gradius

Game Bias’ 15 Greatest Shooters List — #5-1

by Jed Pressgrove

Note: Here’s the introduction, #15-11, and #10-6 of the list.

5. Blazing Lazers (1989)

Building on the groundwork laid by Gradius, this vertical shooter, released on the elusive TurboGrafx16 console, suggests power-up management is an art form of choices and consequences. Four primary weapons can be leveled up by collecting orbs, and each weapon enables different play styles, whether it’s shooting smaller bullets in front of, behind, and to both sides of you simultaneously for extra defense or unleashing blue lightning that cuts through machinery like butter. Provocatively, a level-three weapon can be more effective than a higher-level weapon depending on the situation, so having to avoid orbs to maintain your bullet expression can put you into some dicey situations with enemies. Your style can be further augmented by secondary power-ups like floating drones that shoot with your ship, a shield, and homing missiles, but unlike the case in Gradius, you can’t activate all of these options at the same time. You must make a decision and live and die with it until another power-up, going back and forth like a pendulum, tempts you to change plans.

4. Resident Evil 4 (2005)

No one could have guessed the fourth installment of a franchise known for survival horror, a subgenre notorious for inexact controls and awkward action, would be one of the most exhilarating shooters ever made. Given Resident Evil 4’s incalculable influence on all sorts of 3-D third-person titles, it might be difficult for some to remember how this Shinji Mikami-directed game energized the very idea of aiming: one button press pulls the weapon up and zooms the camera closer to the shoulder of Leon (the pretty boy with enough cheesy lines for two games). This visual trick, copied shamelessly since, focuses one’s eyes even more on the target (a kinetic proxy of the lining-up process in real life), and every firearm having a red laser ensures something close to fetishization of the aim. How much fun it was, then, to find a favorite pistol and slowly improve its bullet capacity, sturdiness, power, and so on until zombie shooting became a sport that it had never been before. This unique pleasure was only surpassed by the unlockable The Mercenaries mode, which, if the world were just, would have its own arcade machine. If you must, complain about the fact that you can’t shoot while moving; almost anyone who has gone to a shooting range will tell you that freestanding target practice, which Resident Evil 4 beautifully simulates and demands, has a distinct intimacy and discipline to it.

3. Metroid Prime (2002)

Like Doom, Metroid Prime is full of shooting and areas to explore. But this Nintendo game, directed by Mark Pacini, tops its gorier first-person predecessor by calling attention to the beauty and importance of perspective itself. The way Metroid Prime reintroduces the morph ball from Metroid is the most obvious illustration of this point: the shift from first- to third-person when you ball up is a treat every time due to the natural-feeling transition. More importantly, the game’s different visors transcend the cliched detective modes of modern gaming, offering not one but three new ways of seeing the world and unearthing its mysteries. Metroid Prime’s radical design shines in its final action-packed stretch, which has you shaking off life-draining metroids via the perspective-changing morph ball and trying not to fall while scaling small platforms; surgically dispatching a giant spider with every major blaster (each with its own quirks and eye candy); and swapping to the right visor during the final boss battle so that you can actually see where to shoot.

2. Missile Command (1980)

In most shooters, skill leads to relatively instant gratification. Line up, fire, and know soon whether your target is wounded or destroyed. With Missile Command, Dave Theurer rejects this pattern as too comfortable, requiring the player to anticipate the trajectories of enemy missiles and deftly catch them in explosions that gradually widen and shrink back down. As great as Missile Command is on any platform (I first played it on a collection of Atari-produced games for PC), the arcade experience is essential, as the roller ball and stylized three buttons make players feel like they are part of a station that stands between obliteration and everyday homes. With this full package, Missile Command stands as a testament to the anxiety of the Cold War era.

