(This is the 64th game in my challenge to go through many known games in chronological order starting in 1990. The spreadsheet is in my bio.)

The Mega Man series and I don't get along. It's unfortunate, but it is what it is. So when I added Bucky O'Hare to my play-list, only to find out that it's a MegaMan-like right before playing it, I thought I was in for another frustrating - and short-lived - affair. Thankfully, this MegaMan-like I actually managed to beat and, despite the frustrations the game brings with it, I liked it as well.

Bucky O'Hare, the eponym of this video game, was the hero for a comic book and an animated TV series in the 80s and early 90s. Shortly after this game came out, Bucky O'Hare was rarely heard from again, though new action figures were released as recently as 2017. Don't expect to hear much from the rabbit in the future though.

This video game released on January 31, 1992 in both Japan and North America and was developed and published by Konami. Konami at this time was very well-known for releasing many quality games, and this game is definitely among their better titles at this time as well. This game released for the NES, though an Arcade game released the same year, too. These two games are the only games bearing Bucky's likeness. Reviews ranged from a 93 by Game Zone and 5 stars by Top Secret all the way down to 13.3/20 by Nintendo Power and 68% by Play Time.

My review is somewhere in between, if we consider that a 68% from me is way more complimentary than a 68% by a video game magazine.

You play Bucky O'Hare, who is captain of the ship called "Righteous Indignation". Your crew consists of Dead-Eye, Jenny, Blinky and Willy, who are captured by the antagonist Toad Air Marshall at the start of the game. Go rescue them and take out Toad, you know the drill.

The intro, with a number of typo's in both game and manual (atacked, kidnaped, marshall), explains the scenario I just described. You know have to travel to four planets named after colors to rescue them. For each rescue, you receive thanks by your crewmates and the information that you can now use them and their special abilities. From there, each additional level has some short dialogue between the crew on what the next objective is.

My favorite little detail was a TV in one level depicting Toad with an "I hate you" speech bubble popping out of it.

Other than that, story is of course not a big deal here.

This is a mix of a platformer and a shoot 'em up. In addition, it is a MegaMan-like. You choose one of four planets that you want to go to. After long platforming levels, you meet the final boss. You kill the boss and rescue your crewmate, who you can now choose as your character. The difference to Mega Man is that the boss does not have the same skill as the crewmate you rescue. But you are free to choose which planet to tackle in what order (one exception).

One thing this game actually does way more conveniently than Mega Man: You can switch between characters by simply pressing SELECT. Sure, switching between eight characters in NES Mega Man games would be annoying, but I would like the option, especially when you still have 4-5 or fewer characters unlocked. The gameplay here is not interrupted thanks to this, though of course switching in a fast paced platforming game such as this will come with its share of annoyances when a timing-sensitive level kills you while you are trying to switch to the right character. Can't say this happened often enough for me to rather PAUSE the game each time I wanted to switch.

Bucky can shoot in four directions and also load up a POWER bar which lets him jump higher. Collecting P's increases the length of the POWER bar and lets you jump higher. Blinky, the android, is short and can destroy certain blocks, so he is the second-most useful character, and actually necessary to go through one of the planets. Each character has some sort of ability, though you won't need all for environmental puzzles, which should have been a thing in my opinion.

Most of the game is focused on platforming. Many of the tricks the game has on offer, actually all of them, other games will have already done. There are the slippery icey platforms which annoy everyone, there is a lava pit that you need to jump over, out of which fire is shot upwards, there are the projectiles flying down from the sky while you try to not fall down to your death, there are the disappearing platforms and the room that turns pitch black, with little fireflies giving you the tiniest hint of information on where there is a platform to jump on.

Few games manage to combine many of these things into one though, which is where this game is absolutely an above-average experience. The game doesn't take a few of those tropes and makes 10 levels repeating them, the game tries to offer a new and different challenge for each of its stages, even if they aren't new to the genre itself. Plus, there is a very lengthy shoot 'em up stage at the end as well, so variety is absolutely present here. From time to time, there are small environmental puzzles to solve as well, which isn't much but definitely more than most platformers offer. Usually, it's "50 things try to kill you, try to survive by memorizing stuff and timing your movement" and while Bucky O'Hare is exactly that for most of the game, there are also parts where you need to figure out where to place a boulder to avoid those spikes, which character to use to go through a section of the game most efficiently, which area to unlock to avoid being stuck in an infinite loop and how to come out of the other end of a turning wheel thing.

