#CONTRA REBIRTH CODE SERIES#
The gameplay therefore precisely reproduces the classic gaming experience, which is good, especially for fans of the series and “hardcore” players in general, to whom this product naturally seems destined. As true protagonists of the levels, they appear on the screen several times until the final showdown. The latter deserve a special mention: as per tradition, they are the most spectacular moments of the Konami game, huge and extravagant. The possible actions are few, there is nothing accessory, while the only minimally strategic elements are the choice of the weapon to be used (only two can be equipped at a time and alternated at will) and the learning of the attack patterns of the bosses to defeat. There is no time to dwell on the details – now so important in modern games – it is necessary to run, jump and shoot non-stop in order to survive, in the typical precarious environment and the constant and hyperreal danger that was once characteristic of almost every video game.
Obviously, in the spirit of the 80s, the action within the game is pushed to paroxysm: gigantic bullets, missiles, fired colors, huge bosses follow one another relentlessly on the screen. Rizer is therefore awakened from a sort of hibernation and flanked by the new fighter Yaggyu, then – without even giving him time to remember exactly who he is and what he did in the past – thrown into the rain of bullets, laser beams and war machines that it has become the world: the story, if it can be defined as such, is told through rather well-drawn cut-scenes. It takes practical people to handle the situation, possibly someone who has experience in dealing with the enemy (or rather, in dealing with THE enemy): someone like Bill Rizer, the pseudo-Schwarzenegger of the earlier chapters. The matter is as simple as pulling a trigger: the aliens have returned to Earth, with their usual bellicose intentions and their repulsive appearance.
Here, then, is the ideal solution to resume in 2009 a series like Contra, which more than 20 years later falls fully within the definition of “vintage”: to build a new chapter starting from the graphic representation and game setting that characterized the chapters of the bitmap era, from 8 to 16-bit. On the other hand, there has been a long discussion about the impossibility of re-proposing today in the best way some genres that have made the history of the video game: the shooter and the scrolling fighting game, to name two, types that with the advent of the third dimension do not they have managed to find some benefit (if not from an aesthetic point of view, with mixed results) by finding their very meaning deeply linked to a certain graphic representation and, for better or worse, to a certain way of enjoying the games that undoubtedly is no longer that of today. In a certain sense, therefore, they contribute to delineating the importance of the various historical phases in the evolution of videogames, attributing a specific value that is evidently still sought today, in spite of merely technological progress. The “rebirth” operation – from the recent Gradius to the previous Mega Man – represents a step of some importance in videogame development: it is certainly homages to the classic videogame tradition, but instead of focusing on simple nostalgic re-enactment – editions with awkwardly adapted graphics as often happens in digital deliveries – are proposed as real new chapters perfectly immersed in the atmosphere and style of the original work from which they derive. The existence of a historical memory, stratified in periods and corresponding characteristic styles, is a proof, if not precisely of the artistic essence of a product, at least of its maturity and its sedimentation in a certain cultural substratum. When ancient alien threats loom, traditional solutions must be resorted to: heavy weapons and 2D ********.Ĭontra Rebirth is available on the Nintendo Wii WiiWare service
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