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Hell Yeah! Wrath of the Dead Rabbit: Cutesy, yet gory.

(content warning: cartoony violence and blood within. there’s also an aside about a game designer’s transphobia, but not in the game itself.)

Ever had a moment where you’re scrolling through your library on Steam or some other digital storefront and spotted a game in your library that you have no memory of acquiring? Something that made you wonder “when the hell did I buy this?,” causing you to frantically search Humble Bundle and the 3-4 other discount key storefronts you have accounts on just to have the record of when you purchased that game? Well, the game I’m writing about this time was like that for me, a game that somehow was in my Steam library for literally years. I was confused on how it got there. Maybe I bought it from hell or something.

Or, as the game calls it, “Ugh yeah!!!”

Hell Yeah! Wrath of the Dead Rabbit is a… rather bizarre action-adventure/metroidvania (ugh) game that was in my Steam library for a long time. Released in 2012 for Xbox 360, PlayStation 3, and Steam, it’s an unusual choice of game in my library mostly because of the game’s publisher: Sega.

“SEG-” *frantically mashes start to get to the main menu*

You know Sega, right? The company that puts out okay-to-great Sonic the Hedgehog games, the amazing Yakuza/Like a Dragon games, and occasionally dabbles in their back catalog once in a blue moon, right? In addition to its main headquarters in Tokyo, Japan and the oft memed USA branch, there’s another important division, an unsung hero of the company: Sega Europe, publishers of iconic PC gaming franchises like Total War, Company of Heroes, Endless Space and Football Manager. They dabble in other games as well, but Sega Europe’s is the reason Hell Yeah! was published by them and not like, 505 Games or something.

Pretty sure this is also the name of a my bloody valentine tribute album.

Hell Yeah! was offered as one of the free gift packages in “Make War Not Love,” a promotion Sega Europe was doing with its iconic strategy game franchises where playing either of those games – Company of Heroes 2, Total War: Attila and Warhammer: Dawn of War II – would result in unlocking content for those respective games. Hell Yeah! was packed in alongside other Sega games like Viking: Battle for Asgard, Renegade Ops and some of the games in the Sega Genesis/Mega Drive Classics Collection. All of these were offerings for the third “Make War Not Love” event, which happened in February 2016, just in time for Valentine’s Day.

But let’s talk about Hell Yeah! itself. Developed by Arkedo Studio, a games studio based in Paris, France, was mostly known for relatively forgotten platformers in their “Arkedo Series” of games. Said games had fairly unremarkable titles like Jump!, SWAP!, and Pixel!. Hell Yeah! would be their last major game released while the studio was still active. Eventually one more game would be released not long after the studio shut down: Poöf vs the Cursed Kitty, released one year later and published by Neko Entertainment. Surprisingly this game doesn’t end with an exclamation point in its title.

Don’t try to go to that web address, it doesn’t exist. Though, watch as Google suddenly makes .kom a top level domain…

In Hell Yeah!, you play as Ash, a bunny rabbit who reigns supreme over the realms of hell. Through negligence on his part, pictures of him are taken by paparazzi and spread around the shores of hell, causing it to damage his reputation. With help from his servant Nestor, Ash opts to seek revenge by finding the culprit who leaked those photos in the first place, which requires defeating 100 monsters around the world.

Why does it feel like I’ve waltzed onto a bullet hell shooter?

Ash has a fairly modest arsenal to start. Not long after the beginning, Ash acquires a super-sawing jetpack that allows Ash to drill through certain materials and fly to certain areas. In addition, Ash can acquire a slew of weapons: Slow-firing missiles that can blast through rock and destroy enemies with ease. Eventually after the tutorial area, Nestor gifts Ash with a second weapon: A machine gun, one that looks similar to the famous M41A Pulse Rifle from the Aliens films.

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Who Wants to be a Millionaire: The Album – One of the strangest soundtracks I’ve seen.

