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FLASHBACK (SMD)
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a.k.a. Flashback: The Quest for Identity
Publisher: U.S. Gold. Developer: Delphine International Software. Released: 1993. Genre: Cinematic Platformer. Other versions: AMI; SCD; SNES; 3DO; JAG; PC. Posted 4th August 2023. By Tom Clare © 2023 |
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Flashback represented a giant leap into the future, and not just through its science-fiction setting. Delphine’s landmark action game was ported to a plethora of systems and even debuted on the Amiga in 1992, but it was the Mega Drive that Paul Cuisset and his team built Flashback around. Their ambitions were considerable, and with a lead character possessing somewhere in the region of 1000 frames of rotoscoped animation, the developers took it upon themselves to reverse-engineer SEGA’s cartridge. The then-current ceiling of 16 megabits simply wasn’t big enough, so they made one that held 24. A breathtaking opening FMV sets the tone for an abundantly cutting-edge game, capable of capturing the player utterly in its film-like world. A thrilling action movie, with the player in the starring role.
Building upon the cinematic platforming style pioneered by Prince of Persia and propelled into the sci-fi mainstream by Delphine’s own 1991 classic Another World, Flashback remains remarkable for how beautifully the sum of its parts come together. Like AW, Flashback begins with an unforgettable video sequence. Here, we see Conrad B. Hart on the run, desperately trying to avoid capture before being shot down and left for dead in the jungles of Titan (a moon of Saturn). Conrad’s lost his memory, but we soon discover that he’s being pursued for having discovered a group of malevolent shapeshifters have started mixing, seamlessly, with the human population. Your task is simple: recover Conrad’s stuff, recover his memory, and fight back against the Morphs.
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Flashback mixes gameplay types and visual tones to dazzling effect
Very few games have married a novel control scheme with an absolute mastery of it, at the first attempt. The only other title that comes to mind is Tomb Raider, so it’s in good company. Conrad’s deliberate manner of movement takes cues from the Prince, albeit significantly expanded and reimagined for an action setting. The initially-demanding controls were met with greater discontent in the years following the game’s release, as players started to become more reliant on convenient navigation that required minimal thought or peril. In reality though, time has preserved a control method that is crucial to the depth of the experience, incredibly rewarding to master, and almost faultless in its execution. Conrad is tricky to control at first, but his movements are also unfailingly reliable. Abrupt falls will kill him, running requires a few steps for him to stop, mistiming jumps will see him bashing into walls, and he needs room to execute certain movements. These include hops, running jumps, rolls, ledge shimmies and a combination of exciting, weapon-drawn animations. Mastering his skills leaves the player feeling nothing short of an action hero.
Flashback eschewed the colourful palettes of early-nineties mascot platformers, but it didn’t go for a gauche, grungy look either. It wasn’t trying to be dark or edgy. The result was quite unlike any other game to come out during the 16-bit era. It’s stylish and sophisticated. A calmer, cel-like appearance proves as versatile as it is beautiful, harbouring some of the most gorgeous-looking levels ever to grace a video game and a quality of animation that was simply without comparison. The graphics were absolutely light-years ahead of competing Mega Drive games. Like its multifaceted gameplay, Flashback’s visual style draws from a considerable range of inspirations and perhaps its greatest achievement is fitting them together seamlessly, without breaking stride.
Flashback eschewed the colourful palettes of early-nineties mascot platformers, but it didn’t go for a gauche, grungy look either. It wasn’t trying to be dark or edgy. The result was quite unlike any other game to come out during the 16-bit era. It’s stylish and sophisticated. A calmer, cel-like appearance proves as versatile as it is beautiful, harbouring some of the most gorgeous-looking levels ever to grace a video game and a quality of animation that was simply without comparison. The graphics were absolutely light-years ahead of competing Mega Drive games. Like its multifaceted gameplay, Flashback’s visual style draws from a considerable range of inspirations and perhaps its greatest achievement is fitting them together seamlessly, without breaking stride.
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Whilst it’s easy to make comparisons with Predator (“Titan Jungle”) and Aliens (“The Planet of Morphs”), for me the first and last levels have always been more evocative of classic science-fiction paperback covers of the fifties. Flashback brings to life these dangerous, wondrous windows into imagined worlds. “New Washington” and “Earth” capture neon-lit bars and flying taxi services reminiscent of Blade Runner. The “Death Tower” level’s incredibly slick-looking, ominous game-of-death concept will remind many of The Running Man, though in an interview with Retro GAMER (Issue #118, p.21), Cuisset confirmed it was inspired by the French film Le Prix du Danger (1983), which may also have been responsible for Flashback's metro stations and the naming of its protagonist.
