Every day, that underlying assumption is negated a bit more by the increasing trend to resurrect the titles and franchises of yesteryear. Now it’s not only big-name titles like Lode Runner and Karateka that are being revisited. Recently announced by original creator David Schroeder is the pending release of Dino Eggs: Rebirth, a sequel to 1983’s Dino Eggs. Check out the trailer:
I’ve never played Dino Eggs on either its original platform of the Apple II or on the Commodore 64 or IBM PC, to which it was ported. I would wonder if the demand for a sequel is there, but as I’ve heard of Dino Eggs before this video, I’m assuming I’m unique in having not experienced it directly. On the other hand, the developer didn’t go to Kickstarter for crowdfunding, suggesting either the project didn’t require outside funding, or he wasn’t confident in his ability to find outside funding.
What do you think? Do you remember Dino Eggs fondly enough to check out this sequel? Or is the market for nostalgia already crowded?
Look for this game on PC and Xbox — no mobile devices! — this summer.
But I’m still glad Mechner revisited his classic Apple II property, as it’s proven an elucidating experience, one that he’s chosen to share with the retrocomputing and game design communities. On his blog, Mechner reflects on making and remaking Karateka. Much has changed from the original game’s release in 1982 to the remake three decades later, with Mechner commenting on the experiences and inspirations across four short videos themed around inspiration, animation, audio, and gameplay.
For those who prefer a more textual experience, Mechner has followed up his previous e-book, The Making of Prince of Persia, with a complement, The Making of Karateka. Both books are published in ePub, PDF, Kindle, and (coming soon!) paperback, with free samples available for download.
As primarily an Xbox gamer, I was happy to hear this news and immediately downloaded the game, accepting of the fact that I’d be unable to load it upside-down. Up until then, I’d wondered as to the game’s genre and nature: was it best described as a sequel? A reboot? A reimagining? Having played only the ten-minute free trial, I would describe the game as a remake — and one that doesn’t capture modern gamers with its demo.
How much has Karateka changed in the last 30 years?
With an art style and musical underpinning that harken back to the classic Apple II fighting game, Karateka is a visual and aural delight. The Japanese gardens and goofy goons that our hero encounters are evocative of another time and place. There is little freedom to explore these environments, though, as the protagonist (one of three) proceeds through it on two-dimensional rails, unable to move any direction but forward.
Once he engages with a foe, the opportunity for input becomes limited to three buttons: punch, kick, and block. It is impossible to strike an enemy without first blocking his own attack, at which point his guard is lowered and he is open to a chain of attacks. In an interview with Polygon’s Samit Sarkar, Mechner describes the combat system as rhythm-based in which players "have to time your attacks to the score from Grammy-winning composer Christopher Tin". This was not my experience; my blocks were based solely on cues from the castle’s keepers — tells that they were about to strike. A successful block then let me pound the punch and kick buttons, but there seemed to be neither functional difference between the two nor incentive to experiment with a variety of combos.
In an interview with Steve Peterson, Mechner indicates that the simplistic gameplay is intentional, allowing other aspects of Karateka to take center stage:
Mechner believes Karateka is an unusual design, one that will attract a broader audience. "It’s not a fighting game in the sense of trying to rack up points, or fighting for fighting’s sake. It’s fighting in order to get to the happy ending in the story, and it’s a love story. I think we’re appealing to a slightly different audience than most fighting games," he says.
I can appreciate Jordan Mechner, as someone whose ambition has always been to write Hollywood scripts, wanting to focus on that aspect of Karateka. Storytelling has become an increasingly important part of both big-budget and indie games, with hits such as Braid, Portal, and even the BIT.TRIP series having set new milestones for their innovative and memorable plots.
But plot is also the hardest quality for a game to convey in a short demo. It is more effective to draw players in with engaging gameplay, then present them with an increasingly intricate and meaningful narrative. In that respect, the free demo I played falls flat. The only challenges I encountered in my time with Karateka was identifying a foe’s pattern and timing my blocks accordingly. With digital distribution and mobile apps, there are much more involving experiences I could get for my $10, and demos that give me more confidence in that investment than Karateka has.
In this rhythm-fighting game, players assume the role of three Japanese warriors attempting to rescue a kidnapped princess from an evil warlord. Players engage in frenetic one-on-one battles with various enemies, using timed martial arts moves (i.e., punch/kick combos) to stun opponents and drain their health meters. Matches are highlighted by battle cries, colorful light flashes, and slow motion effects; when players’ character is knocked out, a brief cutscene depicts him falling down the side of a mountain.
