For today’s game, we’re heading into the hallowed halls of academia – well, kind of. From what I remember of my university days it’s a fairly accurate recreation of the higher education experience, but it’s definitely more about trying to avoid being turned into a skeleton than it is about receiving a diploma. I present to you Genesis Soft’s 1987 ZX Spectrum hangover-em-up Fanky Punky!
Okay, so it’s supposed to be called Funky Punky – that’s how the game’s referred to in the manual and on some of the cover art – but here on the loading screen it clearly says “Fanky Punky.” This is down to language issues, because Genesis Soft were a Spanish publisher and Fanky Punky is a Spanish game. Genesis Soft were also responsible for the ZX Spectrum game starring raunchy and sometimes topless Italian pop star Sabrina Salerno. Yes, the one where you could beat up priests with your boobs. I imagine that will give us an indication of how good Fanky Punky is likely to be.
On this loading screen, we get our first glimpse of Fanky Punky’s (almost) eponymous star. His name is Funky Punky, Funk to his friends, The Funkster to his close friends. He kinda looks like Rodney Dangerfield, an appropriate resemblance because I can’t imagine Funky Punky gets any respect either. Funky is a man of simple pleasures: he likes knockoff Adordis trainers from down the market, listening to his favourite tunes on his boombox and getting monumentally, liver-pulverisingly drunk.
Here’s the game’s premise: last night, Funky got absolutely mortal. If my student days are anything to go by, it was via either Tesco’s finest, cheapest wine (just thinking of the name “Marques de Leon” is making me feel a little queasy) or some kind of dangerously irresponsible offer on vodka shots. Unfortunately for our newly-pickled hero, he has an exam this morning! He’s got to get up, grab his stuff, get out of the house, drive to college and take his exam, all while his hangover is so severe that it might well kill him.
Off we go, then. Early indications are that Fanky Punky is an extremely generic Spectrum platformer. It’s got flip-screen scrolling, enemies kill Funky at the slightest contact and Funky himself controls like a lobotomised Womble. Okay, that last part might be a bit harsh, Funky’s movements are at least consistent, as in he has a consistent delay between you pressing jump and Funky actually jumping. You’ll want to try to avoid jumping as much as possible, because this game’s control scheme is O and P on the keyboard move you left and right respectively, while jump is M. Yeah, sure, why not, that seems sensible.
Not that I had much chance to practise jumping in these first couple of screens. Most of the airspace was patrolled by these floating orbs, and if you touch them, you die. From what I could glean by reading the (Spanish, don’t forget) manual, all the enemies Funky faces are actually manifestations of his hangover. Funky needs urgent medical attention to deal with his drinking problem, which is a bit dark so I’m going to pretend he’s being attacked by the spheres from Phantasm instead. You play a good game, boy! Shame it isn’t Fanky Punky.
It’s one of those “dodge the enemies” type games, then. Funky doesn’t have any offensive capabilities, and even if he did it’s not like he could could beat up the DTs, is it? So, it’s another home computer platformer from the eighties in which precise movements are required to sneak past enemies that move along predictable paths. That’s fine, there’s nothing wrong with that genre in concept and I suppose Funky doesn’t control that badly except when negotiating staircases, which he absolutely cannot handle without repeatedly falling off.
I managed to get over to the right of the screen and grab that doughnut, though, and it’s a good job I did because Funky has an energy bar that depletes over time and must be refilled by collecting highly nutritious foodstuffs like doughnuts and, erm, cigarettes.
How times change, eh? You couldn’t get away with presenting cigs as a health-restoring item these days, and that’s as it should be. However, it’s clear that Fanky Punky’s creators did understand the incontrovertible truth that having a cigarette after a night on the sauce will make you feel better. Well, until you start coughing your guts up, anyway. They keep the energy bar topped up, though, and that’s important. You might notice that there’s also another time limit based on, you know, time. I’m not sure the game really needed two time limits, chaps.
Oh, and there’s a skeleton wandering around Funky’s halls of residence, too. This feels like it’s going beyond a mere hangover, Funky. What the hell were you drinking last night, meths?
