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H.R. Giger And His Influence On Classic Video Games

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There isn’t a horror fan alive today who hasn’t been affected in some way, shape, or form by the works of Swiss surrealist artist H.R. Giger. From his work on the Alien and Species series to his art that has inspired and influenced countless films, it’s clear that he was, and still is, one of the driving forces in sci-fi and horror.

While many people may know of the Dark Seed games, which were psychological horror point-and-clicks featuring Giger’s artwork, what some people may not know is that there were other classic era games that clearly took inspiration from the artist in their level and creature designs.

I’ve gathered three such examples for you to check out below. Let’s see how much of a nostalgia trip I’m about to send some of you on!

Also, make sure to leave a comment with some Giger-esque designs that you found in old games in case we make a part 2!

The Astyanax (aka The Lord of King)

Released as both an arcade unit and as a NES title, The Astyanax was designed, produced, AND directed by Tokuhiro Takemori (Avenging Spirit, RoboWarrior) and follows a young warrior who, armed with a magical battle axe, proceeds to absolutely tear shit up*.

What stands out in this game is the 6th and final level, which sees Astyanax enter a level that can only be described as the Xenomorph spaceship from Alien. There are facehugger-esque creatures, backgrounds that are pretty much an exact replica of the ship, and you even face banana head-shaped creatures whose arms extend almost like the secondary mouth. It’s blatantly obvious that Giger’s work had a very, very strong influence on this particular level.

*That isn’t exactly how it’s phrased in the manual.

Streets of Rage 2

So, we’re all pretty much in agreement that Giger’s work is, on top of being a terrifying blend of organic with mechanical, rife with sexual innuendo and, in some cases, completely forward about its “sexiness”, right?

That’s why the horror house segment of the amusement park level in Streets of Rage 2 stands out. The background looks like the walls we saw in Aliens and there are eggs with Xenormorph-like creatures lurking inside. When those eggs are destroyed, the explode and harm the player, much like how the acid blood would harm the characters in the Alien films.

But the stand out creature was the random head that elongates and almost screams when hit, much like the Xenomorph does. And when destroyed, the leftover “stump” resembles a Giger-designed vagina and no one can tell me any different.

Contra

Hailed as one of the hardest games to ever be released on consoles, Contra gave me nightmares simply because I couldn’t beat it without using the infamous Konami code. But for those who were able to progress far into the game and ultimately reach the end, they’d enter a level that was pure Giger. From the giant Xenomorph that spouts floating Alien babies to the wall design to the four eggs surrounding the final boss (a heart?) that spew out a seemingly endless stream of facehuggers… It’s all there!

Admittedly, it’d be far more apparent if the color scheme had been changed from varying reds to more dark gray and greens. However, I think that’s precisely why they didn’t do just that. Can’t make it TOO obvious, like The Astyanax, now can we?

Managing editor/music guy/social media fella of Bloody-Disgusting

Editorials

‘Leprechaun Returns’ – The Charm of the Franchise’s Legacy Sequel

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leprechaun returns

The erratic Leprechaun franchise is not known for sticking with a single concept for too long. The namesake (originally played by Warwick Davis) has gone to L.A., Las Vegas, space, and the ‘hood (not once but twice). And after an eleven-year holiday since the Davis era ended, the character received a drastic makeover in a now-unmentionable reboot. The critical failure of said film would have implied it was time to pack away the green top hat and shillelagh, and say goodbye to the nefarious imp. Instead, the Leprechaun series tried its luck again.

The general consensus for the Leprechaun films was never positive, and the darker yet blander Leprechaun: Origins certainly did not sway opinions. Just because the 2014 installment took itself seriously did not mean viewers would. After all, creator Mark Jones conceived a gruesome horror-comedy back in the early nineties, and that format is what was expected of any future ventures. So as horror legacy sequels (“legacyquels”) became more common in the 2010s, Leprechaun Returns followed suit while also going back to what made the ‘93 film work. This eighth entry echoed Halloween (2018) by ignoring all the previous sequels as well as being a direct continuation of the original. Even ardent fans can surely understand the decision to wipe the slate clean, so to speak.

Leprechaun Returns “continued the [franchise’s] trend of not being consistent by deciding to be consistent.” The retconning of Steven Kostanski and Suzanne Keilly’s film was met with little to no pushback from the fandom, who had already become accustomed to seeing something new and different with every chapter. Only now the “new and different” was familiar. With the severe route of Origins a mere speck in the rearview mirror, director Kotanski implemented a “back to basics” approach that garnered better reception than Zach Lipovsky’s own undertaking. The one-two punch of preposterous humor and grisly horror was in full force again.

