January 20, 2012 • 5:11 PM 1
It’s interesting to note that, despite the pathetic (and hilarious) nature of the Bob the Goldfish fights in both Earthworm Jim 1 and 2, I actually consider both of those games to be quite difficult overall.
It’s like they decided to give you a reprieve from the oppressive difficulty, and make a joke all at the same time.
Also worth noting is the fact that this clip was captured from the Genesis version of the game, as is clearly evident from the ratty sound quality.
January 9, 2012 • 7:59 PM 0
Do you remember back in the day when pre-rendered cutscenes were the coolest shit ever?
I sure do.
Back in the early days of CD based gaming, pre-rendered cutscenes, that is, ones produced outside of the in-game engine; seemed almost like a reward for playing some games.
Remember booting up Final Fantasy VIII for the first time?
Still don’t like that game, but damn that’s a good opening.
In most cases, cutscenes were used to bookend the gaming experience and/or highlight set piece moments that likely couldn’t be produced in-engine.
In keeping line with the (eventual) point of this article, Resident Evil games serve as a good example of this style of implementation for pre-rendered video, though the majority of the minor cutscenes were also produced in-engine.
I know I’ve used that clip before, but I don’t think I need a reason to justify re-using it.
On the other hand though, many other games, particularly in the early and mid-90’s, went so far as to “wow” gamers through essentially structuring the entirety of their gameplay around FMV.
For example, the early multi-platform game Braindead 13, in the tradition of Dragon’s Lair, was essentially one long interactive cutscene:
As was Cyberia, though with several shooting and adventure segments interspersed throughout.
In retrospect, many of these videos served to break up the flow of the gameplay of the games they inhabited, but back in the day, just the act of seeing full-motion video on a game console was akin to bearing witness to black magic.
Maybe it was just the fact that I was very young when it came to prominence, but to me, FMV in games was a big fucking deal.
Now that I’m older and decidedly more curmudgeonly and cynical, know that FMV has it’s ups and downs.
Perhaps one of the biggest “downs” that comes to mind, pertains to it’s use as an advertising tool.
It’s funny, for as long as I can remember, videogame advertising has been obsessed with finding ways to reel people in without showing a pixel of the actual product.
Similar to a horror movie with a shitty-ass monster trying to sell itself by teasing but not showing said sad-ass monster in it’s advertising, videogame advertisers are a sneaky lot that get off on deceiving their audience.
It’s very likely that it’s just a cultural trend that just happened to grow up with me, but for whatever reason, most of the game ads I can remember throughout my life, both print and video; have done well to conceal the nature of the in-game product they were selling.
Hell, in the 90’s, it was far more common to see totally fucked up and insane imagery as game advertisements than it was to see screenshots of the actual games.
Guess that’s to be expected for an era when words like “radical,” “tubular,” and “EXTREME” passed as colloquialisms.
Now that I think of it, even the cover art of most American games was deceiving to some extent, often adopting an art style that was contrary to that of the (very likely Japanese produced) in-game product.
The point I’ve been trying (and failing) to lead up to with all of this, has to do with the new trailer for Resident Evil: Operation Raccoon City.
In short, I thought the imagery was stunningly rendered, the action sublime, and all in all, I really liked it.
I’m still cautiously optimistic about the game, as though I love the setting of the game, (between #2 and #3, my favorites) as well as the concept, at the end of the day the thing just won’t work without decent gameplay mechanics.
That being said, while this trailer did nothing to address my concerns regarding the gameplay, it did do well by my in the sense that it did what many other pre-rendered trailers have failed to do in recent days:
It showed off actual gameplay mechanics, in the context of a pre-rendered video.
Allow me to explain.
Remember that super-duper overhyped pile of sappy bullshit that was the initial trailer for that super-duper overhyped plate of fuck-sauce that was Dead Island?
Remember how, with the exception of the location, the zombies, and maybe a homemade bludgeoning instrument or 2, absolutely nothing in that trailer was featured in the actual game?
Well, that my friend is an example of a game company trying to sell it’s “meh” product with an overproduced ad campaign.
