Bomb Rush Cyberfunk Review or: How I Learned to Stop Worrying and Love this Spiritual Successor to Jet Set Radio

Jet Set Radio (or as it was known in North America, Jet Grind Radio) came skating onto the scene in the year 2000. Developed by Sega's in-house studio Smilebit, the flagship Dreamcast release saw players enrol in the rollerblading GGs gang to claim their turf back from their rivals, one graffiti tag at a time, all whilst evading the clutches of the law. A platformer at heart, JSR was fun gameplay-wise, but what kept me and many others coming back for more was undoubtedly its revolutionary cel-shaded graphics, along with its premise, style and music - all a loving tribute to hip-hop and street culture. The exceptional soundtrack, the majority of which was composed by Hideki Naganuma, combined elements of hip-hop, J-pop, funk, electronic dance, rock, acid jazz, and trip-hop, and has been lauded by fans the world over to the point where it's almost taken on a life of its own outside of the game.

North American magazine ad for Jet Grind Radio

In the years following Jet Set Radio's release, Sega stopped making consoles and moved to being a third-party developer. Initially things were pretty good, with a wide range of their IPs receiving new titles or reboots, including Jet Set Radio, which received a beloved sequel/re-imagining on the original Xbox in the form of 2002's Jet Set Radio Future.

But, with series developers Smilebit closing their doors in 2004, and Sega's attention to any IP that wasn’t Sonic slowing to a drip feed over the following decade, the possibility of a new entry into the JSR series became less likely with each passing year. We did see a HD remaster during the seventh generation, which was cool, but the fully fledged third instalment many players have been waiting for just never happened.

The album cover for 2 Mello's "Memories of Tokyo-To"

During the series' absence, a cult community of fans slowly began to form around Jet Set Radio, with its art style and music finally being appreciated for how excellent it really is. A fan developed a whole website to stream JSR tunes 24/7, while artists like 2 Mello made entire albums in the style of the JSR sound. Many new indie titles like Umarangi Generation and Hover aimed to emulate that funky cel-shaded feeling we were sorely missing. Seeing this community of fans and creators blossoming around JSR really got me thinking... with the series' strongest suit undoubtedly being its aesthetic style and music, and with aspects such as the story and character's personalities taking a backseat (with perhaps the exception of DJ Professor K), it made me wonder: could someone else make Jet Set Radio? We'd witnessed it in the indie space for years, with titles like Bloodstained: Ritual of the Night, Shovel Knight and Cities: Skylines filling the void left behind by the neglect of bigger developers. For me, Jet Set Radio’s best asset is not that it was made by Sega. Sure, the genius minds of Dreamcast-era Sega gave it its best assets, but the fact that Jet Set Radio's winning formula has been abandoned for so long, that it hasn't had the chance to be developed further, to become bigger and better with the power of modern systems, to be re-introduced to a new generation of gamers, is criminal, frankly. As long as the right people were involved, Jet Set Radio could come back in style, even if it meant sacrificing the name.

Lethal League Blaze

The answer to my prayers came in 2020, when Dutch indie developer Team Reptile teased Bomb Rush Cyberfunk. Having previously worked on Lethal League, an excellent series of fighting games that feature cel-shading and character designs reminiscent of Jet Set Radio, and with the second game, Lethal League Blaze, even featuring a song from Hideki Naganuma, it was no surprise that Team Reptile were going to attempt a spiritual successor to Jet Set Radio for their next release. From their short teaser alone, I immediately knew they were the right people for the job. Bomb Rush Cyberfunk looked so much like a new Jet Set Radio game that I would've forgiven you for thinking it was made by Sega themselves. The teaser even featured a Naganuma track. It was finally happening!

Despite this, I still saw a fair amount of scepticism online. Some loyalists said they'd just wait for Sega's Jet Set Radio. Some even went as far as to accuse Team Reptile of "plagiarism". C'mon guys, it has been more than 20 years since Sega released an original entry into the Jet Set Radio series. To bastardise that famous lyric from John Lennon:

"All we are saying is, give Bomb Rush Cyberfunk a chance"

On the day it released, I bought Bomb Rush Cyberfunk for the Nintendo Switch, as that was the only console it was available for initially, and I don’t have a gaming PC, so that option was out. From the outset, the game's cel-shaded look, music and sound effects all felt familiar to me. It was great to jump back into that grinding and tagging gameplay I loved so much, to be transported right back to those special moments of playing the original JSR and Future for the first time. But Bomb Rush Cyberfunk is quick to remind you that while it remains incredibly faithful to its source material, it isn't completely derivative of it. Instead, Team Reptile are here to build and improve, which is exactly what I wanted to see from a spiritual successor to Jet Set Radio. I've always sung the praises of the gameplay refinements that Jet Set Radio Future introduced to the series, and Bomb Rush Cyberfunk is no different, picking up where that game left off but now with the benefit of twenty years of hindsight in its arsenal. Throughout this review, I will be calling back to JSR and Future many times to explain how BRC successfully builds on - or even improves - the formula, but please don't understand this as me disparaging the JSR series at all. Both Jet Set Radio and Jet Set Radio Future will forever remain two of my most favourite games of all time.

Bomb Rush Cyberfunk's plot, while still containing the appropriate dose of hip-hop and street culture references you'd expect, is crazy, and immediately more involved than either of the JSR games. Rather than functioning as stylish avatars for your rollerblading escapades, the main set of characters of the Bomb Rush crew have unique personalities and converse with each other in cutscenes, much of which is very humorous and often eccentric. The main character, Red, has a purpose - to get his head, which was chopped clean off his shoulders in the game's prologue, back, while also looking to investigate the past of his replacement head (I said the plot was crazy, didn't I?).

