Splatterhouse 2 (Genesis)

Step one: Splatter. Step two: Snuggle.

Namco’s Splatterhouse must rank among the most consistent franchises in all of video gaming. Each installment has everyman protagonist Rick Taylor donning a haunted Terror Mask that imbues him with supernatural strength and setting off to rescue his sweetheart Jennifer from the clutches of demons. What follows feels like a gore-drenched extended homage to ’80s horror cinema with a basic beat-’em-up game tacked onto it.

That’s not to say I don’t enjoy playing through these suckers. On the contrary, their artful layering of macabre atmosphere on top of simple, yet solid mechanics lends them a certain timeless appeal in my eyes. It helps that they capture the mood of the Halloween season uncannily well with their pitch-perfect blend of gruesome imagery and adolescent glee. Rarely, if ever, has a style over substance exercise paid off so well.

Despite being a home console exclusive for the Genesis, 1992’s Splatterhouse 2 is a virtual carbon copy of the 1988 arcade original. Rick is on a mission to retrieve Jennifer’s soul from the underworld after ultimately failing to save her life last time. This requires literally trekking to hell and back over the course of eight side-scrolling levels. Think the myth of Orpheus and Eurydice, except with 1000% more chainsaw mayhem. Apart from that one little tweak to our hero’s motivation, the two games look, sound, and play incredibly similar, right down to minute details like the appearance and layout of the status bars along the top and bottom of the screen. I’d venture to say that you could swap whole sections between the two and an inexperienced player would never spot the change.

The zero risk expansion pack nature of Splatterhouse 2 makes it a surprisingly tricky game to assess. On the surface, it really is just more Splatterhouse. Rick retains the same pokey walk speed and floaty jump. He lashes out with the same small array of punches and kicks, supplemented by rare and fleeting weapon pickups. Stages have the same “trudge right and whack monsters while jumping the occasional trap” flow to them. It’s tempting to simply point you to my own prior Splatterhouse review and call it a day. That would be a cop-out, though, so I’ll dig a bit deeper.

Let’s start with the difficulty balancing. The TurboGrafx-16 home port of the first Splatterhouse gave you finite continues to work with, meaning that you’d likely be forced to restart from scratch several times before finally memorizing enough to finish it in one clean go. Splatterhouse 2 offers both unlimited continues and a password feature. As if to compensate, however, levels are slightly longer and enemy patterns, particularly those of the bosses, are a tad more complex. I died more frequently in Splatterhouse 2 and it took me a good couple extra hours to finish the first time. It manages to be tougher than its predecessor even without the threat of forced restarts.

We also see a slight increase in the quantity and quality of the in-game storytelling this time around. There’s a proper prologue where the voice of the mask sets up the idea of resurrecting Jennifer as well as a smattering of between-stage dialogue from Rick. It’s certainly not much, but it’s nice to not have to rely entirely on an instruction manual for context.

While these small improvements are appreciated, Splatterhouse 2 remains about as unambitious a sequel as can be. Next to no effort went into tinkering with the old formula, resulting in a ’90s console release that could have come straight out of an ’80s arcade. You need look no further than its cutting edge Genesis contemporary Streets of Rage 2 for proof of that. You know what, though? Bare bones throwback that it is, I’ll still reach for this over any Streets of Rage title on a blustery October eve. Presentation counts.

Final Soldier (PC Engine)

For a simple PC Engine shoot-’em-up, 1991’s Final Soldier is a surprisingly tricky game to write about. Produced by Hudson Soft and developed by Now Production, it’s the third entry in Hudson’s flagship Star Soldier line of vertical shooters. Upholding series tradition, it served as the centerpiece of that year’s Hudson All-Japan Caravan Festival, a long-running (1985-2006) annual high score contest the company used to promote its latest games. It’s well-designed, attractively presented alien blasting. It’s…well, it’s more Star Soldier. See what I mean? Only one paragraph into this review and I’m already running short of material.

When dealing with a franchise this consistent, I’m probably best off adopting a Mega Man approach. That is, getting the boilerplate stuff out of the way as quickly as possible so I can focus instead on the subtle tweaks that make a specific installment ever so slightly different from what came before. Here goes!

