Tag Archives: arcade games

Spider-Man (Arcade)

Forgive me if I’ve said something similar before; but younger people are shocked by the norms of the past! Yeah, it’s a very “old man” thing to say, but it’s also an easy way to impress someone younger. And in this case, the shocking thing to say is that Marvel Comics often found itself in a great deal of financial turmoil in decades past. The company that now is owned by Disney and is able to churn out hit film after hit film about even its most obscure characters once had to file for bankruptcy protection. Go through the history of the company and you’ll find other moments in time where things weren’t so rosy, though Marvel often can be credited with being forward-thinking in looking for other ways to make money.

That’s how Marvel ended up in the TV business in the 1980s. Unable to find the same level of success on both the small and big screen as rival Detective Comics, Marvel started self-producing television programs which included the company’s popular stars as well as properties unrelated to the comic business. The most successful Marvel TV program is probably Muppet Babies, as the company seemed to struggle to really break-through with one of its superheroes even famously failing to find a broadcast partner for its mega-hot X-Men franchise as the pilot for a cartoon series failed to be picked up. This ended up being a good thing since not too long after Fox would start airing a different X-Men series in 92 which ended up being far better than anything Marvel would have done on its own.

Sega landing the Spider-Man license seems like a pretty big deal.

When video games started to take off once again in the 80s, it’s possible some in the industry would have expected Marvel to self-publish. It was already doing so with TV, so why not games? It’s possible Marvel just didn’t trust the industry which had only recently emerged from a crash itself. And whenever Marvel wanted to make money easily, it would turn to licensing deals. With comics rapidly gaining steam in the 80s and building towards what would be a massive boom into the 90s, Marvel probably saw no real benefit in exploring the world of games and was more than willing to see what other companies would do with its characters.

Enter Sega. Sega was fighting an uphill battle to dethrone Nintendo as the kind of the living room. Sega’s strategy was to go after the kids who may have first experienced games via Super Mario Bros. and were looking for something a bit more their speed as they grew older. This made a character like Spider-Man appealing to Sega, and in a world where exclusive licensing agreements were still far off, Sega was able to convince Marvel to let it develop its own games featuring Spider-Man. Details of the agreement are scarce these days, so it’s unknown just what kind of restrictions Sega was under. The deal was apparently tenuous, but success of the Genesis/Mega Drive game Spider-Man vs The Kingpin apparently settled things down as the title once had an attach rate of over 60% with Genesis owners.

One of the first games I’d go looking for as a kid in an arcade.

Back in the 1980s, Sega was as much known for its home console business as it was for the arcade. The arcade boom was coming down, but Sega had success with a variety of genres and many of its games were ported to the Genesis. With the Spider-Man license in-hand, Sega sought to craft an arcade beat-em-up experience with the character that would differentiate itself from similar titles. It would be a game developed for Sega’s System 32 board which was the company’s first attempt at 32-bit development. This also meant hopes for a home port would essentially be dead-on-arrival, but that’s why Sega had the separate Spider-Man vs The Kingpin slated to arrive the same year, 1991.

The normally solo Spider-Man would need some help to take down Kingpin, and entertain more than one player.

When crafting a brawler for the arcade, one of the main issues to solve initially is just what characters to make playable? The brawler had started as a one or two-player affair, but by the 90s arcade-goers expected four-player co-op play. The challenge with Spider-Man is he’s mostly a solo act, so Sega likely had to work with Marvel on finding three allies to join him. They ended up settling on the sometimes ally sometimes foe Black Cat, Sub-Mariner, and the Avenger Hawkeye. The selection of Hawkeye was somewhat interesting as he was a playable character in the Captain America brawler also released in ’91. This naturally lent to comparisons between the two titles with at least my group of friends viewing the Spider-Man Hawkeye as the far superior affair since the graphics were far more attractive.

Not much to see here, just four heroes kicking some butt.

