![]() ![]() Often you’ll end up taking damage even after jump kicking successfully. Kicking an enemy does as much damage as the crossbow, but unfortunately the hit detection for the jump kick makes it much more challenging to connect with than it should be. Even worse, your weapons are much weaker here, making the powerful crossbow item the only weapon worth using. They can be unresponsive, and you can’t charge up your weapon right after you’ve been hit, while crouching, or doing anything else other than standing still for a second and then initiating the charge. What makes Revenge of the Joker really tedious, however, are its controls. ![]() Given the short amount of time between the NES and Genesis games coming out, however, it’s a safe bet these issues are due to Sunsoft rushing it out the door and not Ringler Studios itself. While Tallarico was a relatively new talent at the time, it was still a mistake to reuse the same arrangements from the NES rather than going for something more suited to the Genesis’ sound. It’s especially baffling since Sunsoft regular Naoki Kodaka delivered a great soundtrack to their previous Batman Genesis game in 1990. The sound effects are equally tinny and weak, lacking the explosive punch of the NES game. The music was produced by Tommy Tallarico, and is a huge misstep in between his simple but effective work on Wings of Fury and his excellent soundtrack for The Terminator on Sega CD. The arrangements are the same as the NES game, but it’s one of the tinniest soundtracks on the Genesis. While the new Batman sprite is awkward, and the graphics are washed out and garish compared to the detailed look Sunsoft went for with the NES version, the most immediate issue is the sound. Unfortunately, despite these additions the Genesis version is actually inferior to the original. On the surface, it sounds like these changes make for a worthy upgrade to the mechanics of the NES version. The final confrontation with the Joker is interesting though, he’s stationed in a large Geiger-inspired fortification that would be right at home in Contra or Gunforce 2. It’s a great idea, but unfortunately the boss patterns are simple enough that you’ll get bored of them long before they’re defeated. ![]() This lets Batman take way more punishment than he can during the rest of the game, and allows for large and aggressive bosses that attack relentlessly. ![]() Then his and the boss’ life are represented by a large number of hit points rather than energy bar used in the game proper. When they begin, Batman dramatically calls and absorbs lightning from the sky. The boss fights are a departure from the norm. Each track is short, but has the complexity and intensity we’ve come to expect from their work on previous Batman games. Like in Batman: The Video Game, the music was handled by Nobuyuki Hara and Naoki Kodaka, and both brought their A game. Still, despite the low difficulty, it’s a lot of fun to play because of the great graphics and music. The huge characters also limit the game’s platforming, making for a very simple game until the second half of the final level. Between the powerful weapons and huge sprites, you’ll never find yourself fighting more than two foes at a time, with most being defeated very shortly after they appear. These armaments and great graphics, unfortunately, are also the game’s greatest flaw. ![]()
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