Final Soldier has a classic space shooter plot, in that it’s short, sweet, and confined entirely to the instruction booklet. Time travelling aliens called the Gader’el are attacking 23rd century Earth and the experimental Dryad fighter craft is humanity’s last line of defense. Its mission encompasses seven lengthy stages set in a variety of conventional video game locales, such as outer space, the ocean, and a futuristic city. Each zone has a pushover mid-boss and a tougher end boss, except the final one, which is an extended running battle against the ultimate baddie and its swarm of minions. Nothing special, but kudos to the developers for not padding the finale out with a lazy boss rush like so many other shooters of the era.

The weapon system is where things get interesting. The Dryad has a machine gun type main shot by default and this can be swapped out for energy waves, lasers, or a flamethrower by picking up icons of the appropriate color dropped by defeated enemies. Grabbing multiple same colored icons in a row will level-up your current weapon, increasing its area of effect and damage. Upgraded weapons also double as armor, since getting hit while wielding one results in a loss of firepower in lieu of instant death. Missiles and Gradius style option pods round out your arsenal, which is a pretty typical one by genre standards. Final Soldier’s ace in the hole is the Set-Up menu accessed from the title screen. Here, you can change the properties of the energy wave, laser, flamethrower, and missiles (though not the machine gun for some reason). The three modes available for a given weapon have a profound effect on its operation. For example, the normal straight laser shot can be swapped out for a chaotic torrent of blue bubbles. This effectively ups the number of unique weapons in the game from a modest five to a generous thirteen. Even the option pods have a nifty secondary function: You can sacrifice them as needed to trigger a full-screen super attack.

Another factor that differentiates Final Soldier from earlier Star Soldier outings is its relative ease. Super Star Soldier pushed my patience to the limit with its grueling, glitchy last area. Someone behind the scenes must have felt the same way, because there’s nothing remotely comparable here. Final Soldier’s default difficulty setting will be a cakewalk for any experienced player. Not that I’m complaining. It’s a more casual “kick back and blaze away” experience and reminds me of some of my favorite Compile-developed shooters in this regard. If you’re a fellow Gun-Nac or Space Megaforce fan, you’ll be right at home. Besides, I can always throw Super Star Soldier back on if I want an ass kicking.

So there you have it: Final Soldier is the same tried-and-true Star Soldier formula with a deeper than average weapon system and a relaxed approach to challenge. Between its crisp graphics, high energy music, silky smooth control, and viscerally satisfying shooting action, you really can’t go wrong with this one. While I wouldn’t rank it at the very top of the PCE heap with Air Zonk and Blazing Lazers, it’s still a highly competent work with no outstanding flaws. Pity it was destined to be the “lost” Star Soldier game back in the day, having never been ported to the North American TurboGrafx-16 like its predecessor, Super Star Soldier, or its sequel, Soldier Blade. Sequel? Why, of course! You didn’t think this was the final one, did you?

Jackie Chan’s Action Kung Fu (TurboGrafx-16/NES)

Martial artist, comedian, stuntmaster, director, producer, and pop singer extraordinaire, renaissance man Jackie Chan is a legend in his own time. Here in the 21st century, he’s indisputably one of the most famous men on the planet.

This wasn’t always the case outside Asia, however. Despite enjoying massive success there since the late ’70s, Chan was a obscure figure in America until 1996, when Rumble in the Bronx finally landed him a surprise theatrical hit. Ultra hip Quentin Tarantino types who made it a point to keep tabs on what was hot in Hong Kong had long been enthralled by his star turns in Drunken Master, Police Story, and countless others. The rest of us? Not so much.

What I’m getting at is that it should be no surprise developer Now Production and publisher Hudson Soft’s action-platformer Jackie Chan’s Action Kung Fu was destined for cult status here. I recall ogling some very impressive screenshots of both the 1990 NES and 1991 TurboGrafx-16 versions in magazines of the time. Sadly, it was just too much of an unknown quantity to roll the dice on when I had new Mario and Zelda outings on the horizon. More adventurous gamers took the plunge and were treated to slick combat with a slapstick twist every bit worthy of its big screen namesake. I’m eager to make up for lost time.

