Aww! Impending doom has never been so adorable!
I wanted to keep the October spook train rolling, but needed a bit of a palate cleanser after the complex, innovative, and seriously intense Sweet Home. Splatterhouse to the rescue!
Namco introduced the original Splatterhouse to Japanese arcades right around Halloween time in 1988. A side-scrolling beat-’em-up with light platforming elements, its primary claim to fame was being one of the first truly gory releases by a major publisher. In the game, college student Rick, aided by a possessed “terror mask” that grants him superhuman strength (and bears a more than coincidental resemblance to the one worn by cinema’s most famous homicidal ice hockey enthusiast), must rescue his missing girlfriend Jennifer from the army of bloodthirsty ghouls inhabiting a creepy old mansion. He accomplishes this by walking to the right and…splattering things. In a house. Who says there’s no such thing as truth in advertising?
The first Splatterhouse was an incredibly basic game, even for the time. More or less Irem’s Kung-Fu Master by way of a Cannibal Corpse album cover, it was the (figuratively) eye-popping 16-bit graphics and (literally) eye-popping carnage that put it over the top and made it a fondly-remembered hit.
A console game was inevitable. The only problem? A faithful recreation of the arcade smash was all but impossible on the most popular home system of the time, Nintendo’s aging 8-bit Famicom. The solution? Cuteness. Tons and tons of cuteness. Rather than attempting to copy the arcade Splatterhouse’s gruesome and gritty look, Namco instead embraced what the Famicom did best: Bright colors and squat “super deformed” characters. The result was 1989’s Splatterhouse: Wanpaku Graffiti. It was not just the only original Splatterhouse game ever produced for a Nintendo system, but also the first in the series to come out for any home console, predating the better-known arcade port for the PC Engine/TurboGrafx-16 by some eight months.
In the Japanese language, “wanpaku” is a word indicating naughtiness, particularly of a childlike and innocent nature. Think Dennis the Menace or Bart Simpson and you’ve got the gist of it. The name couldn’t be more appropriate, as the game exudes a charming irreverence that perfectly complements its wacky art style.
As the game begins, we see a short establishing scene of Jennifer mourning at Rick’s graveside. How he ended up dead despite surviving the first game is a bit puzzling at first, but it all makes sense by the end. Next thing you know, a bolt of lightning strikes Rick’s grave and he pops out good as new, terror mask and all! Jennifer rejoices, but only briefly as a second bolt hits the adjacent grave and resurrects the Pumpkin King, who is (unfortunately) not Jack Skellington, but rather a giant flying jack-o-lantern. The Pumpkin King grabs Jennifer and flies off, leaving Rick to grab his trusty axe and give chase through seven levels of side-scrolling mayhem.
Like its predecessor, Wanpaku Graffiti is a very simple game. One button makes Rick jump and the other swings his cleaver. There’s also a shotgun weapon with limited ammunition that appears as an occasional pick-up and candy and hamburgers that restore health, but that’s all. All you need to worry about is running to the right, whacking any enemies that get in your way, and jumping over pits, spikes, and other hazards.
One new element here is the experience system. The game keeps track of the enemies you kill, and hitting a certain threshold (displayed in the upper left of the screen) will extend Rick’s health meter by one bar. It’s a nice addition that encourages aggressive play by rewarding you for engaging with the enemies instead of just sprinting past them.
Speaking of sprinting, in most Splatterhouse games, Rick is a very slow, lumbering sort of character to control. The first thing series veterans will notice is how zippy he is here by comparison. The little dude can really move! He doesn’t even need to stop running to swing his weapon. Since almost every enemy that isn’t a boss can be defeated in one hit, this means that you can slice through a whole line of foes while dashing forward at full speed if your timing is right. This feels really awesome and nimble Rick is one of the best aspects of Wanpaku Graffiti’s gameplay. The only downside is that he can be a bit slippery and tough to stop on a dime once he gets going, so you will need to slow down on occasion for some of the more platforming-heavy sections.
The levels are based on classic horror locales, starting with the graveyard where our story opens and moving on to a demonic church, a lakeside camp, a haunted mansion, and more. They’re filled with jokey references to famous horror movies, and these are another of the game’s strongest aspects. There are parodies of a lot of the iconic things you might expect, like Alien, The Exorcist, and The Fly, but there’s also a couple that are less obvious. Take the Diamond Lake level, for example. It’s clearly a reference to Crystal Lake from the Friday the 13th series, but our hero already looks like Jason Voorhees, so who are they going to get to fight him? Imagine my delight when the end level boss turned out to be Cropsey, the killer from the 1981 cult classic summer camp slasher The Burning! That is some next level horror nerd shit right there. Just about made my night.
Wanpaku Graffiti is a quick and relatively painless experience. You only get five lives before it’s game over, but you’re given a four digit password at the end of each stage, so being forced backwards is never an issue. Levels are short and easy, making it a title that the average player can blow through in an hour or two without much fuss. There are a couple brief hidden levels that you can access via secret doors and beating both will unlock a special extended ending, but these don’t add much to the overall length. Personally, I think this was a great call. Like Monster Party for the NES, Wanpaku Graffiti is more about basking in the off-kilter humor and getting to see what crazy thing the designers have in store for you next than it is mastering finicky mechanics and memorizing challenging level layouts. Getting stuck for hours on a tough bit only to finally make it through might be satisfying in some action titles, but here it would only kill the momentum and give the jokes time to wear out their welcome.
Wanpaku Graffiti might not be the best platformer for the Famicom, or even its best horror-themed one, but I do think it’s the most…Halloweeny. The breezy gameplay and spooky-cute art and music perfectly nail the intoxicating mixture of morbid imagery and unapologetic silliness that makes this my favorite time of year. It’s the gaming equivalent of Bobby “Boris” Pickett’s Monster Mash or Linus van Pelt waiting up all night for the Great Pumpkin. The enemies will even disgorge candy like piñatas when you bash them. It’s also a great choice for anyone looking to get into Japanese imports, since almost all the game’s text is already in English. It’s short, simple, and the controls are a tad loose, but I can just about guarantee you’ll be too busy eagerly anticipating the game’s next trick or treat to mind one bit.