Are there frustrating parts? Absolutely. There are levels where you need to perform jumps with exact precision, where you need to out-run lava running down the edges of the walls at blazing speed, where you need jump, switch character in a second, load up the power bar in half a second, release it, hang on to a wall, climb a split second and jump again to get past a particularly frustrating bit and where you need to execute moves with a ship with such incredible timing that the controls simply don't reliably allow for. Oh, and there are no i-frames.

There is some really rough stuff here. It's like the elementary version of Battletoads, where you can't stop but wonder why the devs would make so many enjoyable levels, only to frustrate the hell out of the player and make these later levels inaccessible for 99% of the players who play the game. It's elementary here because instead of 99%, it's going to be more like 80-90% and the game absolutely IS beatable without selling your soul to the devil. I can't say I managed to go through everything without making use of the beautiful functions of my emulator, but the majority of the game I played as intended and did relatively well. Game magazines call this game easy for even non-players, a sentiment with which I couldn't disagree more.

But all in all, this is one of the more enjoyable platformers I've played during this challenge. Boss fights top it off by offering somewhat difficult, but certainly very beatable challenges. Bosses have a certain pattern that they repeat endlessly, and you simply master them to beat them. They're not the most creative bosses I've seen, but I'd call them slightly better than your average platforming bosses from this time period.

No voice acting. The sound design is really good here, many sounds were really satisfying and I can't say I think the same for most NES games I've played on here, so it's absolutely above-average. The soundtrack is really good. It matches the fast-paced nature of most gameplay bits and it had me bopping my head along for most of the time that I've played this. The boss theme in particular just goes completely batshit insane. Though the majority of tracks in this soundtrack are great and worth a listen. I also think it's absolutely worth a mention that this soundtrack was composed by a female, Tomoko Sumiyama. She is only credited for 5 games, this game being the most recent.

Looks pretty good, actually better than some early SNES titles we've played on this challenge so far. Got nice looking sprites and character designs, very colorful levels with some nice scenery like in the outer space level, and in general varied environments.

Certainly there is a Bucky O'Hare theme used here to make this game, but in general it is your typical platformer in terms of presentation. These games don't try to have you immersed, they try to mainly get you hooked to the gameplay by offering you a challenge, sometimes fair, sometimes unfair. This is no different here, though the space theme is present regularly, especially in a fantastic stage where you jump from asteroid to asteroid and moon to moon to traverse.

The two negatives with this game's content is 1) there isn't a lot of it and 2) there are a few very frustrating parts, which gatekeeps later content needlessly from lesser skilled players. Overall though, the content has plenty of variety and is enough to entertain for a couple afternoons. And what is here is higher quality than your average NES game for sure.

There are some great levels here, nicely varied. Similarly to Battletoads, I'm not sure why the devs decided to add some very frustrating parts to make it harder to get to the later levels which are as excellently designed as the early ones, but that's what we got here. Finally, I feel like the last level, while I did enjoy it, was very long and I mean insanely long. Could definitely have been made shorter.

There is plenty copied over from the Mega Man series, such as choosing which planet to tackle first, gaining new abilities after defeating each planet, and then having a final "castle" type stage where you go through multiple lengthy levels and some form of a boss rush. The way some stages are designed is definitely where the main innovation comes from, as Mega Man mainly sticks to being an Action-platformer with predictable level design, while Bucky O'Hare goes a bit more wild with one level where you hop from asteroid to asteroid, which all fly in different directions. There is the long shmup stage at the end as well, so it's definitely not a shameless copy or anything.

Other than trying to beat your high score and potentially using certain characters more than you did in a previous playthrough, there is no motivation given to play the game again.

Works well at all times.

If you're looking to play platformers on the NES, Bucky O'Hare should be on your list. It's unlikely to get into your Top 5, but I'd argue that it will offer an above-average experience for the genre and the console for sure. Nice graphics, great soundtrack and varied levels is all you need to have a good time with these types of games.

