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Whether you were being chased by massive spherical rocks (an accurate reflection of ancient defence systems employed by remote Incan tribes, said no historian ever), using briefly extinguished firepits as stepping stones or hopping on and off stone platforms sliding in and out of temple walls (no, seriously, who would build those in?), Crash Bandicoot was driven along by a compulsive urgency that made up for lacking Sonic’s speed or, um, whatever it is people like about Mario.Ĭastlevania: Symphony Of The Night (1997) Sony’s answer to Sega’s Sonic and Nintendo’s Mario, Crash was an apple-guzzling bandicoot-cum-mini-whirlwind as cute as he was fucking infuriating. Otherwise, this was basically Resident Evil, and we’ve already covered how amazing that was. Developed by Capcom, the creators of Resident Evil, Dino Crisis was intended as ‘panic horror’ rather than survival horror, with pterodactyls swooping from the night sky and raptors leaping out at you from dark corners like bitey pranksters. Metal Gear Solid’s stealth innovations would quickly become essential standards in virtually all RPGs, and the gaming world would rock to cries of, “Snake? SNAKE? SNAAAAAAAKE?!?”ĭino crisis? What Dino crisis? Oh yes, the escaped dinosaurs running riot around a secret island research facility that, for copyright reasons, had absolutely nothing to do with Jurassic Park.
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Suddenly planning, cunning and intelligence were the fastest route to success, and the sheer panache of the game’s top-down aesthetic would hold off the third-person 3D perspective for a console generation or two. It was a whole new tactical ball-game for players more used to blasting their way through armies of balaclava-clad meatbags with barely a coherent thought. Thanks to renegade guerrilla outfit FOXHOUND employing all their guards from a commune of short-sighted imbeciles with zero peripheral vision and dreadful short-term memory for whether they’ve seen an infiltrator in the base in the past 12 seconds, Metal Gear Solid was able to create the stealth genre. Come Resident Evil 2, we were masters of mixing herbs, had found coping mechanisms for the endless opening-door load screens and knew what a dreadful idea it was to empty our entire stock of bullets into one lumbering zombie, as we left behind the creepy mansion and hit the sewers and underground research facilities in our attempt to get the hell out of Racoon City. In this case, the ridiculous possibility of being killed, very quickly, by crows. Remake, please.Īs with Tomb Raider, the original Resident Evil set the standard and the sequel ironed out the crap bits. The sequel made the whole thing bigger, longer and a whole lot harder TRII was undoubtedly one of the most fiendish games on the PS1, demanding pinpoint jumps, backflips off sheer surfaces and the puzzle-solving skills of the Enigma machine to complete. The original 1996 Tomb Raider opened up the classic gaming concept of the trap-filled puzzle dungeon for the 3D generation, really bringing the gaming experience to life even as it left a million dazzled teenagers confused as to why they were suddenly fighting a massive T-Rex in the middle of modern day Peru.