I don’t blame these two. Finally getting to shelve this dud would make anyone grin.
Last October saw me raving over Capcom’s mesmerizing Famicom RPG Sweet Home. A year on, I still believe that its forward-thinking blend of oppressive atmosphere and high-pressure mechanics make it the single greatest game for the system to never leave Japan. It’s a masterpiece every bit as effective as the early Resident Evil games it inspired. When I found out recently that there was a newly-released fan translation of another pioneering Japan-exclusive survival horror RPG, one that predates Sweet Home by a full two years, I jumped at the opportunity to try it out. That…was a mistake.
You know, as popular as “angry reviewing” is online, it seems to be most difficult thing for me to practice. Spreading the word about a brilliant game like Sweet Home comes naturally. The energy is right there, built-in. Detailing all the ways Shiryō Sensen – War of the Dead for the PC Engine is a unmitigated disaster, on the other hand, is almost as draining as actually playing it. I could be cutting my losses. Moving on with my life, you know? In the interest of the public good, however, I’m willing to step up. I deserve a medal, honestly. Somebody get on that.
War of the Dead was developed by Fun Project (sometimes called Fun Factory) for MSX computers and published by Victor Musical Industries in 1987. This PC Engine port from 1989 is infamous for its shoddy coding. A lack of integer overflow checks (a commonsense precaution that most professionally made software wouldn’t ship without) meant that accumulating more than 9999 experience points or 14 inventory items would instantly render the game unwinnable. The publisher was apparently made aware of these bugs before the game hit shelves, but lacked the time or resources to fix them. War of the Dead was instead sold with a bright pink sheet of paper detailing the issues and apologizing. Oof.
Hilariously, this sheet also contained an apology for the game’s fully functional backup system! Take one look at the password entry screen and you’ll understand why. Complaining about lengthy passwords in old console games is a cliché in classic gaming circles and I typically have zero sympathy. It’s just a couple dozen letters and numbers that require a minute or two at most to input at the start of a play session, so quit whining. Not here, though. Oh, no. War of the Dead takes the inconvenience to a whole new level with 54 character password strings drawn from a total of 128 distinct symbols. 128! Expect to spend closer to five minutes navigating the menu and keying all this junk in each time. Once you do finally finish, don’t you dare relax, assuming you’ll be only be doing it just once per session. I’ll come back to this, believe me.
Fortunately, the excellent 2017 English language patch from Nebulous Translations actually fixes the game-breaking experience point and inventory overflow bugs, so I was able to play without those hanging over my head. They couldn’t fix the password system outright, although they did change the 128 characters on the menu from Japanese ones to a set of symbols more recognizable to Westerners, which is still a welcome touch. Credit where it’s due for going to the extra mile to make an irritating game just a little but more tolerable.
The central figure in War of the Dead is Lila, a member of the organization S-S.W.A.T. (Supernatural and Special Weapon Attack Team). She’s been dispatched to the remote town of Chaney’s Hills after it abruptly and inexplicably lost contact with the outside world and previous teams sent in to investigate failed to report back. Naturally, the entire town has been overrun with hideous monsters except for the church, where a handful of survivors have gathered under the care of the priest, Carpenter. Like almost every other character in the game, his name is a horror film reference. Specifically, to John Carpenter, director of classics like Halloween and The Thing. There’s also a Romero, Cronenberg, and more. Spotting all these little nods was one of the very few bright spots in the game for me, even if they are just glorified name drops. Armed with a pistol, a knife, and a mini-skirt (because video games), Lila’s mission is two-fold: To save as many other survivors as possible and halt the otherworldly invasion of Chaney’s Hills before it can spread to the rest of the world.
Exploration takes place from a Dragon Quest style overhead viewpoint, with a tiny Lila sprite ever so slowly trundling across a sprawling, mostly empty world map. Despite being described as a town, Chaney’s Hills seems to consist entirely of around a dozen structures, each separated the its nearest neighbor by miles upon miles of trackless wilderness. It’s as if the designers took a standard JRPG world map and then decided to describe each individual town on it as a single building inside one giant settlement with no regard for how bizarre and unintuitive the end result reads to players.
