|Filed under Game trail, People, Software showcase;|
I had marked November 17th as the date Jordan Mechner would return to the world of Karateka, his classic Apple II fighting game. Ten days early, Sean Fahey announced that my marked date was for the PC, iOS, and PlayStation 3 versions of the new Karateka, but that the Xbox Live Arcade version was now available.
As primarily an Xbox gamer, I was happy to hear this news and immediately downloaded the game, accepting of the fact that I'd be unable to load it upside-down. Up until then, I'd wondered as to the game's genre and nature: was it best described as a sequel? A reboot? A reimagining? Having played only the ten-minute free trial, I would describe the game as a remake — and one that doesn't capture modern gamers with its demo.
With an art style and musical underpinning that harken back to the classic Apple II fighting game, Karateka is a visual and aural delight. The Japanese gardens and goofy goons that our hero encounters are evocative of another time and place. There is little freedom to explore these environments, though, as the protagonist (one of three) proceeds through it on two-dimensional rails, unable to move any direction but forward.
Once he engages with a foe, the opportunity for input becomes limited to three buttons: punch, kick, and block. It is impossible to strike an enemy without first blocking his own attack, at which point his guard is lowered and he is open to a chain of attacks. In an interview with Polygon's Samit Sarkar, Mechner describes the combat system as rhythm-based in which players "have to time your attacks to the score from Grammy-winning composer Christopher Tin". This was not my experience; my blocks were based solely on cues from the castle's keepers — tells that they were about to strike. A successful block then let me pound the punch and kick buttons, but there seemed to be neither functional difference between the two nor incentive to experiment with a variety of combos.
In an interview with Steve Peterson, Mechner indicates that the simplistic gameplay is intentional, allowing other aspects of Karateka to take center stage:
Mechner believes Karateka is an unusual design, one that will attract a broader audience. "It's not a fighting game in the sense of trying to rack up points, or fighting for fighting's sake. It's fighting in order to get to the happy ending in the story, and it's a love story. I think we're appealing to a slightly different audience than most fighting games," he says.
I can appreciate Jordan Mechner, as someone whose ambition has always been to write Hollywood scripts, wanting to focus on that aspect of Karateka. Storytelling has become an increasingly important part of both big-budget and indie games, with hits such as Braid, Portal, and even the BIT.TRIP series having set new milestones for their innovative and memorable plots.
But plot is also the hardest quality for a game to convey in a short demo. It is more effective to draw players in with engaging gameplay, then present them with an increasingly intricate and meaningful narrative. In that respect, the free demo I played falls flat. The only challenges I encountered in my time with Karateka was identifying a foe's pattern and timing my blocks accordingly. With digital distribution and mobile apps, there are much more involving experiences I could get for my $10, and demos that give me more confidence in that investment than Karateka has.