Metroid: Rogue Dawn (NES)

As I made abundantly clear last week, I quite enjoyed my most recent playthroughs of Nintendo’s immortal Metroid. So much so that I was left craving more NES Metroid goodness. The only problem? There isn’t any! Unlike fellow iconic heroes Link, Mega Man, and Simon Belmont, sci-fi badass Samus Aran never saw another outing on the system of her “birth.” The second and third Metroid adventures were reserved for the Game Boy and Super Nintendo, respectively, leaving NES fans to wonder for decades what might have been.

Until 2017, that is, when a large team of talented collaborators (Grimlock, Optomon, snarfblam, Parasyte, Kenta Kurodani, DemickXII, M-Tee, MrRichard999, RealRed) released Metroid: Rogue Dawn, by far the most ambitious ROM hack of the original game to date. The bullet points here should pique the interest of any veteran space hunter: Entirely new art, sound, and story elements, added power-ups, a save feature, a Super Metroid style auto-map, and more. I’m pleased to say that while it’s not without its minor hiccups, the end result is tremendous fun and does indeed feel like a genuine lost sequel.

I say sequel, but Rogue Dawn actually goes the prequel route and bases its events on the backstory detailed in the first Metroid’s instruction manual. The player controls the mysterious Dawn Aran, a figure the developers hint has some close connection to Samus. Whether she’s supposed to be a long-lost relative, a clone, or something else entirely is left deliberately obscure. A good call, if I do say so myself. Ambiguity is highly underrated. What we do know for sure about Dawn is that she’s no angel. She’s a space pirate operative acting on orders from none other than recurring series antagonist Ridley. Her mission: To acquire a Metroid specimen from the Galactic Federation research team on planet SR388 by any means necessary. This “play as the villain” angle holds much appeal for me. It goes places no official release from Nintendo ever would while still remaining true to the established narrative.

Experienced players should be able to dive right in and start plumbing the depths of SR388 with ease, as Dawn runs, jumps, and shoots just like Samus. Mostly. One notable difference is that she starts out equipped with the Maru Mari (Morph Ball) and Long Beam. No more having to make due with a pathetic stream of gunfire that hardly extends more than an arm’s length in front of you. The total number of additional power-ups you can eventually attain through exploration remains the same, however, as the Morph Ball and Long Beam pickups have been replaced by Metroid II’s Spring Ball and Super Metroid’s Wall Jump! These two new movement abilities alone have massive implications for the overall flow of the action. Being able to rebound off any wall in particular makes negotiating vertical passages a cinch. A final inventory tweak I really love: You’re no longer forced to choose between the Ice Beam and Wave Beam. You can now equip both simultaneously and their effects stack.

Rogue Dawn’s level design has also been infused with fresh ideas. There’s a much larger number of unique screens here than in Metroid proper and they tend to connect in more intricate ways. It’s common for a given screen to be divided up by walls, creating two or more distinct routes through the same section of map, a technique almost never seen in the original. SR388’s environments aren’t all cramped underground tunnels linked by doors, either. You’ll traverse portions of the planet’s surface (some of which sport gorgeous weather effects), underwater areas with modified movement physics, the interiors of your own pirate spaceship and the Federation research vessel, a Metroid hive, and possibly even some downright strange hidden zones if you’re fortunate enough to stumble onto them.

In profiling Metroid, I repeatedly stressed that, for better or worse, the game has a rather stern 1986 vintage mindset and eschews any sort of overt player guidance. Rogue Dawn opts for a more modern approach. Your general goal is still the same: Defeat two sub-bosses in order to open the way to the final area and boss. The difference is that the presence of an in-game map with major equipment upgrades and boss encounters already pre-marked makes it borderline impossible to get yourself lost for any significant period of time. I’m already on record as being no fan of developer hand-holding like this. I prefer to figure things out on my own. That said, even I can’t claim to have found all of Rogue Dawn’s “quality of life” updates so unwelcome. Being able to save your game at any time through a menu is much less cumbersome than relying on a password system, for example. Better still, you start each new play session here with full energy and the recharging stations seen in most official sequels that top off your health and missile supply are scattered liberally about the map. Endless enemy farming to refill your reserves is now a thing of the past.