(This is the 63rd game in my challenge to go through many known games in chronological order starting in 1990. The spreadsheet is in my bio.)

The 'SaGa' series started in 1989 with 'The Final Fantasy Legend', as it is known by in the West, and was a Game Boy series for its first three titles until Romancing SaGa brought it to the SNES on January 28, 1992. Well, at least in Japan it did, as the game did not get a release in the West. The SNES actually never did, in fact, but a PS2 remake called 'Romancing SaGa: Minstrel Song' did release in North America in 2005, though the 'Mistrel Song' subtitle would only be included in Japanese versions.

'Romancing SaGa' did pretty well, with over a million sales recorded for its SNES version. The game was developed by Square, who had released their first SNES game in 1991 called 'Final Fantasy IV', you may know it. The alliance of both games with Square is immediately notable, but Romancing SaGa , and SaGa games overall, are different in many ways from their Final Fantasy counterpart that makes the SaGa games stand out as their own, distinctive series.

Personally, I think it differs positively in many ways, but negatively in at least just as many. I go over everything in my review for 'Romancing SaGa'.

(I was able to play the SNES version with fan translations. If you are interested in this game, I would recommend the PS2 version for both its official translation and the many QoL and overall graphical improvements you will find with it.)

You play Albert, heir to a noble lord in Rosalia. No wait, you play Sif, a warrior from Valhalland. Or do you play Jamil, a thief in Estamir? Wait, what?

Off the bat, you will find out why the SaGa series is very different from your run-of-the-mill JRPG in terms of its story set-up. You have eight unique characters to choose from. Not eight different classes (though they do all differ in class), but eight (!) unique (!) characters, each with their own name and background and, most importantly, their own journey. Their journey all lead to the same destination, but you'll be surprised with the amount of freedom in play here. This is not Cyberpunk 2077, where a few intros play out differently and all culminate in the same outcome an hour into the game.

For example, I chose Albert. In his introduction, he and his sister clear a cave near the castle that is their home. Upon return, the castle is attacked by monsters, and they are to flee and report the incident to a nearby kingdom. Diana, his sister, pushes Albert off a cliff to save him from strong enemies that have surrounded them (why she doesn't jump after him, I don't know). She dies trying to fend off the attackers, while Albert wakes up later in the home of a caretaker. From here, Albert finds himself in Loban. From there, he is to take a ship to Yeoville that runs into a storm and washes up near Valhalland, where he meets Sif.

Sif's story starts in Valhalland and she finds Albert knocked out on the ship wreck, so there is some crossover at times.

Then there is Claudia's story, who is an orphan raised by the witch of the forest in Mazewood. She goes to clear a cave from monsters as well, finds a Knight called Gian getting attacked, helps him and then proceeds to leave the Mazewood later on in her introduction. She takes a totally different route, explore different areas and meets other potential companions than Albert or Sif, either meeting them much earlier or doing so at all, such as a bear and a wolf-like creature that lived with her in Mazewood.

The locations you explore are not only relevant in the companions you can fight for battles, of which there are dozens, but also in the quests you find and can pursue. These quests often don't go beyond simple set-ups to explore nearby caves and exterminate the monsters within, but it adds to the replayability and the unique structure of each character's playthrough.

So overall, it's not just eight different intros, but many different journeys altogether. This unfortunately does come with its many concessions and makes tying things together for the main story, which does exist, much more difficult. The execution in the end is lackluster, both from experience and, mainly, from reading up on it, as I couldn't justify playing the game more than I did (a little over 5 hours), which I will mainly explain in the 'Gameplay' section.

Let's start with the main story. The game is set in Mardias, where three gods called 'Death', 'Saruin' and 'Schirach' waged war against the lord of all gods, 'Elore'. At the end, Death and Schirach lost and were stripped of their powers. Saruin, who was not willing to accept defeat and the same punishment, was instead imprisoned within ten fatestones by a hero who would perish in that battle and be turned into a god by Elore as thanks. Now, a millennium later, all Fatestones are scattered throughout Mardias and evil powers festered bent on releasing Saruin, with eight heroes fighting back to make sure that this doesn't happen.