The soundtrack album is a neat little thing. Music used in the film that you can listen to outside of the movie. I always liked soundtrack albums because sometimes you’d find cool songs on there you wouldn’t find anywhere else. It’s one of those things that I tend to grab when I find them in a thrift store because there’s some good songs on there.

Then there’s the “music inspired by the film” soundtracks. Usually made when there’s only a handful of songs that play in the film, yet they have to fill up a CD, so they get a bunch of songs that fit the film for padding. These are a bit less inspired, but can be still interesting based on the song selection. Not particularly my favorites, but if the song selection’s good I can forgive it.

I had recently acquired an “inspired by” soundtrack, and it’s kind of a wild one. It’s not of a hit movie, or a teen drama. It’s… a soundtrack inspired by a game show.

Ah, Regis Philbin in his element: smiling with a wad of bills.

Who Wants to be a Millionaire: The Album is one of those “music inspired by” albums. Released in 2000 during peak Millionaire mania in the United States, the album features a myriad of songs that are, as mentioned on the album cover featuring host Regis Philbin, “inspired by the hit ABC television show.”

Normally, there wouldn’t be a whole lot to say about this kind of album. Since it’s inspired by the TV show, it’s a bunch of licensed songs. But the album does put its own spin on the formula, with not only licensed songs, but two new songs, both themed after the big quiz show.

We start with a rather insipid Millionaire song homage called “I Want to Be a Millionaire,” performed by Jack & Jemma. Jack is one Jack D. Elliot, a remixer/producer of pop artists like The Backstreet Boys and Britney Spears. Jemma is his wife, so they were probably trying to see if they could make success as a pop producer/singer duo. As far as I can tell, this didn’t get very far on the music charts anywhere. Even with having veteran music producer David Foster co-producing the record.

“I Want to Be a Millionaire” is a fairly unremarkable dance hit where Jack raps about the show: “Is it A or B or C or D / So I could win a million dollars on TV.” After the verses, Jemma sings the chorus: “I Want to Be a Millionaire / So I can buy anything, never work another day / Ask me nicely, I might share because / I’m gonna be a Millionaire.” That’s all she contributes to the track outside of an occasional “oh oh oh oh,” it’s more Jack than Jemma in this case.

Surprisingly, Regis Philbin appears in the song as well, asking Jack the toughest $1,000,000 question: “What is the name of controversial rapper Eminem?” with Jack making jabs at bands like Sugar Ray while name-dropping Eminem’s real name. I get it’s supposed to be a bit like conventional hip-hop sketches, but this is just… lame. (As far as I can tell, Jack did not got the opportunity to remix/produce something with Eminem. Probably for good reason!)

“I Want to be a Millionaire” is like when you hear a radio station’s morning zoo crew try to perform songs of their own, usually themed on the city or the sports team. It’s kitschy, yes, but it’s not good. Definitely a terrible god damn earworm, that’s for sure.

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BlackOPS for Half-Life: An interesting mod with a hard-to-search name.

You know what I haven’t covered in a while? A game mod. How about a game mod for Half-Life, one of my favorite games of all time? Sounds good.

I’ve always been fascinated by Half-Life‘s mod scene, which had some really creative stuff being made for it. Even to this day people are doing some outstanding work with the that 25-year-old game engine. But let’s jump back to 2005, when Half-Life 2 was new. Let’s talk about Black Ops.

No, not that one.

Not that one either. We talked about that one years ago.

There we go. Third time’s the charm.

BlackOPS (or Black Operations as it’s called in-game) is a Half-Life mod that covers the Black Ops soldiers, the reskins of the HECU soldiers initially introduced in Half-Life: Opposing Force. Released in 2005, BlackOPS was primarily the work of three folks: Stephan “little_otis” Grabenhorst, Volker “Thrillhouse” Schreiner and Daniel “DeeGee” Grabenhorst, who came from the German custom mapping scene.