When Funky dies – which he will, frequently, because the enemies move quickly and have big hitboxes – he also turns into a skeleton. That’s cool by me, turning into a skeleton is in the top tier of videogame death animations, along with “exploding into an expanding ring of energy spheres” and “turning to look directly at the player and whispering ‘why have you done this to me, your incompetence has doomed the planet.’”
The point of this first area is to find the back-to-school essentials that Funky needs for his exam: a pen, a calculator and the key for his motorcycle, which he absolutely should not be driving on public roads, the selfish bastard. There’s also a clock to find, which shows you the remaining time until the exam. You can skip that one, it’s not like you’ve got time to dawdle and knowing there’s a time limit at all is more than enough motivation to get moving.
I found the pen in the basement, where there are more skeletons (this time of the ‘medical teaching aid’ variety) and a computer with “OK” on the screen, clearly referencing Radiohead’s classic 1997 album because Genesis Soft were just that forward-thinking. Or maybe Radiohead got the “OK Computer” name from this obscure Spanish ZX Spectrum game. It kinda feels like something Radiohead would do.
Having found all the items he needs, Funky leaves the house and floats through the air towards his moped. Not really, he’s jumping, it’s just that he doesn’t have any jumping animations. The key’s in the ignition, and it’s time for this dangerously hung-over young man to endanger some other road users.
That means we have to go through this half-baked minigame where you steer the moped as it moves along the road, trying to to crash into the cars. There’s really nothing else to it, you just move up, down, left and right. I can’t believe I’m saying this, but I think it would have been more interesting if they’d factored Funky’s liquored-up nature into the gameplay by making him swerve across the road randomly or have the cars appear as marching elephants. At least that would be something, you know? As it stands, all you’ve got is an exceptionally dull “move the cursor” segment that comes with the added frustration of any collision resulting in an instant game over. Funky had multiple lives when he was at home, but now that’s he’s on the open road? Tough shit, make one mistake and start again. I don’t understand why it works this way. I know a serious road traffic accident is going to be difficult to come back from but being turned into a fleshless skeleton didn’t stop Funky, so why should this?
A couple of minutes later, Funky arrives at the university. It’s a lot like his house, except all you need to do is find the exam room by slowly – but not too slowly, because of the two separate time limits – avoiding the enemies and climbing the rickety staircases. In this case the monster is neither a skeleton not a sphere but a flapping, swooping monstrosity that looks like a bat trying to escape from a burrito. It reminds me of the titular bat-winged character from fellow weirdo Spanish ZX Spectrum game Bloody, which was also released by… Genesis Soft. Man, I love that there are so many home computer games from non-British European countries. They’re enjoyable in the same way as fiction set in parallel universes: similar enough to what I’m used to that the differences are fascinating. Of course, the horror of forgetting you have an exam and having to rush to get there, still reeking of last night’s booze, that’s a universal fear.
There’s not much to say about the school portion of the game, honestly. Just move between the rooms looking for the exam, and hope that you don’t waste too much time investigating dead ends. Fanky Punky is a slow-paced game, but the time limit doesn’t take that into consideration. But what about the gameplay itself? Well, this is definitely a ZX Spectrum platformer. That’s all it is, it’s almost comical in its adherence to the form. Slow character movement with no momentum or flair, floaty jumps and plenty of pixel-perfect positioning required to progress. It’s not bad, per se. The problem is that it’s not really anything. No, strike that, it’s boring, that’s what it is, although it is redeemed somewhat (as ZX Spectrum platformers often are) by the unusual premise, strange creatures and use of nicotine as a health food. The only major problem I had with the gameplay was that the enemies don’t reset to a specific "starting point" on the screen when you leave the room or die, which can lead to certain situations where you die when jumping up to a new room, only for the game to start Funky’s next life in the same place that he died while the enemy is still there, trapping you in a loop that quickly drains all your lives.
After one last smoke to settle his nerves and the terrifying knowledge that last night’s alcohol is definitely going to start affecting his bowels at some point during this exam, Funky has reached his destination. Congratulations, Funky! I look forward to seeing you next year, when you have to repeat all your classes, you irresponsible fool.
Oh. Oh. The game’s not over. You have to actually take the exam. I wasn’t expecting that. Okay then, I’ll be back to finish this article in a few years when I’ve learned Spanish, I guess.