It's an OK setup for a main story of its time. How does it happen that the Fatestones are scattered? If Saruin is imprisoned in them, how can you not take care of even one of the stones? Well, we shouldn't try to look for too much logic here. The game treats the main story as an afterthought, which is OK for what it is going for, but so should we in that case.

Unfortunately, 'afterthought' is an understatement, because the main story doesn't really get any mention apart from certain main story quests that trigger for mid-game and end-game portions. I found two conflicting notes on this online, one saying that the amount of quests you finish trigger these 'jumps' and another saying that the amount of encounters you had does the trick. I'm finding number of quests to be likelier, but either way, you're not going through a linear path of quests to unlock those main quests. And only in those main quests do you learn more about the main story, which, overall, is very little for an RPG. Is that a bad thing? That's for you to decide. The non-linearity is a positive for some, a negative for others. Personally, I'd be more of a fan if the execution wasn't like this.

Because here is the issue for me. The game will take you 30-40 hours to beat just once. You can complete it with all eight characters (and get a secret ending), but those 30-40 hours are brutal in terms of the content that fills them. A good 90% of your time is spent in caves fighting near endless waves of enemies in, 90% of the time, battles that can be described as cakewalks. Of the remaining 10%, I'd guesstimate that 8% is walking around in same-looking towns to collect gear and quests, and 2% is actual story dialogue.

The combat does not have nearly the amount of depth necessary to pull the majority of players through, at least not in a fun way. In my opinion, there needs to be plenty of balance between lengthy 'dungeon-crawling' and story bits in RPGs. Final Fantasy IV did a good job in achieving this a year earlier. With Romancing SaGa, that is not the case, and I couldn't put myself through the monotony for dozens of hours, both because I don't consider it to be fun (maybe I would have if I was 8 again and didn't have many other games to choose from) and because I can put the time into the other games in this challenge which have more varied and, most importantly, rewarding experiences.

Overall, the game employs a "Free Scenario System" that shows a lot of potential. Spiritual successors such as The Octopath Traveler exist. Sequels in the SaGa series exist. This challenge will be exploring those sequels, but in Romancing SaGa, there is not enough in the side-quests and pretty much nothing in the main storyline to push one through the brutally repetitive combat system. The SNES cartridge space will not have done the developers any favors, so future generations should help out there, but I also think that improved balance in the next SNES iterations could help the potential be reached sooner than later. We shall see.

Gameplay is not as unique as the "Free Scenario System" we went over at length above, but there are certain elements to Romancing SaGa that make it stand out over other JRPGs of the time as well. Let's start with the similarities.

Just like Final Fantasy, you explore many different locations as you visit their towns and dungeons. You go into many battle encounters with turn-based combat. You purchase healing items, magic items, weapons and armor to equip your party members.

There are many differences though. First, let's go over exploration. Instead of traveling the overworld to find the towns and their nearby dungeons, you select a location from the map and fast-travel there. There is no exploration to be done in between.

Towns have their shops and inns positioned slightly differently, but inherently are all the same. You got an inn, a weapons store, a magic store and a pub to look at quest notices and find companions. There are few, if any, other houses that specific characters own. There are nearly no characters roaming in these towns in general, perhaps 3 or 4 apart from the shopkeepers. Nearby, there is emptiness that fills the space between a town and the dungeon you're supposed to enter once you get the quest. There also is going to be a path that allows you to open up the map and travel elsewhere.

There are barely any, if any, secret paths to take. Nearly all chests, if not all, simply contain gold. I haven't found anything else in 5 hours. Items to buy with the gold usually seem overpriced, though perhaps later locations give you a lot more to make up for that.

The biggest difference you will find however is encounters. Instead of walking around and randomly being thrown into a battle, you find all enemies running around in the overworld. There are a lot, and I mean A LOT, of them running around in the same area and you can defeat them one by one to reduce their number to zero, at least until you leave the area and re-enter it, which makes them respawn. It makes encounters more predictable, but my god does it not help you avoid them whatsoever. These enemies will rush after you once they spot you, and most of them are faster than you, so they will catch up. They also mirror your path, so if you try to walk left, they will walk left as well until they catch up to you and engage. If they engage you from the side, it throws your party formation into disarray and leaves you in a tougher spot, though I'll go over that in a little bit. The worst part though is when you try to flee from a battle.

