What, no big explosion? I feel so…empty somehow.
Today, I’m looking at inveterate also-ran Jaleco’s obscure overhead run-and-gun Operation Logic Bomb: The Ultimate Search & Destroy. While the name may be unfamiliar to most, this 1993 release (known as Ikari no Yōsai, “Fortress of Fury,” in Japan) is actually the third in a trilogy that started out on the Game Boy back in 1991. The first Ikari no Yōsai even saw a Western release under the new title Fortified Zone. Why they didn’t simply call this one “Super Fortified Zone” or the like is beyond me, as its revamped moniker not only fails at drawing the attention of any Game Boy owners that may have enjoyed the original, it’s also generally clunky and fosters the false assumption that this is some sort of puzzle game thanks to its misguided emphasis on “logic.” No bueno, Jaleco.
Of course, this would be no great loss if Operation Logic Bomb wasn’t a game worth playing. Players step into the boots of cyborg super soldier Agent Logan, who looks like the Terminator by way of Dolph Lundgren. His mission: To blast his way into a top secret research facility that’s been overrun by alien crabs and send the pinchy interlopers packing. It turns out the scientists there were performing some sort of experiment involving other dimensions and things got out of hand. If only they’d seen a horror movie before, they might have known the First Law of Dimensional Physics: Monsters gonna eatcha. Silly scientists. The story is mostly conveyed via dialogue-free security camera recordings accessed from computer terminals scattered about the lab, which is an effective and immersive choice on the designers’ part. It’s quite cool to watch the doom that befell the complex’s inhabitants play out this way. You can actually get some important clues on how to handle one of the game’s bosses by reviewing footage of the lab security guards getting wrecked by it. Nice touch.
The action plays out in a perspective similar to the overhead-view stages from the previous year’s Konami blockbuster Contra III. Several of the weapons Agent Logan wields, like the spread gun and flamethrower, are also very Contra-esque. Ditto the music and sound effects, even!
This is where the similarities end, however, and where Operation Logic Bomb’s own personality begins to assert itself. This is a much more deliberately-paced, tactical experience, in keeping with the “search and destroy” promised by its subtitle. Instead of a frantic sprint from left to right, levels are large and sprawling, with branching paths that you’ll need to carefully explore in order to locate the new weapons and equipment needed to reach each level’s boss. Thankfully, you’ll be able to download in-game maps along the way that make navigation a cinch.
Naturally, you’re not alone in this maze of corridors. Your crustacean challengers have constructed a series of devices that are slowly transforming the base and its environs into an extension of their home dimension (as indicated by weird glowing geometric designs on the walls and floors) and filled these corrupted areas with their robot minions. The general flow of each new area you come to is something like this: Inch your way through the halls destroying any enemies as they appear (they won’t respawn) and looking out for new items until you reach the dimension warping device and destroy it, which purges the area of alien influence and allows you to move forward. There’s also the occasional roadblock that I hesitate to call a “puzzle.” These usually take the form of an out-of-reach door lock that you need a specific gun to destroy.
Combat is particularly interesting in that it’s mostly a war of attrition. Individual enemies aren’t very dangerous and Agent Logan can withstand a ton of hits, but the special computer terminals that restore health are few and far-between. In addition, you only have a grand total of three extra lives to work with. Die a fourth time and you’ll start the game over from the beginning. Although it sounds daunting, it’s really quite doable. I found that the ideal method is to creep forward slowly until an enemy scrolls on screen, then retreat while shooting/dodging until it’s destroyed. You can hold down the shoulder buttons to lock your aim and strafe, so it’s relatively easy to fire while retreating. As long as you go slow and keep your distance, you can usually avoid taking too much damage on the way to the stage boss.
As for the bosses themselves, each is a massive and appropriately intimidating robotic juggernaut with its own unique (if fairly basic) attack pattern. They’re not too difficult to take down with the correct gun after a little observation, provided you’re not already near death at the start of the fight. Oddly enough, the second boss is the trickiest of the lot by far and both the deaths I experienced during my playthrough came courtesy of it.
I was very pleasantly surprised by this title. For coming out when it did, smack dab in the middle of that awkward period where Jaleco was struggling desperately to hitch itself to the Capcom cash train with painfully mediocre copies of hits like Final Fight (Rival Turf!) and Street Fighter II (Tuff E Nuff), it’s a great deal more interesting and enjoyable than its Contra clone exterior lets on. The focus on approaching enemies cautiously and trying not to take too many hits in the process recalls the tense on-foot portions of Blaster Master. I’m even vaguely reminded of Quintet’s Soul Blazer and Illusion of Gaia with the way defeating all the enemies in one section of a stage opens the path to the next, though that’s admittedly more of a stretch on my part.
As fun as it is, there are a few things that hold it back from true greatness. The graphics and sound are both decidedly average, apart from some excellent mechanical design on the bosses. There also isn’t much variety in the regular enemy types, with the same half-dozen or so baddies cropping up again and again between the first stage and the last. The biggest problem by far, though, is the shockingly short length of the adventure. My first playthrough took me about 90 minutes, including all the fumbling around and backtracking. If I’d already known what to do and where to go, I could have easily wrapped up in under an hour. For a fast-paced roller coaster of a run-and-gun like Contra III, an hour is plenty. For a title that’s paced more like Super Metroid, an hour is nothing. I suspect that the development team had a grander vision at one point that was sharply curtailed by a budget or time crunch. There are only three bosses in the entire game, for example, and the third one hardly feels like final boss material. You also don’t get your hands on several very nifty items (the land mine and hologram decoy) until the very end of the game, leaving you with little time to make satisfying use of them. These things and more all point to a project that wasn’t nurtured to its full potential.
Still, given a choice between quantity and quality, I’m always going to lean toward the latter. As long as you’re willing to let its absurd brevity slide, Operation Logic Bomb remains a well-designed and unjustly forgotten action title that plays like nothing else on the Super Nintendo. It also functions as a worthy finale to the Ikari no Yōsai trilogy.
Now, pass me the drawn butter, would you?