(Originally posted on October, 2017)
(1995, Arcade)
(Though I own a copy of the game, it was played on a CPS2 emulator.)
Capcom’s swift follow-up to Darkstalkers went to appreciable lengths to shoo away the figurative Gargoyles warding off casual players. A pair of heroic, human(ish) fighters was added to the mix of suspicious monsters; along with new moves, mechanics and storylines. The important combo and gauge systems (new to 2D fighters at the time) have been made easier to utilize. For busy players looking to give Pyron a quick pouncing, the computer difficulty is now far less brutal. Tying all these changes together, the entire presentation has been altered enough to at least catch the eye of any players left unimpressed the first time around. Elusive as Bigfoot in American arcades and spending a decade bound to the underperforming Sega Saturn, unless you braved the murky ethical waters of emulation, this 90s Capcom masterpiece spent a decade nearly as difficult to obtain as King Tut’s treasure...
The all new intro’s sense of tension is felt just for the briefest of moments, until the Werewolf Talbain breaks it with a show of savagery before the full moon. His howl set off a frenzied grab for attention amongst all the other arcade games, or, if at home, maybe a returning barrage from an easily agitated pet dog. The intro sequence further embraces the personality of each character, using more color and flash than your typical cartoon intro. Much time is devoted to some most provocative animations for Morrigan, fully abandoning the sense unease and mystery previously advertised. Already losing much of the initial Universal Studios Monsters influence from the first game, the series can’t help but be enveloped by Capcom’s bombastic style of the time. New win portraits appear to be illustrated by the same artist behind Street Fighter Alpha 2, showing even further exaggerated forms and dynamic looks at the creatures. Even a new, cute little buddy is introduced to almost every character during the epilogue added to all the endings.
The game’s biggest draws are the two new characters, which if nothing else, fill the hole of needed approachability within such a bizarre initial cast. Chinese Vampire Hsien-Ko is rather innocent and good natured despite her tragic past life. While guessing what will come from her confusing movements and power to summon all sorts of weaponry, you can almost smell the flowers and perfume-like fog of her oddly inviting graveyard. The most “normal” character in the game (but still half a vampire), Donovan is in hot pursuit of Demitri. Armed with a giant sword, all sorts of mystical Buddhist powers and never skipping leg day, why should he be afraid of some dude turning into a bat?
The character colors, backgrounds and music are all remixed, in my opinion most of it better left untouched. Before your first fight, even the moody and inspired old-style map of the original character select screen has been replaced by something appearing unfinished: A garish mix of generic flames, ice-blue fonts and beautiful portraits set over…complete darkness. Suspecting this might be an emulation bug, I resorted so far as to viewing the game elsewhere to confirm this was indeed the proper screen. Moving to the actual stages, Victor’s laboratory isn’t quite as dark and decrepit. Talbain’s London streets throw away the unsettling hints that something’s not quite right for an overly dramatic crimson sky. The warm glow added to Bishamon’s stage is rather comforting; draining the ancient, cursed armor’s fright in turn. A goofy enough character in the first game, Anakaris’ pyramid interior is now as wacky as a Busta Rhymes video with rave like green lighting, bounce-able percussion and an annoyingly out of control flute. Along with the candles and torches being sapped of their influence over his mansion, Demetri’s moody, killer music from the first game has been replaced by a more upbeat track that while good, is entirely forgettable. Looking more cotton candyish than ghoulish with his new red hue, Raptor’s theme isn’t nearly as loud and upbeat, never reaching the energy of his rockstar persona.
All those complaints are not to say there haven’t been a number of improvements to the art direction. Not playing the game enough to know for sure, Demitri at least feels more powerful with his noticeably brighter aura and effects. The darker lighting of Morrigan’s stage makes the mood even more compelling; as if the statues and waterfall seem almost ready to come alive as the evening deepens. Rikou’s rainforest stage is colored with a much less jarring purple hue and the new music offers a smooth trance beat. Previously ambiguous in intent, the bulky robot sub-boss Huitzil seems to actually be a good guy in his love of birds…perhaps a nod to Dragon Ball Z’s Android 16? Throughout all these changes, good or bad, you can much more easily enjoy exploring the EX and super moves of the expanded roster.
Appearing even more decadent in animation quality and adding substantial accessibility for casual players such as myself, Night Warriors is an overall better game than Darkstalkers, even if the overall artistic changes lost some flavor and bite. No longer limited to choosing between the imperfect ports of Darkstalkers for the PS1 or Night Warriors on the Sega Saturn, you can enjoy both in their full glory in 2005’s affordable PS2 compilation (Or just Night Warriors as part of 2013’s ‘Resurrection’). Whichever one you prefer, like the Street Fighter 3 trilogy, many would agree that the first two games were just the summoning ritual before the demon was unleashed…
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