The rival crews, still serving as your opponents throughout the game, also have more purpose in the plot, as Red and his crew not only look to defeat them to become "All City" (to claim all turf in the city), but also to gain information to aid in their hunt for Red's origins. While I won't spoil the plot here, all I'll say is the whole idea of Red being a character patched together from the body and head of two different characters, and the duality that brings, is one of the more refreshing plot ideas I've had the pleasure of experiencing in a video game as of late. There are plenty of surprising twists and turns you may not have been expecting from a game that many will be turning to primarily for its aesthetic qualities, and it is certainly refreshing to see.

Bomb Rush Cyberfunk's cast of characters are all varied in design and dripping with style, with their clothing combining the aesthetics and fashion of not only hip-hop and its b-boy subculture, but also the skate culture of the early 2000s, with some sci-fi flair thrown in for good measure. Characters like Red, with his crimson "cyberhead", and the angel-winged crash dummy Solace stand out as the coolest of the bunch, while story characters like the "oldheads" are more amusing, looking like caricatures of golden age hip-hoppers with their maroon tracksuits and over-sized Kangol-esque hats. One of them even has a cyberhead that looks suspiciously like the mask of the late MF DOOM. DJ Cyber's cold cybernetic mask and long stylised lab coat really set him apart as the menacing antagonist he is and the Dot EXE crew just look fresh as hell with their pool ball cyberheads and two stripe tracksuits. Team Reptile really knocked it out of the park when it came to matching the imaginative character design seen in the games BRC takes influence from, so much so that you will undoubtedly be searching around the game's city to track down more peeps to add to your posse.

Depending on how you look at it, one potential flaw of BRC's playable characters could be that none of them have any stats, meaning that your decision on who to play as solely comes down to how cool you think they look. Jet Set Radio did assign stats to each character, which meant there was a bit of strategy involved when making your choice of whom to tackle a particular level with, but I suppose ultimately it's probably better to be able to play as your favourite character without their weaker stats holding back your enjoyment, and it does feel great to be able to constantly switch between BRC's aesthetically pleasing cast of characters just 'cause.

Credit: JREEL on YouTube

So we've got a great storyline and some cool characters, but how's the gameplay?

Let's take a look at The Dreamcast Encyclopedia by Chris Scullion

Keen Junkyarders will know that we recently had video game writer and journalist Chris Scullion as a guest on the latest episode of our podcast, the DreamPod, where Kev and Mike talked to him all about his brand new book “The Dreamcast Encyclopedia”, the latest in his series of books that review every game on specific systems.

Now, with the book firmly in his grasp, Kev has taken to YouTube to showcase it. This is not a review, but if you've been wondering about purchasing it, Kev gives a great rundown of what is contained within, so check out his video below.

The Dreamcast Encylopedia is available to purchase now from Pen and Sword books. You can listen to our DreamPod episode with Chris on Buzzsprout, along with all great podcatchers.

Driving Strikers Review - The First New Online Dreamcast Game in 20 Years

With Driving Strikers, LD-2K and Reality Jump have taken Sega’s iconic “why don’t we play together?” slogan to heart, producing the first online multiplayer Dreamcast game since 2002. Whatever your assessment of the gameplay itself may be, this is a monumental achievement - probably about as significant a leap as we are likely to see within our niche community. Commercial indie releases have been hitting the shelves for two decades now, and although there have been some phenomenal entries made to the Dreamcast’s library during that time, no one had mustered the courage to tackle what is probably the keystone of the console’s identity; online play. That is, until recently.

Luke Benstead and David Reichelt, the former of which invented the popular DreamPi method for connecting your Dreamcast to the internet, have been plugging away at the development of Driving Strikers, a fast-paced ‘car football’ game, for several years now (Rocket League? Never heard of it, mate). The duo, assisted by a handful of others, and with WAVE Game Studios on board as publisher, finalised the game back in June and physical copies have recently begun landing on doormats. Regular scene-watchers may already be familiar with the fundamental concept and overall design given that several demos have been dropped during the game’s developmental lifespan. For those that are still uninitiated though, it’s really quite simple: you take control of a car in a football match, and are tasked with scoring more goals than your opponents within rounds of a few minutes at time. You drive. You strike. It’s all in the name! Well actually, you can boost and jump too, but Boosted-Jumping-Driving Strikers would’ve been a bit of a mouthful.

All screenshots provided by Luke Benstead.

Those who have played the demos will immediately notice that the final commercial release of Driving Strikers is significantly expanded and improved upon when compared to those earlier builds. The most important change is undoubtedly in the handling of the cars, which are directed via your analog stick or D-pad. To be honest, in the demos I found controlling my vehicle to be virtually impossible, resulting in a chaotic experience replete with own goals that would make Frank Sinclair blush. In the final product though, the cars are much more manoeuvrable, allowing for more clearly defined defensive and attacking plays which are greatly rewarding when they pay off - especially so when you can rub it in the face of a human opponent. Matches are still quite hectic in nature, but now to a degree that suits, and while the gameplay is intuitive enough for total beginners it also has space for the development of skill from practice.

The arenas available to players, four regular and two unlockable, are diverse in their design, ranging from a serene beach (which looks more Seychelles than Skegness) to a dingy cobblestone castle. The distinct earworm-laden music that accompanies each stage is a particular highlight, with the Christmas stage track acting like a homage to the classic Dubstep Santa. If the stadia had differed a little more in their shape and terrain, and if the teams you choose from had material differences in their operation (speed, boost, strength etc.), then that may have helped spice things up a little more, but understandably for a game like this, boundaries need to be kept manageable.

The ‘league’ mode featured in the commercial release definitely adds a little longevity to the game (and must be traversed if you want to unlock one of the arenas) but fundamentally Driving Strikers is all about multiplayer - whether that be in person or online. What can at times be a bit of a dull experience when played solo becomes infinitely more fun when the competitive human connection is thrown in. If you are blessed enough to be able to call on four friends to cram round a screen, then Driving Strikers will easily give you the same vibes as local multiplayer classics of old. 