Given that the two versions are quite similar, I reckon I can break with my usual practice here and cover both in a single review. In terms of which one edges out the other, I have to award the gold to the TurboGrafx release. It incorporates a number of enhancements beyond the obligatory visual upgrade. The majority of the levels have been tweaked for the better somehow, whether that means more regular enemies, new mid-level bosses, or the occasional section that was completely redesigned to be more interesting. It’s also a tad more difficult, which is a plus for me. NES Action Kung Fu is still a fine game all-around, but it pales ever so slightly before its 16-bit counterpart.

The premise here is as simple as it gets. Jackie is out to rescue a kidnapped lady named Josephine from an evil sorcerer. The only odd thing about this setup is Josephine’s ambiguous relationship with Jackie. The NES instruction manual describes her as his sister, while the TurboGrafx one insists she’s his girlfriend. There’s no in-game dialog to clarify things, so take your pick, I guess. As long as it’s strictly one or the other, I’m fine with it. In any case, it’s evident Hudson’s license was limited to Chan’s name and likeness, as Action Kung Fu isn’t based on any particular film of his. Rather, everything takes place in a wacky cartoon variant of the stock mythic China setting.

Jackie’s adventure unfolds across a total of just five stages. Thankfully, each is notably lengthy and includes multiple visually distinct sub-sections. The total amount of content is therefore equivalent to around eight or nine stages in most other side-scrollers. Levels are primarily based on familiar archetypes like fire, ice, water, mountain, sky, etc. It’s nothing too special on paper, but the difficulty curve is smooth throughout and each stage manages to strike a fine balance between combat and platforming while utilizing both horizontal and vertical scrolling to good effect.

Controlling Jackie feels precise and his attack repertoire is varied without being too complex. He has his regular punches and kicks, of course, and these can be used while standing, crouching, or jumping. He can also engage distant foes via a limited use Street Fighter style fireball called the Psycho Wave. No relation to the one from Dr. Jekyll & Mr. Hyde, I presume. He starts out each life with five Psycho Waves in reserve and can replenish his stock by performing well at the many mini-games hidden in each level or by grabbing the “bonus jades” dropped by vanquished enemies. Finally, Jackie can supplement his innate abilities with several special kung fu moves obtained by hitting frogs he encounters and collecting the orbs they vomit up. Random as that seems, it’s apparently a joke based on an overly literal interpretation of frogs as traditional symbols of prosperity in Chinese culture. The more you know. Anyway, these strikes deal heavy damage, offset by the fact that they can only be used a set number of times per pickup.

Difficulty-wise, Action Kung Fu is no pushover, yet remains approachable for the average player due to the rigorously fair way it handles damage. Jackie starts out with only five lives standing between him and game over, but there’s ample opportunity to earn more, provided you can score consistently well in the bonus rounds. You have a real chance to make each life last, too. Jackie can withstand a full six hits before he’s defeated and there are no instant death scenarios in play. Spikes, lava, and falls off the bottom of the screen will all either deal one point of damage to Jackie or force him back to an earlier part of the level. More generous still, health replenishment is available through mini-games, food items barfed up by frogs (yum!), and bonus jade accumulation.

The all-important X factor that ties this whole package together and renders it more than the sum of its parts is the sheer affable charm baked into the art and music. Going with a “chibi” look for Jackie meant the artists were able to paint a ton of expression onto his pixelated noggin. The happy-go-lucky grin he flashes you in his idle pose, the determination on his face as he struts through a level, and even the bug-eyed shock of his death animation make him one of the most likable platforming protagonists you’ll ever meet. Nailing the actor’s trademark goofy-tough screen persona like this on such simple hardware, especially without recourse to cut scenes, is genuinely impressive. They had a lot of fun with the enemy designs, as well. I loved the rocket-propelled turtles from the third stage, a clear reference to the Gamera movies. Topping it all off is an awesome soundtrack by Masakatsu Maekawa, who put in a lot of great work over the years on various Namco and Hudson projects. The music is another area where the TurboGrafx lords over the NES, with punchy bass lines situated front and center on the majority of the tracks that propel you forward like nobody’s business.