No, wait, I’m going to tough it out using my extremely limited Spanish vocabulary and Google Translate. Also save states, because if you get a single answer wrong it’s game over. I’m fairly certain that is not how university examinations work. “I’m sorry, Mr. Einstein, your thesis is truly astounding and will shape the future of modern physics, but you misspelled “necessary” as ‘neccessary’ and therefore all I can offer you is this application form for Greggs.”
The exam, then. It’s a series of yes or no questions, with the unusual twist that the game keeps giving you answers until the “yes” answer appears. With this first question, I managed to figure out that “quelonio” means the animal class Chelonia – that is, turtles and tortoises – and obviously “tortuga” is “tortoise” so yes, tortuga es quelonia. But then I couldn’t figure out how to get the game to accept my answer. Can you guess what my problem was? That’s right, I kept pressing Y for “yes” instead of “S” for “si” and I’m sure there’s a lesson about cultural hegemony in there.
Some questions required less translation than others.
So goes the exam, covering a variety of topics from geography to physics, which makes me wonder what course Funky is actually studying for. A PhD in Pub Trivia, perhaps. Also, why the hell did I need to find a pen and a calculator for this oral exam that (mercifully) contains contains no maths? Truly, academia is a mysterious thing.
I got all the questions right, and Fanky Punky stopped. I was going to say “ended” but that might imply there was some kind of ending, which there wasn’t. A brief scene of Funky graduating might have been nice, and I was definitely expecting one, possibly with an Animal House-style “Funky died three hours later in a drunken motor scooter accident” final frame. Instead you get the high score table and that’s it, game over.
Is Fanky Punky worth playing today? No, not really. It’s a very slight game that takes its unexciting gameplay and slaps a layer of potential frustration over it via the double timers and the potential death-loops. Am I glad I played it? Yes, I am. It’s a unique set up, if nothing else, and the exam was actually favourite part of the entire thing because I am an insecure dork who likes to be made to feel intelligent by beating a trivia quiz. Or maybe it’s just that I like trivia games, so maybe I’ll cover another one soon. Until then, I shall retire to my chambers and bask in my newfound knowledge that the Spanish for “bone” is “hueso.” I’m a real renaissance man now, god damn it.
Showing posts with label genesis soft. Show all posts
Showing posts with label genesis soft. Show all posts
14/11/2017
16/05/2017
SABRINA (ZX SPECTRUM)
The topic of today’s article? Smut, plain and simple. The ever-popular combination of sex and violence comes to the ZX Spectrum with Spanish developer Genesis Soft’s 1989 breast-em-up (and that ain’t a Freudian slip) Sabrina!
Here’s Sabrina’s loading screen, and in the interests of keeping the site relatively family-friendly VGJunk’s unofficial site mascot Satan Goat is pulling double duty as a censor bar. I reckon the breasts on the poster in the background are fine because the nipples are just one pixel, but that’s not the case with Sabrina herself. Let’s just say she should probably go up a bra size or two, because she’s spilling out of the one she’s wearing now.
Aside from that, I rather like this title screen. Sure, Sabrina might have the shoulders of a rugby forward, but apart from that it’s pretty good. A nicely detailed face and a background showing a charming Mediterranean town, all captured in black and white so you’re not subjected to the Spectrum’s occasionally retina-searing range of colours.
As well as this… engaging image, Sabrina’s title screen also features some digitised speech! That’s always impressive to hear coming out of a ZX Spectrum. Okay, maybe not always impressive, because I think Sabrina has the worst digitised speech I’ve ever heard in a computer game. I had to listen to it a dozen times before I realised it was saying “Genesis Soft presenta Sabrina,” because it sounds like Stephen Hawking being slowly fed into a rusty woodchipper.
It turns out that the eponymous Sabrina is not a character created for the game and she is, in fact, based on a real person. Specifically, you’re playing as Italian beauty pageant winner turned pop star Sabrina Salerno. As she was an Italian pop star in the mid to late eighties, I’m sure you can imagine the kind of poppy-funky-dancey music she was releasing, and it seems she was mostly famous for the raunchiness of her music videos. I watched a few of them as research for this article, and that was definitely one of the more, ahem, invigorating research sessions I’ve ever done for the site. You probably couldn’t get away with watching them (or doing a Google image search for Sabrina) at work, let’s put it that way. As you can see from the game’s cover, Sabrina also came with a cassette of Sabrina’s music, including her hits “Boys” (sample lyrics: “boy, boys, boys, get ready for my love”) and “Hot Girl,” as well as a cover of Prince’s “Kiss.” I listened to that version of Kiss, too. I wouldn’t recommend it.