Best game ever. No bias, or anything.

Of course, if your Dreamcast is connected to the internet, then playing online is a must. However, as much of a watershed achievement as this feature is, it does come with some caveats. When it runs smoothly, the online multiplayer experience is fantastic, and you’ll find yourself happily burning through half a dozen rounds before you need to take a breather. Unfortunately though, the lag experienced by DreamPi users can disrupt things, and it seems to be a bit of a lottery as to whether you have no lag, a noticeable yet serviceable level, or a big fat dose. LD-2K and WAVE do acknowledge this, recommending in the manual that hosts should be using a Broadband Adapter wherever possible. The times I have played with a BBA have certainly been noticeably better, but the reality is that this peripheral remains expensive and far less widely used than the DreamPi. Aside from the lag, the game’s online mode does have other occasional hiccups too, whether that be freezing (requiring a console reset) or potential difficulties with the login screen.

No doubt some folks may feel a little aggrieved by these issues, which is understandable. After all, everyone is entitled to an opinion, especially so when the exchange of hard-earned money is involved. However, I personally feel that a more rounded perspective is warranted, and can be arrived at if we account for a couple of contextual factors. Firstly, lag and other snafus aren’t unknowns in the realm of playing your Dreamcast online. Those of us who play regularly will all have had jittery slideshow-like rounds of Mobile Suit Gundam, sessions of DeeDee Planet that desync, or pulled our hair out as a match of Worms World Party fails to start for the third time in a row. Secondly, Luke and David are the first to attempt the feat of getting an indie release online, without being able to follow pre-existing guidelines or rely on the support of a large well-resourced team.

What has been delivered is a meticulously thought out online architecture, compatible with all current Dreamcast internet connection methods and featuring cross-platform functionality with the PC. Granted, there are flaws, but in my view at least, they are forgivable. And, as the online code will be publicly shared, the door for other future online indie titles has finally been smashed open. Given that the battering-ram used for this progress is a vibrant, well-designed, and fun little game leaves me feeling that the £20 I forked over was well spent. The finishing touches such as multiple language options, in-game VMU icons, and a plentiful options menu (that aren’t always present on DC indie releases) only reinforce this perspective.

The three styles of physical copy available from WAVE on release - from Mike's A to Z account!

Here’s hoping that LD-2K return in the future with another online outing for our beloved little white box - after a well earned break of course. In the meantime, check the Dreamcast Live and Sega Online schedules to join us for some rounds of Driving Strikers.

Driving Strikers is available now in physical or digital format from WAVE Game Studios.

Have you played Driving Strikers yet? If so, have you had the chance to enjoy playing it online? Let us know in the comments below or via our various social media channels!

Review: Andro Dunos II

Ok, let's get this clear from the off. Any developer that has the gumption to produce a shoot-em-up for the Dreamcast has their work cut out. The console was blessed with such a phenomenal array of shmups, from the seminal Ikaruga (2002) to the idiosyncratic Radirgy (2006), that creating something that will stand out is a gargantuan undertaking. 

Around a dozen indie contenders have attempted this feat over the preceding two decades, and, although each has its charms, in my eyes there have only been a couple that truly cut the mustard. Fortunately, with Andro Dunos II, it seems we may have another indie shmup that can go toe-to-toe with the big-hitting NAOMI-based official releases (or, at the very least, put up a commendable fight).

Developed by Picorinne Soft and published by JoshProd/PixelHeart, this side-scrolling shmup is a contemporary sequel to Visco's 1992 Neo-Geo arcade game - a title which also appeared on the Dreamcast last year (our review of which is available here). In terms of fundamental game design, there is nothing revolutionary present. The task assigned to players is the same as it has been for decades: direct your ship through a succession of stages, shoot enemies, dodge incoming fire and rack up as high a score as possible. And of course, each of the seven stages closes out with a mammoth boss fight. A simple formula then, but one which Andro Dunos II executes very well in a number of respects.

Firstly, the fundamental gameplay mechanics are solid. When using the regular Dreamcast controller, the controls are intuitive, responsive, and your ship glides around the screen at an ideal pace: not so fast to make things uncontrollably twitchy, and not so slow that dodging incoming fire seems unreasonably hard. Just as important is the fact that enemy projectiles are easily distinguishable, and your hit box, while a little chunky, is perfectly serviceable. These may seem like pretty mundane basics but are prerequisites for a fun shmup experience. In essence, you need to be able to feel that defeat is down to user-error rather than poor game design, which is thankfully the case here.

Secondly, while the core activity of guiding a ship through levels filled with enemies is par for the course, Andro Dunos II does feature several elements that give it some depth and replayability. For starters, there are four weapon types with distinct characteristics at your disposal. Flitting between these quickly to suit your surroundings, combined with choosing how to allocate upgrades between levels, brings a problem-solving element into play and means that you can attempt different strategies over numerous runs. The varied designs of the levels, and in particular the presence of impermeable terrain that periodically encroaches onto your screen, as well as enemies that move and attack in a wide range of ways, only amplifies this. Dexterity and accuracy of movement within the immediate field of fire remain vital of course, but your choice of weapon, tactical deployment of the 'super shot' and overall ship placement are also important here. When you manage to master these aspects, Andro Dunos II is highly rewarding. The wide variability in difficulty settings should offer something suitable for most players too, and the unlockable boss rush mode offers a decent reward for those who make it through the seven regular stages.

Thirdly (is that even a word!?!), the game's aesthetics and audio pull together nicely to forge a vibrant up-beat atmosphere. The graphics are certainly not pushing the limits of the Dreamcast's hardware, but the Neo-Geo-style sprites and layered backgrounds are superbly drawn and take you on a journey through a broad range of scenarios without the game losing its cohesiveness. The synth-heavy electro-rock soundtrack complements the gameplay well too without becoming repetitive.