While it’s entirely possible that Capcom is essentially trying to do the same thing with Raccoon City, I appreciate the fact that they took the time to inject their fancy FMV trailer with a few nods to the actual gameplay.
How did they do this, you say?
With all the subtlety of a sledgehammer, that’s how.
I don’t know if you’ve been following the development of Raccoon City with the same fervor I have, but if you’re at all in the loop, you’ll have noticed that many of the sillier and less organic moments in the trailer reflect actual elements of the gameplay.
For instance, there is a sequence wherein one of the Umbrella commandos notes that a man’s blood trail is going to attract zombies and other creatures.
Later on, a pheromone grenade is tossed during a battle, leading to one of the soldiers spouting exposition regarding it’s function in attracting monsters.
Throughout the trailer there are instances of melee combat peppered throughout.
Towards the end, there was a sequence where a soldier grabbed hold of a zombie and used him as a human shield.
All of the techniques listed above were confirmed to be usable in-game in some capacity long before this trailer dropped.
Not only that, the underlying story behind the trailer, the clashing of Umbrella and government sponsored troops amidst a battlefield of T-Virus creatures, fits the mission statement of the game to a “T”
In short, I’m proud of Capcom for putting their name on a trailer as beautiful and informative as this one.
Sure, the script was kind of shitty, (what Japanese-written English script isn’t?) but at the end of the day, I’m just happy the damn thing at least tries to exposit some of the gameplay mechanics despite the decidedly pre-rendered nature of the video.
Pre-rendered video trailers are a double-edged sword in many ways.
They are useful for building hype, in that they are often beautiful and cinematic in nature, however too often they pay far too little service as to the actual nature of the product they are selling.
In a perfect world, movies and games would be advertised strictly with materials cut directly from the source material, however when budgets get inflated to the point they’re at nowadays, I can see why production companies feel the need to put together these fancy ads on the off chance they might get a few more buyers than they would otherwise.
All it takes is a bunch of dumbasses thinking this represents what they buy when they pick up World of Warcraft:
January 5, 2012 • 8:57 PM 0
Do you remember Poltergeist 2?
I do, but mostly just because it’s the only movie I know that has a listing in it’s credits for a role known as the “Vomit Creature.”
That scene, and that scene alone, puts Poltergeist 2 on my “good” list.
Well, for the most part anyway…
I’ve heard it doesn’t have the best reputation among fans of the original, but in my eyes I view it as a (mostly) worthy successor.
At least until the bizarre and painfully rushed climax sequence you see above.
While I’m not exactly what you’d call a fan of the series, the excellent photo chemical effects and puppetry of the Poltergeist movies has always made me regard them as extremely “watchable.”
In many ways, the Poltergeist movies could be classified as horror films, however I’ve always thought of them as little more than particularly intense eye candy films.
Honestly, the plots and characterization in all 3 of them is mostly inconsequential, not to mention copied and pasted from film to film, so at the end of the day it’s the atmosphere and the constant stream of visual gags that make up the majority of the experience.
For people such as myself that are more fascinated by horrific makeup effects and special effects sequences than, well, horrified by them; the Poltergeist movies are almost entirely devoid of scares, but packed to the brim with awesome sights and sounds.
This fact is no more evident in the Poltergeist movies than in the 2nd film, as the plot is probably the weakest in the series overall, not to mention during it’s conclusion, the storytelling takes a MAJOR turn for the ludicrous.
We’re talkin’ magical grandma ludicrous.
At the very end, all subtlety, tact, and reason are thrown out the window and into oncoming traffic in favor special effects of a goofy ass H.R. Giger manufactured special effects spectacle.
No foolin’, that creepy looking ghost with faces on it (that looks more than a little like a log of shit) really was designed by H.R. Giger.
From what I remember seeing in a documentary about the Poltergeist films, and how they have a habit of killing the people who work on them, this visually impressive, but borderline silly climax sequence was likely thrown together due to the fact that the actor who played the villain, Julian Beck; actually passed away before completing his role.
As a result, some of his lines were dubbed, and I’m guessing the monster puppet version of the character was inserted into to the climax scene to fill in for him.