Obviously, if you’re making a game about an Italo-disco singer known for her sex appeal, there’s only one possible genre for it: the side-scrolling beat-em-up. Hang on, really? Not some kind of music management sim or even a “make a music video” type thing? I can understand it not being a rhythm-action game, because the Spectrum’s ability to output bearable music is outdone by a squeaky dog toy tied to a pneumatic drill, but a beat-em-up? Oh well, time to start beating people up, I guess.
That’s Sabrina on the left of the screen, (and also twice at the bottom of the screen, which is perpetually emblazoned with the enormous status bar common to Spectrum games,) and she’s ready to move from left to right across a series of single-screen areas. There’s no scrolling backgrounds in this one, folks, just a series of individual screens. When I say “go from left to right,” I mean it, because that’s really all Sabrina can do. She can’t even jump and it does feel weird to be playing a brawler with no jumping in it at all. Just like in real life, I kept trying to do flying kicks when I very much did not have the capacity to pull off flying kicks.
This being a beat-em-up, naturally there are people for Sabrina to, you know, beat up. For the first half of the game, it’s mostly a repeating cycle of these three enemies. There’s a skinny woman on the right and a less-skinny woman on the left, and they’re presumably out to destroy Sabrina in a fit of outraged moral fervour. Just behind Sabrina is a knife-wielding maniac. You’d think he’d be the most dangerous of the three, but all of the enemies attack in the same manner: they walk into Sabrina and drain a bit of her health, while also causing Sabrina to be frozen in place while bright colours flash punishingly around the edge of the screen and a noise that sounds like a robot with diarrhoea not quite making it to the bathroom in time plays.
So, what moves does Sabrina have at her disposal to deal with these threats? Well, she has three attacks. She can slap at head height, she can kick at shin height – and that does look like it would be quite painful – and she can also do this.
That’s right, she can inflate her boobs and use them to batter people into submission. You’d have to pay certain specialist websites cold hard cash to get video footage of that kind of thing, but with Sabrina on the ZX Spectrum you can experience the effect in all it’s blocky, low-colour glory. It’s a move that’s destined to join Haggar’s spinning lariat and Axel’s Grand Upper in the pantheon of all-time classic beat-em-up attacks, I’m sure.
As you move forward, you’ll quickly realise that there’s a rock-paper-scissors – well, rock-paper-boobs, anyway – relationship between Sabrina’s moves and the enemies that are vulnerable to them. For instance, the knifemen can be knocked aside by a single blow from Sabrina’s ample charms, but the women are unfazed by her breasts and must be either kicked or slapped, depending on the type of woman. It’s an interesting take on the usual beat-em-up gameplay, I suppose, and it gives the action the feel of a memory-matching game rather than a brutal slugfest. I did begin to rue the fact that Sabrina’s boobs didn’t work on everyone, though, because they’ve got the greatest range and the fastest activation of all her attacks.
Then there’s the real danger that Sabrina faces during her adventure: high explosives. Most of the screens beyond the first two or three have a cartoon bomb laying on the floor – in the screenshot above, you can see it just in front of the purple door – and if Sabrina doesn’t get over to them quickly enough, they explode. If they do detonate, it’s an instant game over no matter how many lives you have, so obviously getting rid of the bombs is your top priority. To remove them, you have to punt the bomb off the screen by standing near it and using Sabrina’s kick attack – not part of most bomb disposal manuals, but it works for Sabrina as she has absolutely zero compassion for any innocent bystanders that may be harmed when she hoofs ten pounds of semtex at them.