Of course, all of these positives would count for naught if the game didn't run well. Slowdown and frame-rate drops, amongst many other types of bugs, aren't unknown drawbacks for shmups on the Dreamcast, but thankfully they are nowhere to be seen here. In my experience, Andro Dunos II was buttery smooth and looked gorgeous over a VGA output. Videophiles may well have some gripes, but I imagine average players (like myself) will be satisfied with the presentation. The extensive two minute loading time before the game's main menu seemed foreboding at first, but, if intentional, is actually a clever move as it means that loading is brief between levels. The trade off is well worth it, and in any case, gives you just enough time to brew a cuppa (or scroll the DCJY Discord channels).

Although the Dreamcast version has arrived a year later than its initial outings on more contemporary platforms like the Nintendo Switch and the PlayStation 4, Andro Dunos II immediately piqued my interest more than some other recent Dreamcast releases as it is actually something new.

Sadly the same can't be said of the game's clichéd premise: saving the earth from an alien race. I wasn't exactly expecting Franz Kafka, but surely it wouldn't hurt to open our horizons up a little wider here? Just as there are heaps of gifted programmers in the Dreamcast scene, I'd bet there are also plenty of creative writers who could contribute something a little more stimulating. 

C-Smash VRS Review: A Cosmic Revival in ReVRie

Past works are lost when they stop conversing with the present. Honoring old games requires us to continue engaging with them, of course, but the onus is also on them to reciprocate. To enrich their legacy, revivals and follow-ups must do more than pander to us old fucks who were already there for them. They must also find relevance with new generations of players and creators who may be inspired to shepherd their ideas into the future. Or else let them die. Celebrating those experiences can mean reinterpreting and recontextualizing them, if not reinventing them altogether.

In this essay, I will—

And so it goes for Cosmic Smash, Sega Rosso’s modest game of intergalactic, block-breaking racquetball. The NAOMI title saw limited distribution in Japanese and European arcades in 2001, plus a stint on Japanese Dreamcasts. Following an initial run in obscurity, it has since rallied a cult following – that is, assuming the Junkyard community’s Top 200 rankings weren’t fraudulent.

At #64 overall, Cosmic Smash was voted the #5 ranked Japanese exclusive and the #1 game about swatting balls around a shipping container.

For many fans – including the creative teams at RapidEyeMovers and Wolf & Wood – Cosmic Smash’s resonance endures. Unearthing the license from under the sofa cushions at Sega’s IP lawyers’ offices (I imagine), they have developed C-Smash VRS, an unlikely reimagining of Rosso’s space station sportsball.

I’ve long respected Cosmic Smash for its melding of Rez-ish vibes and Virtua Tennish feel, but I’ve always felt detached from its primary hook. In virtual reality, though? Immersing players in the kineticism of physically swinging paddles at balls at walls in space makes immediate sense. Titles like Sparc, Holoball, and Proton Pulse have also poked at the edges of this concept in VR, albeit with mixed success. At the very least, they’ve helped buoy cyber squash as an accredited genre.

Meanwhile, the recent wave of Sega-inspired remakes/sequels/homages has set ample precedent on the nostalgic front. Yet, in the rising sea of Sega-likes, it’s easy to float adrift. Many rehash the most superficial aspects of their inspirations but fundamentally misunderstand — or fail to coherently capture — the core of why folks love them in the first place. This keeps them from fully evoking or advancing those concepts, or replicating their magic in any meaningful way.

Refreshingly, C-Smash VRS is deliberate and confident in its homage, and it wastes little time laying a foundation of its own.

VRS shares Cosmic Smash’s premise in all its minimalist glory. It has you rally a ball against a wall of blocks/panels to clear them within a time limit. As you progress, the configurations grow more layered and complex, and glimpses of puzzle elements begin to emerge. Some panels will move in patterns. Unbreakable panels will obstruct portions of the field. Special panels will clear adjacent rows, freeze panels in motion, or extend your time limit. Over time, successful hits will recharge your Power Smash ability, which can clear stacks of panels in a single shot.

The racket work feels remarkably natural. Its nuanced tracking and physics afford a wide gamut of shots, shanks, and whiffs. If you’re experienced at real-life racket sports, a few of the principles you’ve learned – like squaring yourself for forehands and backhands, anticipating timing and trajectories, etc. – will certainly help you here. If you suck at such sports in real life, though, then the learning curve will be a bit steeper. Either way, it is innately intuitive and rewarding to learn.

For their part, the PSVR2’s Sense controllers never struggle to keep up. In the game and real life, I flail in parity. And whenever I fuck up, it’s just about always my fault. The technology – or VRS’s exceptional implementation of it – simply works. That I never have to think about it is probably the best compliment I could give.

There are drawbacks, however. VRS binds several actions to the other controller, with limited options for button mapping. A Force-pull gesture serves the ball towards you, crouching helps reach low-bouncing balls, and the analog stick moves you horizontally along the baseline. It would be great to be able to remap all of these actions as needed, especially to a single controller.

Interestingly, VRS also helps me appreciate aspects of Cosmic Smash I had taken for granted. In its shift to first-person, it loses the flair of its wireframe avatar and all the cool shit they could do: The leaping volleys. The wall jumps. The aerial flips. The unlimited trick shots. The stylish replays. The celebratory flexing. They’re necessary omissions, but I underestimated their collective contribution to the original’s vibrancy and charm. Realistically, C-Smash VRS is feasible because it eschews those verbs, and players prone to motion sickness will be thankful for their absence. In that sense, VRS helps celebrate Cosmic Smash by contrast of its own sacrifices.