True to the cinematic icon that inspired it, Jackie Chan’s Action Kung Fu is highly accomplished and endearing to boot. It’s not the longest or most feature-rich game in its class, but it is exactly the lighthearted treat its creators intended. The closest thing to a real gripe I can muster? Gathering the 100 bonus jades needed to refill Jackie’s health and Psycho Wave power on the TurboGrafx takes too long when most enemies only drop one at a time and you forfeit your current stock with each death. You face the opposite problem on the NES, where a 30 jade threshold is arguably too easy to hit. Something in the 50-60 range would been the ideal compromise, I think. That’s really small potatoes, though. Pick this one up and you’ll be having far too much of a blast waling on defenseless amphibians and saving your sister/girlfriend from a wicked kung fu wizard to sweat the details.

Dragon Spirit: The New Legend (NES)

Derp Dragon to the rescue!

Dragon Spirit: The New Legend has the potential to be a pretty confusing game. If you’ve never played the original 1987 Dragon Spirit arcade game by Namco, the sword-wielding fantasy hero on the cover of this 1989 NES release might have you thinking it’s an RPG or action-platforming affair. If you are familiar with the arcade game, you’ll know it’s actually an overhead scrolling shooter similar to Xevious, but you still might be unsure whether New Legend is supposed to be a port or a sequel, since the gameplay and levels are mostly the same while the storyline is new and set after the events of Dragon Spirit. Because of this hazy in-between space it occupies, New Legend is most often described as a “remixed” or “enhanced” port of the original rather than a true sequel.

Dragon Spirit was about a warrior named Amru who possessed a magical sword with the power to transform him into a flying, firebreathing blue dragon and used it to rescue Princess Alicia from the serpent demon Zawel. Not exactly revolutionary stuff, even by 1987 standards, but the game itself was a well-made and challenging shooter boasting nine stages packed with unique enemies, environmental hazards, and bosses. Getting to control anything other than an airplane or spaceship in a game of this kind was very uncommon at that time and the power-up system, which involved your dragon sprouting extra heads, is still one of the coolest justifications for improved firepower ever. Who wouldn’t want to play as King Ghidorah from the Godzilla movies?

New Legend tells the story of Amru and Alicia’s son Lace, who must take up his father’s magic sword and assume the role of the blue dragon when another villain named Galda makes off with his twin sister Iris. Unexpectedly, however, the game starts off by throwing you into a playable flashback of sorts where you relive Zawel’s defeat at the hands of Amul years before. That’s right: New Legend did the whole “re-fight the final boss from the last game at the start of this one” thing a full eight years before Castlevania: Symphony of the Night. Mind = blown.

What’s more, this opening fight is not just a storytelling device, since it also doubles as the game’s difficulty selection mechanism! If you defeat Zawel, you’ll go on to play the main game on the normal blue dragon difficulty. Die here, though, and you’ll continue on in gold dragon”mode, where you have better defense and more powerful attacks. The gold dragon playthrough has fewer stages to complete and a different, “bad” ending, however.

Beyond this very cool intro, the game itself proves to be a very competent interpretation of the arcade Dragon Spirit experience. There’s a new final boss in the form of Galda, but arcade veterans should recognize most everything else. Every stage is here and mostly intact, although there are some differences owing to hardware limitations. For example, the darkened eighth stage turns the lights on and off in set intervals instead of having a spotlight effect that follows your dragon around. New Legend’s stages start out fairly open with only standard enemy patterns to contend with. Later ones gradually work in more environmental hazards and obstacles, all building up to Galda’s castle, which is full of traps and narrow corridors. With nine total stages to work with, it’s a very smooth difficulty curve overall.

In true Xevious fashion, enemies come in two basic forms: Air and ground. Airborne foes can damage you by touch or with their projectiles and can be destroyed by your dragon’s standard fire shot. Ground enemies can be flown over safely, leaving just their bullets to worry about. The bad news is you can only destroy them with a bomb attack, and bombs have a much shorter range than your regular fire. Since you’ll need to get in closer to take ground targets out, their attacks become that much trickier to dodge as a result. Some of the more cunning enemies can even change their states by jumping up to transition between the ground and the air.