While it’s not really visible in the puppet’s earlier scenes, f you look close, there’s at least one shot of a face on the creature’s torso that is clearly modeled after Beck.
Despite the fact that the goofiness of the ending sequence may have come as a result of an actor’s death or a troubled production, the fact remains that it’s horrendously rushed, sloppily anticlimactic, and embarrassingly melodramatic, in that order.
Seriously man, you could probably count on one hand the number of minutes that pass between the time when the family enters and exits the cave.
That being said, as I ruminated on it, it occurred to me that, not only is the ending of Poltergeist 2 fucking absurd, what with Craig T. Nelson’s random shining spear of Holy justice, as well as “deus ex machina grandma” saving the day, it’s also downright impossible to understand without the proper context.
If anyone here is seeing this clip for the first time, please, write a comment to let the rest of us know what you thought of it.
On that note, I’ll leave you all with a clip of the legendary “Vomit Creature” scene as performed by some guy (that was probably a little person) named Noble Craig:
December 14, 2011 • 10:47 PM 1
The above is a video a friend of mine DEMANDED I put together for him.
As you can plainly tell, I spent barely 5 minutes doing so.
That’s just plain fucked up.
December 4, 2011 • 7:41 PM 0
For once I’m glad my prediction for a fight didn’t come true.
I’ll type up an analysis for this one as soon as I get a chance to sit down and watch it.
In the meantime though, congrats Cotto, you’ll always be my boy!
November 29, 2011 • 7:41 PM 3
*SPOILER ALERT!* If you prefer not to have the appearance of The Lizard from The Amazing-Spider-Man spoiled for you, stop reading NOW! *SPOILER ALERT!*
As goofy as the photos above may be, sadly, they aren’t responsible for my rapidly darkening mood in regards to the upcoming Amazing Spider-Man movie.
It’s funny actually, despite being a reboot of a major Marvel franchise, amid all the buzz surrounding The Avengers, Man of Steel, and The Dark Knight Rises, the production of The Amazing Spider-Man has been somewhat of an enigma as of late.
Unlike fuckin’ Turn Off the Dark…
*Shiver* Spider-Man villains putting on a fashion show… The stuff of nightmares I tells yah’.
Truth be told, aside from the infamous “Mirrors Edge trailer,” and a quick article I did a few months back regarding the new costume design, The Amazing Spider-Man has been almost entirely off my radar.
Sure, I grit my teeth a little over the prospect of rebooting a barely 10 year old film series, however outside of that, I really could care less.
That being said, the one thing that could’ve got me excited about this movie, has just been ruined by a leaked image of a goddamn Pez dispenser.
Allow me to explain.
In my youth, animals were one of my greatest passions, in particular lizards and other reptiles.
At one point the Komodo Dragon was my favorite animal, prompting me to do a number of school projects based around them.
I used to flip through my (vast) collection of Zoobooks just about every fucking day, in particular the reptile and special edition dinosaur issues.
Godzilla was, and still is, one of my biggest heroes.
And when it came to comic book characters, in particular Spider-Man villains, you can sure as hell bet The Lizard was my favorite.
In truth, he was kind of a lame character, particularly in regards to his power set, but even so, I’ve always liked him regardless.
That being said, seeing Dylan Baker cast as Dr. Curt Connors (The Lizard, dumbass) in Spider-Man 2 and 3 was cute in the sense that it paid homage to the greater Marvel universe, (something that has since become widespread) however I’m not gonna’ lie, it sucked some serious balls being teased with the prospect of a Lizard story arc over 2 movies only to end up with the lame-ass, cluttered finale of Spider-Man 3.
Imagine my surprise when it was announced that The Lizard was going to be a/the(?) villain in The Amazing Spider-Man.
Being a Lizard fan, my initial reaction was that of:
Despite boasting some decent acting credentials, I still think it’s funny that Welshman Rhys Ifans AKA the Welsh guy from Little Nicky and the Welsh kicker from The Replacements, is going to be playing Curt Connors.
By the way, did I mention he was Welsh?