As with the original game, VRS’s style is integral to its substance. It preserves its clean, minimalist aesthetics and adds new flourishes of its own. It depicts a similarly optimistic future where humankind has channeled its ambitions into interstellar sports courts. VRS then expands on its setting with livelier and less claustrophobic arenas. Windows have now been installed, unveiling orbiting planets, little space guys, and other nuggets of world(s)building.

In its scope, C-Smash VRS is laser-focused on the minimum viable product, for better or worse. It practically flaunts its simplicity in its pair of solo modes. Among them is Challenge, where you progress through dozens of stages under a strict, continuous time limit to clear as many as you can as quickly as you can (i.e. Cosmic Smash). Alternatively, Zen mode works the same except failing stages doesn’t end your run and you can replay them as desired to improve your times and rankings. If that motivates you, you’ll get substantially more out of VRS’ solo-play. If not, you may be done with it after a run or two.

Let’s take a look at Dreamcast: Year Two

Back in July 2020, Dreamcast: Year Two - the sequel to Andrew Dickinson's Dreamcast: Year One book - went to Kickstarter and smashed its funding goal within 64 hours. It took a while to get finished, but is now complete, printed, and gradually making its way out to backers. As somebody who was involved in the creation of this book, I'm really excited for everybody to get their hands on what has been created here.

And with that, I must now insert my obligatory 'conflict of interest' disclaimer. Unlike the first book in this series, which Tom reviewed on the blog upon its release, Dreamcast: Year Two has full involvement from The Dreamcast Junkyard, and even sports our branding on its back cover. When we interviewed Andrew for our podcast, the DreamPod, little did we know it would be the start of a great friendship, and that he'd eventually go on to join The Dreamcast Junkyard team himself. Because of this, you will also find written content from Junkyard members Brian Vines, Kev Mason, James Harvey, Lewis Cox (me!), Mark Williams, Mike Phelan and Tom Charnock in this book. Myself and Tom also assisted with editing and proof reading. Oh, and we all backed the project too. With all of that in mind, this article will not be a review, but merely a "look" at Andrew's new book.

If you would like to have a peek behind the curtain to hear more about the process of this book's creation and the Kickstarter, I recommend you listen to Andrew's recent appearance on The Sega Lounge podcast.

Dreamcast: Year Two and the accompanying DCY Zine.

So, the book. Just like its predecessor, Dreamcast: Year Two again uses the format originally created by Sandeep Rai for his PS Vita: Year One book (with his blessing, of course!) This time, the book covers the events that occurred in the world of Dreamcast between April 1st 2000 and March 31st 2001. This includes the console's cancellation, the advent of online gaming, the appearance of many notable games, and much more. All of this is presented alongside the excellent art of illustrator Dan Tiller, whose colourful style, with its many paint splatter effects, is a stark contrast to the very clean artwork of Dreamcast: Year One. Andrew explains that there was a clear rationale for this design choice: "I wanted something a bit messier, to show how messy the second year [of Dreamcast] was. It was really colourful and bright and amazing, but it was also the end of the Dreamcast and things were going wrong!" He also went for a predominantly blue theming over Year One's orange, ‘cause European blue swirl for life, yo.  

Other than the Junkyard team, the book also contains writing from members of the wider community such as Retro Faith, the Dreamcast Years crew, and Dreamcast Hub, as well as a great piece from the creator of the 'Years' book format, Sandeep Rai.

After some introductory pages (including a foreword by the Junkyard’s founder Tom Charnock!), the book begins with a detailed breakdown of the events of Year Two, written by Andrew. First, he covers why many consider it to be the Dreamcast's "golden year", before hitting us with the one-two punch of reality that in the grand scheme of things, the Dreamcast wasn't doing quite as well as we thought. Not only was there the looming threat of the PlayStation 2, but poor attempts from Sega to quash rumours that the future was looking grim for the Dreamcast and that Sega were to become a third-party developer wasn't doing much to reassure fans. 

Andrew then takes us back to that devastating moment when the news of the Dreamcast's discontinuation reached the masses, and reflects on how fans at the time handled the news, excellently summed up using Elisabeth Kübler-Ross' five stages of grief model. This analogy-based chapter is definitely one of my favourite pieces of writing I've read from Andrew. Well done, sir.

This segment is then followed by a collection of interviews. One of Dreamcast: Year One's strongest suits was its interviews, and the interviews in Dreamcast: Year Two are excellent too. The selection of interviewees is nicely varied, each hailing from a different creative background, but with an appreciation for the Dreamcast in common. The interviewees are as follows:

• Corey Marshall (voice actor, English voice of Ryo Hazuki in Shenmue)
• Darren Jones (Retro Gamer magazine editor-in-chief)
• Adam Koralik (YouTube Creator)
• John Linneman (YouTube Creator, Digital Foundry)
• Iain Lee (TV Presenter, Channel 4's Thumb Bandits)
• Forbes Longden (Dreamcast Today founder)
• Mickaël Pointier (developer, V-Rally 2's Dreamcast port). 

It was particularly interesting to hear many of these guys reflect on their memories of first hearing the news of the Dreamcast's cancellation. Even more harrowing than that news, however, is Adam's story about losing a red Code: Veronica Dreamcast controller at airport customs. That tale is going to haunt me for a while...

After the interviews come some longer form articles covering a range of topics. These articles are a new addition for Dreamcast: Year Two and fit naturally within the page order. Dreamcast and Saturn Junkyarder Brian Vines' piece "Beyond Saturn" explores the many ways in which the Dreamcast picked up where its ill-fated older brother, the Saturn, left off. Brian's article is followed by Sandeep Rai's, in which he waxes lyrical about the Dreamcast's many excellent Capcom fighters. After this, Retro Faith provides some great insight into the origins of online gaming, and how the Dreamcast introduced this now hugely popular feature to a generation of console gamers. Finally, our very own Mike Phelan talks about the Dreamcast's many weird and wonderful peripherals (there's a lot).