In Final Fantasy, when you escape, the encounter is simply over and you keep moving. In Romancing SaGa, GET THIS: The enemy remains right where they were when they engaged you. So guess what? You are immediately thrown into battle against them again. WTF? You have a split second to react and try to run away, but by the time you process which way to go (usually at least two directions are blocked off by enemies), the enemy re-engages and you enter the battle again. Hilariously terrible and makes escapes pretty much useless.

OK, so let's go over the battle system. It is a turn-based system (doesn't have a 'real-time' component like FFIV, which I don't mind) and uses a 3x3 grid, meaning you can choose to line up 3 party members on three rows. The front row is most susceptible to be attacked, but can use melee weapons. The second and third rows are less likely to be attacked, but can't reach with melee weapons. Spears, bows, magic skills and special limited-use attacks for melee weapons (a slash on swords for example) do reach first, second and possibly third rows of the enemies. I did not get the impression that the row has a damage output penalty like in Final Fantasy games.

Unlike many other RPGs, you don't have a 'level' that you increase. Instead, you have a number of stats that get increased after each encounter, like Speed, Vitality and Charisma, which increase hit points and damage output for specific attacks. That's the game's specific oddity but not a bad one. Here is an oddity that IS bad however. As you use weapons more and more, you get upgrades to those weapons, like a slashing attack for a melee weapon that lets you hit the second row. This experience needs to be gained for every weapon that is in the game. If you don't like a weapon and decide to switch back, guess what? All your experience for the weapon has reset. Why? Who knows, maybe a developmental oversight.

The UI for combat also makes matters worse. In Final Fantasy, you select whether you want to attack, guard or use an item on one screen. In this game, you need to cycle from left to right to find the screen you are looking for, and there is a screen for each weapon and skill you have equipped. With the thousands of encounters you will have in this game, all the cycling can become really tiresome. The game saves the screen you were on last time, which means you can spam A to do quick attacks when the cycle is pre-selected. But as mentioned, side-engagements by the enemy throws your formation into disarray, so the same characters will find themselves in the second and third row all of a sudden, unable to attack. You can either let them "defend" (which doesn't really do anything like 'Guard' does) or have them move forward/backward a row, but this means cycling through the menus. Next time, you need to cycle back when you had a frontal engagement. So you're not spared all the cycling. I didn't sign up for Tour de France, man. So all the grindy fights where you simply would just spam a basic attack, you have all these extra steps involved, and things move at a snails pace. Before the screen pops up, you first need to press a key. Why? Who knows. But this means instead of two key-presses (attack, enemy select), you do three (empty press, attack, enemy select).

To conclude, it's an interesting system but slowed down to a horrible degree. There is a fast-forward feature on the emulator I am using, and I did an experiment through a dungeon to show you how horrible it is. Even if you fast-forward, the in-game counter doesn't know it, so it updates as if you did everything in regular time. In real-time, I went through a dungeon in five minutes using the fast-forward key. In game time, and in would-be real time without the fast forward, it took 40 (!) minutes. And none of the fights required a drop of strategy, so you literally are spending 35 of 40 minutes pressing the same button and waiting for it to play out the same way. Yeesh. That's literally 30-34 of 40 hours it takes to beat the game. I understand that most gameplay in RPGs is spent like this, but it's not nearly this much and it's also not in a game where there is no strategy involved for the majority of battles.

No voice acting. The sound design is average, but the one thing I noticed was how your strikes in combat didn't have the satisfying ferocity that they had in Final Fantasy. The soundtrack has good and bad parts. The main theme sounds like your prototypical Square NES/SNES main theme to the point that it is indistinguishable. The unique part about the soundrack, which isn't overly long, is that each character has their own unique theme. The bad part about it is that it plays endlessly in a loop, unless you are in a story set piece or in a dungeon. After 5 hours, Albert's theme makes a shiver run down my spine. The battle theme is the same as well, but that's typical for most RPGs and this one actually sounds pretty good, even after 5 hours. Overall, it's a soundtrack that sounds solidly average, one that you will remember fondly, if nostalgia is involved and one that is mostly forgettable, apart from the battle and character themes that you end up listening to for 30-40 hours.