Seriously though, I really don’t have much of a frame of reference as to whether he’d make a good Lizard, but oddly enough, it’s not him that has me less than thrilled about The Amazing Spider-Man.
Which brings us back to the aforementioned Pez dispenser:
While it may not be an official rendering of the character’s design for the upcoming film, or even a reflection of what the character’s final appearance, given the possibility that his transformation in the film may in fact be done progressively instead of all at once; the fact of the matter is:
This looks like fuckin’ garbage.
Seriously man, aside from the green skin, the features of the character don’t even look reptilian to me.
Last time I checked, reptiles, lizards in particular, are noted for their rigid facial structure and beady eyes.
This fuckin’ lizard has his eyes on the front of his face, and doesn’t even have so much as a goddamn snout.
I know they were probably trying to humanize him for dramatic purposes, or more likely, made him more human shaped to make animating his lip movements somewhat easier, but even so; this ain’t the fuckin’ Lizard.
Jesus fuck man, even if you were to put all of my “science-y” gripes aside, at the end of the day this design looks just plain fuckin’ boring.
And we all know how well that little venture worked out, right?
To whoever designed this Austrian dispenser of confectionery FAIL, congratulations, you have succeeded in making a superhuman lizard-man look boring.
My guess is they recruited the guy that did the Time Ninja cover to do the concept art for The Lizard:
November 5, 2011 • 5:36 PM 0
I didn’t plan on dividing this post over 2 days, but as fate would have it, I just had too damn much to say!
That being said, today we’ll be continuing our look at some of my favorite works of composer Reijiro Koroku.
As I’ve mentioned elsewhere on this blog, my cousin back in Hawaii turned me on to the Guyver manga way back in the day, and ever since it’s served as a huge influence on my creativity.
Something about the incredibly detailed, yet purposely hoaky character designs, combined with the darkness and severity of the storyline resonated with me in a way that makes me hopeful the manga will eventually reach a logical conclusion.
On that note, when I first found out that a Guyver anime existed way back in the day, you can sure as hell bet I went out of my way to track it down as soon as I could.
Unfortunately, as it turns out the 12 part OVA series was actually kind of ho-hum, even by the standards of an impressionable grade-schooler.
The voice cast was pretty good, and the animation was decent if not inconsistent, however the plot was an absolutely horrid distillation of the source material, cutting short many memorable sequences, and outright ignoring a number of important story beats.
Oh yeah, and unless you want to see some of the most hideous animation ever put to film this side of a budget hentai, then you’ll probably want to avoid even looking at a single frame of episodes 7 and beyond.
Seriously, I loves me some Guyver, but that was some ugly shit.
That ugliness aside, much like the not-always-so-fondly-remembered Godzilla 1984, the Guyver OVA just happened to benefit from an incredible soundtrack courtesy of Reijiro Koroku.
Though the music is stylistically very similar to his work in Godzilla 1984 just a few years earlier, Koroku’s Guyver soundtrack incorporates synthesizer and electric guitar in many of the tracks.
What can I say, it was the late 80’s and synthesizers were very much “in” at the time.
That’s not to say Koroku’s more electronic approach to the Guyver soundtrack was at all a poor choice.
Heavily inspired by tokusatsu heroes like Kamen Rider and Kikaida, Guyver’s inherently tragic character and brutally violent atmosphere made the property a perfect match for Reijiro Koroku’s potent melodramatic style.
Just give a listen to probably my favorite track in the series, included in the first third of this video, to see what I mean:
Once again brooding and downright creepy at times, Koroku’s score for Guyver shows a great deal of restraint for what basically amounts to a superhero story, however in many ways I feel this is it’s strength.
Like chanbara films of old, the style of action present in Guyver is largely efficient, with each movement and attack being distinct as opposed to the more repetitive style found in Dragonball Z among other things:
I sincerely apologize if you were dumb enough to watch all of that.
Because of this, the music actually benefits from keeping it’s crescendos in check, as otherwise the music would overpower the intensely violent, but relatively low energy nature of the onscreen action.
