Life’s not fair. Sometimes a game can look and sound great, commit no major design sins, and yet still be condemned to eternal obscurity. So it is with Skyblazer, a perfectly enjoyable, thoroughly forgotten action-platformer created by developer Ukiyotei and published by Sony Imagesoft for the Super Nintendo in 1994.
Perhaps a lack of advertising is to blame. I was all about the SNES back then and I never so much as heard of Skyblazer until just a couple years ago, when I started searching around online for little known games worth playing. It’s also a true standalone work with no preexisting fan base to draw on and no sequels. That rarely helps. There may well be some truth to both the above theories. Having now personally played through Skyblazer, though, a third possibility suggests itself: This game may just be too alright for its own good. Too decent. Too resoundingly okay. Sure, it doesn’t do anything to actively embarrass itself or make players stop what they’re doing to question how they’re spending their lives. At the same time, however, it lacks any sort of clever gameplay hook to make it stand out it in a crowded field of early ’90s side-scrollers.
Actually, I take that back. There is a hook of sorts to Skyblazer. Its hero, Sky, looks and controls suspiciously like the star of Ukiyotei’s previous Super Nintendo outing, an adaptation of Steven Spielberg’s Hook! It wouldn’t surprise me one bit if a significant amount of code initially created for that project was reused here. Thankfully, Skyblazer turned out a lot more fast-paced and exciting than the languid Hook.
Skyblazer sees its title character heading off on a quest to rescue the sorceress Ariana, who’s been stolen away by Ashura, a powerful four-armed minion of the demonic Raglan. It’s your bog standard “save the girl by booting some big evil dude in the teeth” story, but observant players will notice a distinct Indian flavor to much of the proceedings. Beyond the name Ashura (Asura), you have statues of Ganesha in the background, loads of synth sitar (synthtar?) filling out the soundtrack, and so forth. What gives? The game’s original Japanese incarnation, Karuraō (“King Garuda”), makes the connection much more obvious. There, Sky is Garuda, Ariana is Vishnu, Raglan is Ravana, and the nameless old man who provides guidance to the player between levels is Brahma. In other words, the whole things’s intended to be a kind of action manga take on Hindu mythology. I’m guessing either Nintendo of America insisted most of these names be changed in order to avoid offending anyone’s religious sensibilities or Sony did it themselves preemptively. Even in watered-down form, this unique aesthetic is easily one of the coolest things about Skyblazer.
The seventeen stages on offer are pretty neat, too. They’re accessed via an overhead map that features a couple of branching paths. A few are technically skippable because of this, although the game as a whole is relatively short, so I don’t know why you’d want to pass over any of the content unless you’re aiming for a speedrun. Each area is patterned on one of the same stock archetypes you’ve seen countless times before. You’ll ride floating platforms over lava, swim through underwater currents, slide around on ice, and so on. The closest thing to a genuine novelty are a couple of flight stages that adopt an auto-scrolling shooter style. I could have done with more of these. At least the tight design and smooth flow of Skyblazer’s levels somewhat makes up for the lack of originality on display. Another plus is that their gimmicks don’t tend to repeat themselves, which keeps the journey stimulating throughout.
Roughly half the stages have boss battles and these guys were another highlight for me. They showcase some pretty crazy concepts, like the freaky giant face that spins the walls of the room around using Mode 7 rotation to attack you and can only be defeated by popping both its eyeballs like grapes. Yuck. It seems all the creativity that didn’t go into the level concepts must have been channeled here. Beating a boss will earn Sky a new magic power, similar to besting a robot master in Mega Man.
Sky is generally a satisfying character to control. He runs fast, jumps high, and attacks with a flurry of punches and kicks. He can also cling to and scale walls. He even retains the ability to throw punches while he’s latched onto a wall, a feature I would kill for in Ninja Gaiden. These basic capabilities will get you by most obstacles. When the going gets tough, there’s that magic I mentioned. Sky starts off with a basic attack spell that fires an energy projectile at the cost of one of his eight magic points. The other abilities gained from bosses tend to have more powerful effects at the cost of more MP per use. These include a healing spell, a time stopper to freeze enemies in place, an invincible air dash, an eight-directional shot, and the ultimate power needed to beat the game: The fiery phoenix transformation. Again, this moveset will feel very familiar to platforming veterans, but it’s a blast to use and well suited to the challenge at hand.
That challenge is one final element with the potential to either help or hinder Skyblazer for you. This is a fairly easy game by genre standards. Extra lives and refills for Sky’s health and magic are common, continues are unlimited, and there’s a password system provided in case you need to take a break. If you’re a hardcore action nut looking for something to push you to your limit, Skyblazer isn’t going to scratch that itch. You’ll tear your way through it in no time flat without so much as breaking a sweat. On the other hand, if you’re a less experienced player or just in the mood for a breezy fantasy action romp with some sweet graphics and music, you may welcome this relaxed approach.
Skyblazer is very model of a hidden gem on the Super Nintendo. It was a rock solid release that happened to lack the gilded pedigree of a Mario or Zelda, the stunning innovation of an ActRaiser, or even the ungodly aggressive ad campaign of a Bubsy: Claws Encounters of the Furred Kind. Today, it’s a dusty digital orphan, seemingly without a past or future to call its own. It deserves better. “Decades of sequels and spin-offs” better? Nah. But it’s absolutely worthy of being played and appreciated by a wider audience. Fortunately, it’s never too late for that.