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:
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 25, 2011 • 9:33 PM 2
Today marked only the second occasion in which I decided to set forth into the wild and brave the insanity that is Black Friday.
Oddly enough, both times my intention in doing so was not to capitalize on the various sales events, but rather to simply take in the spectacle of watching others step over each other in hopes of acquiring a precious Tickle Me Elmo-like gift, or in the case of this year, an incredibly cheap 40″ TV.
It’s funny, whenever I think of Black Friday and other Christmas/holiday related shopping insanity, there’s one image that comes to my mind.
Said image was from one of my brother’s old Mad magazines, and to date, it serves as the definitive vision of Christmas carnage in my mind:
It might be kind of hard to tell, as the image is kind of small, but basically “The Last Parking Space At The Mall” is a brilliantly rendered Norman Rockwell-esque painting depicting a man shooting another man in a snowy parking lot while his wife attempts to pull him back into the car.
Mad Magazine is usually good for a snicker or 2, but this painting was easily one of the most brilliant fuckin’ comedic images I can recall from my youth.
Sadly though, I didn’t see holiday mayhem of any kind this time around.
I did however get to laugh at the people standing in line surrounding the Best Buy.
Seriously man, I spent close to 3 hours in the general area, and I never once saw that line shrink an inch.
Needless to say, I never even got to set foot in Best Buy this morning.
Oh well, thanks to holiday “tent culture,” virtually all of the really good deals in there are literally impossible to acquire without spending the night outside the building.
Which brings me to the deals that I actually did get a chance to capitalize on.
I initially set out to “do” Black Friday with a friend of mine around midnight.
Said friend ultimately ended up walking away with 2 boxes of half price golf balls, while I bought absolutely nothing.
Fortunately, there were some other sales going on in the U-district at a reasonable hour that I ended up checking out after catching a few much needed hours of sleep.
First, I went to Zanadu comics, where a 50% off everything sale was going on from 8AM to 12PM.
In case you couldn’t tell from the image above, I ended up getting a softcover copy of the absolutely massive X-Men/Dark Avengers: Utopia, as well as the first volume of Ed Brubaker’s The Immortal Iron Fist.
Truth be told, I’m not exactly salivating over the prospect of reading either of these books, however Utopia will serve to complete my Dark Avengers trade collection, and Iron Fist is a book that, given my status as a rabid kung fu movie fan, should’ve been in my collection years ago.
I’m a little wary of Utopia, as X-Men books haven’t been kind to me in the past, I don’t know, 15 goddamn years; but I’m hoping the Dark Avengers stuff will help to round things out a little.
As for Iron Fist, I’ve read nothing but good about it, and I’ve been putting off reading it for a really long time; so I’m pretty sure it’s gonna’ be awesome.
Anyway, 2 good to great books for 50% off = Definitely worth it in my book.
Next I went to Pink Gorilla to check out their highly variable collection of used/retro videogames.
While I haven’t found anything too special there in a few years now, I was surprised to find a perfectly good copy of Super Castlevania IV.
Outside of that though, I didn’t find anything else exciting, or failing that; worth the asking price.
Despite this, I was surprised to be given a randomized coupon at the register, with the one I drew being a buy1 get 1 free!
Upon scanning the wall, I decided to pick up Donkey Kong Country 3, a game that, while inferior to the sequel (which I already own) is somewhat rare, and often prohibitively overpriced.
Lucky me, I got it for free.
Oh yeah, and I got a free poster too.
Anyway, while I’d like to say I made it through the day without spending a decent amount of money, I’m proud to say that I at least managed to save more than I spent this Black Friday.
How did you do?
November 15, 2011 • 11:19 AM 0
I finally had a chance to see the fight myself, and to be perfectly honest, I saw no robbery.
Robbery is what happened to Paulie Malignaggi in Texas.
Robbery is what happened to Roy Jones in Seoul.
Robbery is what happened to Pernell Whitaker virtually every time he stepped in the ring with a big name opponent.
What happened to Juan Manuel Marquez this past Saturday, was, in my eyes; nothing more than a very close decision loss.
I was actually rooting for Marquez from the get go, and though he succeeded in making Pacquiao look pretty bad at times, he did so at a measured pace that simply couldn’t earn him the win in a 12 round fight.
Throughout the night, Marquez traded rounds with Pacquiao through careful distancing and punch placement.
Pacquiao would attempt to charge in or circle around him with punches, and Marquez would cleverly step just out of range and throw combinations in response.
Few could argue that Marquez landed the more picturesque punches throughout the fight, however as impressive as these were, at times it felt like he was fighting a third of every round.
