Double Dragon is a lot of things. It’s an 80’s style beat-um-up. It’s one of the earliest examples of two-player co-op. It’s the most successful game ever released by the Taito Corporation. It’s a reason sibling-on-sibling violence increased in 1987, due to the ability to beat your own co-player (this may be a joke; maybe).
What it is not is a single title. This is not in reference to the sequels, but the original game itself. Originally an arcade title, DD has since been translated onto no less than twenty consoles and operating systems. Almost every single one of them—by the very nature of the platform’s limitations—looked and played much differently. The NES even changes the main antagonist and gets rid of the co-op. How can this possibly be considered the same game as the arcade version?
Kirby’s Dream Land is not a difficult game. It’s not supposed to be. It is a basic platformer that uses the Game Boy’s limited output to its best abilities to teach the basics to gamers unfamiliar with gaming, handheld or otherwise. Your one weapon: the ability to suck up enemies and blow them back out. You must use two buttons, a d-pad, and reflexes to cross a surrealistic trip to save food from an anthropomorphic penguin king. It’s silly, but it’s fun.
You don’t see too many arcades anymore. Most are flagging dinosaurs, nostalgia fuel, or on fire. These days, the best arcades are made of cardboard. But there was a time when arcades were the place to go if you wanted to get your gamer on. They were the land of giants, sleek and sexy arenas where women wore evening dresses and men took their martinis shaken, not stirred.
There is no question that Mega Man is one of the most iconic characters in the history of video games, deserving of a place in the highest echelon, alongside Mario, Link, and Sonic the NoLongerRelevant. His quiet and heroic demeanor, slick blue suit, and awesome weapon acquisition method all contribute to his status as the very best.
The structure of Mega Man games pretty much remains unchanged from the first installment – Mega Man fights his way through a series of stages in any order, defeating Robot Masters and taking their powers, then battles the evil Dr. Wily across multi-level final dungeon (WITH AWESOME MUSIC), and saving the day. It’s a comforting and familiar formula, like Pringles “potato chips;” they all look the same, taste the same, and when you finish one, you immediately want another.
I’m going to take a different take here than what a writer would normally tackle when discussing Super Mario Bros. 3. This isn’t going to be about the platforming, the game’s place in history, how it did/did not catapult Mario (and Nintendo) into the stratosphere. What I’m here to do is talk about the music in the title and how it links us to our childhood.