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  • Yuji Naka discusses SMS programming

    Posted on July 31st, 2009 keving 1 comment

    Following up my post about the PCE version of Space Harrier, here is a bit from an interview with Yuji Naka printed in Sega Consumer History, a book published by Enterbrain in 2002:

    I did a lot of testing to figure out how best to port Space Harrier to the Mark III, but the hardware had very strict sprite limits and I really couldn’t show much more than the player and his bullets. If I was going to port this game, I naturally wanted to retain all of the impact of the original at all costs, but if I had rely on sprites for that, the results would’ve been pretty depressing.

    That’s when I began coding a system that drew [enemies] directly onto background tiles instead. That let me retain at least a bit of the original’s high speed, and it was ultimately what made Space Harrier possible on the Mark III. But I still kick myself over the square tiles that overlap all over the bosses! I tried really hard to come up with a software solution to this issue, but I just hit a wall when it came to CPU power.

    OutRun started out the same way, in that I knew I wanted to recreate the up-and-down motion of the original no matter what. I coded it so that it pretty much redrew the entire screen to create the effect, but it wasn’t everything it should’ve been. It was close, but not close enough. I don’t know if it was my fault or the Mark III’s, but it was probably somewhere between the two of us.

    Really, figuring out what game to port to which hardware at which time was a very important thing back then. You had to consider the development skills you had at hand very carefully, especially because the really flashy full-cabinet games like Space Harrier, OutRun and After Burner were coming out one after another that whole time. I pushed myself really hard from a technical standpoint during that era, so the time still conjures up a lot of memories for me.

  • [I ♥ The PC Engine] Dragon Spirit

    Posted on July 31st, 2009 keving 8 comments

    Dragon SpiritDragon Spirit

    Maker: Namco
    Release Date: 12/16/88
    5900 yen
    HuCard (2 Mbit)
    Genre: Shooting
    PC Engine FAN Score: 23.71 / 30.00
    Kōgien: “Your fighter has anti-air and anti-ground weapons, like in Xevious, and grows new heads when he powers up. The difficulty level is set so that even players not good at shooters can enjoy the game well enough. A port of Namco’s epic arcade shooter.”

    This, along with Wonder Momo, is the StarTropics of the PC Engine. You could commonly find brand-new copies of this “Romancing Shooting Game” in shops for 100 or 200 yen well into the late ’90s, and even now it’s a functionally worthless card in terms of value. This shouldn’t be seen as a judgment on the game itself, though — it’s quite nice, though Namco didn’t try all that hard with the port job.

    Dragon Spirit Dragon Spirit (J)-006

    The second game to use Namco’s System 1 arcade platform, Dragon Spirit has more than a few interesting quirks. Anyone who’s toured MAME knows that the 1987 game has an “Old” and a “New” version; most of the changes made to the New version serve to make it easier, from a continue option that pre-equips you with power-ups to the removal of a bug where your max-power shots went right through enemies sitting in point-blank range. Hardcore gamers resisted these changes, of course, and arcade-game mag Gamest all but campaigned against them as it published a three-month-long Dragon Spirit “Old” strategy guide through the fall of ’87.

    The shooter also marked the musical debut of Shinji Hosoe, a composer whose name is synonymous with Namco even though he left the company and went indie starting in the mid-90s. Following high school, Hosoe went to the Japanese equivalent of DeVry, wound up getting a part-time QA/graphician job at Namco in 1986, and somehow convinced the Dragon Spirit staff to let him do the music and SFX for their top-flight shooter project. Maybe nobody else was available. I don’t know. It turns out Hosoe was one of the first home-grown computer musicians in Japan, a guy who (like Martin Galway and a lot of other European SID musicians around this time) had no experience with actual music, but was a virtuoso with all-purpose sound chips. His work on Dragon Spirit earned him a full-time career at Namco, and I’d say his maiden soundtrack is the main reason the game is still relevant today.

    I wouldn’t go quite that far when talking about the PC Engine port, though. Like Yōkai Dōchūki, this adaptation tries to act like a faithful port and somewhat looks the part, but lacks polish and suffers from the two-megabit HuCard size. The game doesn’t scroll horizontally at all, the smushed screen adds to the difficulty level, and Areas 7 and 8 from the arcade are gone entirely — Namco divided Area 9 into two parts and made that levels seven and eight instead. Wonder Momo was a fair bit different from the arcade version, too, although neither game is bad per se as a result. I don’t know if Namco was criticized for this style of porting back in the day, but the publisher tried noticeably harder with future PCE arcade titles — Ordyne, Splatterhouse and Genpei Tōmaden (which managed to simulate three-level parallax scrolling on the PCE entirely with sprites) are both incredible games and incredible ports.

    Dragon Spirit ain’t disappointing — in particular, the music is very faithful to the arcade, a pretty decent achievement considering what Hosoe achieved with the ol’ YM2151 on his first try — but it was quickly overshadowed by the original shooters that dominated the PCE’s library in 1989 and ’90. Maybe that’s why it’s so cheap nowadays.

    Here’s seven or minutes of Dragon Spirit action. Sounds great, yes, but compare Area 1 here to Area 1 of the arcade original and you’ll be pretty shocked at the difference in graphic detail.