Sega’s approach to the tried and true beat-em-up genre is both conventional and unconventional. Sega often found gimmicks to keep things fresh, such as the transformations of Altered Beast or the mounts in Golden Axe. For Spider-Man, the game begins like any other. You select one of four characters and begin the game with a wave of enemies crashing down upon you. Players have to contend with enemies coming in from both sides of the screen and as they’re dispatched a “Go!” prompt will display imploring the player to continue right. Each character has just two action buttons: jump and attack. Pressing the two simultaneously provides for a ranged super attack unique to each character. Utilizing this move also sacrifices some health. Players can attack while in the air and also use a super move from that position as well which basically results in a diving attack. Interestingly, the amount of credits deposited into the machine increases the amount of health the character possesses as opposed to the amount of lives. As long as you keep pumping in quarters, you’ll never die!

Okay, now this is different.

Where things get interesting in Spider-Man is after the first boss encounter: Venom. The storyline for the game is the Kingpin as acquired some magical artifact and Spider-Man needs to get it back. When Venom gets exposed to that artifact, he grows to a tremendous size. In order to convey that to the player, the player characters and the environment around them shrinks via a zoom-out effect. This also alters the gameplay from a brawler to a basic platformer. Characters now have a ranged attack and all can cling to surfaces in order to scale buildings. Other elements often featured in that style of game show up as well such as falling surfaces, obstacles that need to be dodged, and so on.

Electro is one of the bosses who only appears during a zoomed-out sequence.

Every act in the game features a zoom-out sequence, even though only the initial one features a giant enemy. If the entire game were crafted around this style, it would be okay, but when the two are mixed it works quite well as a change of pace. Some boss fights are exclusive to the zoomed out mode too, which is actually kind of a shame since we’re denied seeing a proper, large, model of certain villains. Nevertheless, it’s Spider-Man’s defining characteristic and it works really well. It’s a real surprise this tactic wasn’t utilized more, but then again, fighting games mostly took over the arcade space shortly there-after and the arcade brawler largely faded away.

Battling a foe like the Green Goblin is a lot different from taking on someone like Venom.

The game is divided into four acts, but each one is quite long and will have the players going back and forth between the two gameplay styles. And even though there are only four acts, there are still numerous boss encounters with Spider-Man’s most popular foes. Expect to face-off against the likes of Venom, Green Goblin, Scorpion, Electro, Hobgoblin, and more. Many will have to be fought more than once, with Venom being the most frequent (this was probably when the character was at the height of its popularity). Some of the fights aren’t much to speak of as the enemy functions like a regular enemy, just with a unique sprite and health bar, but others are multi-stage battles and can get pretty challenging. Kingpin himself is also a bit of a red-herring as the real villain of the game is revealed after the third act, which keeps gamers on their toes, I suppose.

Character sprites are big and detailed when not zoomed out.

The presentation is where things are at though. The characters look great on the System 32 board, especially in the non-zoomed out portions. The models are big and detailed making Spider-Man one of the best looking beat-em-ups produced. The villains are tremendous as well, and in between acts there’s some story-line material with some limited voice over. About the only thing I dislike about the visuals rests with Spider-Man himself, as he has this odd, slightly stooped, posture. The music is also catchy, and some was even recycled from older Sega games. Most of the boss characters also get a line or two of spoken dialogue which helps add a little pizzazz to those encounters.

The charging attack, demonstrated here by Kingpin, gets a bit annoying.