This track, once again featured in the first third of this clip, serves as perhaps one of the better examples of how Koroku’s powerful, but relatively lax music could effectively supply the series with solid action beats:
Despite how much I love the soundtrack for Guyver, the one downside to it is that the score is very limited in terms of breadth.
Composed largely in suites intended to be recycled throughout the series, the music is quite beautiful by itself, but loses some of it’s luster when heard in the OVA, as the tracks become repetitive after a time, and as such, lose their distinction and sense of place.
Even so, the Guyver OVA soundtrack was once of the first import CDs I ever purchased, and to this day I’m glad I picked it up.
An RTS set in the Japanese warring states period, Kessen was a big hit that enjoyed several sequels, however it’s not one that I ever really got caught up in.
Chances are I was to busy playing garbage like Street Fighter EX 3 to give a shit about Kessen.
Despite my lack of appreciation for it, Kessen’s music was a whole ‘nother story altogether.
Truth be told, much like was the case with Noozles, I wasn’t aware that Koroku had done the soundtrack for Kessen, however when I did learn of this, I was not at all surprised given his track record.
Booming and proud, the soundtrack for Kessen brings to mind Koroku’s military marches for Godzilla 1984:
Lacking the brooding tone of Koroku’s previous works mentioned earlier, the Kessen series had an appropriately colorful sound to it, though one that was quite dignified despite it’s epic scale and over-the-top design aesthetics.
It’s funny, hearing this music again kind of makes me want to go back and actually give Kessen a try.
Based on what I remember hearing of it, I doubt I’d be disappointed if I did.
Anyway, that’s about everything I could think of to say about Reijiro Koroku.
Hopefully you learned something over these past 2 days, and if not, at least you got to hear to some nice music!
September 24, 2011 • 10:23 PM 0
I know what you’re thinking:
“Who’s Kevin Riepl?”
Well, to be perfectly honest; I have absolutely no fucking clue.
That is, outside of knowing him as the man responsible for composing the first Gears of War soundtrack, I’m really not familiar with his body of work.
IMDb-ing him (IMDb track videogames? Since when?) brings to light the fact that he has some strong ties to Epic Games, in the form of contributing soundtracks to several entries in the Unreal Tournament series.
Despite being familiar with most of these games, I can honestly say their music failed to leave an impression on me.
Probably because I ever recall of the Unreal games, at least from an audio standpoint; is this:
That being said, ever since I first played it, the Gears of War soundtrack, more specifically the main theme of the game; has always stood out to me as one of the better and more memorable game soundtracks out there, particularly in the modern era where games tend to favor ambient tunes over more thematic ones.
If you haven’t heard it before, then you’re in for a treat:
Imagine my surprise when I discovered neither Riepl, nor his brilliant theme music would be returning for any of the Gears sequels.
I may be in the minority on this, but I grew up watching James Bond and Godzilla movies by the truckload, movies that have managed to go 50+ without ditching the legendary themes that helped cement them in our minds as the film classics that they are.
Like many people, I grew attached to those themes and have come to associate them as aspects of the characters they were written for.
Sure, there were occasional moments in time when the themes were cast aside for a movie or 2, but at the end of the day they would always come back somewhere down the line.
While I’m probably wrong, my gut tells me that Epic contracted his services likely due to a combination of their incredible financial success with Gears 1, as well as Jablonsky’s newfound mainstream fame due to his involvement in the live-action Transformers film.
Maybe it’s just me, but in picturing a bunch of newly wealthy videogame nerds getting geared up for their big sequel, I could honestly see them ditching their in-house composer in favor of succumbing to their own dorkiness and hiring “The Transformers Guy” on a whim.
I’m sure that’s not how it actually went down, but I have my suspicions…
Anyway, while Jablonsky did a terrific job with the franchise following Riepl’s departure, in truth I kind of wish he hadn’t ejected the original theme music in favor of his own take on it.
Give it a listen and see what you think:
I would never consider this theme to be anything less than “good,” but there’s just something about it that feels “weaker” and less engaging.
Don’t get me wrong, Jablonsky’s a great composer, but there are just some elements to the style of his militaristic soundtracks that rub me the wrong way.
