(Originally posted on October, 2016)
(1997, Arcade/1999, Dreamcast)
Ironically named, Street Fighter 3: 2nd Impact slipped by gamers rather quietly, which is most unfortunate as it's quick release fixed many of the issues which plagued the rushed New Generation. Besides being the easily overlooked middle child of the series, it's the most difficult to even (legally) play. Rarely would an arcade keep 2nd Impact around after 3rd Strike, if they even upgraded from New Generation. At home, it only saw a quiet Dreamcast port. I never got in enough one on one time with human opponents to get a feel on the game's character balance criticisms, but 2nd Impact still makes great casual play for a host of other reasons...
The battles immediately feel a lot more flexible and tense with the additions of throw escapes, taunts which have a unique effect for each character, the ability to switch Super Arts between versus matches, EX moves (powered up special moves that deplete the super bar) and of course countless tweaks to each fighter. New Generation's modest roster is expanded by Hugo (Andore of Final Fight), whose plodding attacks and grappling prowess make Zangief feel lithe in comparison. Urien looks and plays like his big boss brother Gill, but is toned down enough to fit in with the rest of the cast. Finally, by this point Capcom knows you can go ahead and put Akuma in anything to grab at least a couple extra quarters from Street Fighter fans.
Endings for all of New Generation's characters are still the same, but everything else feels like a substantial upgrade: There's now a parrying stage, slightly more story depth with each fighter having their own 'rival,' a slicker user interface and all new soundtrack dominated by a disorienting drum and bass style. The deeper color saturation and sometimes completely inanimate stages work to enhance the detachment from reality the music likes to lull you towards, whether what you're hearing is a fun jam session or something so washed out in relaxing synthes that it becomes surprisingly terrifying. About half of the backgrounds are completely new, while the others are like pizza left in the fridge overnight: Different and awesome enough that they are just as good.
- Giving off an action movie vibe similar to Enter The Dragon, what was once the messy Yun theme from New Generation has been cleaned up into something far easier to follow without losing it's sense of mystery. The fight in Hong Kong's busy streets now take place in the sunset. As the stage's already intense colors begin to blend together, one wonders if nightfall will bring peace or even more chaos.
- Necro's train has gone from a strange, midnight jazz performance to a completely unearthly crimson sunset as a really spaced out rendition of the previous theme fills the cabin. The piano breakdown and playful plucking of the bass manages to keep the whole scene barely grounded in reality.
- The fun German festival stage would perfectly fit in with the stereotypical levels in Street Fighter 2. Reflecting the playful atmosphere, Hugo's music is carefree yet constantly energized by the organs, turntable scratching and saxophones. Hugo is bulkier, slower but potentially even more dangerous than Zangief. It's of great satisfaction to get knocked down by an opponent and quickly activate a double 360 super at the end of your recovery animation, dealing a shocking loss to players who haven't learned anticipate the danger of Hugo when too close.
- One of the most impressive stage remixes, Elena's nighttime bridge/waterfall is beautifully lit by the brightness of the Milky Way and the music itself: deeply focused while being decorated by playful percussive elements. You can almost feel warmth on the elephant slumbering by the inviting fire.
- Urien's stage is so blinding red it's hard to make out the Egyptian ruins, but is still a joy to play as it contains what's perhaps the best track in the game. Depicted as a menacing character, his music is surprisingly confident and groovy as it features an organ solo just 20 seconds in and never loses it's fast, organized drum beat.
- The same theme from New Generation is heavily altered by the contrast of a strong, satisfying bass and opposingly unnatural synths as Ryu returns to the onsen, now covered in snow. Although a hot bath is especially appealing during winter time, the giant bear from last time couldn't resist staying in the woods to hibernate.
- Full of chaos, Sean's stage lacks in animation but is full of color as a toppled watermelon truck has turned the streets of San Paulo into disarray. The music is playful and busy, never taking itself too seriously. Going the opposite direction elsewhere in Brazil...Oro's new theme starts off rather intimidating but quickly switches to being rather relaxing as a rapid fire drum beat keeps things playful. His slobber dog seems more excited to watch fight this time.
- Taking place on a New York roof top, Alex's heavily remixed track alternates between trance and more of his usual xylophones and comes off as simultaneously deeply relaxing and unnerving. The stage has zero animation but impressive architecture and illustrations, making the creepily subdued and confident qualities of the music ring louder.
- Fought in the same street as before, this time with more inviting weather, Dudley's theme is now far more interesting and playful. The confident organs give the vibe that he finally got his father's car back and is just fighting to teach others his way of sportsmanship.
- The stillness of San Francisco Bay's water looks a bit suspicious, but Ken's stage is still beautifully colorful and carefree, with music that largely matches the imagery but occasionally focuses into something a bit more serious. Apparently spending plenty of time on the beach, Ken's default sprite appears to have been recently sunburned.
- Yang's beautiful antique gallery is even more immersive, as he now jumps off from the 2nd floor before fighting. The music is super-relaxed at the forefront to reflect the mood of the room, yet backed by a persistent drum beat that would naturally accompany a fight. When the increasingly complex layers of music completely break down into a just synthesizer and cymbals, you almost want to call a truce to the fight to stare at the fish tank.
- In the creepiest of all stages, Gill's theme gives off the vibe of an undeniable power which can't afford the modesty it initially holds. The still druids in the back actually being to laugh at you if you lose and bother to come back for another fight! Their movement is subtle enough that you may not catch it the first few times, making the eventual discovery all the more unnerving.
- A couple disappointments include Akuma's rather unremarkable hideout in an isolated Japanese mountain and somewhat generic "intense" theme which pale next to his incredible Alpha 2 appearance. Subdued in a jade haze, Ibuki's once bustling ninja village no longer has a soul in sight. A relaxed remix of her previous theme sounds great with a powerful piano section, but still doesn't grab and impress like the original.
- Worth mentioning is the exceptional Staff Roll theme, with it's relaxed saxophone and drum beats almost sounding like a segue into 3rd Strike's hip-hop sound.
Like New Generation, 2nd Impact is more of a curiosity that's long been overshadowed, but still worth playing just to enjoy as it's own experience. Since Capcom loves to reuse their old assets whenever possible, I hope they'll remember the great work that the artists and composers put into New Generation and Second Impact and make sure to include the underappreciated sights and sounds in a future reissuing of 3rd Strike...
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