Review: Tapeworm Disco Puzzle

2022 began much as 2021 ended - with a bumper crop of healthy Dreamcast indie games for us all to enjoy. It seems the answer to the question "what did you do in lockdown" for many in the scene was "make a new Dreamcast game" and you know what? If the only positive thing to come out of that whole ordeal was more Dreamcast games, then that’s a small win for us here at the Junkyard. Give us more indie games! 

In January 2022, one Tapeworm Disco Puzzle arrived at the Junkyard headquarters. I say "headquarters", it's actually just a wooden shed in the New Forest that we initiate new members in, using a combination of audio-visual psychological warfare techniques, a pair of secateurs, a copy of Spirit of Speed 1937 and a signed picture of Peter Moore. I may have said too much. Forget you read that. Anyway, Tapeworm Disco Puzzle is one I'd been looking forward too for some time, as it was announced as a "spin-off sequel" to Lowtek Games' title Flea! which had released a couple of years earlier. I previously reviewed Flea! here on the blog and thought it was rather good. Tapeworm Disco Puzzle, just like its predecessor, is an 8-bit title that, whilst limited technically due to its Nintendo Entertainment System origins, packs a whole lot of game and bags of charm onto its disc.

Much like the Dreamcast version of Flea! I reviewed previously, Tapeworm Disco Puzzle is a NES game that has been ported to the Dreamcast. Lowtek games originally ran a Kickstarter for the title back in December 2020, which was successful funded - probably thanks in no small part to the positive reception that Flea! had garnered previously. A Dreamcast and a PC port were also listed alongside the NES cartridge as part of this initial campaign, and it finally made its way out to backers within a little over a year's time, which is a quick turnaround time by Kickstarter standards.

If you've ever played Lowtek Game's first outing Flea! (which is probably a fair few of you now, since its re-release by WAVE Game Studios), you'll be familiar with the colourful pixel world that designer Alastair Low has created. A world of greedy, blood-hoarding monarchs, "refu-fleas" and undeniably cute, hopping heroes; it was a credit that for such a simple title, it created a genuinely charming little in-game universe. This world is expanded upon in Tapeworm Disco Puzzle, in a rather odd way. Your main character this time is the tapeworm, proprietor of the local night club where all the fleas like to hang out. Problem is, something strange is happening to his parasitical patrons, so as well as making sure there's plenty of banging party tunes and enough blood to go around, you'll have to try and work out just what is going on. Along the way, you'll come across some other club-owning worms, as well as all manner of other denizens of this surprisingly well-crafted mini-universe that Alastair has created.

Whilst inhabiting the same universe as Flea!, Tapeworm Disco Puzzle - as its name may suggest - takes an altogether different approach when it comes to gameplay. This is a grid-based puzzle title, in which you must collect musical notes and blood with your tapeworm. Our hero, however, is limited in size, so to collect all the elements, you need to work out the best way to navigate the stage, as well as collecting tapes which will increase your worm's length (ahem...) which will allow you to reach areas that you'd otherwise be unable to. It sounds simple - and to be fair, the core concept here is - but the game quickly throws all manner of different elements in. Wormholes see our hero popping up in other areas of the stage, fleas will often be present in stages (the only way to collect blood) and it's your task to assist them, buttons need to be covered by your extended worm body to open doors, and there's plenty of bad guys spread throughout the stages too, which you'll need to avoid contact with.

Witching Hour: Indie Horror on the Dreamcast?

I could hear the wind and rain lashing at my bedroom window, like a cruel temptress in the night, wailing its cries of anguish through the tempest. I hunkered down, my hands shivering with cold and the fear of the evil lurking outside; my face dimly lit by the pale light of the television screen in front of me. Below it sat the white Sega machine, which I had turned on in a feeble attempt to distract myself from the nightmares swirling around my head, but I just found myself sitting there, staring mindlessly at the screen, unable to focus my attention long enough to decide which of the discs in front of me would be my attempt to escape the maelstrom. 

And then, a knock. At least, it sounded like a knock. The thunder rumbled in the distance, a flash of blue in the sky accompanying it, but I'm sure there was a knock. A timid, almost distant, tapping on the glass of the front door. I waited, anxiously, my mind tripping between scenarios - a visitor? At this hour? No. No one would be brave enough to face the violent storm battering the town tonight, surely? A creature, seeking shelter from the weather, perhaps? Nonsense. What type of creature would gently rap on my front door? No, it was definitely my imagination running wild. I was just hearing things in the dark. I needed to focus. Needed to find something to distract from the nightmares. The discs in front of me gave me portals to untold worlds of mystery, if I just picked one, I could have some relief.

The tapping again. Stronger this time, loud enough to jolt me to attention, audible over the howling wind and piercing rain on the window. There was no doubt this time. There was something, someone, at the front door. Fear very nearly overtook me, but somehow I managed to muster enough courage to investigate just what manner of visitor was calling upon me. As I walked, trembling with every slow, careful step, down the dark stairs, the room lit up with the furious bright light and cracking roar of another strike of lightning. My heart must have skipped a beat - or two - but in that momentary illumination, I saw something on the floor. A package? What ungodly courier would deliver me a package, at this hour, in this storm? I moved as slowly as I could, fearful of my nocturnal visitor still being present, but there seemed to be nothing there. Dare I open the door and seek the stranger? Nay, thought I. Besides, the presence of this mysterious package now occupied more of my thoughts. The brown paper of the parcel was shimmering wet, no doubt a result of the weather outside... although, in the dark, I momentarily thought I could see a tinge of red sprinkling this most unwelcome of deliveries. I needed to get this into the light, and quickly.

