Splatterhouse (PC Engine/TurboGrafx-16)

Burning down the house!

Of all the bone-chilling titles in this year’s October roundup, Namco’s Splatterhouse holds the strongest claim to true historical significance as mainstream gaming’s introduction to gore. Suspect I might oversimplifying there? That’s fair. 1988 does seem awfully late for such a milestone. I don’t maintain that Splatterhouse was the first gory game, however, only the first to enjoy a number of advantages that collectively gave it the edge in breaking through to the public consciousness. Unlike Exidy’s 1986 light gun oddity Chiller, it received a massive marketing push from its A-list developer/publisher. Its 16-bit graphics allowed for much more in the way of shocking detail than Wizard Video’s blocky 1983 renditions of Halloween and The Texas Chainsaw Massacre on the Atari 2600. Finally, being an arcade and console release, it had a much wider built-in audience than home computer offerings like 1987’s Barbarian: The Ultimate Warrior.

Eschewing the ancient Universal homages of many other early horror games, Splatterhouse gleefully leaned into edgier contemporary influences. Its musclebound hero, Rick Taylor, donned a Jason-esque “Terror Mask” and blue jumpsuit ensemble, simultaneously paying tribute to two of the period’s most iconic big screen slashers. And he splattered things. Loads of things. Zombies, bloodsucking worms, flying severed heads, misshapen killer fetuses, you name it, all in his frenzied rush to rescue his love Jennifer from the unholy depths of West Mansion. No wonder this 1989 port to the TurboGrafx-16 became the first game to bear a violence warning, which declared it “inappropriate for young children…and cowards.” From the makers of Pac-Man and Dig Dug came the blood-drenched beat-’em-up Evil Dead and Reanimator fans had been waiting for. Go figure.

So, having established Splatterhouse as very important and very cool, how does it play? Well, what you see really is what you get with this one. Even by 1988 standards, the gameplay here is basic. At a point in arcade history when Double Dragon’s eight-directional movement represented the cutting edge in beat-’em-up design, Splatterhouse confines Rick to a single horizontal plane and thus more closely resembles Irem’s Kung-Fu Master from 1984. Simply walk to the right, hop over the occasional spike or other ground hazard, and smack down every twisted monstrosity that gets in your way. Persevere through seven stages of this of this without running out of lives and you win. A couple stages do offer short branching paths to the boss room, but this idea is sadly underutilized.

Rick’s rampage is as brief as it is straightforward. After you’ve come to grips with the level layouts and enemy behaviors, an entire playthrough can be wrapped up in under twenty minutes. This makes Splatterhouse a rare example of a “hot tea game” for me. See, I’ve unintentionally developed a tradition over the years of brewing up a piping hot mug of tea at the start of a gaming session. I then immediately get lost in the flow, forgetting all about my poor beverage until hours have passed, by which time it’s ice cold. Imagine my surprise when I cleared the TurboGrafx Splatterhouse for the first time and had a nice, warm mug awaiting me for a change! I had so much play time to spare that I threw on the Japanese PC Engine version and ran all the way through it, too. Turns out the two are almost identical. The North American edition merely changed Rick’s mask from white to red (presumably to head off any Paramount Pictures lawsuits) and took out all the crosses. Because shredding zombies in twain with a wooden plank is fine, provided you leave Jesus out of it.

Pointing out that these home editions of Splatterhouse are dead simple and light on content shouldn’t be construed as condemnation. On the contrary. As they’re intended to be faithful adaptations of the arcade original, they must be reckoned great successes. Every key location and play element is present and accounted for. The graphics, particularly the backgrounds, are scaled back somewhat, yet still convey the same hellish effect. The eerie music holds up equally well. This series in general has a reputation for style over substance, which is both technically true and frequently unfair. The entirety of Splatterhouse is positively bursting with ghoulish ambience and diabolic verve, resulting in an unforgettable experience for any classic gaming or classic horror enthusiast. What’s the sense in glossing over that as if it’s some small thing that comes standard with any random game?

Splatterhouse made enough of a splash to warrant two direct sequels on the Sega Genesis and a delightfully silly Famicom spin-off (Wanpaku Graffiti). As of this writing, an ill-fated 2010 reboot attempt is the last we’ve heard from Rick, Jennifer, and the eldritch Terror Mask. Perhaps that’s for the best. Splatterhouse’s once transgressive grue factor comes across almost naive in an age of fully-voiced interactive torture scenes (Grand Theft Auto V) and near photorealistic dismemberment (Mortal Kombat 11). Shifts in popular culture and the inexorable march of technology have rendered this former controversy magnet quaint as a caped Bela Lugosi in its own way. Its infectiously likable pick-up-and-play action, on the other hand? That’s timeless.

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 sort of character to control. The first thing series veterans will notice is how zippy he is here by comparison. 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 nerd shit 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.