Getting rid of the bombs isn’t as easy as I’ve made it sound, actually. Part of the problem is the position you have to take to kick the bomb: you’d think you’d want to be next to it, so that when Sabrina kicks the animation clearly shows her foot swinging and making contact with the bomb. That is not the case; you have to be standing right on top of it, maybe even slightly beyond it, in order to successfully kick the bloody thing. The is made more difficult by the frequency with which the bombs are placed directly under open windows, windows from which people will drop flowerpots onto Sabrina’s tousled head. Taking damage freezes you in place for what feels like a thousand agonising years, (actually about two seconds,) during which time the bomb’s countdown is still ticking away. This game isn’t exactly portraying Sabrina in the best light, is it? Not when everyone’s out to murder her for some unexplained reason. Maybe they foresaw that she’d end up recording Blondie's “Call Me” as a duet with Sam Fox in 2010 and were desperate to prevent this grim future from coming to pass.
That’s the general flow of Sabrina, then. You walk onto each new screen, check for bombs and if there is a bomb you rush over it and try to kick it away before it explodes, all while trying to remember which of your attacks are effective against each foe. And trying to remember which key you’d mapped to each attack, in my case. But it is any fun? Sadly, it really isn’t. The hit detection is sloppy enough that enemies you’re sure you should have defeated manage to sneak through, the fact that you’re paralysed by every successful enemy attack quickly becomes frustrating and when a bomb does explode, being kicked back to the title screen doesn’t exactly compel you to reach for the “new game” button. That said, there’s something I find quite charming about Sabrina. Maybe it’s that it took its ridiculous premise and not-very-videogame-appropriate heroine and ran with it, and the boob attack is so dumb it wraps around to being funny. The graphics aren’t bad for a Spectrum game, either, with some nice backgrounds and sprites that are a lot clearer in motion than they seem in these screenshots.
After twenty or so screen of this nonsense, Sabrina comes face-to-face with a lady that I’m going to generously call a boss. Standing here in this desolate alley, the only outcome can be a furious martial arts battle the likes of which Hong Kong cinema can only dream of. Are you ready to see these two mighty warriors locked in mortal combat?
I’m at a loss for words. Nothing I can come up with seems adequate to describe whatever this is. Two shop mannequins trapped in a giant blender? Mechanical soft-shoe dancers caught in a violent electrical storm? No, this fight simply is, and our human minds are ill-equipped to comprehend it. That’s what I kept telling myself when I couldn’t figure out what was going on here, anyway. As far as I can see, the only way to beat this woman is to make sure you start with multiple lives, get right up next to her and start wildly flailing on your attack buttons. With a little luck, she’ll be defeated before Sabrina runs out of lives. Any good will I had towards Sabrina by this point was quickly swept away by this awful, incomprehensible boss battle, so it is with a truly heavy heart that I must inform you it’s time to go through the game again.
That’s right, the boss was merely the half-way point. After flipping the tape over, the second half of Sabrina is revealed, and it looks like this. The gameplay is the same, but the graphics and setting have changed. The cartoon bombs are sticks of dynamite now, the levels have more of a “city centre” feel and there are different enemies. For instance, Sabrina is being chased by a crucifix-waving priest. Maybe he saw Sabrina thrashing around during the boss fight and came to the perfectly reasonable conclusion that she requires an exorcism. You can defeat the priest by whacking him with Sabrina’s boobs, and with that in mind I’m going to flip-flop again and say that Sabrina is actually kinda great.
As I say, the graphics might be a bit different, but the gameplay hasn’t changed any. It definitely hasn’t suddenly become interesting or anything, not even with the addition of the roaming priests and the punk-rock ladies you can see at the left of the screen. I do like their sprites, though. Where’s my beat-em-up about punk rock women with mohawks and switchblades clearing up the city streets? Hmm. They say you should be the change you want to see in the world, so I suppose I’d better learn how to make a beat-em-up.
Here’s an indication of just how loosely Sabrina was holding my attention: I wandered onto this screen and the first thing that sprang into my mind was “‘ayuntamiento’ is Spanish for ‘town hall’” followed by several minutes spent pondering the mysteries of the human mind as this piece of vocab from my GCSE Spanish lessons popped into my head fifteen years later.
“An old woman, a priest and Sabrina Salerno walk into a sex shop...” sounds like the start of an extremely filthy joke. It's a shame I can’t pop into the sex shop, I can’t believe Sabrina’s morally-upstanding potential murderers would follow me in there and I could get a bit of a break.
