Two affordable kits plus one superb simulator represent a good ratio of buys for the operator plus variety for the player
GAME REVIEWS BY
GREG REEVES
GREG REEVES IS AN
ARTIST AT ANTARCTIC
'PRESS, AN INDEPEN
DENT COMIC BOOK
PUBLISHER LOCATED
IN SAN ANTONIO. IN
WRITING THESE GAME
REVIEWS (SOMETHING
HE'S BEEN DOING FOR
ALMOST FIVE YEARS
NOW), 24-YEAR-OLD
GREG DRAWS FROM HIS
VAST GAME-PLAYING
BACKGROUND - HE'S
BEEN AN AVID PLAYER
SINCE THE AGE OF SIX.
Page 196
METAL SLUG - SNK
The once common theme of soldier warfare has been relatively absent from arcades due to the popularity of fighting and driving simulators recently. SNK's latest addition to it's Neo-Geo library can be described as the definitive ground battle kit, allowing the player to traverse various familiar military environments while engaged in
constant warfare. Areas of the world much re
sembling Thailand, Vietnam, Germany, Nor
mandy, and Siberia are represented as game
levels, each featuring a plethora of tanks, foot
soldiers, gun embankments, and huge war
machine bosses. Scattered throughout each
level are captured prisoners who bestow pow
er-ups once liberated. Defeating the level
bosses draws the player closer to the final raid
on the corrupt government's base of opera
tions.
Amidst the superior texture-mapped polygon visuals of current games, Metal Slug's standard bit graphics may seem antique. However, the amount of background and sprite details added surpass most three-dimensional simulators. Each game level adds every conceivable scenery, such as the weed-covered stone shrines and exotic birds of the jungle round, or the street gutters and miniature European cars of the town level. Character sprites are also comprehensive, from the various armaments of the enemy tanks to the classic German-like helmets and uniforms. Despite the obvious realistic details, Metal Slug's general visual appearance is cartoony and
September 1996
oversized, perhaps to lighten the serious theme.
Three of the Neo-Geo's cabinet buttons are used in Metal Slug: firing the currently held weapon, jumping, and throwing a grenade, respectively. When the character jumps aboard a tank, the weapons buttons represent a cannon and gatling gun.
Once begun, the player is parachuted deep within a jungle with only a pistol and a few grenades. As the horizontally scrolling scenery passes, many soldiers, tanks and helicopters assault relentlessly. Occasionally a prisoner is encountered, tied to a wall or guarded at gunpoint. If freed, the player acquires points and a weapon power-up such as a heavy machine gun, flamethrower, or rocket launcher. Enemy vehicles do grow larger in later levels as well, from armored boats to low-flying bombers. Aiding in the struggle is the Metal Slug armored tank, a small but heavily armed machine found vacant in several levels. The tank can be used until it sustains three hits, then must be abandoned before exploding.
The useable tank and overall soldier theme was first used successfully in the early '80s with Taito's vertically scrolling Frontline and later in Konami's Rush 'n Attack. Visually though, Metal Slug most resembles Irem's highly detailed In The Hunt, also made for the Neo-Geo.
Although enemies react violently when hit by arms fire, and the amount of destruction is to the "nth" degree, one can't help but think the graphics are cute due to the balloony miniature vehicles and oversized characters. Scrolling platform games of this sort can be monotonous if gameplay or scenery do not hold the player's interest. Fortunately, Metal Slug does!
Replay Magazine