While it could just be me still being bitter over the complete and utter failure of Transformers 2 and 3 in living up to the even the slightest of expectations, in general I’ve found his work on those movies, as well as the Gears series; to be somewhat pretentious and/or melodramatic.
Maybe it’s just me, but I feel both the Gears and Transformers franchises tried way too hard to insert unwarranted emotion and drama into stories that were truly devoid of any.
I prefer my Gears minus the extra helping of “Dom and Maria” thank you very much.
Back to Jablonsky.
He does a wonderful job of creating a mood and a “feel” to the music in such a way that it seems to fit the “texture” of the imagery it is meant to be played over, but his incessant use of choirs and Dark Knight/Inception style droning really feels a bit overbearing to me.
His soundtrack or Gears 2 was solid, especially in terms of the action cues, but far inferior to the original in terms of the overall strength and memorability of it’s themes.
While I haven’t played the game as of yet, in listening to the soundtrack for Gears 3, I can honestly say I like it better than the second.
Check it out:
The choirs are less, uh, “manly,” such that the music is much more graceful/lyrical, and less like a rehash of the droning Decepticons theme from the Transformers films.
Even so, despite vastly improving his theme for the game, I still maintain that the Jablonsky theme of Gears 3 is inferior to Riepl’s original.
I acknowledge that Jablonsky’s compositions are quite good overall, and that I very likely could just be being a sourpuss about all this; but in my opinion they should have never changed composers.
September 12, 2011 • 8:08 PM 4
In my mind, no other bosses in gaming embody both of these definitions with as much ease as fighting game bosses.
Given the limited functionality of fighting game play mechanics, fighting game bosses are often some of the more difficult in gaming due to the head-first manner in which they must be dealt with.
There are no switches to be flicked, or items to be used; it’s just you and them, one-on-one.
Often possessing movesets consisting of absurdly quick and high profile maneuvers, as well as enhanced attributes, fighting game bosses typically boast every conceivable on-paper advantage over the standard player characters.
What’s more, in most cases bosses in fighting games have a tendency to “stretch” the rules of their respective game’s mechanics I.E. being able to execute special attacks without charge time or possessing a few unblockable moves.
These “unfair” advantages make most fighting game bosses an easy target to be labelled “cheap,” however in some cases, I actually welcome the challenge they represent.
Let me just stress the use of the word “some” in that last sentence.
Fighting games are usually won through knowing your arsenal and being able to anticipate your opponent with precision.
In games like Street Fighter, all it takes to block an attack is to hold back on the d-pad.
In that sense, the unfair advantages owned by fighting game bosses shouldn’t be looked at as straight up cheapness, but rather padding to the computer’s (hopefully) human-like AI.
The best fighting game bosses are the ones that are challenging, but human in the way they occasionally make mistakes or overextend themselves.
The hardest fighting game bosses are the ones that boast absurd attributes and flawless, frame-by-frame AI routines.
Today’s entrant on our list of the Top 10 Hardest Boss Fights occasionally shows glimmers of the former in his behavior, but most of the time he proudly embodies the latter.
‘Cause he’s an epic, diaper-wearing douche-hole.
*AHEM!* That being said, our #4 is:
#4. Gill – Street Fighter III: Third Strike
Let me just get things started off here by saying that Gill is an anus sucking turtle-fucker.
Seriously man, as far as fighting game bosses go, few others have carved out a spot for themselves on my naughty list as emphatically as Gill has.
*COUGH!* Now that I’ve gotten that ugliness out of my system, I feel I’m obligated to mention the fact that Gill also happens to one of the better designed fighting game bosses in gaming history.
That should give you a good idea of how many “good” fighting bosses there have been over the years.
Gill’s natural on-paper advantages over you, the player; are extensive, to the point in which it’s hard to deny the cheapness of his design, however his AI, at least on the mid to mid-high difficulties, veers a little closer to “fair” on occasion.
Close to, but still nowhere near fair.
What I mean to say is:
Gill is a blue and red BEAST of the highest order.
He does more damage than most of the characters in the default roster.
His attacks generate an absurd amount of stun damage.