By this time, Half-Life 2 had been released and the fancy new Source engine was starting to be one of the go-to engines to mess around with. Despite that, GoldSource — the old Half-Life engine — still had some legs in it, so much so that there were still mods being made for the seven-year-old game. Honestly, the Half-Life mod scene post-HL2 is really interesting to me, so let’s check it out.

Anomalous materials, eh? I see what you did there.

The mod starts with an exposition of the creation of the Black Operations squad in game, and mentioning the Black Mesa incident that happened in Half-Life. Eventually we’re dropped into the Black Ops HQ as the protagonist, Declan Walker, is briefed upon his mission: Go to Metro City, find Dr. Gallagher, a rogue scientist, and procure a special case he was holding onto. Doing this while fighting off any aliens and soldiers along the way.

“Here, have some dessert: Lead!”

Initially armed with only a silenced pistol, Declan fights his way through the apartments of Metro City, fighting mostly headcrabs, zombies, houndeyes and even the Alien Controllers from later on in Half-Life. Declan’s journey eventually takes him to a subway, into the belly of a drug-addled club, through the obligatory sewer, before arriving in Chinatown.

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Jeopardy! and Wheel of Fortune on the Nintendo 64: GameTek’s last hurrah.

Game show video games are fascinating to me. They’re neat ways to enjoy your favorite shows, it can be good practice for how you’d actually do on the show itself, and it’s interesting to see how they adapt certain game shows to video game form. I never understood why some retro gamers balk at these games, a lot of them seem to miss the point why they’re fun.

If you’ve visited the site before, you’ve probably read a few pieces on me talking about game show games in various ways, from comparing game music versions of iconic game show themes to game show-adjacent games. But if you haven’t, let me make this clear: I like game show video games. And once again, we’re gonna talk about them.

Yes, in this image, it’s deliberately off-center. Don’t ask me why.

For a good chunk of the 80s and 90s, GameTek was the definitive game show game publisher in North America. A subsidiary of IJE Inc, the publisher would license various game show franchises – usually Wheel of Fortune and Jeopardy!, two of the biggest game shows in the USA – and put them out on every platform imaginable. Nintendo Entertainment System, Sega Genesis, DOS, Windows, you name it, they likely published a game show game on a system you had.

They published other stuff too: They helped publish Frontier: Elite II for instance. Hell, their UK branch helped distributed the work of Capstone, “The Pinnacle of Entertainment Software.” Despite this, they will always be the game show game guys to me.

Unfortunately by the late 1990s, GameTek was struggling, and in December 1997 they had filed for Chapter 11 bankruptcy. Some of the projects they were making, like RoboTech: Crystal Dreams, got canceled. But in spite of the bankruptcy, they had one last hurrah, by releasing two games that they were mostly well-known for: game show games based on the one-two punch of one Merv Griffin.

You can kinda tell these were made in a hurry. (Covers courtesy of GameFAQs.)

Wheel of Fortune – released around November 1997 – and Jeopardy! – released in February 1998 after Take-Two Interactive acquired GameTek’s assets – are the final two game show adaptations published by GameTek. By this time, GameTek was developing the games in-house, forgoing the early NES/SNES days of having contract developers make the games for them. For a company who had a decade+ of game show games under their belt, having their last games be yet another version of Wheel and Jeopardy! was a sad way to go out.

I remember these games because Nintendo Power had covered both games in different issues of the magazine: Wheel of Fortune in December 1997’s issue, and Jeopardy! in the January 1998 issue, of which I owned. It’s surprising to see these games to get a multi-page spread on the magazine.

“Vanna?” I know that these are probably made months in advance but you couldn’t check to make sure that you’re covering the right game show here, fellas?

Why they decided to dedicate magazine space to these two games is a bit weird to me. I know the Nintendo 64 was struggling for a good while, but to give multiple pages about these games makes me think the system’s library was pretty dire until The Legend of Zelda: Ocarina of Time. Of course, maybe I’m wrong and they always covered stuff like this.