I found the new graphics and music to  be superb across the board. The high degree of visual detail reminds me more of Super Metroid than its 8-bit ancestor and the neon-like effect produced when splashes of bright color pop out out from the stark black backdrops recalls Sunsoft’s first NES Batman game. High praise indeed. The score by Optomon really took me by surprise in the best possible way. I came down against his compositions in Castlevania: Chorus of Mysteries, judging them too dainty for the furious on-screen action, but there’s no denying that he gets what makes a Metroid game tick. These tracks are tense, eerie, and, above all, atmospheric. Eat your heart out, “Hip” Tanaka!

What about those “hiccups” I mentioned above? Well, I have two primary issues with Rogue Dawn. One relates to an especially quirky aspect of its level design and the other to its boss battles. While I adore the layout of the game world in general and even consider it an improvement on the source material in some respects (like the larger, more exciting final area), there are several locations where passages inexplicably wrap around themselves in an endless loop if you don’t pass through them in just the right way. The effect is similar to The Legend of Zelda’s Lost Woods or the escape tunnels on either side of a Pac-Man maze. While this sort of surreal navigation gimmick can work just fine in the context of a fantasy world with magic or an abstract single-screen arcade game, it’s fundamentally at odds with the more grounded feel and sense of place vital to a Metroid title. It’s so jarringly video gamey, in fact, that it instantly shatters any sense of immersion I’ve managed to cultivate each and every time it crops up.

My disappointment with the boss fights stems simply from the realization that they’re same as they ever were, for the most part. Sprites have been re-drawn, of course, but the distinctive attacks and behaviors of Kraid, Ridley, and Mother Brain are unmistakable. There is a fourth boss unique to Rogue Dawn and I certainly commend the team for that. It’s just a shame that the enemies you face are the one aspect of the base game that’s seen the fewest changes.

Leaving aside those few out-of-place warp corridors and recyled bosses, it should be clear by now that Rogue Dawn is a most extraordinary fan game. It’s easily the current high water mark for NES Metroid hacks in general and seems likely to remain so for the foreseeable future. If you’re the type that considers the game it’s based on to be too difficult or confusing, you may well find it superior to Nintendo’s own work. While I wouldn’t go that far, I can’t deny that this is one case where going rogue paid off big. Make like Dawn Aran and pirate yourself a copy today.

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Final Fantasy IV: Namingway Edition (Super Nintendo)

I’ve covered several fan-made hacks of existing games over the past few years. Not only do these labors of love by talented hobbyists fascinate me on a conceptual level, the best of them are just as fun to kick back and play through as the classics they’re built upon. The other hacks I’ve examined to date, such as The Legend of Zelda: Outlands and Castlevania: Chorus of Mysteries, have all sought to deliver entirely new adventures rooted in the time-tested core mechanics (the “engines,” if you will) of their source titles. The so-called Namingway Edition of Square’s celebrated 1991 RPG Final Fantasy IV is something else entirely. What we have here amounts to a complete fan re-localization of the game’s deeply flawed original English version.

The tumultuous saga of FFIV’s initial North American localization is widely known, so I’ll keep this as brief as I can. For starters, it wasn’t even called Final Fantasy IV here back in 1991, but rather Final Fantasy II. The second and third games in the series wouldn’t see official release outside Japan until 2002 and 2006, respectively, so Square opted to rename this fourth entry in order to avoid confusion. Ironically, it would have opposite effect once the Internet became commonplace later in the decade and Western gamers started trying to read up on all the Japanese exclusives they missed out on. Don’t even get me started on the decision to skip over the fifth game and then call the sixth Final Fantasy III. Oy.

This name change was only the beginning. The gameplay itself was simplified for the North American audience to an almost insulting degree. Nearly every character lost at least one unique special ability, numerous inventory items were omitted, and enemies were given weaker stats across the board, rendering combat a cinch. Square would eventually release this iteration of the game in Japan as Final Fantasy IV Easy Type.