Each level is underpinned by a core of strong platforming and combat. Some involve the player in sub-tasks and additional missions, whilst others focus more on action and dexterous skill. All of them are a success, but “New Washington” is perhaps the finest single level I’ve ever played. Like a mini-movie in itself, this enthralling sequence sees the player arriving in a city set around four metro stations (Europa, Asia, Africa and America). Conrad needs forged ID papers, which means he must work five increasingly perilous jobs across the sectors to earn the necessary credits. Thirty years on, it still feels like a modern concept. There’s a bit of everything: collecting and delivering a package, eliminating a vigilante who’s being hidden by corrupt police, and escorting a VIP through a dangerous area. Most thrilling is a do-or-die timed mission that sees Conrad racing to the core of a reactor to prevent its meltdown, with deadly obstacles galore and the visuals bathed in a shock-red. A small, unobtrusive smattering of NPCs, along with perfect world-building details, make New Washington one of the most immersive settings you’ll find in a video game.
Each level is underpinned by a core of strong platforming and combat. Some involve the player in sub-tasks and additional missions, whilst others focus more on action and dexterous skill. All of them are a success, but “New Washington” is perhaps the finest single level I’ve ever played. Like a mini-movie in itself, this enthralling sequence sees the player arriving in a city set around four metro stations (Europa, Asia, Africa and America). Conrad needs forged ID papers, which means he must work five increasingly perilous jobs across the sectors to earn the necessary credits. Thirty years on, it still feels like a modern concept. There’s a bit of everything: collecting and delivering a package, eliminating a vigilante who’s being hidden by corrupt police, and escorting a VIP through a dangerous area. Most thrilling is a do-or-die timed mission that sees Conrad racing to the core of a reactor to prevent its meltdown, with deadly obstacles galore and the visuals bathed in a shock-red. A small, unobtrusive smattering of NPCs, along with perfect world-building details, make New Washington one of the most immersive settings you’ll find in a video game.
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There are some fantastic gadgets to enjoy as the game progresses. Throwing a stone can distract enemies patrolling below Conrad’s position, whilst a portable force field (along with some good timing on the player’s part) proves invaluable when facing the tricky law enforcers. Brilliantly, the player acquires a teleportation device, allowing Conrad to throw a receiver to otherwise-unreachable areas, before warping there. There’s even a cool puzzle involving a mechanical mouse, which zips along the floor and can activate switches.
Flashback’s mature vibe is enhanced further through its use of audio which, like more or less everything else in the game, is a masterpiece of impact and placement. For the majority of the game, your attention is drawn to ambient effects, be it local wildlife, warning beeps from mines and so on. Not only do these instances add greatly to the atmosphere, but they can help to warn the player of impending danger. Whilst some will have been surprised that a game from the period opted for static screens rather than scrolling backgrounds, it’s hard to imagine Flashback maintaining its singular mastery of suspense without them. The music chirps up here and there, a euphoric jingle whenever Conrad collects an item, an ominous barb when trouble lies in wait and quick, adrenaline-charged percussive beats during certain combat encounters. The music pops up only for a few seconds here and there, but it could hardly have been gauged any better.
Flashback’s mature vibe is enhanced further through its use of audio which, like more or less everything else in the game, is a masterpiece of impact and placement. For the majority of the game, your attention is drawn to ambient effects, be it local wildlife, warning beeps from mines and so on. Not only do these instances add greatly to the atmosphere, but they can help to warn the player of impending danger. Whilst some will have been surprised that a game from the period opted for static screens rather than scrolling backgrounds, it’s hard to imagine Flashback maintaining its singular mastery of suspense without them. The music chirps up here and there, a euphoric jingle whenever Conrad collects an item, an ominous barb when trouble lies in wait and quick, adrenaline-charged percussive beats during certain combat encounters. The music pops up only for a few seconds here and there, but it could hardly have been gauged any better.
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Master the controls and you'll have a fighting chance against a devious enemy
The seven levels are fairly extensive and, thanks to a password system, the game doesn’t have to be beaten in one sitting. Three difficulty settings add to the intrigue, with greater numbers of enemies and traps changing the feel of some areas. The challenge is a measured one: there are no cheap scenarios or difficulty spikes, and how long it takes the player to complete the game will largely depend on how quickly you get to grips with Conrad.
A high-tech vision of the future, Flashback remains one of the best games of the 16-bit era. More creative and refined than Another World, it stands as a near-perfect realisation of the cinematic platformer, a niche that would sadly all but disappear with the advent of 3D. Incredible presentation, captivating gameplay and some of the finest visuals of its generation: Flashback was on a different planet to its peers.
A high-tech vision of the future, Flashback remains one of the best games of the 16-bit era. More creative and refined than Another World, it stands as a near-perfect realisation of the cinematic platformer, a niche that would sadly all but disappear with the advent of 3D. Incredible presentation, captivating gameplay and some of the finest visuals of its generation: Flashback was on a different planet to its peers.
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VERDICT
"A cinematic platformer of incredible quality. Breathtaking presentation, captivating gameplay and some of the finest visuals of its generation. Flashback was on a different planet to its peers." OVERALL: 10/10 |
OTHER GREAT CINEMATIC PLATFORMER GAMES REVIEWED
Another World (1991, Amiga)
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Blackthorne (1995, 32X)
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