The road to Rising Thunder, part 3...

The first generation of game designers had grown up reading about giant robots in comics and watching giant robot cartoons. They were only too eager to make games that revolved around these machines. There was a downside however to being in the first group of developers. The software and hardware they worked with were woefully underpowered. They had a difficult time coming up with a game that could capture the power of piloting a giant robot. So instead of that the developers learned workarounds. They would create arcade titles that featured mostly static images of robot sprites with smaller characters moving around them (Space Harrier). They would create platform titles and change the colors of the human character to make them appear more robotic (Mega Man). They would even replace a fighter jet with the top view of a robot on the shooting titles (M.U.S.H.A. Aleste). Sega was just one of the publishers that did this and at the same time they managed to match the trends in robot designs happening on television at the same time. Take a look at how the robot designs changed between Space Harrier in 1985 to Virtual On in 1996. They were on par with the designs featured in VOTOMS and Gundam.

 

There was a reason why the designs used by the mid-90s were show quality. The robot figures in Virtual On were created by Hajime Katoki, he was a senior mecha designer on the Gundam series. It was a long time coming where robots in fighting games had as much planning put into their look and purpose as human characters had since the start of the industry. Sprites and sprite-based engines were how characters were represented in games through the '80s and early '90s. Robots in fighting games were rare at the start of the genre. The vast majority were usually cyborgs, humans with a few robotic enhancements. One of the first robot boss characters in a fighting game was named Ram-X. The character debuted in the 1993 Sega game Dark Edge. It was a unique title in that allowed a pseudo 360-degree playing field where sprites shrunk and grew to create the illusion that they were moving further back or closer to the player. Ram-X appeared like a Macross-style robot, one which could transform into a black fighter jet. It was a sub-boss character and non-playable. Audiences had a number of unique fighters they could play as, the characters Yeager and M.E.K. were cyborgs.

 

In the late '80s there was a big shift in technology. Arcade titles began to be developed on 3D engines. The earliest of which were racing titles because studios did not yet have hardware powerful enough to render convincing human shapes that could move and fight. That changed in the early '90s with the introduction of the Virtua Fighter and Tekken series by Sega and Namco respectively. In addition to being the first 3D fighters the two were notable for being some of the first to have android fighters. Androids were humanoid robots with artificial intelligence. The boss of Virtua Fighter was named Dural, she was a silver-skinned fighter that adapted to the moves of her opponents. Being a faceless, voiceless opponent made her intimidating. Of course the next android character was even more menacing. The enormous Jack appeared in every version of the Tekken series starting in 1994 and was "upgraded" on each new version. He looked like a bodybuilder-turned-soldier but underneath his plastic skin he was a robot. He could swing his arms like propellers, spin his torso 360 degrees and punch with the force of a cannon. If I didn't know better he was nothing more than a re-skinned version of the Mechanical Man that Mickey Mouse had build more than half a century earlier.

Namco kept the tradition of androids alive in the series through other characters like P-Jack, the prototype Jack and more recently Alisa Bosconovich in 2009's Tekken 6: Bloodline Rebellion. Alisa is very similar to Astro Boy in that she has a number of weapons hidden underneath her artificial skin. She also mirrors Astro in that she was created to be a surrogate child for a professor, in this case it was Professor Gepetto Bosconovich. Of course anybody familiar with the story of Pinocchio recognizes the name of her creator. The Japanese were fond of borrowing from pop culture while designing their games. When it came to putting robots in fighters they could design based on the trends or they could outright poach the look of a character. The second option was used in Galaxy Fight. The robot Musafar was actually the head and brain of a human encased in the body of a robot. His design and attacks were modeled after Robocop 2, the villain in the movie and game of the same name. Robocop 2 was a game made by Data East a few years prior.