Finally, the translation was mediocre at best. This isn’t lead translator Ted Woolsey’s fault per se. He had to contend with a perfect storm of insane deadlines, tight cartridge memory limits, and Nintendo of America’s Puritanical content restrictions. All considered, the work is commendable. It’s also awkward, dry, and corny by turns. While this occasionally led to iconic moments like sage Tellah’s immortal “spoony bard” diatribe (which all future re-translations to date, including this one, have wisely left intact), the naturalness and nuance of the source material largely failed to shine through.

The first question before us is simple: Has the six person team behind the Namingway Edition (Rodimus Primal, vivify93, chillyfeez, Grimoire LD, Justin3009, Bahamut Zero) succeeded in delivering the pristine, unbutchered English version of Final Fantasy IV that I and so many others were denied back in the day? In a word: Absolutely! The missing battle commands like Rosa’s Pray, Edward’s Salve, and Yang’s Brace and Focus are all present and fully functional, as are all the previously cut items. You’ll need them, too, as your enemies actually put up a fight here. The new translation is all-around more functional and pleasing. Even minor elements dummied out of the official release (the disrobing dancing girl in Baron town, the hidden developer room) are enabled once more. Hell, the team actually went above and beyond by adding one very welcome new feature: A run button for getting around towns and dungeons faster! There’s no doubt in my mind that the Namingway Edition is currently the definitive way to enjoy Final Fantasy IV on the Super Nintendo.

This raises a second, much thornier dilemma, however: Should you bother? In order to determine how well Final Fantasy IV proper has withstood the test of time, I’m going to focus on the trio of vital elements that really set it apart from its JRPG predecessors for me nearly three decades ago:  The innovative Active Time Battle combat system, composer Nobuo Uematsu’s lush score, and the dynamic story that drives the main quest.

The Active Time Battle (ATB) system introduced here will be familiar to any Final Fantasy fan, given that iterations of it comprise an integral part of no less than eight main series entries, including all-time critical and fan favorites like VI and VII. Designer Hiroyuki Ito derived the idea from Formula One racing, believe it or not, envisioning the combatants as cars of varying speeds completing laps around a track at different intervals. Instead of inputting commands for all of your party members at once, a speed statistic regulates how much downtime individual fighters have between their command prompts. More interesting still, when it is time to enter a command, you need to be quick about it. The computer-controlled combatants each have their own speed stats and will continue to execute their attacks regardless of whether or not you’re ready for them. In other words, simply having a command menu open doesn’t freeze time. The enemy design compliments this real time dynamic expertly. Some adversaries transition in and out of defensive postures as the battle progresses. Attacking these foes at an inopportune moment can result in reduced damage, devastating counterattacks, or both. Other fights effectively impose a time limit on the player, as in the case of the huge animated stone wall boss that slowly advances across the screen, threatening to crush the heroes if it should survive long enough to reach their side. I can’t emphasize enough what shot in the arm ATB was to traditional JRPG combat. The need to swiftly determine your optimal strategy and then punch in the necessary commands accurately and without hesitation adds an element of skillful execution that almost bridges the gap between a turn-based and action RPG at times. It’s as tense and exhilarating today as it ever was. So far, so good.

Uematsu’s soundtrack also hasn’t aged a day in 28 years. I can still remember my middle school self being blown away by just how real the instruments sounded. While this wasn’t my first exposure to the Super Nintendo’s unique sample-based audio chip, it was the first release I encountered for the system that went all-in on a grand pseudo-symphonic style. The very notion that these soaring strings and rumbling kettle drums were reaching my ears courtesy of a common cartridge and not one of those cutting edge CD-ROMs was just staggering. Although that sense of naive amazement is long gone, the compositions themselves are still marvelous. Final Fantasy IV’s main overworld theme in particular never fails to leave me enraptured, evoking a sense of intrigue, wonder, and a long, perilous journey ahead. In some cases, these tracks verge on being too good for the material they support. The famous love theme of Cecil and Rosa is easily the most compelling thing about their otherwise tepid on-screen romance.