Graphically this gives the impression of mid-budget early SNES game. That's to say that it certainly makes use of the jump to 16-bit, especially for a game that was Game Boy exclusive up to this point, but there is a lot of potential left to reach still. One thing I like the most about the game graphically is the sprite work and design for the companions, which look pretty good and distinct. Battles play out in terrain that you engaged the enemy in, which is a nice touch that will become more common on the SNES. Enemy sprites look OK but the lower resolution look compared to the characters is slighty off-putting. Sprites are also not animated as they await their turn, similarly to FFIV, which would have been nice but is not the norm yet.

One note worth making is on the menu UI, both in battle (which I commented on in 'Gameplay' -> sucks) and in your inventory, which is worse than in Final Fantasy. Stacking items isn't possible, so I was stuck having two slots occupied by 'Balm' from the start for some reason and equipping stuff requires you to go through many more clicks.

Overall, the game looks like a small upgrade to 8-bit RPGs. The first sentence in this section above pretty much describes it simply.

I really like how you can choose one character and then meet the other starting characters in the areas where you would be had you chosen them. This gives the game world a sort of realistic feel that you simply visit from the perspective of one of the available options. Enemies being visible in the overworld is also a nice touch, at least atmospherically, as it doesn't necessarily equate to a more enjoyable experience based on execution. I also like the world map that covers a number of different kingdoms, and these points are pretty much the most notable things as it pertains to immersion. The game doesn't accomplish anything else specifically, but it isn't as good a look to have all towns be pretty much copies of each other and be mostly barren of life.

There are plenty of dungeons to fight enemies in, thousands of encounters to go through, dozens of companions to recruit, lots of locations to travel and quests to find, but one of those points proves why quantity is never better than quality, especially if you don't have much quality in that department to begin with. Thousands of encounters that play out the same way to bloat the play time way beyond where it needs to be. Final Fantasy IV isn't this long, and it includes a ton of story elements as well. This game barely has story and lasts 30-40 hours. It's just way too much.

I do like the amount of freedom on offer here, from choosing the character to play, to being let go in the world, but I definitely expected more from what I heard. "Open world" and "non-linear" are attached to this series a lot, but for those 5 hours I played, the path was certainly as linear as it gets, it simply was a unique path to Albert (and presumably Sif). Going from one location to the next also necessitates fast travel, with no way to organically go there, which eliminates open world as well, especially since each individual location usually comes with the same few features like towns and dungeons, with basically no motivation to explore in between. Then you look at it more closely and you're expected to go through dungeons with a solid 50-100 encounters per dungeon, the majority of which require next to no strategy, and I can't say I'm too positive on the design here for the most part.

The "Free Scenario System" certainly is unique. The 3x3 grid used for the combat is not bad as well, nor is the fact that you can see the enemies in the overworld instead of being thrown in random encounters. Unfortunately, innovation comes with growing pains, and that's certainly the case here, as all of these features have more negatives than positives attached to them in this particular game in my opinion.

There is genuine replayability here. The only reason I'm not giving it a perfect score here is because replaying it means another few thousand encounters to go through, which will not be a lot of fun unless you're a massive sucker for turn-based combat that doesn't have much depth. But to be able to go through eight charaters and have most of them go through pretty different journeys is definitely a very nice feature, if we don't consider the concessions that were made to make it happen. There is no character development and very little personality in characters to make these unique routes stand out as much as they should as well, but for its time, having this much 'freedom' was unheard of, at least when it comes to Japanese RPGs.

Works well at all times.

I'd like to summarize the game as follows: Romancing SaGa introduces many unique ideas to the JRPG genre, but its innovation comes with very apparent growing pains. Had this been as clean as it gets for a first iteration of a formula (A Link To The Past), you would have definitely heard of it by now and would have had this game release in the West way before its 2005 PS2 port, so my opinion isn't a unique one. Future games in the series will definitely do a better job to appeal to more players, and I'm excited to find out, but as it stands, I'd recommend to skip to those for newcomers or to play a spiritual successor like "The Octopath Traveler".