Like any brawler, the gameplay does get repetitive eventually. Spider-Man is able to help itself not just with the gameplay switches during acts, but also with the boss variety. A character like Green Goblin attacks in a manner far different from the Kingpin, for example, though by the end of the game there is definitely some boss fatigue. The hardest foes all seem to attack in a similar pattern in that they get knocked down and then pop back up into a charging attack. The penultimate fight of the game can get a bit annoying as the boss has a very small window of time in which he can be harmed before going into a charging animation that renders him invincible, or a blasting position that grants the same. Even so, Spider-Man is a surprisingly fair game. Most arcade brawlers exist just to extract quarters, but it’s possible to gang up on a boss and practically neuter them. Especially with two players, as most boss characters will pop-up after being knocked down to immediately vault across the screen, rather than be momentarily invincible when first getting up. This means two well-positioned characters can effectively “ping pong” a boss until it’s been defeated. Preventing this from becoming a true exploit though is the fact that most bosses are accompanied by standard grunt enemies. I never counted, but Spider-Man can handle a lot of enemies on screen all at once so things can get a bit hectic. It makes those crowd-clearing special maneuvers more and more useful as the game progresses. The trade-off though is that enemy sprites are recycled throughout as you will largely battle the same three enemies all game long, just with different weapon and color variations.

The game keeps track of how many enemies each player defeated and which took down a boss adding a competitive element to the experience.

A play-through of Spider-Man will last about 45 minutes, maybe a bit more. The one trick the game does pull that I’m not a fan of is that the player’s health is always gradually depleting as a means of forcing the players to move quicker. This seems to mostly be in effect during the platforming sections which is a bit annoying as the game does encourage some mild exploration. The “Go!” arrow might be telling you to go one way, but there’s an obvious area in a different direction with health power-ups. Even with that health-drain in place, a pair of reasonably skilled gamers should be able to get through this one on about 20 credits, or 5 bucks back in ’91. After each act, scores are tabulated and health bonuses distributed in kind as well which helps prolong the adventure and adds a little competition as well. The game awards a boss “kill” to whoever scores the last hit and boss defeats are weighted far more heavily than basic enemies so competitive players will do whatever they can to make sure they land that final blow.

The game is quite unique when compared with its peers, at least as unique as a brawler can be.

Since Spider-Man was an arcade-only release, it has become a bit of an obscure title. For whatever reason, other arcade-only brawlers like X-Men and The Simpsons seem to be remembered more fondly even though I find Spider-Man to be the superior experience. It’s a wonderful looking game, even by today’s standards, and the gameplay quirks help set it apart as well. As much as I enjoy X-Men, that game is a pretty basic brawler that’s over quickly, but also brutal when it comes to quarters. It’s possible Spider-Man has been victimized by the success of the Genesis game since so many people had it that it’s likely the first game they think of when people mention the character and Sega in the same sentence. It certainly wasn’t an issue of distribution as I routinely encountered this game in the wild, and it was often the game I went to first.

If this game were re-released in 2020 the legal info would be a lot more complicated than what is seen here.

Spider-Man is one of the best arcade brawlers ever released, and it’s also one of the few to remain exclusive to that format. When Sega brought 32-bit gaming to the living room with the 32X, it chose to craft a new Spider-Man game for that system rather than port this one, which ended up being the final Spider-Man game developed by Sega. Eventually games like X-Men received a release just a via X-Box Live, but Sega’s Spider-Man has remained in cabinets alone. The game was fairly popular so it’s not hard to track down a cabinet today, but buying one is quite costly since the character is so beloved. I suspect we’ve never seen the game made available due to the complicated licensing agreements surrounding both the game and Spider-Man himself. Sony holds the license for basically all Spider-Man media, while the presence of Hawkeye might give Disney a substantial voice in the room should there ever be talk of re-releasing the game. And then there’s Sega, who no longer has a home console of its own to bill this as an exclusive for. The game is likely viewed as too niche to warrant trying to figure out how to spread the money among all interested parties. Ideally it would be offered as a downloadable title like the Konami brawlers were, but that window has apparently been shut, and Sony striking a deal with Sega to include the game as a bonus feature on a modern Spider-Man title seems unlikely. As a result, if you want to experience what Spider-Man has to offer in 2020 you’ll need to track down a cabinet, or resort to other, less legal, means. Should you find yourself playing it, expect to have a pretty good time. Just make sure to bring a friend, or two, or three!


Teenage Mutant Ninja Turtles: Turtles in Time (1991)

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The “hired birthday party turtle” look was certainly a bold presentation decision.