Unfortunately, it’s on that last note that I have to start dialing back the effusive praise some. Final Fantasy IV’s epic, genre-redefining story is…way less cool than I remembered. Now, try not to bust out the pitchforks and torches just yet. I’m not saying the plot here is bad, just that it’s not nearly as substantial as it seemed to me at age thirteen. The quest of knight Cecil Harvey and his dozen or so colorful companions to stop some pretty underdeveloped evil dudes from collecting the many magic crystals they need to take over the world is akin to a Saturday morning cartoon or melodramatic anime/manga series aimed at adolescents. Motivations are simplistic, lone exaggerated personality traits stand in for characterization, the heroes routinely make maudlin gestures of self-sacrifice that most often have no long-term consequences at all. It’s all still charming and enjoyable in its superficial, pulpy way, but don’t come expecting any of the more somber or thoughtful beats that later entries in the series leaned so heavily on. There’s just very little in the way of dramatic weight being thrown around here.

Take Cecil’s famous transformation scene on Mt. Ordeals, for example, where he renounces his past as a dark knight to take up the holy mantle of a paladin. It should be a real turning point for him as character. The problem is that we’ve never really experienced Cecil as a villain prior to this. He wouldn’t have even qualified as an anti-hero. When we’re introduced to him in the game’s very first scene, he’s already wracked with guilt over obeying an immoral order from his king to steal one of the magic crystals from some innocent townsfolk. Almost immediately after that, he renounces his fealty to the wicked monarch and devotes himself entirely to protecting the victims of his former liege at any cost. From a dramatic standpoint, then, all he really does at Mt. Ordeals is transition from being a good guy in black armor to a good guy in gold armor. You never see him do anything thereafter that you couldn’t imagine the “old Cecil” doing. Square could have done so much more in terms of spinning a real arc out of material like this, as almost every subsequent Final Fantasy entry would prove.

One thing I can applaud Final Fantasy IV’s storyline for is its pacing. Like the best serialized adventure fiction, it knows how to sink its hooks into you and keep the stakes feeling high throughout as it ushers you briskly from crisis to crisis. Slight as it is, this sucker really moves. That, in conjunction with the gripping battle system and some truly majestic tunes have kept this one a cut above most of its genre peers to this day. It’s been officially re-made multiple times for the PlayStation, Game Boy Advance, and more, but if you’re like me and harbor a nostalgic attachment to the look, sound, and feel of the Super Nintendo original, you should strongly consider giving the Namingway Edition hack a go on your next playthrough. As far as I’m concerned, it’s the final Final Fantasy IV.

Castlevania: Overflow Darkness (NES)

 

 

Sometimes all you want is for a game to be mean to you again.

One of the very best things about classic gaming, at least from the perspective of the average busy adult, is just how concise these old titles can be. In most cases, game makers of the past had no other choice. From the primordial dawn of the hobby on 1960s university mainframes all the way up to the widespread adoption of CD-ROM technology roughly three decades later, every byte of precious memory counted. Skilled programmers were still able to realize RPGs and other intricate games featuring dozens or even hundreds of hours of play time, but this often meant embracing a more modest audiovisual presentation to save space. For fans of these more cerebral offerings, the tradeoff was well worth it. Action gamers, on the other hand, had an insatiable fondness for spectacle that often placed the developers of their favorite releases in an unenviable position. How could they consistently dazzle their audiences with the most detailed backgrounds, the biggest characters, the smoothest animations, and the most adrenaline-pumping tunes, all while still leaving room for, well, a game?

The enduring legacy of all these thorny compromises is a pantheon of tight, polished 8 and 16-bit thrill rides that experienced players can blaze through in well under an hour. Contra, Ninja Gaiden, Gradius, Mega Man, and many, many more, including my personal favorite, Castlevania. It’s only after you’ve played through one of these masterpieces countless times that their brevity begins to work against them. As pleasant as it invariably is to kick back and whip my way through Simon Belmont’s iconic debut vampire hunt, I’ve long ago reached the point where the challenge, even on hard mode, is deader than Count Dracula himself. Who can you turn to when your favorite hardcore action game just isn’t beating you down like it used to? The ROM hacking community, of course!