(This is the 62nd game in my challenge to go through many known games in chronological order starting in 1990. The spreadsheet is in my bio.)

This is the first game I'm reviewing that released in 1992. Boy, what an introduction to the year. Well, the good thing is, it can only go up from here. The Amazing Spider-Man 2, developed by Bits Studios (Rare made the original), is part of the early 90's Game Boy Trilogy that might just be the worst trilogy in gaming.

I have now played 4 Spider-Man games from the early 90s as part of the challenge, and all 4 probably find themselves in my Top 7 Worst Games I've played so far. It's like they're all in a competition for that #1 spot. The Amazing Spider-Man 2 is a darn good contender, so let's see how it scores in my review.

First, an extremely important note: This game received a 98% score by French magazine Consoles +. I'm not kidding, 98%! I cannot explain how significantly ridiculous this is. Picture this: Sonic received a 95% score. Mario Kart received 94%. Sonic 2 got 92%. Super Mario Bros 3 got the same 98%. So you got it there folks. This game is one of the best games of all time according to this French magazine. Wow.

Peter Parker wakes up with an odd feeling that something is wrong. He is proven correct when he reads that day's newspaper: 'Spider-Man turns bad', it says. "I've been framed", Spider-Man thinks. As he still is in thought, Hobgoblin attacks. And the game starts.

From here, defeating bosses furthers the story with comic-book style storytelling. Turns out, someone IS framing Peter with some sort of "robot spideys". The story is incredibly basic and as per usual for this time period, not notable at all.

With this, the game unfortunately lost the tiny bit of charm that the original had, which was witty trash-talk between Spidey and the bad guys. That's present once or twice here, but not on that level.

This game has phoned it in so much that, even with those few pictures that are used to tell the story, the devs still literally re-used the same pictures for different 'cutscenes'.

Are you looking for a game that makes you laugh out loud over how terribly it controls? Well, look no further than this mess. This is called an "action-adventure" game instead of the Action / Platformer that was the original Game Boy game. Why? I have no idea. The only thing that has this game qualify is the fact that it isn't a traditional platformer. There isn't anything to qualify the adventure part though. I'm assuming it's the fact that you can enter a few buildings which have some items hidden, like a crowbar (which opens crates, because Spider-Man is too weak otherwise, as we all know).

This game controls worse than all other Spider-Man games I've played, which were the benchmark for terrible controls up until now, and I'd go as far as to say that this game's controls is a contender for the worst ever in a video game. It's definitely, without a doubt, the worst for any game that received a 98% rating (still can't get over that). This is a side-scrolling game with a lot of items that just don't work together. You climb up stairs akin to a Castlevania game, but it's not "up" that gets you up. No, because simply moving up will have you drop down because each step is actually not connected on the stairs in this game. So you need to jump up stairs. Amazing.

You do have a webswinging feature in this game, but it's hilariously terrible. The web only extends about a meter above your head and it doesn't matter whether you attach it to something or have it literally be suspended in mid-air, it works. Well, not really. You try to get momentum by swinging side to side, but Spidey lets go off the web at random and doesn't even properly elevate with it. In theory, if it works well, you can use it to quickly climb up buildings. There is no other use for it and even this use is questionable. Why? Because you simply can jump from window to window to climb a building, or use one of many invisible platforms to do so.

You can also climb the side of the buildings in this game. But since this is a 2D game, that idea does not work at all. Whenever you try to avoid bombs thrown from the heavens or enemies by jumping over them - you have to - you often will be doing so near the side of the wall. Spider-Man will automatically get attached to the wall, even if you don't want to. And whenever you do actively want to climb a wall, you need multiple tries every time to get attached. While climbing the wall, the Hobgoblin will regularly throw bombs at you and knock you off, and the game has no feature of attaching to walls mid-air, so you fall all the way down every time.