Last week we took a look back at the 1989 Teenage Mutant Ninja Turtles arcade game. As a result, it only makes sense to this week look back at that game’s official sequel, Turtles in Time. Turtles in Time is almost fundamentally the same game. It’s a 4-player beat ’em up from Konami starring the Teenage Mutant Ninja Turtles. Players take control of their preferred turtle and battle their way through stages populated by a seemingly endless supply of Foot Soldiers, only this time they’re trying to rescue the Statue of Liberty instead of April and Splinter (yeah, it’s a bit odd).

Being that Turtles in Time came out a couple years after the first arcade game it’s noticeably better looking. Konami didn’t just take the old assets and clean them up, but rather seemed to redesign the game from the ground up. The Turtles have new animations and even new moves, while the boss characters (aside from Shredder and Krang) are all new as well. It’s still a mostly left-to-right side-scroller though, and surprisingly Konami removed the multi-level features some stages in the previous game had and instead keep things on the same plane. There are two auto-scrolling levels to break things up and most of the settings are different as well. And that should be expected, since as the title implies this game features a time travel gimmick. It’s just a plot device as the players have no agency over the time travel, Shredder just pops in at the end of the third stage to say he’s banishing the player to a past time. You then battle through a prehistoric world, a pirate ship, an old west train stage, a futuristic street world (complete with hoverboards), and a moon base before returning to modern day New York. It’s a fun gimmick though as you get to fight Foot Soldiers in cowboy attire and some come riding in on dinosaurs. Pretty much the only aspect of this game that’s inferior to its predecessor is the lack of voice actors from the cartoon. Instead you get generic voices for the characters. The Turtles and Shredder are fine, but Krang sounds really stupid without the work of Pat Fraley.

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“Pizza power!”

The biggest change from the prior game is in how the Turtles control. They’re still limited to two action buttons:  jump and attack, but now possess advanced moves as well. Pressing the two simultaneously will unleash a special attack unique to each character. This move is usually one that increases the range of the attack as Leonardo will spin in place with his swords, Donatello will vault forward, and so on.  Holding down a direction will also cause the player character to run and from there the Turtle can either lower its shoulder for a ram attack or go into some handstands and even perform a sliding attack. It’s most often from these maneuvers that players can initiate an attack that sends the enemy flying at the screen. It’s mostly a neat gimmick, but it also functions a bit like a one-hit kill attack. The improved animations also not only make the game look better, but enable the Turtles to better fight off attacks from both the front and the rear as they no longer need to completely turn around in order to attack an enemy behind them and instead can deliver a little kick. Jump kicks are still effective and each Turtle can also perform a hovering jump attack in which they contort themselves into a funny looking cannonball like formation while “flapping” their weapons in an attacking motion.

For Turtles in Time, Konami returned the pizza power-up which simply restores health, but also introduced a new one. A red pizza box with a bomb on top of it is featured in a few levels and once collected causes the turtle to rapidly spin for a short duration. The character is free to move all around the screen and is invulnerable in this form. Players who replay the game over and over can learn where these are and when to grab them as often times the screen isn’t densely populated with enemies when you first see it. In one instance, a bunch of Foot Soldiers serve almost like a red herring and once dispatched the much stronger rock soldiers enter. Smart players know to save the pizza bomb for when they show up and not waste it on the fodder.

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The catalyst for this adventure.

The Turtles may possess more maneuvers to utilize when fending off enemies, but the enemies are also improved as well. There are various new Foot Soldiers that wield a variety of weapons like bombs, spiked discs, and giant axes among other things. The rock soldiers are quite durable and some come packing machine guns or grenade launchers.  Boss characters are also pretty stout and some are tough to stagger. You end up learning who you can just wail away at and who you need to back off from. It’s still a pretty tough game in an arcade setting, since it wants to eat quarters, but it feels a bit more fair than its predecessor. The final battle with Shredder is actually one of the easiest fights in the game as he can be staggered relatively easily. The cheapest one might be from the penultimate level which is manned by Krang. He pilots a spacecraft that has this bubble gun that fires from each side, only you can be in front of Krang away from those guns, but it will still connect. And like the first game, there’s also a double boss fight at the end of one stage, only this time it’s Tokka and Rahzar instead of Bebop and Rocksteady. They’re surprisingly manageable though as their main method of attack is a ramming attack in which they can inflict damage upon each other with if you get them lined up right.