The second half of the game ends the same way as the first, with an identical boss battle against the flailing woman. At least these battles are over quickly. In fact. the entire game is over quickly: once you've had a bit of practise, you can beat the whole thing in less than ten minutes.
That’s it, the game’s over, and we’re presented with the cryptic message “llegaste al plato.” Obviously my GCSE Spanish lessons weren’t as comprehensive as I thought, because I originally through it was trying to tell me something about acquiring a plate. Then I looked it up and realised it’s probably supposed to say “llegaste al plató” (with accent) which means “You arrived at the set” (as in movie set). That makes a lot more sense, and it gives some indication of what Sabrina was actually trying to accomplish in this game. It doesn’t explain why everyone wanted her dead, though. Her musical output by 1989 wasn’t that bad. There’s also a mysterious code number provided, but I couldn’t figure out what it was for. And why the hell should I? What am I, Hercule Poirot? Someone else can put in the legwork to figure that one out, because I’ve definitely had enough of Sabrina by this point.
So that’s Sabrina, a game so European and trashy I’m surprised it wasn’t presented by Antoine de Caunes. Hold on a minute, just let me check… yep, Sabrina did appear on Eurotrash. Of course she did. If she hadn’t, I would’ve had to find someone who owns a hat so I could eat it.
Here’s Sabrina’s loading screen, and in the interests of keeping the site relatively family-friendly VGJunk’s unofficial site mascot Satan Goat is pulling double duty as a censor bar. I reckon the breasts on the poster in the background are fine because the nipples are just one pixel, but that’s not the case with Sabrina herself. Let’s just say she should probably go up a bra size or two, because she’s spilling out of the one she’s wearing now.
Aside from that, I rather like this title screen. Sure, Sabrina might have the shoulders of a rugby forward, but apart from that it’s pretty good. A nicely detailed face and a background showing a charming Mediterranean town, all captured in black and white so you’re not subjected to the Spectrum’s occasionally retina-searing range of colours.
As well as this… engaging image, Sabrina’s title screen also features some digitised speech! That’s always impressive to hear coming out of a ZX Spectrum. Okay, maybe not always impressive, because I think Sabrina has the worst digitised speech I’ve ever heard in a computer game. I had to listen to it a dozen times before I realised it was saying “Genesis Soft presenta Sabrina,” because it sounds like Stephen Hawking being slowly fed into a rusty woodchipper.
It turns out that the eponymous Sabrina is not a character created for the game and she is, in fact, based on a real person. Specifically, you’re playing as Italian beauty pageant winner turned pop star Sabrina Salerno. As she was an Italian pop star in the mid to late eighties, I’m sure you can imagine the kind of poppy-funky-dancey music she was releasing, and it seems she was mostly famous for the raunchiness of her music videos. I watched a few of them as research for this article, and that was definitely one of the more, ahem, invigorating research sessions I’ve ever done for the site. You probably couldn’t get away with watching them (or doing a Google image search for Sabrina) at work, let’s put it that way. As you can see from the game’s cover, Sabrina also came with a cassette of Sabrina’s music, including her hits “Boys” (sample lyrics: “boy, boys, boys, get ready for my love”) and “Hot Girl,” as well as a cover of Prince’s “Kiss.” I listened to that version of Kiss, too. I wouldn’t recommend it.
Obviously, if you’re making a game about an Italo-disco singer known for her sex appeal, there’s only one possible genre for it: the side-scrolling beat-em-up. Hang on, really? Not some kind of music management sim or even a “make a music video” type thing? I can understand it not being a rhythm-action game, because the Spectrum’s ability to output bearable music is outdone by a squeaky dog toy tied to a pneumatic drill, but a beat-em-up? Oh well, time to start beating people up, I guess.
That’s Sabrina on the left of the screen, (and also twice at the bottom of the screen, which is perpetually emblazoned with the enormous status bar common to Spectrum games,) and she’s ready to move from left to right across a series of single-screen areas. There’s no scrolling backgrounds in this one, folks, just a series of individual screens. When I say “go from left to right,” I mean it, because that’s really all Sabrina can do. She can’t even jump and it does feel weird to be playing a brawler with no jumping in it at all. Just like in real life, I kept trying to do flying kicks when I very much did not have the capacity to pull off flying kicks.