When the game starts you off, you have no clear goal. You run around in Peter's neighborhood and have Hobgoblin flying over your head, throwing bombs at you. These bombs not only can hit you on the head, but will then drop to the floor, explode and can damage you one more time from the after-effect of the explosion. Your goal, apparently, is to catch Hobgoblin with your web and ride him down, which will destroy his glider and let you actually attack him. Why can't you throw punches at him while he is right next to you? No idea, it just doesn't work. It doesn't help that your web fluids are limited, so I found myself not even being able to do what I'm supposed to on my first attempt. I can't say I would have figured it out, ever, without checking a longplay of this game though.

Regarding Spider-Man's weapons: You can punch. You can do a terrible jump-kick. You can shoot webs, but only if you crouch down (?) and only if you have enough web fluid, which is drained rather quickly.

You could argue I haven't gone over the worst part yet. The only enemies in this game are the things that are thrown at you from the bosses, the bosses themselves and out of screen snipers. There are no other enemies in this game! This game is just empty as shit. AGAIN, IT GOT A 98% REVIEW! 98%! The review (translated) says that "the whole city is against Spider-Man from the get-go". THERE ARE LITERALLY JUST THE BOSSES WHO SHOWED UP! I literally can't...

Overall, this is the worst game I have played in terms of pure gameplay as part of this challenge, or in general, so give credit to this game for that. But this truly is terrible. I was disappointed with a name like Rare being attached to a game like the original from this Game Boy trilogy, but in hindsight, that game had some charm, actual cohesive game design behind it, and managed to at least have some fans at the time. If Rare had been behind this as well, there is no chance that this would be nearly as horrible as it ended up being.

No voice acting. Sound design is not great, not bad. The soundtrack consists of three tracks. I find it hard to find a retro soundtrack that sounds aggressively bad, and I can't say this soundtrack is bad either. It's just very short and sounds very uninspired.

Can a game have no art design? On the Game Boy, there of course is no color, so attention to detail is even more important. This game is what you get when you go with the opposite of "attention to detail". The environments are incredibly bland. You run from side to side with same looking buildings scrolling through non-stop, and with a few skyscraping buildings visible in the background that is otherwise simply white. No clouds, nothing, just white. Spider-Man looks weird as hell and walks like he has no control over his limbs (every Spider-Man game in this challenge has had odd-looking Spidey animations), animations overall are poor, the devs were so lazy that they didn't even create enemies, cutscene pictures are repeated and there just is 0 passion that went into this game.

How can you expect any atmosphere when the entire game looks empty? You simply are fighting one enemy that keeps you occupied, sometimes, while trying to get near him and figure out what the hell the game wants from you. Apart from the somewhat recognizable characters from the Spider-Man universe, there is nothing about this game that emanates a whiff of what you'd expect a Spider-Man game to look and feel like.

I'm giving it an additional point for the fact that there is some actual content here, but it is of the worst kind. The levels are mostly empty, they look like crap, and there are just a few them in this game, which is of course good for people who don't enjoy it, but a shame for the kids who would play everything and anything you put in front of them, if they have no alternatives. That's a good description for this game. If you could play literally anything else, you probably would.

One additional point for the fact that levels can actually be completed I guess? The first level immediately sets the tone. You exit the introductory cutscene to find yourself in this empty city with the Hobgoblin chucking bombs at you. You aren't told anything on what to do, and how to do it. The features in this game are counterintuitive to the control scheme and it makes for an awful time trying to make your way through the levels, which in addition to all this, offer no depth and complexity.

This has no concept. You are put into a small area and have only one enemy to fight, who just annoying flings stuff at you while you are outside. You can simply enter buildings and have 0 threats while you look for boring, quasi-useless items. Remove the Spider-Man name and this has literally no selling proposition. None.

No motivation given to replay this game after having beaten it the first time.

The game works, but I'm taking a point off for the fact that the controls are so terrible and certain actions appear to be working randomly from time to time.

And there we have it. The worst game I've played so far in this challenge is a Spider-Man game replacing the previous holder of that title, a different Spider-Man game. I love Spider-Man and it saddens me to see what had been done to him in the video game industry 30+ years ago. Thank god that new Spider-Man 2 showcase was awesome and I can rest easy in the comfort of the franchise's handling in this day and age.