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This is the only way you’ll get to battle a Foot Soldier riding a dinosaur.

An unexpected highlight of this game is its soundtrack. Instead of opening with the cartoon theme, the game begins with “Pizza Power” from the Coming Out of Their Shells tour, a mostly terrible stage show that did at least give us one catchy track. The rest of the soundtrack was composed by Mutsuhiko Izumi and it’s awesome. The various level themes from this game still pop into my head from time to time at random. The same boss theme is utilized for each boss encounter, but it’s excellent so you’re not likely to get sick of it. I guess no one should be surprised as Konami routinely releases games with strong soundtracks.

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Krang and his damn bubble gun are super annoying.

Like Teenage Mutant Ninja Turtles, Turtles in Time received a home port for the Super Nintendo. Since the final NES Turtles game was titled Teenage Mutant Ninja Turtles III, the SNES version of Turtles in Time was titled Teenage Mutant Ninja Turtles IV:  Turtles in Time. Unlike the previous arcade game, the SNES experience is arguably better than the arcade. The game looks almost the same with only a slight downgrade for some of the boss characters and some animations removed. A lot of the voice samples were removed as well, but they still kept most of the speech from the Turtles themselves. The only clear negative is that lack of 4-player options even with a SNES multi-tap. The special moves each Turtle possesses also costs some health to utilize, as they did in TMNT III, and the game is adjustable in how many lives the players begin with: 3, 5, or 7. Players can also earn more lives by accruing points as every 200 points earns a one-up. To make it even easier to accumulate points, the auto-scrolling levels were re-branded as Bonus Stages. You can still die in these, but enemies basically take one hit to kill so you can really rack up the points. The futuristic scrolling level, Neon Night Riders, was also altered to position the camera at the back of the Turtles to give it a different flavor (and show off those sweet Mode7 graphics) before returning to the side view for the boss fight.

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The added battle with Shredder is a highlight of the SNES port.

In addition to the gameplay tweaks, the SNES version also adds new bosses and stages. A Technodrome level is added in-between the third and fourth stage which is a welcomed addition as it was pretty strange to go through the arcade version without a Technodrome level. It ends with the boss fight with Tokka and Rahzar, and they even have new attacks:  a freeze blast for Tokka and fire attack for Rahzar as well as a team-up maneuver. Following that, the players go into an elevator area that ends with a showdown against Shredder. The encounter is perhaps the most memorable in the entire game as Shredder is positioned in the foreground and to damage him you have to throw Foot Soldiers at him via the screen-toss maneuver. In addition to those boss fights, the end of the third stage had the pizza monsters (who are reduced to just regular enemies in the stage) replaced with the Rat King, Slash replaces the cement monster in “Prehistoric Turtlesaurus,” while Bebop and Rocksteady (in pirate attire) replace the original Tokka and Rahzar encounter. And lastly, the end fight with Shredder basically has Shredder re-skinned with a Super Shredder look. He still functions the same, though instead of generic energy wave attacks he can shoot a fire attack that covers the floor, an ice attack that he aims at an angle (basically a jump attack counter), and a mutagen blast that looks like a green hadoken fireball and temporarily turns the Turtles into ordinary turtles.

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Bebop and Rocksteady also get to join in on the fun on the SNES. You have to admire their commitment to the gimmick.