At the time of PaRappa’s release for the original Sony PlayStation in 1997, I gave it a score of 8.0 out of 10 — not terribly compelling in today’s competitive video game market. But PaRappa has stood the test of time better than I expected, and most gamers who knew this quirky little title look back on it fondly. It’s often considered the first modern rhythm game, a genre that grown in popularity thanks to titles such as Dance Dance Revolution, Guitar Hero, and Elite Beat Agents.
So yes, rhythm games can be fun — but I’m having a hard time envisioning the hero’s ascent of Akuma’s fortress to rescue Princess Mariko as a music-based game. What sparse soundtrack the original Karateka featured was not central to the gameplay experience, so to introduce a core mechanic absent in the series origin strains the continuity of the franchise.
It’s also possible that Touch Arcade was fed inaccurate infomration. We’ll find out when the game is released for Microsoft Xbox 360, Sony PlayStation 3, Nintendo Wii U, and other platforms later this year.
Like PoP, the original Karateka for the Apple II employed rotoscoping to create fluid graphics and animations. Its one-on-one martial arts bouts could be seen as a precursor to games such as Karate Champ and even Street Fighter. Yet despite being such an archetype, the game is being approached for a remake with a very different lineage than the many PoP sequels have been. As Mechner told Gamasutra:
In the 27 years since its release, it’s never had a sequel or an adaptation. And yet it’s stayed in people’s minds all this time. It seems to hold a special place in many gamers’ hearts, as it does in mine. It’s the game that started my career — you can’t get more indie than the Apple II — and its compact design, simple story and pick-up-and-play philosophy made it perfect for a downloadable game.
The new Karateka will not be a sequel but a fuller realization of Mechner’s original characters and plot using modern technology:
The Apple II was a bit limited, in that a game could be acclaimed as a cinematic masterpiece of fluid animation while actually it was struggling to eke out eight frames per second — or even less, if the palace gate happened to be on screen at the same time. The music could only play one note at a time, no chords, and I couldn’t animate the characters and play a note at the same time — given the 1KHz [sic] microprocessor it was one or the other.
So I’m especially excited about what we can do with the graphics and animation and sound in the new Karateka, given the power of today’s consoles … I wanted to take advantage of XBLA and PSN technology to push this game to its production limits, and use graphics, sound and music to really put players into the world of feudal Japan in a way we couldn’t on the Apple II … I’ve tried to make Karateka the way I would have made it in 1984 had the technology been available, and had the Apple II been able to display more than 280×192 pixels and four colors.
“If you turn both the video game console and your large flat-screen TV upside down, the entire game will play upside down,” Mechner joked. “We would have liked to make it do that if you just insert the disk upside down, like the original, but with a downloadable game unfortunately that wasn’t possible. See, 1980s technology was actually superior in some ways.”
The past three years have provided Apple II users with a bounty of opportunities to revisit their favorite classics as never before seen, with affordable downloads and remakes of games such as Choplifter, Lode Runner, and Prince of Persia. My own history with Mechner’s résumé includes more lends itself more to Karateka than PoP, and I’m eager to see how the creative force behind the original will remake such a relatively simple game as Karateka for modern platforms and audiences.
So far, I like what I see. The missions start of familiar: rescue soldiers and bring them back to base. But there are some clever variables, such as wounded soldiers who require medical attention and must be attended to before all others. Later missions require defending a particular point or containing a zombie outbreak.
Choplifter remains 2D, distinguishing itself from the nonlinear Strike series of helicopter games. But there are times when enemies can be in the foreground, and the chopper must be oriented to face the screen in order to shoot them. This cumbersome act balances the newfound control over the minigun, allowing it to be aimed in any direction separate from that in which the helicopter is moving. No more moving forward and fast just to attain a downward trajectory! There’s also a “boost” function for evasive maneuvers, but it burns fuel quickly. Landing back at HQ will restore both your health and fuel; depots scattered throughout the level recover only the latter. Completing objectives earns you better helicopters, but they replace the old ones; there doesn’t appear to be a choice of copters between missions.
I’ve played other games in the Choplifter series but remember the original best, so it was a pleasant surprise to note the excellent graphics and soundtrack in this reboot. The terrain varies from cities to deserts, each bustling with its own kind of activity. When you land, soldiers and hostages don’t just disappear into your vehicle but will actually run around to either side to find an open seat. They shout such corny lines as “It’s good to see you!” whereas a film crew might ask, “Get me out of here quickly — but watch the hair!” This attention to detail is noticeable, as is the game’s quirky humor, reminding you that you’re here to have fun, not reenact a war.
My time for gaming these days is limited, so I don’t know if I’ll be plunking down the $15 for the full game and its 80+ missions. But allotherreviews are positive. I encourage retrogamers to check out this cross of old and new and enjoy the best of both worlds.