Hacks dedicated to furnishing veteran players with ferociously difficult new takes on old favorites are a dime a dozen and the first Castlevania specifically is one of the most frequently remixed NES titles. So why am I focusing on Overflow Darkness? Because this 2011 effort by Luto Akino is more than just your typical “Castlevania on steroids” with some extra pits and enemies sprinkled in. It’s tricked out with gorgeous new artwork, level design as well thought-out as it is brutal, and some clever tweaks to core gameplay mechanics.

Unlike Castlevania: Chorus of Mysteries, which I reviewed last October, Overflow Darkness doesn’t attempt to add any new characters or lore to the series. The scenario here is exactly the same as in the base game: Dracula is terrorizing the countryside and a whip-wielding warrior named Simon Belmont is out to destroy him. The only change is to Simon’s appearance. Instead of his original brunette locks, he’s sporting the long red hair from his 2001 Castlevania Chronicles redesign. While I’ve never been a fan of ginger Simon and was pleased when he reverted to a more traditional look for his most recent showing in Super Smash Bros. Ultimate, I actually don’t mind it here. Chalk that one up to the relatively simplicity of NES sprites, I suppose.

Speaking of sprites, it’s not just Simon that’s been re-drawn. Several of his familiar enemies have also been given professional quality makeovers, including Medusa, Death, and Dracula. Surprisingly, these new sprites are improvements  in virtually every instance. Dracula’s demonic second form in particular is exponentially more menacing here than the bright blue “cookie monster” that confronts you at the end of vanilla ‘Vania. The new background tiles are just as impressive. The rather basic underground waterway at the start of level four, for example, has been re-imagined to great effect as a flooded catacomb packed with skeletal remains. None of the new art in Overflow Darkness stands out as the work of an amateur, which is just about the highest compliment ROM hack visuals can receive. Don’t expect anything so brilliant on the audio front, however. The track order has been swapped around, but it’s still the same Kinuyo Yamashita score we all know and love.

Pretty as Overflow Darkness is, it still wants you dead. Badly. The new stages here are all markedly more difficult than anything in the regular game, deluging the player with a near-constant stream of flying bats and medusa heads while placing durable enemies like bone pillars and axe knights in close proximity to death pits. It’s common to face off against several enemy types simultaneously on very precarious footing and some stages even open with Simon already under attack from multiple angles. Think fast!

Bosses have also been given a shot in the arm. The fight against the familiar giant bat at the end of stage one now takes place on uneven terrain with a hoard of smaller bats fluttering onto the screen from both sides. I lost several lives to this encounter, which is humbling to say the least. There are a couple of all-new bosses, too, and they have a habit of lurking at the top of the screen and showering Simon with projectiles, limiting the usefulness of the overpowered holy water sub-weapon in these battles.

Ruthless as these stages are, Overflow Darkness does play fair. Unlike T. Takemoto’s infamous Kaizo Mario World trilogy, the challenge isn’t predicated on tricking or teasing the player with deliberately absurd trial-and-error setups. It’s fundamentally the same precise combat and platforming as the “real” Castlevania, just with far less allowance for sloppy play. There’s considerable inventiveness packed into some of these new level layouts, too. The second stage contains a multi-tier “stair maze” that forces Simon to travel and up and down repeatedly across the same few screens in search of the door to the next section. Areas like this will push your reflexes and pattern recognition skills to their limits, especially since Simon loses a full quarter of his maximum health with every hit sustained from the very beginning of the game.

Yet another, more subtle layer of added difficulty is derived from the way item drops have been adjusted to be stingier than usual across the board. Remember how easy it was to score whip power-ups in the regular game? If you died and restarted with the weakest leather version of the whip, you always seemed to find a replacement upgrade an instant later from the very first candle you stumbled across. Well, forget about all that! According to Overflow Darkness, whip upgrades from candles are for the weak. Instead, you can only really count on obtaining them from random enemy drops and these can prove maddeningly elusive if luck isn’t on your side. The bottom line is that you’re going to become very adept with that puny starting whip, whether you like it or not. Sub-weapons and shot multipliers for them are also more scarce. Oh, and remember the large hearts that would increase your ammo count by five when collected? Overflow Darkness reduces this to two. The idea here seems to be to force players to rely more on deep mastery of Simon’s innate capabilities and less on exploiting power-ups. Although it can come off a bit heavy-handed and I certainly wouldn’t want to play this way all the time, it is a bracing change of pace from the default “melt everything’s face off with triple holy water” strategy most Castlevania players fall back on.

