Bird is the word!
My quest for ever more obscure Konami content continues. If these last few years spent covering at least one vintage console game per week have taught me anything, it’s that there’s seemingly no end to this powerhouse publisher’s Japan-exclusive deep cuts. This week, it’s Hi no Tori Hououhen: Gaou no Bouken (“Phoenix Chronicles: Gaou’s Adventure”), a strange and incongruously silly little action-platformer based on one of the most serious and critically-acclaimed manga epics of all time.
It would be absurd of me to attempt to weave a proper introduction to the life and works of the late Osamu Tezuka into the preamble of a game review. Whole books have been written on the “father of manga” and the immense impact of his four decade career on world culture. What follows is simply the bare minimum needed to understand this Famicom game’s origins. I encourage anyone with an interest in visual storytelling to make their own acquaintance with this amazing artist’s legacy.
Best known for his more child-friendly series like Tetsuwan Atomu (Astro Boy) and Janguru Taitei (Kimba the White Lion), Tezuka considered the more mature Hi no Tori (Phoenix, lit. “bird of fire”) to be his life’s work. He would labor on it steadily from 1967 all the way until his death in 1989, producing a a total of twelve volumes in the sadly unfinished saga. Hi no Tori’s scope is tremendous. It follows numerous characters over a period of thousands of years, from ancient Japan to the far-flung interstellar future. The running theme is the quest for the mystical bird of the title, whose blood is said to confer immortality. Hi no Tori has strong Buddhist themes. Eternal life is often seen as a mixed blessing or even a curse, particularly when it’s sought as an easy way to cheat karma and escape the wheel of rebirth.
Gaou no Bouken is based on the fifth Phoenix volume, Hō-ō (Karma). More specifically, it seems to have been intended to piggyback on the animated film adaptation of Hō-ō released one month prior. I actually sat down and watched the film in preparation for this review. Wow, was it a doozy; a heart-rending tragedy about two men (one a naive young woodcarver with big dreams, the other a murderous bandit) drawn together by an inescapable fate of their own making. Bracing, thought-provoking, and beautifully animated, Hō-ō just about moved me to tears. I was astonished I’d never heard of it before.
How on earth do you adapt material like this to the Famicom? If you’re Konami, you essentially don’t. You put out a typically lighthearted 8-bit side-scroller in which Gaou, the one-armed ex-bandit and master sculptor, journeys across space and time to recover the missing pieces of his lost phoenix statue by throwing chisels at dinosaurs. The tonal dissonance between this game and its literary/cinematic inspiration is surreal to say the least. A bit like discovering someone made a Grave of the Fireflies tournament fighter.
That’s not to say Gaou no Bouken is bad per se. It has the excellent graphics and catchy tunes you’d expect from Konami as well as a couple of novel gameplay features. As a platforming hero, Gaou doesn’t come off so impressive at first. He can’t jump particularly high and his chisel weapon is adequate at best. The real hook here is his ability to place blocks adjacent to himself by pressing down and B together. These can be used as steps to reach higher platforms or as impromptu barriers to hold advancing enemies at bay. If your reflexes are quick enough, you can even save Gaou from a fatal plunge by deploying a block directly beneath him when he’s in mid-leap. You technically have a limited supply of blocks available, but I never found myself running low, especially since defeated enemies are transformed into new blocks that add to Gaou’s stock when collected.
The second major twist here is the level structure. Eight of the game’s sixteen stages take place in the present. Well, Gaou’s present of 8th century Japan, anyway. The remaining eight are divided up into past and future sub-sets. Travel between time periods is accomplished via secret doors. These are usually uncovered by using your chisels to destroy the bits of scenery concealing them, though you may occasionally need to push a large object aside or destroy some terrain directly below you by holding down and jumping on it repeatedly instead. While this hardly constitutes exploration on par with The Legend of Zelda or Metroid, it does add a welcome scavenger hunt element to the proceedings and makes Gaou no Bouken feel like more than just sprinting from left to right sixteen times over.
The differences between time periods are primarily aesthetic. The backgrounds in Gaou’s native Japan are presented in a style reminiscent of classical Japanese paintings. An inspired and attractive choice. The past and future are much more standard Konami fare, with the future areas looking like they could have been lifted straight out of Contra, for example. Your goal in every stage is to reach the end and claim a piece of the phoenix sculpture. This requires either fighting a boss to the death or making your way past a bombardment of falling stones, rockets, or other hazards to reach the statue piece sitting on the far side of the screen.
Interesting as it is, this open level progression means Gaou no Bouken lacks anything resembling a traditional climax. The ending scene triggers instantly when you collect the final phoenix piece. As this could potentially happen on a number of individual stages, there’s no true final area or boss to serve as the ultimate test of skill. It’s actually possible to end the game on a stage which doesn’t include a boss fight. In that case, you just walk right, grab the final piece of the statue, and win. It feels abrupt and rather hollow.
Combat is another underwhelming facet of Gaou no Bouken. As stated, Gaou fights by hurling an unlimited supply of chisels at his foes. These have decent range and can be fired upward in addition to right and left. They get the job done, no doubt, but they’re the only weapons available. There are a handful of power-ups to refill or enlarge Gaou’s health bar, confer temporary invincibility, and award extra lives and bonus points, but nothing that changes up or enhances his offense in any way.
Gaou no Bouken is a ultimately a competent platformer built around a pair of neat gimmicks. Fans of Konami’s mid-’80s output in general should be able appreciate it for the breezy romp it is. It’s also highly importable, with no Japanese text appearing after the title screen. That said, it’s still unlikely to be mistaken for one of the company’s best efforts. Jarring estrangement from the source material, shallow combat, and the absence of a proper finale all mark it as the quickie contract work it is. I do have it to thank for introducing me to one of the better movies I’ve seen in a quite some time, however. I certainly can’t say that about many other games.