Because the SNES port is so good, Turtles in Time is a far easier game to return to than its predecessor in 2020. You could go out and find an old arcade cabinet, or buy the Arcade1Up one, but it’s a far better deal to just grab the SNES version. It doesn’t look quite as nice due to the removal of some animations, and since the game didn’t utilize the cartoon voice actors you won’t miss the speach it removed, but the added levels and boss encounters more than makes up for any missing animation. It’s also far more manageable as I think this is the first game I ever beat on Hard Mode. There’s even an option to change the skin of each character making the Turtles resemble the original Playmates action figures. There was a remake of this game released in 2008 titled Turtles in Time Re-Shelled for the PlayStation 3 and Xbox 360. It’s a remake of the arcade version and it was done on the cheap. It has 3D visuals, but they aren’t particularly impressive. About the only benefit the game featured was online play, but I don’t know if you can even take advantage of that anymore. There was also a port of the arcade version of this game stashed away on the 2005 PlayStation 2/Gamecube/Xbox title Teenage Mutant Ninja Turtles 3: Mutant Nightmare. The game is based on the 2003 franchise and isn’t very good, but the arcade port contained as a bonus feature is playable. It’s a bit choppy looking and lacks the original soundtrack though. And since it’s an arcade port, it doesn’t have the added features of the SNES game. The player characters are also mapped to the controller ports, like an arcade game, so you would need the PS2 multi-tap if you had that version and wanted to play as Michelangelo or Raphael.

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If you want to experience this game in 2020 just get the SNES version so you can experience those sweet, sweet, Mode7 visuals.

If you grew up in the 80s and 90s on the Teenage Mutant Ninja Turtles then Turtles in Time is still a good time in 2020. It’s much better than the other Konami brawlers and is better than most of the TMNT games that followed. No version for the Sega Genesis was made, but that console did receive The Hyperstone Heist, which re-used the assets from this game and is a comparable experience, though not quite as good. Because I find the SNES version superior to the arcade one, it’s really the only one I recommend today. If you happen to come across the arcade version though, you’ll probably still have a good time. As long as you don’t have to use actual quarters.


Bucky O’Hare – The Arcade Game

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Bucky O’Hare (1992)

One of the underplayed downsides to the death of the arcade in America is the amount of arcade games that remained solely in the arcade realm. Arcade technology was always ahead of what was available in-home. Arcade cabinets were also often equipped with 4 or 6 player possibilities while virtually every home console in the 80s and 90s could only natively handle 2 players. Sometimes, companies would release two distinct games for the arcade and the home console. While gamers were enjoying co-op play with X-Men at the arcade the home console gamer was forced to experience Marvel’s most famous mutant team via a hideous top-down shooter/action game with horrendous technical issues. X-Men was a popular enough arcade game that it would eventually be released digitally about 20 years after it first hit arcades. It took awhile, but it made it. Other games were not so lucky, and one of them is Bucky O’Hare.

Bucky O’Hare has been a topic more than once here as I take a small sense of pride in being one of the small areas of the internet where Bucky can still exist. Bucky originated in the comics, and when the Teenage Mutant Ninja Turtles exploded he was one of the main beneficiaries. Suddenly, toy companies and television studios were scooping up licenses for any kind of anthropomorphic action series that could be tossed in front of children to make piles of money. These properties were often fast-tracked to the consumer as everyone assumed the TMNT were just some fad that would die a quick death. This meant television shows, toys, and even games were all put into development at around the same time and Bucky O’Hare got the full treatment. So even though the cartoon series would only last 13 episodes and see a quiet cancellation, the aspects of the license that took the longest to develop would still see release after the fall of the show.

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Good luck finding one of these.

Most people into retro-gaming or who had a Nintendo Entertainment System back in the day are familiar with Konami’s Bucky O’Hare for the NES; the Mega Man clone of surprising depth and skill. It’s become a bit of a cult hit these days and copies of the NES cart fetch a pretty decent price on the after-market. Lesser known, is Konami’s Bucky O’Hare game for the arcade, also simply titled Bucky O’Hare.