The takeaway here should be that Overflow Darkness is simply the best at what it does. Its stylish graphics, quality level design, and eye for fairness make it the current gold standard in extreme difficulty hacks of Castlevania 1986. There are other hacks available (Chorus of Mysteries, The Holy Relics) that are much more creatively ambitious, aiming to re-work the source material into something approximating a whole new entry in the series. These are well worth your time, but if all you’re really craving is a viable “super hard” mode for one of your favorite NES games, Castlevania: Overflow Darkness is the real deal. It’ll whip your ass and make you like it.

Castlevania: Chorus of Mysteries (NES)

Where’s Christopher Bee when you need him?

What if your favorite games never had to end? This is the promise of ROM hacking. Taking a proven classic as a template, dedicated hobbyists of a technical bent are able to serve up an endless series of new challenges for the likes of Mario, Sonic, and Mega Man. At their very best, these hacks are barely recognizable as variants of the games they’re based on, showcasing not just new level layouts, but new storylines, settings, items, enemies, and even soundtracks. At their worst, they’re some bored 12 year-old’s take on Super KKK Boner Bros. Don’t worry, though. I’ll be focusing on a competent effort this time.

In keeping with the spirit of the season, let’s examine Castlevania: Chorus of Mysteries, a 2007 hack of the original NES Castlevania by Optomon (Chris Lincoln) and Dr. Mario. Ever since I had the opportunity to try out an early version of an even more advanced Optomon Castlevania hack (The Holy Relics) at last year’s Portland Retro Gaming Expo, I knew that I wanted to discuss his work at some point. Chorus of Mysteries is one of the best known and most ambitious of the many fan-made takes on the series’ inaugural release. For better or worse, almost everything about the base game has been tweaked in some significant way and the end result feels more like a true lost sequel than a level pack.

The hero of Chorus of Mysteries is not Simon Belmont, but Armund Danasty, a long-lost descendant of Grant Danasty, the acrobatic rogue who aided Trevor Belmont in his 1476 battle against Dracula. Chorus is set in 1800, three years after the events of Castlevania: Symphony of the Night. Armund, an orphan and a sailor by trade, has journeyed to the castle of Count Olrox, a vampire and associate of Dracula that Armund believes may hold clues to his own past. It should be noted that despite being a Danasty, there’s no Spiderman style wall climbing action to be found here. Armund still moves and controls exactly like Simon Belmont and his weapon (a barbed rope) handles exactly like Simon’s whip.

By the time the quick introductory cut scene of Armund arriving at the castle gate concludes, it’s clear that the art and music have received a complete overhaul. Before then, actually, as there’s also a new tune that plays over the normally silent title screen. The revamped (I had to drag that one out at least once) presentation is probably the hack’s most divisive element. The original Castlevania is not the darkest game out there, and I’m not referring to its creepy subject matter, but rather its color palette, which relies heavily on bright oranges, blues, and reds. Chorus uses a lot more stark black in its backgrounds and also elevates greens, purples, and grays to much more prominent roles. On one hand, seeing vivid purple and green elements highlighted against a pure black background occasionally lends the game a sort of “neon Castlevania” look that’s interesting in its own way and reminds me of Sunsoft’s NES Batman. Just as often, however, the environments are simply a touch empty. For what it is, I enjoy the new art, particularly the detailed sprites.

The music is a tougher sell. Including an original soundtrack in a ROM hack at all represents a major effort of a kind I would never want to discourage as a general thing. This one, though? Apart from the fifth stage theme, which is a well-made 8-bit cover of “Dance of Pales” from Symphony of the Night, it just isn’t ear pleasing in the least. The unifying idea seems to have been to go all-in on a dainty, refined chamber music style, not unlike the one Michiru Yamane chose for “Dance of Pales” itself. Although not a terrible idea on paper, the original songs are shrill, far loop too frequently, and lack the driving percussion that underlies most great Castlevania music. If proper drum sounds are utilized anywhere in this soundtrack, I missed it. Even if I liked these tracks, they still wouldn’t be very appropriate for whipping monster ass to.