Fortunately, you’re more than adequately equipped to handle Galda’s forces. Destroying flashing enemies and colored eggs releases power-ups for you to collect. You have the expected firepower boosts in the form of extra heads, rapid fire, a spread shot, an earthquake that devastates ground targets, and even a pair of smaller dragons which will fly alongside you and mirror each of your shots. There are also defensive goodies to grab like speed increases, temporary invincibility, and an item that shrinks your dragon down, rendering you a smaller target. New Legend has a great selection of power-ups overall, even if it is missing the homing shot and force field items from the arcade version. Taking a hit will cause you to lose power-ups, but it won’t take you out of the fight straightaway. Instead, the one-hit deaths from most shooters are replaced by a health bar and your dragon can withstand three hits before you lose a life. This is doubled to an absurdly generous six hits for the gold dragon.

A final element working in your favor are the maidens you can rescue at the end of each stage. It seems the pervy Galda’s been on quite the kidnapping spree, as these adorable anime girl characters sometimes show up after you defeat a boss in order to thank you and dispense healing or extra lives. Some appear at random, while others require specific conditions such having a firepower rating below a certain threshold or having less than three heads on your dragon.

In terms of overall presentation, New Legend looks and sounds excellent. About as well as could be expected, really, considering the platform. Dragon Spirit was a very attractive game for its time, so an overall loss of visual detail when converting it from the Namco System 1 arcade board to the NES was unavoidable. This is mainly evident in some of the smaller enemies you encounter, which tend to have a bit of an indistinct, blobby appearance. The use of color is excellent, however, and your dragon animates very well. Dragon Spirit’s most iconic moment of all, the Masters of the Universe style introductory cut scene where your hero raises his magic sword overhead to assume dragon form, is also present here and looks very awesome indeed. Even the otherwise visually superior PC Engine version omitted this bit. Masakatsu Maekawa (Adventure Island, Jackie Chan’s Action Kung-Fu) did an admirable job adapting Shinji Hosoe’s original score to the new hardware. The tunes pack all the driving intensity a great shooter needs while still emphasizing through their melodies and instrumentation that this is a fantasy adventure and not a sci-fi saga. On their own terms, they’re arguably on-par with the arcade arrangements.

I had a great time with Dragon Spirit: The New Legend. It’s a superb rendition of a classic overhead shooter from the masters at Namco and easily one of the better Bandai-published titles for the system. Its very best feature, though, might just be its accessibility. The original Dragon Spirit was real quarter muncher of a title, mainly because your dragon’s large size made it difficult to dodge all the hazards placed in your path. Well, it turns out another consequence of the move to NES hardware was a smaller player character. Factor in the numerous power-ups, the ability to withstand multiple hits, the end level bonuses provided by the maidens you can rescue, and the ability to continue twice when your run out of lives, and you have yourself one extremely forgiving vertical shooter. If all that’s still not enough, the gold dragon difficulty option is there to strengthen your safety net even more. I was able to “1CC” the game (beat it without continuing) on the higher difficulty setting on my very first playthrough, and my command of the genre is average at best. If you’re new to shooters or have had trouble making progress with them in the past, New Legend is a great starter title to be on the lookout for, especially in light of its less than $10 price point as of the time of this writing.

Of course, the downside of all this is that shooter gods looking for a new challenge may want to look elsewhere. Everyone else: Get out there and burninate the countryside!

Splatterhouse: Wanpaku Graffiti (Famicom)

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 which restore health, but that’s all. All you need to worry about is running to the right, whacking any enemies in your path, 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 character. The first thing series veterans will notice is how zippy he is by comparison here. The little dude can really move! He doesn’t even need to stop running to swing his weapon. Since almost every enemy who isn’t a boss can be defeated in one hit, this means 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? 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 which 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 nerdery 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 the average player can blow through in an hour or two without much fuss. There are a couple brief hidden levels 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 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.