The 1995 title by Sunsoft was set in the far future and was one of the first to focus on human versus alien combat. Galaxy Fight had a diverse cast and featured a typical plot of the humans and aliens uniting to defeat a powerful alien bent on galactic domination. Despite the serious tone and history of some characters the game was interjected with some humor. Some of the characters in the game appeared a year later in a more comedic fighter called Waku Waku 7. What was interesting about the robots featured in gaming, not just from Japan, were how many cues they took from pop culture. Musafar was just one example but the influences did not stop there. I had mentioned previously the 1995 game Cyberbots: Full Metal Madness. The game by Capcom had some very unique designs. The influences from pop culture were subtle and instead the artists at Capcom, including Kinu Nishimura and Daigo Ikeno got a chance to work on original mecha ideas. The biggest poach of the game was Zero Gouki, but he did not appear until the game was adapted for consoles.

 

A few years later Capcom would go into full fanboy mode and release their first and only 3D fighting game featuring giant robots. The 1998 title Tech Romancer was an homage to the various giant robot shows over the past 40 years. There was at least one robot in the show that represented every type of giant robot anime that the producers had grown up with. Whether it was a silly kids show or a space drama for teens, from the Transformers to Macross and everything in between there was a robot that reminded audiences of 40+ years of anime. Capcom did a good job of changing just enough details so that they couldn't be accused of plagiarism. Also unlike Sega's Virtual On the combat for these robots was closer to a traditional fighting game than a 3D simulator.

 

Capcom had a history of making some memorable robotic fighters. Some of their best work had nothing to do with piloted mecha. As early as 1994 the studio had started a trend that they would follow through the rest of the decade. The game Darkstalkers, Vampire in Japan, introduced the world to Hutzil. It was actually an ancient robot that was modeled after the clay Dogu statues by the Jomon people, the neolithic ancestors in Japan. Huitzil could change shape and had a number of weapons hidden throughout its forms. From the ancient robot to the futuristic Capcom next explored fighting robots in the game Star Gladiator in 1996 and its sequel Plasma Sword: Nightmare of Bilstein in 1998. Both of those titles were done on 3D engines. The robots Vector and Omega fought similarly. They could spin, twist and shoot their machine guns as well as internal lasers. The Star Gladiator series was a sort of fighting game homage to Star Wars with the exception that the robots in this game were not comedic sidekicks.

Around this time the west was experimenting with different types of fighting games as well. Since CGI graphics were relatively new they stood out when compared to the hand-drawn sprites that made up 99% of fighting games. Going with computer-generated models was part of the appeal of the original Killer Instinct. One of the first, if not the first, all-robot fighting game was Rise of the Robots. The 1994 game by Mirage was considered one of the worst fighting games ever released. The studio focused its efforts on a diverse cast of robots and highly-detailed backgrounds. What the studio forgot to do was focus on the gameplay, animation and balance. Those three things pretty much determined a hit or miss in the community. Despite the cool looking robots the game played like a slug. Also the publisher failed to recognize that neither the consoles nor the home computer was powerful enough to render the complex models and stages in real time. When the game was released it was mostly pre-rendered backgrounds and sprites.

 

Rise of the Robots, just like many fighting games that came before and after, failed to live up to the hype. How would a new western effort like Rising Thunder be any different? Well first off it was any indy game and had no connection to a major publisher. The game was also a free-to-play online title. As far as the gameplay went it was being balanced thanks to the feedback of the fighting game community. These were just a few things that Rising Thunder had in its favor. The next blog will look at the stars of the game and wrap up this series. I hope to see you back for that! As always if you enjoyed this blog and would like to sponsor me please visit my Patreon page and consider donating each month, even as little as $1 would help make better blogs and even podcasts!

The return of Charlie Nash, or how zombies make the best fighters...

Of the characters announced so far for Street Fighter V I think the most interesting was the return of Charlie Nash. I thought he was a great character in the Street Fighter Zero / Alpha series. I liked him partially because he wore glasses. For those that didn't get a chance to play as the soldier he was essentially the American representative for the series. He was created the person whose death Guile was avenging during Street Fighter II. What was most interesting was that this character did not have a face, only a name when Street Fighter II came out. In fact even the developers at Capcom didn't know what Charlie looked like originally. In some unused art by Bengus the only picture that Guile had of his friend had the face burned out. Making him the original gaming unknown soldier.