Your roaming is frequently interrupted by the random enemy encounters typical of the genre. These take the form of side-scrolling action interludes similar to Zelda II: The Adventure of Link’s. Lila gets plopped down in an enemy-filled arena roughly four screens wide. Her options are to stab the baddies to death (preferable for conserving bullets), shoot them, or flee the battle by exiting the arena on either side. Prior to combat, Lila can also use her psychic powers to strengthen her attack and defense for a short time. This is accomplished by selecting the “PS Rem” option from the equipment menu. While this is highly effective for boss encounters, it’s not exactly the flashiest special ability in an RPG. There are no visual or audio indicators that it’s active. Even the original Dragon Quest could be bothered to make the screen flash and play some sound effects when spells were cast. Don’t expect to gain any new, cooler psychic abilities as the game progresses, either. You just get the one.
The combat isn’t too deep or challenging overall, mostly due to the enemy roster having been cut down severely from the computer versions. This PC Engine release only includes around a dozen unique enemy sprites and even the bosses (with the exception of the final two) are simply recolored regular foes with improved stats. You’ll quickly pick up on how each monster moves and attacks, which makes killing or evading their palette-swapped variations child’s play and robs the mid-to-late game of virtually all suspense and challenge. The crowing irony is that one common enemy type cut out entirely was the zombie. That’s right: War of the Dead on PC Engine is missing the dead! How do you even go and do a thing like that? It’s, like, the one thing they needed to include. Well, that and working experience and inventory systems, I suppose.
While the challenge is indeed low for the majority of a given playthrough, it should still be noted that Lila’s attack, defense, and health are all as pathetic as you would expect early on. It’s therefore highly advisable to grind out at least three or four extra levels outside the church first thing, because you really, really don’t want to die in this game. Why? Three little words: No continue feature. Die, and you have no choice but to type in your most recent 54 character novel of a password just to get back into to the game. Every. Single. Time. I actually wish I had a picture of the face I made when I first realized this. I bet it could turn people to stone.
Despite it all, I could still almost recommended War of the Dead if Lila’s journey was one peppered with eerie locales, intriguing puzzles, and unforgettable characters. It’s not, though. It’s really not. Building interiors are as drab and empty as the overworld, characters are one-dimensional, the plot is barely there, and gameplay objectives consist of minimalist fetch quests that require nothing in the way of problem solving. If you’re ever stuck, just go canvass the entire map talking to every NPC you’ve met so far until one of them finally tells you where to go next. The game is very anal about these event triggers, too, so don’t go thinking that you can just go off exploring and discover stuff out of order. That might be enjoyable. No, you need to talk to the right NPC at the right time (and usually multiple times) in order to activate the script that makes the thing you’re looking for next actually exist for you to find. Every aspect of the world and quest design in War of the Dead is predicated on shamelessly padding a profoundly empty, downright unfun experience well beyond the point of common decency.
So let it henceforth be known that the PC Engine port of Shiryō Sensen – War of the Dead is barely playable trash. Its unholy union of obnoxious design and incompetent execution give rise to the single worst experience I’ve had with the system yet, and that includes unlicensed pornfest Strip Fighter II. The slew of references to better horror media and a couple of okay music tracks are closest it comes to possessing actual redeeming features. That is to say, not very. We can point to a handful of ways that it may have exerted an influence on the first Resident Evil title nine years later: The zombies (at least in the superior computer versions), the remote mountain town setting, the idea of the hero as part of an elite paramilitary type unit (S-S.W.A.T., S.T.A.R.S.), the concept of conserving bullets through efficient use of a combat knife. But so what? Unlike other key influences on Capcom’s flagship horror series (Alone in the Dark, Sweet Home), the tedious, aggravating War of the Dead has nothing worthwhile to offer prospective players on its own. It’s best left a footnote in survival horror history.
Sometimes dead is better.