega able to successfully explore new ground?

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Wonder Boy III: Monster Lair

Introduction

With Wonder Boy in Monster Land, Westone Bit Entertainment had another hit on their hands. The idea of an arcade game placing a great emphasis on role-playing elements was something rarely seen before or since. If one wanted an experience similar to the one offered by Wonder Boy in Monster Land, they would need to pay for a powerful gaming computer or the latest home console. It was therefore highly ambitious of Westone to place such an experience in a scene known for fast-paced, simplistic gameplay.

By this point, Westone clearly had a flagship series, so it was only natural of them to continue the momentum by creating a sequel. The third installment in this budding franchise, Wonder Boy III: Monster Lair, debuted in domestic arcades in 1988. Though it wouldn’t reach international arcades, it was ported to many popular home consoles such as the TurboGrafx-CD. Strangely, this would be the only port North American gamers received. One was created for the Sega Mega Drive, allowing Japanese and European enthusiasts to play it, but a Genesis port never surfaced. With its two predecessors different as night and day, what did Westone decide to do for the third installment in their popular franchise?

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Wonder Boy in Monster Land

Introduction

Escape’s debut game, Wonder Boy, became a hit when it was released in arcades in 1986. Because the publisher, Sega, only had rights over the Wonder Boy trademark, the company entered a partnership with Hudson Soft to have it released on the Famicom – or the Nintendo Entertainment System (NES) as it was known abroad. Wonder Boy, retooled into Adventure Island, would go on to be a beloved classic in the NES’s library as well. As a result, the game managed to find a broad audience, being one of the few titles legally available on both a Nintendo and a Sega console. With this success, two members of Escape, Ryuchi Nishizawa and Michishito Ishizuka, began work on a follow-up. To mark the momentous occasion of having released Wonder Boy, they changed the company’s name to Westone, believing the name Escape made them sound unreliable. Westone is derived from the first kanji in these two artists’ names – “Nishi” meaning “west” and “Ishi” meaning “stone”.

In the same year in which Wonder Boy saw its release, a skilled programmer named Yuji Horii put the finishing touches on a game known as Dragon Quest. This title was a massive success upon release, introducing countless Japanese enthusiasts to the role-playing game. One person who took note of this game’s popularity and its subsequent impact on Japanese enthusiasts was none other than Mr. Nishizawa. Drawing upon his experience, he sought to create a game that combined arcade and role-playing elements.

The result of this experimentation, Wonder Boy: Monster World, was released in arcades in August of 1987. Although the original arcade version never left Japan, it received a port on the Sega Master System in 1988. This port, which was redubbed Wonder Boy in Monster Land overseas, is frequently considered one of the stronger games in the Master System library. Similar to the case with the original Wonder Boy and Adventure Island, it also saw retooled ports on the PC Engine and the Famicom under the names Bikkuriman and Saiyūki World respectively. Bikkuriman was based off of a 1980s franchise centered on sticker collecting. Saiyūki World, published by Jaleco, was inspired by the classic Chinese tale Journey to the West in which players assumed the role of the monkey king Sun Wukong – or Son Gokū in Japanese – on a quest to save his country. Of these various ports and retools, only the Master System version saw the light of day in the West. Did Mr. Nishizawa successfully use the increasingly popular role-playing genre to give Wonder Boy a worthy sequel?

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Wonder Boy

Introduction

Nintendo’s Super Mario Bros. proved to be a tour de force when it was released on the Famicom in 1985. After the Famicom was allowed to make its international debut as the Nintendo Entertainment System (NES), Nintendo had the honor of single-handedly revitalizing the North American gaming industry, which had been in shambles due to a devastating crash two years prior. Super Mario Bros. fared especially well commercially due to having been frequently bundled with the console itself. In a year, the NES became synonymous with gaming itself and Mario became one of the most recognized characters in the medium after Pac-Man. This presented a problem for any would-be developers. How could they possibly stand up to a company that so thoroughly dominated the market?

In 1986 as Super Mario Bros. took the world by storm, a company named Escape was founded in Sumida, Tokyo. They had teamed up with another up-and-coming developer, Sega, who just entered the console market upon launching their Master System console in 1985. Escape allowed Sega to publish what was to be their inaugural game: Wonder Boy. It was among the first electronic games to bear Sega’s name. As a result, the title character became one of the company’s mascots along Sega’s own Alex Kidd when Wonder Boy proved popular in arcades. The game was then ported to several prominent home consoles, including the Sega Master System.

Despite Sega directly competing against Nintendo at the time, Escape had entered a deal with Hudson Soft to port the game to the NES and the TurboGrafx-16 – domestically known as the PC Engine. When Wonder Boy was ported to the NES and certain other consoles, Hudson replaced the title character with an exaggerated caricature of Takashi Meijin – one of their spokespeople. The likeness even shared the same name in Japan, though he was renamed Master Higgins in the West. Versions of the game that cast Mr. Meijin’s 8-bit doppelgänger were renamed Adventure Island. Though not nearly as well-known as Super Mario Bros., Adventure Island became one of the hallmarks of the NES among Western gamers when it was released internationally in 1988. Whether it was called Wonder Boy or Adventure Island, did Escape manage to leave a good first impression in an increasingly competitive industry?

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