The good news is that the addictive gameplay is obviously the primary reason anyone seeks out Castlevania ROM hacks and it’s here that Chorus of Mysteries excels without qualification. The first of its six stages is patterned closely on the original game’s, but after you dispatch that familiar giant bat boss and move on to stage two, all bets are off. Be on the lookout for new level themes and layouts, new enemies to contend with, and even a new sub-weapon in the form of the laurel herb from Castlevania II: Simon’s Quest. The laurel replaces the stopwatch and is considerably more useful. It retains its original function, conferring roughly ten seconds of complete invincibility to Armund on demand in exchange for a hefty eight hearts per activation. If you can manage to hold onto the laurel and a decent supply of hearts long enough to reach a stage boss, the ensuing “battle” is a joke.

Armed with anything except the laurel, though, you’ll have a real struggle on your hands. The stages in Chorus of Mysteries are only moderately difficult by ROM hack standards. That is to say, just slightly more intense than the ones from the back half of the original Castlevania. The new bosses are where the true horror lies. These guys all tend to be more mobile, more aggressive, and more eager to lob annoying projectiles at you than the game’s original stage guardians. If that wasn’t scary enough, the famous trick of using the holy water to freeze a boss in place while dealing constant damage no longer works in Chorus of Mysteries! At least you get the honor of being annihilated by some really cool baddies. Most of them are actually fan favorites from later Castlevania games faithfully re-created in the original’s engine. Being able to square off against a familiar foe from Super Castlevania IV or Symphony of the Night on the NES really is a trip and the battles you have with them are as well-realized as they are brutal. My one real complaint is that the lengthiest and most challenging boss encounter is placed at the end of stage five. The final boss is no pushover, but you’ll have vanquished worse by the time you reach him.

Castlevania: Chorus of Mysteries does have a handful of noteworthy flaws that prevent it from being any sort of true improvement on its source material. There are those questionable tunes, a slightly anticlimactic boss order, and an odd hit detection glitch that can sometimes make it tough to attack things with the weakest version of Armund’s whip-rope. Despite these hiccups, the fascinating new elements judiciously woven into a proven action-platforming formula make it a treat that any fan of the first Castlevania should have the opportunity to savor. Like all great hacks, this one rarely receives the attention and respect it deserves. This is tragically inevitable for the most part. These are unofficial modern games for ancient consoles with nothing resembling proper promotion behind them, after all. They’re not part of anyone’s nostalgic memories and playing them at all requires futzing around with emulators, flash cartridges, or reproductions. Realistically, most gamers aren’t going to bother. For the few of you out there that are so inclined, my hope is that this review can draw some much-needed attention to a truly worthy title. Chorus is not just a superb ROM hack, it’s a quality NES action game by any measure.

The Legend of Zelda: Outlands (NES)

Finally! I just finished The Legend of Zelda: Outlands, another game I picked up at Portland Retro Gaming Expo last October. This one is a fan-made hack of original Legend of Zelda’s gameplay engine by GameMakr24 with new levels, artwork, items, and story added. It’s definitely trickier, too. There’s none of that “getting your sword on the first screen” crap here. Expect to do some overworld and even dungeon exploring without it first! It really recaptures the magic of just diving in and getting lost in the original title, a feat which even its official sequels have never quite been able to replicate. Very good stuff.

I can’t emphasize enough that if you love the original Zelda and have mastered it, Outlands is the game for you. It’s more quality Zelda 1 gameplay and about as professionally made as NES fan games get. It’s fiendishly yet superbly designed in a way that reminds me of the original Japanese version of Super Mario Bros. 2 (The Lost Levels). Of course, the challenge here isn’t fast-paced platforming, but rather the mental effort involved in searching out and solving some of the most devious Zelda dungeons ever. Make no mistake: You’ll need to focus in and bring along every brain cell you can muster if you want to stand a chance of not getting hopelessly lost

Like most ROM hacks, this one is a secret to everybody. If this little review can help change that, I’ll be all the more pleased.