1. Galaga (1981)

Shigeru Yokoyama’s Galaga is the most straightforward shooter on this list, and it’s that simplicity that magnifies the appeal of every detail of the game, whether it’s the sounds different enemies make when you land hits; the “Challenging Stage,” which grants you both respite from the “real” game and stress due to its special emphasis on accuracy and timing; the excitement of annihilating almost every enemy before they can line up and begin their malevolent swoops toward your ship that can only move left or right; the unforgettable little tune that plays when one of your ships gets sucked into a tractor beam and the reprise when you save it; the almost hollow-sounding explosion — a fitting complement for the disappointment in your gut — when you lose an extra ship. This Namco classic renders its ancestors, including Space Invaders, almost irrelevant in my mind. That’s what a true masterpiece does; it is the high bar, making otherwise good games seem like stuff made by shortsighted amateurs. I play the arcade machine every chance I get to remind myself of what game design is capable of, how razor sharp it can be with every aspect.

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Game Bias’ 15 Greatest Shooters List — #15-11

by Jed Pressgrove

Note: You can read the introduction to this list here.

15. Earth Defense Force 2017 (2006)

With its over-the-top voice-overs, extremely crude weapon/health/armor icons, and ridiculous physics, Earth Defense Force 2017 could be written off as a joke. Yet there are few games that match this 3D third-person shooter’s emphasis on scale as you face hordes of gigantic ants, spiders, and walking robots. Developer Sandlot shows there can be a fine line between being in awe and not taking something seriously: as you eliminate flying drone after flying drone in one level, the screen shakes so violently that you can barely see what’s happening. Never has the urge to laugh been so married to spectacle in video games.

14. Stargate (1981)

Also known as Defender 2, Stargate doesn’t get as much attention as its predecessor Defender, but it’s the better game by Eugene Jarvis and Larry DeMar. Although you still fly left and right in Stargate to stop alien ships from abducting humans, the drama is higher with the very first stage, thanks to a greater variety of enemies and the inclusion of a volcano that spits bits of lava that you must avoid as you suicidally zip toward and away from pesky targets. This sequel also gives the player more help with the titular portal, which teleports you to the nearest threat to humanity, and a temporary cloaking ability. But the standout aspect to both Stargate and Defender is the devastating audiovisual punch of the protagonist’s weapon. It’s almost offensive how loud this game gets as you launch line after line of concentrated fire. The irony is the ease with which your foes can slip through the narrow passages between these shots, even though you could swear from all the noise and visual punctuation that you should be invincible.

13. Gradius (1985)

Director Hiroyasu Machiguchi led a reinvention of genre with the power-up system of Gradius, laying the foundation for many good horizontal and vertical shooters (including Life Force, another Machiguchi game under Konami). Yet there is one thing the children of Gradius usually don’t reproduce: the sense of exploration and space in sections where you can fly up or down to make the screen shift vertically as you continue to advance horizontally through narrow channels. And while Gradius can seem ridiculously unbalanced when you die and lose speed, a shield, lazers, and whatever else you collected, the music by Miki Higashino is hopeful (in stark contrast to the nerve-wracking theme in Xevious), suggesting that another try after failure can result in heroism.

12. The Binding of Isaac: Rebirth (2014)

As much of a horror game as it is a shooter, The Binding of Isaac: Rebirth is the definitive edition of designer Edmund McMillen’s Freudian nightmare of a maniacal mother, excrement-filled rooms, and an uncaring God. McMillen evokes The Legend of Zelda in his presentation of a seemingly neverending dungeon full of random power-ups that deform as much as empower the tearful boy protagonist. The various elements that could offend, particularly the levels that put you inside a womb, reflect an abusive history where fear and hatred, not comfort and love, are compellingly tied to every aspect of the woman — an unflinching view of hell from the eyes of a child.

11. Sin and Punishment: Star Successor (2009)

This effort from developer Treasure is the ultimate rail shooter experience. Unlike most rail shooters, which automatically scroll the player from one shooting gallery to the next, Sin and Punishment: Star Successor allows you to move an avatar on any part of the screen as you shoot, slash, and evade your way through an incredible assortment of enemies and threats. Whether you are flying through a city upside down or trying to survive a six-part boss, the sense of breathlessness in Sin and Punishment: Star Successor is unparalleled.