This being a beat-em-up, naturally there are people for Sabrina to, you know, beat up. For the first half of the game, it’s mostly a repeating cycle of these three enemies. There’s a skinny woman on the right and a less-skinny woman on the left, and they’re presumably out to destroy Sabrina in a fit of outraged moral fervour. Just behind Sabrina is a knife-wielding maniac. You’d think he’d be the most dangerous of the three, but all of the enemies attack in the same manner: they walk into Sabrina and drain a bit of her health, while also causing Sabrina to be frozen in place while bright colours flash punishingly around the edge of the screen and a noise that sounds like a robot with diarrhoea not quite making it to the bathroom in time plays.
So, what moves does Sabrina have at her disposal to deal with these threats? Well, she has three attacks. She can slap at head height, she can kick at shin height – and that does look like it would be quite painful – and she can also do this.
That’s right, she can inflate her boobs and use them to batter people into submission. You’d have to pay certain specialist websites cold hard cash to get video footage of that kind of thing, but with Sabrina on the ZX Spectrum you can experience the effect in all it’s blocky, low-colour glory. It’s a move that’s destined to join Haggar’s spinning lariat and Axel’s Grand Upper in the pantheon of all-time classic beat-em-up attacks, I’m sure.
As you move forward, you’ll quickly realise that there’s a rock-paper-scissors – well, rock-paper-boobs, anyway – relationship between Sabrina’s moves and the enemies that are vulnerable to them. For instance, the knifemen can be knocked aside by a single blow from Sabrina’s ample charms, but the women are unfazed by her breasts and must be either kicked or slapped, depending on the type of woman. It’s an interesting take on the usual beat-em-up gameplay, I suppose, and it gives the action the feel of a memory-matching game rather than a brutal slugfest. I did begin to rue the fact that Sabrina’s boobs didn’t work on everyone, though, because they’ve got the greatest range and the fastest activation of all her attacks.
Then there’s the real danger that Sabrina faces during her adventure: high explosives. Most of the screens beyond the first two or three have a cartoon bomb laying on the floor – in the screenshot above, you can see it just in front of the purple door – and if Sabrina doesn’t get over to them quickly enough, they explode. If they do detonate, it’s an instant game over no matter how many lives you have, so obviously getting rid of the bombs is your top priority. To remove them, you have to punt the bomb off the screen by standing near it and using Sabrina’s kick attack – not part of most bomb disposal manuals, but it works for Sabrina as she has absolutely zero compassion for any innocent bystanders that may be harmed when she hoofs ten pounds of semtex at them.
Getting rid of the bombs isn’t as easy as I’ve made it sound, actually. Part of the problem is the position you have to take to kick the bomb: you’d think you’d want to be next to it, so that when Sabrina kicks the animation clearly shows her foot swinging and making contact with the bomb. That is not the case; you have to be standing right on top of it, maybe even slightly beyond it, in order to successfully kick the bloody thing. The is made more difficult by the frequency with which the bombs are placed directly under open windows, windows from which people will drop flowerpots onto Sabrina’s tousled head. Taking damage freezes you in place for what feels like a thousand agonising years, (actually about two seconds,) during which time the bomb’s countdown is still ticking away. This game isn’t exactly portraying Sabrina in the best light, is it? Not when everyone’s out to murder her for some unexplained reason. Maybe they foresaw that she’d end up recording Blondie's “Call Me” as a duet with Sam Fox in 2010 and were desperate to prevent this grim future from coming to pass.
That’s the general flow of Sabrina, then. You walk onto each new screen, check for bombs and if there is a bomb you rush over it and try to kick it away before it explodes, all while trying to remember which of your attacks are effective against each foe. And trying to remember which key you’d mapped to each attack, in my case. But it is any fun? Sadly, it really isn’t. The hit detection is sloppy enough that enemies you’re sure you should have defeated manage to sneak through, the fact that you’re paralysed by every successful enemy attack quickly becomes frustrating and when a bomb does explode, being kicked back to the title screen doesn’t exactly compel you to reach for the “new game” button. That said, there’s something I find quite charming about Sabrina. Maybe it’s that it took its ridiculous premise and not-very-videogame-appropriate heroine and ran with it, and the boob attack is so dumb it wraps around to being funny. The graphics aren’t bad for a Spectrum game, either, with some nice backgrounds and sprites that are a lot clearer in motion than they seem in these screenshots.