I hate to say it, but Pacquiao won on my card by virtue of activity and volume punching.
While I tend to favor clean and effective punching when it comes to judging rounds, seeing Pacquiao work from bell to bell with constant combinations was what got him the “W” in my book.
In essence, Marquez remained competitive throughout, however he let too many rounds slip into “either/or” territory.
I had 2 rounds on my card that could’ve gone either way, the first and the sixth, however in judging from my gut; I only awarded the first to Marquez.
In the end, I had Pacquiao winning 115-113.
I don’t know if it was due to physical or psychological reasons, but to me it seemed like Marquez eased off a bit from the 10th on.
I still thought he did enough to win the 11th, though I think we can all agree that, even if he felt he was winning, he likely should’ve imposed his will on Pacquiao just a little bit more throughout the fight.
I know Nacho Beristain was telling him he was winning, so if what he did was a conscious decision, I bet he’s kicking himself over it right about now.
I’m not a big fan of punch stats, as I feel that since official judges aren’t given access to them, they really shouldn’t figure into the proceedings as much as a simple “face value” evaluation, but in the case of this fight I can’t help bring them up.
When Marquez fought Floyd Mayweather, he threw 583 punches and landed only 69.
While one can argue that the reason he threw close to 600 punches was because he needed to “shotgun” his punches in order to land the scant few he did, I find it interesting that he only threw 436 last Saturday night.
Out of those 436, he landed an impressive 138.
The point I’m trying to make, is that Marquez likely should have stepped up the pace in fighting Pacquiao.
As I said before, he seemed to do a lot of waiting in the fight, picking his punches, which proved to be a very effective tactic, but also resulted in him giving away rounds simply due to the intermittent nature of his offense.
When he was in control, he was quite commanding, landing clean punches and putting Pacquiao’s feet out of position, however in between all of this, Pacquiao filled the gap with constant punching.
Marquez threw 150 more punches in a fight in which he lost every round, which is the same effort he likely should’ve brought to this fight.
I fully acknowledge that this entire article is based on my personal opinion, and not any sort of facts.
Any case you could make for Marquez winning is likely as strong as, or stronger than any you could make for him losing.
This fight was very much a case of a snare drum versus a tympani.
One rattles off beats with constant, machine gun rhythm, while the other blasts out booming tones in time with the beat.
Both bring a sweet sound to the table, but it’s up to the ears of the listener to decide which one stands out most.
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 11, 2011 • 8:28 PM 2
To me, the difficulty of fight with Beowulf stemmed not just from the challenges presented by the gameplay of that segment, by also by the psychological stress the battle places on you, the player.
Now, I consider myself a particularly seasoned gamer, so whenever a videogame is able to genuinely cause me stress, and not just anger or annoyance; it tends to stand out to me as something special.
Such is the reason the battle with Beowulf stood out to me as both an incredibly difficult and exhilarating fight entirely worthy of The Top 10 Hardest Boss Fights.
On that same note, today’s boss just happens to have earned their spot in much the same fashion as Beowulf.
As chatty as he is dangerous, the #5 entrant on our list of the Top 10 Hardest Boss Fights is:
#5. Sinistar – Sinistar
“BEWARE, I LIVE!”
Announcing his presence with a Jack and the Beanstalk-esque “Fee, Fi, Fo, Fum!” of sorts, the arrival of Sinistar at the end of each level in the game of the same name is one of those moments in gaming that, though it may seem ho hum by today’s standards; will live on forever as a classic of it’s time.
Sinistar’s hilariously minimalist taunts and battle cries will likely live on forever, however it’s easy to forget that, as fun as it could be when you were winning; the game was hard as fuck.
A classic twitch shooter through and through, Sinistar was one of those mean-ass arcade games that would bait you into thinking it wasn’t all that tough, only to stomp the ever loving shit out of you by level 2.
Be it Centipede, Missile Command or Robotron, arcade games of the early 80’s, and indeed throughout much of the history of arcade machines thrived on inviting players in win the promise of a fun first level, only to drop the hammer and crush them just a few stages down the road.
I’m guessing this was supposed to trigger a “What the fuck? Let’s try this again…” psychological response in the players or something.
Things were different back then.
It was a lot easier to justify pumping money into a machine for a few minutes of fun when few people owned consoles of their own, not to mention the fact that the home systems weren’t capable of the graphical sophistication presented by arcade machines of the time.
History lesson aside, Sinistar was entirely guilty of the gameplay model mentioned above.
It was pretty easy in the first level, but holy Ewoks and graham crackers brother, you gotta’ be a motherfuckin’ pinball wizard to get much further than that!
The boss of the game, Sinistar; being largely responsible for said nut-crushing difficulty.