Most of his attacks strike from troublesome angles and have priority and reach advantages.
He is able to execute charge moves without charge time.
His projectiles strike twice, ensuring that he’ll win any exchange of fire.
His durability and speed are both well above average.
To fight Gill is to enter the room outgunned and outclassed from the very start.
While I’d never consider myself much more than an experienced novice at fighting games, to date I’ve only been able to beat Gill twice.
Both times it took several continues to achieve the serendipitous task that is defeating Gill.
You see, despite all the nasty traits of cheapness that I mentioned above, Gill also brings to the table a pair of utterly devastating super combos that do wonders to ruin his standing as a “great” boss in my eyes; and make beating him a feat often times a feat equally attributable to luck as to skill.
Allow me to clarify.
Gill’s greatest asset as a fighting game is his inherent fallibility.
While his moves and stats are all better than yours, I have to admit that Capcom did well to program Gill with the occasional human-like lapse in his concentration.
He never acts silly, or outright dumb, but there are times when Gill slips up and takes a hit he shouldn’t have, or fails to capitalize on a round winning opening.
Gill’s greatest success as a boss is that he’s difficult enough be one of the hardest bosses in gaming, while at the same time easy enough to be fought with some degree of success on every occasion.
Nothing is worse than a hard boss that doesn’t even let you get a hit off every time you continue.
Nearly every time I’ve fought Gill, I was at least able to take his health down considerably, or on a good day; beat him one round.
That said, Gill’s AI generally behaves with stunning precision, making use of his high priority moves to counter most of your attacks; making him a stiff challenge most of the time.
Which brings me to the aforementioned game breaking super combos:
With a full super meter, Gill has at his command the power to instantly reverse the outcome of a round.
The gameplay mechanics of Street Fighter III restrict the players to selecting and utilizing only one super combo in battle.
Gill is the only character in the entire roster that is capable of making use of all 3 of his super arts in one fight.
One of these moves, Meteor Strike; is relatively harmless.
The other 2, are utterly devastating.
First is the fearsomely boosh-tastic Seraphic Wing:
Seraphic Wing is a move that drains about a third of your life bar when blocked, and virtually all of it when landed at close range.
While it can be stopped preemptively, in most cases the deployment of Seraphic Wing usually means the end of the match in Gill’s favor.
If that’s not a kick to the boner, I don’t what is.
Oh wait, there’s one more move!
Gill’s other dick slap of a super combo is his Resurrection ability:
Basically, Resurrection is exactly what it sounds like.
Imagine this scenario:
You’ve just spent the past hour battling Gill, continuing over and over again while cycling your way through the entire roster numerous times.
Finally, after countless attempts, you’ve managed to get the upper hand on Gill and are only a precious few hits away from victory!
The tension is palpable.
Your eye twitches involuntarily.
With the clever use of an EX attack you manage to upset Gill’s impeccable timing and rocket a Shoryuken into his chin and straight towards the realm of victory!
His life bar depleted, Gill collapses in a heap on the ground in slow-motion.
Throwing up your arms in victory, you are shocked to hear the familiar sound of a super art being deployed.
Suddenly, Gill beings to levitate, and immediately his life bar begins to rapidly refill!
You quickly fire a Hadouken, only to watch as it is harmlessly repelled by the powerful vacuum generated by the Resurrection field.
Eventually, Gill’s health is restored in full, leaving you to fight him with what little you have left.
Exhausted from the historic effort you put forth from getting this far, ultimately you lose to Gill in the third round as you have on every occasion prior.
Such is the epic douchey-ness of Gill.
He’s better than you from the start.
He’s pretty damn smart, even when he’s stupid.
And to top it all off, he can take all of your hard fought efforts, and render them irrelevant with the use of a mere super combo, one of which he doesn’t even have to be alive to use.
To this day, I still hate Gill, however I do retain a certain level of respect for his AI design.
On a side note, I’m pretty sure Capcom was the first to make a genuinely incongruent 2D fighting game sprite, but that’s besides the point.
Gill: An atypically hard boss that has the gall to max-out his douchey-ness by holding back and shitting on you when it hurts the most.