LEPRECHAUN

Pictured: Linden Porco as The Leprechaun in Leprechaun Returns.

With Warwick Davis sitting this film out — his own choice — there was the foremost challenge of finding his replacement. Returns found Davis’ successor in Linden Porco, who admirably filled those blood-stained, buckled shoes. And what would a legacy sequel be without a returning character? Jennifer Aniston obviously did not reprise her final girl role of Tory Redding. So, the film did the next best thing and fetched another of Lubdan’s past victims: Ozzie, the likable oaf played by Mark Holton. Returns also created an extension of Tory’s character by giving her a teenage daughter, Lila (Taylor Spreitler).

It has been twenty-five years since the events of the ‘93 film. The incident is unknown to all but its survivors. Interested in her late mother’s history there in Devil’s Lake, North Dakota, Lila transferred to the local university and pledged a sorority — really the only one on campus — whose few members now reside in Tory Redding’s old home. The farmhouse-turned-sorority-house is still a work in progress; Lila’s fellow Alpha Epsilon sisters were in the midst of renovating the place when a ghost of the past found its way into the present.

The Psycho Goreman and The Void director’s penchant for visceral special effects is noted early on as the Leprechaun tears not only into the modern age, but also through poor Ozzie’s abdomen. The portal from 1993 to 2018 is soaked with blood and guts as the Leprechaun forces his way into the story. Davis’ iconic depiction of the wee antagonist is missed, however, Linden Porco is not simply keeping the seat warm in case his predecessor ever resumes the part. His enthusiastic performance is accentuated by a rotten-looking mug that adds to his innate menace.

LEPRECHAUN RETURNS sequel

Pictured: Taylor Spreitler, Pepi Sonuga, and Sai Bennett as Lila, Katie and Rose in Leprechaun Returns.

The obligatory fodder is mostly young this time around. Apart from one luckless postman and Ozzie — the premature passing of the latter character removed the chance of caring about anyone in the film — the Leprechaun’s potential prey are all college aged. Lila is this story’s token trauma kid with caregiver baggage; her mother thought “monsters were always trying to get her.” Lila’s habit of mentioning Tory’s mental health problem does not make a good first impression with the resident mean girl and apparent alcoholic of the sorority, Meredith (Emily Reid). Then there are the nicer but no less cursorily written of the Alpha Epsilon gals: eco-conscious and ex-obsessive Katie (Pepi Sonuga), and uptight overachiever Rose (Sai Bennett). Rounding out the main cast are a pair of destined-to-die bros (Oliver Llewellyn Jenkins, Ben McGregor). Lila and her peers range from disposable to plain irritating, so rooting for any one of them is next to impossible. Even so, their overstated personalities make their inevitable fates more satisfying.

Where Returns excels is its death sequences. Unlike Jones’ film, this one is not afraid of killing off members of the main cast. Lila, admittedly, wears too much plot armor, yet with her mother’s spirit looming over her and the whole story — comedian Heather McDonald put her bang-on Aniston impersonation to good use as well as provided a surprisingly emotional moment in the film — her immunity can be overlooked. Still, the other characters’ brutal demises make up for Lila’s imperviousness. The Leprechaun’s killer set-pieces also happen to demonstrate the time period, seeing as he uses solar panels and a drone in several supporting characters’ executions. A premortem selfie and the antagonist’s snarky mention of global warming additionally add to this film’s particular timestamp.

Critics were quick to say Leprechaun Returns did not break new ground. Sure, there is no one jetting off to space, or the wacky notion of Lubdan becoming a record producer. This reset, however, is still quite charming and entertaining despite its lack of risk-taking. And with yet another reboot in the works, who knows where the most wicked Leprechaun ever to exist will end up next.


Horror contemplates in great detail how young people handle inordinate situations and all of life’s unexpected challenges. While the genre forces characters of every age to face their fears, it is especially interested in how youths might fare in life-or-death scenarios.

The column Young Blood is dedicated to horror stories for and about teenagers, as well as other young folks on the brink of terror.

Leprechaun Returns movie

Pictured: Linden Porco as The Leprechaun in Leprechaun Returns.

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