 

Audiences didn't know if Charlie was a friend or family member killed in the line of duty. Guile would hoist his dog tags in the air in some victory animations. The myth behind Charlie grew as the endings in the Street Fighter II were changed and new details were added. At first Guile would threaten the Dictator and in other versions Guile would visit the grave of his friend. Guile was a visually unique character, with his military look and odd haircut, but he became interesting thanks to his ending. He attacked the Dictator after his defeat, grabbing him by the collar. It was a palpable rage when he brought up the names of Charlie and Cambodia. Audiences didn't know quite what happened but it sounded like something serious went down. When Charlie Nash was killed Guile was younger, considered a runt, Only Guile's wife and daughter were able to talk him out of killing the Dictator. Some of the endings in the game were silly but most were played out like a dramatic movie, Guile's ending was no exception. He had abandoned his family in the pursuit of revenge and was reunited once his vendetta was completed.

   

Charlie Nash died officially during the events of the Street Fighter Zero / Alpha series. What was unique was how differently he died during each release of the game. In one version he had found a hideout for Shadowlaw and was radioing home base for reinforcement. The Dictator snuck up behind him and attacked him. All that was left was a bloody dog tag. It didn't really look like Cambodia but more like the US Southwest.

 

In the second release of the game Nash had the Dictator on the ropes, somewhere in Brazil, possibly the Iguazu Falls, when he was shot in the back by a Shadowlaw helicopter and fell to his presumed death. When the Shadowlaw soldier asked the Dictator if he wanted to confirm the kill the Dictator said that no one could have survived the fall. Again, all that was left of Nash were some dog tags. By the third release of the game Nash was flying a jet and had blown up the base of operations for Shadowlaw but was still on the hunt for the Dictator. So in one out of the three endings he did not die.

It was an interesting contrast from the previous game and this was something that the Street Fighter series had become known for. There were multiple endings in the games yet each ending did not necessarily work with every other one. There were even endings that contradicted the ending of a previous game. Sure the Dictator could have captured Nash and turned him into one of his brainwashed soldiers. He had done this before to soldiers and special agents the world over, including his prized subject the Delta Red agent known as Cammy. 

Then again Nash could have been captured and brainwashed by a different group. In Marvel Super Heroes vs Street Fighter the Shadow version of Nash made his debut. He even popped up in X-Men vs Street Fighter. During the crossover games it was hinted that some mysterious group was responsible for his new form. Were these mad scientists, or cultists of some sort? All gamers could do was speculate as to the "true" fate of Charlie.

 

The dark Shadow version was literally a sprite of Charlie from the Zero series that had been discolored to make him look as if he were in a perpetual shadow. His eyes glowed and his attacks took on a blue hue. He had the same basic attacks and audiences began wondering if the character had returned from the dead. It did not become official until Udon began writing about the character and his history and of course when Street Fighter V was announced, almost 20 years since the character had debuted.

 

Of course many eagle-eyed Capcom fans said that the new Charlie Nash looked an awful lot like Dave. He was one of the alien henchmen characters from Cyberbots: Full Metal Madness. He served under Princess Devilotte de Deathsatan IX, an over-the-top lolita-dressed alien bent on universal domination. I could see where people would see the same hair and glasses on both characters. Dave debuted a few months before Charlie Nash, it's entirely possible that the artists liked the look of the character and incorporated some of his visual cues on Charlie as well.