I hurried back up the stairs, another flash of lightning and whip crack of thunder punctuating my ascent, and into the relative safety of the bedroom, still dimly lit by that television screen. I no doubt could have turned the main light on, giving some warmth to my surroundings, but my desire to see what was in this parcel overwhelmed me. I sat down in front of the screen, and for the first time could make out the package clearly. The brown paper was wet, but not from the rain as I had thought. My throat dried, my heart beat faster, for it was now obvious that upon this unrequested bundle delivered to my door, was the unquestionable imprint of a bloodied hand. Blood. On a parcel delivered to me in the middle of the night, in a storm like this. I froze, my mind not quite capable of grasping the reasons why. Was it really blood? Maybe not. Maybe, this was a joke, played on me by an unseen trickster in the night. It couldn't be blood, I tried to reason.

It felt like an age, just sitting there, staring at the brown paper and that bloodied handprint. I had played out reasons why in mind, but every attempt at explanation just took me down more darker trails of thought. One thing was for certain though - I had to open this. I had to see what horrors - for horrors they surely were - lurked inside that parcel. My hands were sweating and my lips were dry as I carefully tore at the paper, being careful not to destroy what was in front of me. As the paper peeled away, its contents became clear. A plastic case, cold to the touch, was the first thing that caught my eye. A game? There was no doubt, the red quarter circle with a white swirl contained within caught my eye immediately. A Dreamcast game. A new world to explore. There was another crack of thunder in the distance, but by this point, the skipping of my heart beat was solely due to the possibilities that this game now presented me. The strange skeletal features on its front cover, the title written in blood. What unthinkable horrors could be contained within this disc? In the still dimly lit darkness, I peered at the cover - “Witching Hour” seemed to be the name of this new arrival, and its entrance into my life heralded dark things. 

That was not all, though. Underneath the cold plastic, there was a piece of card, no doubt a message to me from my unknown benefactor. I held it up, illuminating it in the light of the TV screen in front of me. What words would it contain? 

"Mike. No luck with that creative writing course, then."

How dare they.

---

There's nothing quite like the arrival of a new Dreamcast game. Sure, the sheer number we're currently receiving may make the unique specialness of such an arrival a slightly less exciting experience than it once was, but for those of us involved with the Dreamcast community at large, it's still a heart warming feeling when you tear open the plastic, open that case and start up a brand new title for the little console that won't die. Sega's zombie box of dreams had a great 2022, and one offering in particular promised to bring some horrified first-person gaming to the system - something which is particularly close to my heart. Step forward Witching Hour. 

Radirgy De Gojaru! - Radirgy's Terrible 3DS Spinoff

Ah, Radirgy. One of a handful of high-quality shoot 'em ups developed by MileStone Inc. to grace the Dreamcast in Japan, Radirgy boasts a colourful cel-shaded anime style, and a ridiculous plot that follows a protagonist who is allergic to radio waves. It's as Japanese as these shooters come, really, and I bloody love it. Radirgy has enjoyed a quiet cult following over the years, and has received various sequels and offshoots.

A few years ago, I was browsing Wikipedia (as neurodivergent gentlemen like myself tend to do), when I discovered that, sometime in 2014, Radirgy came to the 3DS. "Wow!" I probably thought to myself, "Handheld Radirgy! I need this right away!" When I investigated further, I sadly discovered that it was only available for purchase on the Japanese 3DS eShop, and there was no way for me to access that on my European region locked 3DS (thanks, Nintendo).

Credit: Depressed Sonic

Roll on March 2023, and the 3DS eShop was about to shut down for good, with its final day being the 27th of March. The Wii U eShop has now also shut down too; news I'm sure was received with a resounding whimper (no, it doesn't matter how many times a day retro Twitter tweets it, the Wii U is not "the next Dreamcast"). In this hustle and bustle, I learnt about a certain homebrew application that aims to collect and preserve 3DS eShop games, applications and DLC from many different regions - something which Nintendo clearly has no interest in facilitating (thanks, Nintendo). Using a Wi-Fi connection, the app granted me the ability to download any of this content for free, straight to my hacked 3DS that has the means to install .cia files.

As the app collects games from various regions and bypasses any region locking on your console, I immediately headed to the Japanese section, and lo and behold, there is was: Radirgy De Gojaru!. A moment later, it was downloaded onto my 3DS.

Screenshots taken with Luma3DS.

I booted up the game, and everything looked good at first. The startup menu screen featured the same bouncy electronic music and flat, 2D graphic stylings indicative of Radirgy. But this positive first impression all came crashing down when I actually started the game...

What I was playing looked liked Radirgy. It sounded like Radirgy. I was in control of a ship in a cel-shaded world, shooting at a painfully slow trickle of approaching enemies with the A button, or hacking at them up close with the sword by using the B button. For some reason, though, the background wasn't scrolling. Isn't your ship in Radirgy supposed to gradually move through a variety of constantly changing locales? Instead, I was just locked to a single static background, one which featured nothing exciting; just a load of trees and a grey building at the bottom of the screen. I thought at first that I was playing a tutorial level or something, but no matter how long I played for, this scenery never changed.

On the 3DS' touchscreen, amongst a variety of icons, I could select one of four different weapon options: a wide shot, an x-shot, a shot that shoots from both the front and sides, then finally, the "sword" option, which would make the sword attack more powerful than the bullets I was shooting. While I could freely switch between these options, doing so was weirdly unresponsive, and I often found myself having to hammer the touchscreen just to register my choice. Turns out I needn’t have exerted myself so much, as I soon figured out that just sitting at the bottom of the screen and mindlessly spamming the default wide shot takes care of oncoming enemies with ease. It didn’t take me long to decide I’d had enough. What on earth was I playing?