Fighting Sinistar is not what you’d call a “fight” in the traditional sense.
Up until his arrival, you spend your time in the game piloting your star fighter, shooting the occasional enemy, and, quite literally; shaking down asteroids for “Sinibombs” and crystals.
The gameplay during this phase of the game, at least during some of the earlier stages; is actually kind of eerie in terms of how quiet and relaxed it can be.
Like many arcade games of the day, the game features no music during play, resulting in a unnerving silence in between the occasional laser or explosion sound effect.
Don’t let my overly romanticized descriptions fool you, this phase of the game is merely the calm before the storm.
Allow me to paint for you, a picture (in words) of how a typical fight with Sinistar goes down:
As you’re collecting shit out in space, at some point you’ll likely notice the enemy ships zipping about and snagging crystals before you can get to them.
For whatever reason they aren’t trying to shoot you down…. For what purpose could they be gathering the crystals for?
As this process continues for a time, it will likely dawn on you that those little ships are up to something…
Just as you’re starting to put the pieces of the puzzle together in your mind, suddenly a horrifying call resonates from the void of space, shooting shivers down your spine and dookie out your poop-hole.
“BEWARE, I LIVE!”
HOLY FUCKING SHIT!
The ravenous space-beast Sinistar has arrived!
His hunger knows no bounds!
He dares you to run, as it is truly your only option in the face of such a beast!
Moreover, he is Sinistar, and he lives!
From the time the hunting call sounds, precious few seconds remain before the great gray beast comes into view and gives chase.
Innumerable questions come flooding into your mind with the utmost urgency:
Should I go out looking for Sinistar, or let him come to me?
Do I have enough Sinibombs to kill him?
Eventually, all questioning and speculation goes out the window as the mighty Sinistar rears his demonic head and cuts a swath through the flotsam of the cosmos, bellowing insults and taunts at every turn!
You juke left!
You juke right!
And all the while Sinistar follows close behind!
In your panic, your fingers trace their way across the surface of the arcade cabinet in search of the one weapon, the one source of sanctuary that can hope to save you from the advance of Sinistar:
The Sinibomb button.
You mash on the button again and again, scattering scores of Sinibombs into the massive face of Sinistar!
With every impact the great beast howls in pain, delivering a shock to your nerves, and a morbid sense of satisfaction…
Bomb after bomb makes it’s mark and your confidence begins to build.
13 direct hits are all that are needed to fell the space monster, could victory be within reach?
You depress the Sinibomb button one last time only to realize:
You’re out of ammo.
The gray space leviathan follows close behind without any semblance of fear across it’s battered, mechanical visage.
In a desperate bid for survival, you begin making attempts to rebuild your ammo supply, carefully skirting asteroids while slowly giving ground to the rapidly encroaching Sinistar.
You juke left!
You juke right!
And just before you recover the last Sinibomb you need to finish the monster pursuing you, it happens:
You accidentally bump an asteroid, Sinistar slams into your ship and crushes it in his terrible maw; sending fiery chunks of debris out into every corner of space.
Such is the ordeal that is fighting Sinistar.
The actual procedure is little more than a fairly straightforward chase, however due to the panic-inducing presence of the boss in question, coupled with the variables of the level construction, (I.E. enemy ships, asteroids) the difficulty piles up very quickly.
If that’s not Top 10 Hardest Boss Fights material, I don’t know what is.
Oh yeah, after all my fanciful storytelling I guess you deserve a look at what the actual battle with Sinistar looks like in-game:
September 10, 2011 • 5:21 PM 2
As much as I discovered I hated him though, I feel I was justified in placing him relatively low on this list.
Despite the fact that I’m pretty sure there’s not a single boss character on this list that I hate more than him, the actual difficulty that came from fighting Duriel came almost entirely as a result of his unbalanced and, quite frankly; cheap design.
He’s not hard per se, he’s just broken….. And more than a little douche-y.
The point I’m trying to make, is that, in my eyes; the hardest boss fights are the ones that are just that:
Fighting Duriel isn’t what I’d call a traditional fight, it’s just an unwarranted and totally out of place exercise in tedium within the confines of an otherwise straightforward and balanced game.
I know it’s just a matter of opinion, but I felt I needed to make my stance on this subject as clear as possible.
That being, the next boss on our list, earned his spot, not through being cheap, or even unpredictable; but by simply being one of toughest motherfuckers I’ve ever fought.
There are bosses with patterns, and there are bosses with weaknesses, and then there’s the #6 entrant on our list of the Top 10 Hardest Boss Fights:
#6. Beowulf – Devil May Cry 3: Dante’s Awakening
To me, Beowulf isn’t just one of the Top 10 Hardest Boss Fights, he’s also one of the best.