 

When I saw Charlie back from the dead, complete with stapled and stitched body parts, I was reminded of a different fighting game character. Preston Ajax was a sub-boss character from the game Fighting Layer. The character was a mercenary that had been mortally wounded in a bomb attack. He was pieced together with the remains of his brother, who was a fellow mercenary. The discolored portions of his skin were like dead tissue, very macabre. I got the same feeling while looking at Charlie. Ajax was actually inspired by the manga character Black Jack. He was injured when he stepped on a land mine as a young man. His only friend, a young black boy named Kuro, donated his skin for a transplant. This contrast made him one of the most memorable manga heroes ever created. Black Jack went on to inspire the creation of the Tekken series as well, but I digress...

 

Preston was created by ARIKA, the studio that was founded by many Street Fighter II members. The game Fighting Layer that Ajax appeared in could be considered a revisit to the original plans for Street Fighter II. I wonder if it was a coincidence that two military characters with similar "back from the dead" origin stories ended up in fighting games or if it was an idea that the SF II team had kicked around before they split up. I guess the world may never know.

But there was more to the character than a cool background and a connection to one of the Street Fighter II characters. The series had always been about combining a great fighting game engine with characters that could perform amazing moves. Ken and Ryu had the Shoryuken or "Fireball" attack. In the original game only they and Sagat could perform the move. In the sequel it was the same thing but Guile was one of the new characters that could also perform a ranged attack. Guile's version was called a Sonic Boom. When Charlie appeared as a playable character a few years later he too was given the Sonic Boom attack. However there were nuances that separated Guile from Charlie.

 

It was assumed that Nash had taught Guile the special attacks. As a master of these unknown fighting arts Nash was able to perform the same moves with a little more ease. For example he would perform his Sonic Boom attack with one hand while Guile used both. That was not the only special move that Guile possessed. He also had a Flash Kick, which was a backflip and kick combined into one. Nash also had a version of this move except he did it with his back turned to his opponent. Again the move looked a little bit easier for Nash to perform.

 

Both moves happened so fast that audiences didn't always catch the frames of animation that Capcom placed on them. There was a tremendous amount of forethought that went into how each fighter tumbled in the air. Each actually led with the opposite kicking leg in order to create the momentum for the attack. Since Charlie had his back to opponents he needed to be able to kick as well as twist in the air, this translated to him leaping cross legged. He would kick his back leg out and then tuck it in as his other leg created the arc for the Flash Kick. Then just before he landed he would complete the twist and land facing his opponent.

 

Both moves looked fantastic even if audiences didn't spend the time dissecting how each was performed. If assigning special attacks was all it took to make a character memorable in the genre then it would apply to any new character introduced. Right? Capcom pushed their luck in Street Fighter III 3rd Strike with a new character called Remy. This character had all of the moves of Guile and Nash and could perform them with even greater ease than the military fighters.

This character didn't have a fraction of the forethought that went into the design of Guile or Nash. It was a bit insulting to the legacy character that some skinny Frenchman with no build for fighting or no interesting origin would have the same techniques. Not only that he could also throw Sonic Boom attacks while crouching which was something that neither Charlie nor Guile could do. Audiences wondered why put in a character with all of Guile's attacks in Street Fighter III rather than just return Guile. After all the studio had brought back Chun-Li in the series as well. Remy was one of the more forgettable characters that the studio produced and had not been brought up since.

The physical appearance of Charlie was not the only thing that had changed with his return. The Flash Kick was gone, in it's place were two new special kicks, the Sonic Scythe and the Moonsault Slash. Nash now performed the trademark kick with one wide arcing leg movement. It was reminiscent of the special attacks of Rugal Bernstein, a boss character from the King of Fighters series. I kind of miss his original backwards flip.

The other kick was a front tumbling heel strike. It was very similar to the Jaguar Kick pioneered by Adon. Charlie's super attacks had been changed as well. The character not only looked new but played new. What do you think about the return of Charlie? What do you think of the changes of his strikes and abilities? Are you a fan of the new look? Who do you want to see in the new lineup? As always if you enjoyed this blog and would like to sponsor me please visit my Patreon page and consider donating each month, even as little as $1 would help make better blogs and even podcasts!