After twenty or so screen of this nonsense, Sabrina comes face-to-face with a lady that I’m going to generously call a boss. Standing here in this desolate alley, the only outcome can be a furious martial arts battle the likes of which Hong Kong cinema can only dream of. Are you ready to see these two mighty warriors locked in mortal combat?
I’m at a loss for words. Nothing I can come up with seems adequate to describe whatever this is. Two shop mannequins trapped in a giant blender? Mechanical soft-shoe dancers caught in a violent electrical storm? No, this fight simply is, and our human minds are ill-equipped to comprehend it. That’s what I kept telling myself when I couldn’t figure out what was going on here, anyway. As far as I can see, the only way to beat this woman is to make sure you start with multiple lives, get right up next to her and start wildly flailing on your attack buttons. With a little luck, she’ll be defeated before Sabrina runs out of lives. Any good will I had towards Sabrina by this point was quickly swept away by this awful, incomprehensible boss battle, so it is with a truly heavy heart that I must inform you it’s time to go through the game again.
That’s right, the boss was merely the half-way point. After flipping the tape over, the second half of Sabrina is revealed, and it looks like this. The gameplay is the same, but the graphics and setting have changed. The cartoon bombs are sticks of dynamite now, the levels have more of a “city centre” feel and there are different enemies. For instance, Sabrina is being chased by a crucifix-waving priest. Maybe he saw Sabrina thrashing around during the boss fight and came to the perfectly reasonable conclusion that she requires an exorcism. You can defeat the priest by whacking him with Sabrina’s boobs, and with that in mind I’m going to flip-flop again and say that Sabrina is actually kinda great.
As I say, the graphics might be a bit different, but the gameplay hasn’t changed any. It definitely hasn’t suddenly become interesting or anything, not even with the addition of the roaming priests and the punk-rock ladies you can see at the left of the screen. I do like their sprites, though. Where’s my beat-em-up about punk rock women with mohawks and switchblades clearing up the city streets? Hmm. They say you should be the change you want to see in the world, so I suppose I’d better learn how to make a beat-em-up.
Here’s an indication of just how loosely Sabrina was holding my attention: I wandered onto this screen and the first thing that sprang into my mind was “‘ayuntamiento’ is Spanish for ‘town hall’” followed by several minutes spent pondering the mysteries of the human mind as this piece of vocab from my GCSE Spanish lessons popped into my head fifteen years later.
“An old woman, a priest and Sabrina Salerno walk into a sex shop...” sounds like the start of an extremely filthy joke. It's a shame I can’t pop into the sex shop, I can’t believe Sabrina’s morally-upstanding potential murderers would follow me in there and I could get a bit of a break.
The second half of the game ends the same way as the first, with an identical boss battle against the flailing woman. At least these battles are over quickly. In fact. the entire game is over quickly: once you've had a bit of practise, you can beat the whole thing in less than ten minutes.
That’s it, the game’s over, and we’re presented with the cryptic message “llegaste al plato.” Obviously my GCSE Spanish lessons weren’t as comprehensive as I thought, because I originally through it was trying to tell me something about acquiring a plate. Then I looked it up and realised it’s probably supposed to say “llegaste al plató” (with accent) which means “You arrived at the set” (as in movie set). That makes a lot more sense, and it gives some indication of what Sabrina was actually trying to accomplish in this game. It doesn’t explain why everyone wanted her dead, though. Her musical output by 1989 wasn’t that bad. There’s also a mysterious code number provided, but I couldn’t figure out what it was for. And why the hell should I? What am I, Hercule Poirot? Someone else can put in the legwork to figure that one out, because I’ve definitely had enough of Sabrina by this point.
So that’s Sabrina, a game so European and trashy I’m surprised it wasn’t presented by Antoine de Caunes. Hold on a minute, just let me check… yep, Sabrina did appear on Eurotrash. Of course she did. If she hadn’t, I would’ve had to find someone who owns a hat so I could eat it.
Labels:
adult,
beat em up,
genesis soft,
sabrina,
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