His pattern isn’t anywhere near as complex as some of the other bosses in Devil May Cry 3, and he certainly doesn’t deal an inordinate amount of damage; but for my money he’s the toughest boss in a game packed to the hilt with some of gaming’s stiffest challenges.
The fact of the matter is, Beowulf’s a hard boss simply because he makes you work for your victory over him.
There’s no such thing as a quick win over Beowulf, and therein lies the beauty in fighting him.
The frantic nature of the battle prevents his various “phases” from ever feeling overlong, not to mention lead to instances where the sheer intensity of the conflict cause you to make mistakes with your controller.
If ever there were a sign that a boss is tough, it’d have to be that of making your hands twitch out of pure sensory overload.
To this day, I have yet to find a “good” way to fight Beowulf outside playing it cool and wearing him down.
That’s the thing with Beowulf:
He doesn’t have any weaknesses.
Unlike most Devil May Cry bosses, and indeed most bosses in general, Beowulf doesn’t have a magic solution to his pattern.
Hell, he doesn’t even really have a significant vulnerability to any weapon in the game, making defeating Beowulf an affair based purely on skill and endurance.
Unlike fuckin’ Crash Man:
Beowulf’s pattern is essentially that of a pressure-fighter, a Rocky Balboa if you will.
He’s predictable, and he’s kind of slow, but he’s on your ass all night long and there’s no safe way to hurt him.
At first glance he seems like a pushover as long as you keep your distance, however the sad truth of the matter is:
Inevitably he’s going to catch up to you.
While all Beowulf really does in his opening phase is stomp and throw haymakers, there’s a clever science to the placement of his attack angles.
You can see every move he makes coming from a mile away, and yet, due to the wide-arcing nature of his swipes; you’ll often find yourself caught by blows that initially looked harmless.
As is typical of Devil May Cry bosses, Beowulf is rarely reactive to the damage of your attacks, making it unwise to exchange blows with him, given his potent attack power that is equally typical to the series.
The one exploitable weakness I know of that Beowulf has, is extraordinarily minor to the point of being almost counterproductive.
Throughout various cutscenes in the game, as well as the in-game graphics; it is imparted to you that Beowulf bears a scar over one of his eyes.
Whenever a blow is delivered to Beowulf’s scarred eye, he immediately clutches it in pain and swings wildly with his free arm with surprising accuracy.
This technique is only really viable in the first phase of the battle, and indeed does a fair amount of damage, however the dangers in employing jumping attacks against Beowulf are numerous, so in my opinion it’s better to play defensively and simple forego the exploit altogether.
The second and third phases of the fight are where things get really hairy.
Up until this point in the fight, Beowulf basically just plods about and punches at you, however once you’ve done enough damage to trigger his second phase, he drops down onto all fours and starts running about the arena with frightening speed.
In between phases, he throws easy to dodge metal towers at you, but make no mistake, once he’s on all fours, he becomes quite difficult to keep up with.
Given his ability to break into a gallop at any given moment, Beowulf’s second phase takes the tricky accuracy of his initial attack pattern and injects a element of unpredictability that makes it a bitch to keep up with.
Sadly, defeat usually comes very late in the fight against Beowulf, as his third and final phase is hard to avoid without taking at least some damage…. Damage that one usually can’t afford to spare by this point in the fight.
Beowulf’s third phase compounds all of his previous attacks and abilities, but adds a few volleys of glowing white energy fired from his now fully outstretched wings.
The damage dealt from these projectiles is significant, but mostly survivable.
The real kicker in all this, is the fact that it’s very difficult to avoid these volleys without taking at least some damage.
After softening you up with the projectiles, typically Beowulf will charge at you full speed, at which point one of you will likely be killed given the lowly state of your health bars.
Just take a look at this video where the player does well throughout, but inevitably ends up with almost no health by the battle’s final moments:
That’s what I love about fighting Beowulf:
He represents the rare case when a boss demands not just precision, but also endurance.
He really doesn’t do all that much, but something about the way he subtly changes his angles in order to chase you, and unpredictably makes use of his running attacks; makes him hard in a way that’s different from many other bosses.
Simply spamming the dodge or roll commands won’t work, because if your timing is off he’ll punish the shit out of you.
Simply pulling out the “right” weapon won’t work, because he doesn’t bear any weaknesses to any of them.
Simply hanging back and shooting him death won’t work, because eventually he’ll spread his wings and run your ass into the ground.
Beowulf’s a terrific boss, that also just happens to be one of the hardest I’ve ever fought.