For you see, dear reader, this game was, in fact, not a port of MileStone's shmup for the 3DS (which is something I would've known if I'd spent just a few minutes with Google), but instead a small, eShop-exclusive spinoff game. Think something in the same vein as DSiWare or PlayStation Minis. This release was not developed by MileStone, but by Klon Co. Ltd., a company formed by ex-MileStone employees after the company closed due to the president getting arrested for violating Japan's Financial Instruments and Exchange Act (he was being shady with money, basically). Klon acquired the rights to previous MileStone properties, and this title, Radirgy De Gojaru!, was released as a result of that.

I'd love to give you a better variety of screenshots. But this was all the game had to offer!

So Klon had the Radirgy license, and they produced... this? Radirgy is beloved for its high energy and zaniness, but what they created here is frighteningly dull. I'm not sure what "Radirgy De Gojaru!" translates to in English, but I can only imagine it means something like "Radirgy: Shed Defender!" Because that's all you do here. Defend a shed. Or a bunker. Or whatever the hell the grey cube at the bottom of the screen is. The game is basically one of those old flash tower defence games with a Radirgy skin, although even those flash games were more enjoyable than this… and they ran better too. I hate to say it's true, but even on my New Nintendo 3DS (the more powerful, upgraded 3DS) this game suffers from slowdown. When the larger enemies are on screen and bullets are flying, the game chugs. Badly. Not even Ryo Hazuki running through Pigeon Park on a rainy day had frames dropping like this.

Believe it or not, this wasn't Klon's only game for 3DS to feature a previous MileStone license. They also released a spinoff of Karous, called Karous: The Beast of Re:Eden, which was actually a more fully-fledged release, featuring multiple levels and modes. It even went as far as to receive a physical release, exclusively in Japan. While I haven't played this one myself, I did find a very informative video about it by Briareos Kerensky, and, despite Klon's best efforts to flesh it out a bit more, Karous: The Beast of Re:Eden is pants too.

Klon folded in 2016, before being succeeded by RS34, Inc., who went on to release the excellent Radirgy Swag for Nintendo Switch in 2019, which is a much more faithful Radirgy title. If you're really looking for a portable Radigy experience, I'd probably just go play that instead. Or, for the diehards, there will always be the original on Dreamcast...

Have you played Radirgy De Gojaru! before? Had you even heard of it? Let us know in the comments below, or by dropping us a line on one of our various social media pages.

Related articles:

• A Quick Look At Radirgy
• Radirgy and Chaos Field now playable in English!

MiLE HiGH TAXi: A Hovercab Homage to Crazy Taxi (Review)

If you ever yearn for the spirit of Sega’s creative heyday, you needn’t look much further than the present. The spirit of that era continues to live on through modern Dreamcast releases from publishers like Wave Game Studios and PixelHeart, as well as creators whose projects breathe new life into decades-old titles via fan translations, online restoration, unreleased game preservation, and VR remakes. 

Sega’s turn-of-the-millennium spirit also lives on through the subsequent generations of developers who’ve been inspired by its legacy. It lives on through the ambitions of those who build upon and reinvent its concepts, and through those who create new and bespoke experiences of their own — just as Sega’s studios had done at their creative peak. At its core, the Sega spirit is a pioneering spirit. And when we pay homage to its past, it stands to reason that we ought to embrace the future, as well.

Conceived as a pandemic passion project by solo developer Cassius John-Adams, Mile High Taxi (officially stylized as MiLE HiGH TAXi) is the latest game to shepherd that legacy. It pays clear homage to Crazy Taxi but with a futuristic twist. Mile High supplements AM3/Hitmaker’s fare attack concept with the verticality of that chase scene in The Fifth Element where Bruce Willis nosedived his hovercab through hovertraffic to evade the hovercops. 

The game wears its influences like a hood ornament, tasking you with picking up and dropping off passengers throughout an exhausting and suffocating metropolis. As with Hitmaker’s forebearer, you’ll earn some cash and replenish a ticking countdown timer with each successful drop off. Those fares are well earned as you’ll spend most of the time weaving through (and into) a grid of infinitely tall skyscrapers while being constantly berated by the passenger and pedestrian populace.

Mile High’s towering cityscape is irradiated with billboards featuring clever nods to ‘80s and ‘90s films like Idiocracy, The Fifth Element (obviously), and Coming to America. Belying its title, Mile High Taxi appears to be set in a futuristic version of Toronto rather than Denver, Colorado – at least inferring from its abundant references to Tim Hortons and Quays (pronounced like “keys”, not “kways” as one NPC will frequently remind you). Either way, of all the dystopian cities I’ve explored in video games, Mile High’s is by far the most Canadian.

Toto, I have a feeling we're not in Kamloops anymore.

Conceptually, Mile High plays like Crazy Taxi in six dimensions with vertical maneuverability added to the formula. Unfortunately, it doesn’t take long for it to feel like precisely that: a formula. You begin by picking up customers on suspended platforms and pedestrian bridges, waiting as they leap into your cab (via karate kick, front flip, or diving chop) before stating the generic cross-streets and elevation of their destination. From there, it’s a mad dash to the drop-off point, with a floating arrow and GPS-style map for guidance.

The scoring system is a little obtuse. There doesn’t seem to be a rhyme or reason to the feedback you receive from passengers, but it's usually negative. Passengers frequently complain, except when you smash through street signs, stop lights, and patio furniture. They love that shit.

Which, fair. So do I.

Unfortunately, Mile High’s novelty wears thin after a few minutes of chauffeuring random passengers to indiscernible locations around its nondescript grid. Lacking distinct landmarks, varied street layouts, or unique neighborhood aesthetics, there’s little to distinguish one trip from the next. Each trip is approached more or less the same way, and Mile High’s fare loop dissolves into an amorphous, unmemorable haze long before the timer runs out.