Like most of Konami’s  arcade games for licensed properties, Bucky O’Hare is a 4-player beat-em-up where the player takes on wave after wave of enemies before reaching the game’s conclusion. And like most games of this style, it sometimes feels like it was designed first and foremost to eat quarters and force gamers to spend a decent chunk of change in order to see the game to its conclusion. Where Bucky O’Hare differentiates itself from Konami’s other brawlers is in that the primary attack for each character is a projectile. All four characters; Bucky, Jenny, Deadeye, and Blinky – all possess a handgun to shoot at the bad guys with. This naturally allows the player to maintain some distance between them and the enemy which actually seems to result in fewer deaths when compared with X-Men or Turtles in Time. Each character also possesses a special attack, referred to as a gimmick weapon, that can be activated at any time and surprisingly doesn’t cost any health to activate. There’s also bomb attacks available and they’re pretty abundant and clear the screen of enemies or deal a significant chunk of damage to a boss, which feels really generous for a game of this genre.

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The game is enjoyable with one of two players, but these ones are always best with four.

The game also further distinguishes itself in style. The previously mentioned gimmick weapons though are sadly the only thing that really differentiates the characters. Of the four, I found Deadeye to be the most useful (though you would think a four-armed duck would possess more than one pistol) as his weapon is basically a temporary shield that orbits around him until it hits something. Jenny’s is a homing attack that’s also useful, though her attack animation is a liability. Bucky just tosses a bomb forward, and Blinky has a flame-thrower. Most of the levels move from left to right, but there’s variety from stage to stage. Some levels have the characters moving at an angle towards the screen (think the second stage from the first TMNT arcade game) and there’s a stage where you’re falling and another where the characters are all riding Toad Croakers that can even stomp on the enemies. Brawlers can get quite stale by design, and Bucky O’Hare does as good a job as any in keeping things as fresh as possible for the game’s duration (of roughly 45 minutes).

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Minimally animated, but fully voiced, cut scenes help to move the story along.

Perhaps surprisingly, the production values on Bucky O’Hare are quite high. It’s very bright and visually appealing with all of the characters looking like the source material. Bucky is the only one that looks a bit off to me, and Blinky is definitely too tall, but for the most part the characters and animations look great. The enemies are especially striking, though the variety is not great as you’ll mostly spend the game fighting Toad Storm Troopers and these little robots. The boss characters look awesome though and they’re mostly taken straight from the cartoon series. Toadborg is appropriately menacing looking and the final battle is against a Komplex-to-Go contraption that even looks like it’s suffered some damage since its encounter against Bucky in episode 13 of the series.

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You’ll be killing lots of Toad Storm Troopers in this one.

Which brings me to the aspect some Bucky fans seem to appreciate most is that this game seems to take place after the cartoon ended and serves as a nice book-end to the series. You take the fight straight to the Toad homeworld and vanquish Komplex seemingly forever. Konami made liberal use of the voice talent from the show and only a couple of voices are off (Blinky most notably being voiced by Scott McNeil). Even characters who aren’t playable still make voiced appearances like Willy and Bruiser. And if you’re into the comic, the omniscient mouse race that never made it into the series shows up in this game and it really feels like someone at Konami really cared about the representing the license as best as possible. It’s pretty cool considering they must have known already that this was to be the last major release for the license and that no season two was coming for the animated series.

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Willy and Bruiser even get to cameo in some cut scenes.

Bucky O’Hare for the arcade is a satisfying experience, especially so for fans of the license. It possesses some of the short-comings inherent with the genre, and I do wish a character like Bruiser or Dogstar was playable as neither was in the NES game, but this is a fun title worth tracking down. Of course, being that it’s been over 25 years since the game’s release, it’s unlikely you’ll be able to find a cabinet in the wild and it’s even rare to see them come up for sale on eBay. There are other means available to you, if you want to seek them out, and I’ll let you research that on your own should you wish to play it. Sadly, licensed games like these rarely receive a digital release in this day and age, but maybe this very mild Bucky comeback in 2017 could lead to a digital release of this game and the NES game, though I certainly wouldn’t hold my breath for either.


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