I’m going into these with the assumption that you know what these shows are and how they play, mostly. If you don’t… well, you might wanna catch up on that first. With that preamble out of the way, let’s give these a shot, shall we?

I kinda liked this logo. But only because using the actual Wheel as part of the logo makes it look cooler to me.

I’ll start by covering the one that came out first: Wheel of Fortune. This was one of the first games I got for the Nintendo 64, alongside stuff like Diddy Kong Racing and Super Mario 64. Me being a game show fan meant naturally I was gonna have this game in my collection.

It’s like I’m talking to Vanna through Zoom.

Much like most Wheel games until around 2010, our “host” is Vanna White, the show’s co-host and letter turner. Or in this case, “letter toucher,” as this was released just as the new modernized puzzle board was revealed, something prominently shown on the cover.

This menu definitely isn’t a looker, that’s for sure…

Like most adaptations, there’s character customization, AI opponent difficulty, even the option to play 3-5 fixed rounds of play, or a “full game” which can go for the maximum six rounds or until the game decides time is up and goes into the Speed-Up portion, complete with Vanna giving the Final Spin of the day.

Wheel‘s core format is fairly simple: A puzzle similar to Hangman is revealed, spin the wheel, land on a dollar amount, call a consonant and hope it’s in the puzzle. Wanna know if a vowel’s in the puzzle? You can buy one for $250. Try not to hit Bankrupt as you’ll lose all your money you’ve earned that round. Highest scorer wins.

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I Am Alive: Ubisoft’s dollar store version of a survival action game.

I never really cared for post-apocalyptic stuff. That stereotypical dystopia of derelict cities fighting off some zombie horde or devastating dust storm while people living in squalor… It all felt a bit too played out to me. Considering what’s happened in the past few years with us living through a global pandemic, I can’t say I’m really interested in playing too many things that hit a bit too close to reality like that.

That doesn’t mean I never play those kind of games. I’ve played stuff like Fallout 3 and Telltale Games’ The Walking Dead which take place in dystopian worlds and yet still enjoyed them. But it’s definitely not something I actively seek out.

Yet, I decided to start 2023 by playing a game that took place in a post-apocalyptic world. One that was recommended to me as something interesting, but fairly clunky. And as you’re gonna learn, feels like the dollar store brand of something more notable.

I mean, it’s better than being dead, I suppose.

I Am Alive – a title that while grammatically correct, still sounds weird to my ears – is a survival action game published by Ubisoft and developed by Ubisoft’s Shanghai studio. Released in March 2012 for the Xbox 360, PlayStation 3, and later the PC through Steam and Uplay Ubisoft Connect; the game was one of those aforementioned post-apocalyptic games, coming out just as the survival action genre was starting to take off.

Originally announced as just Alive in 2008, I Am Alive was being developed at Darkworks, a French studio who had done other similar games, such as the interesting survival horror game Cold Fear and the mostly-forgotten Alone in the Dark: The New Nightmare. 

After an initial trailer showing a player surviving a catastrophic event in Chicago, Illinois, the game went dark, with only occasional news reports of the game still being alive (no pun intended). After countless delays, the game was rumored to be canceled until Ubisoft moved the development in-house around 2010, while also shifting the game’s focus from a major retail title to a smaller digital-only title. Darkworks shuttered its doors not long after.

Unless some Darkworks developer held on to some unfinished development code, this particular version of I Am Alive is presumably lost, with only some proof of concept trailers still available online.

Even after moving development to Ubisoft Shanghai, they opted to take Darkworks’ concept and start completely fresh, basically making a new game under the same name. Let’s see if they revived this concept, or if it should’ve stayed dead.

It’s like I’m watching a found footage movie!

In I Am Alive, we’re introduced to the playable character, a boring, run-of-the-mill dude protagonist whose name is never mentioned at all during the game. For some reason, I thought his name was “Ethan,” but all the sources I checked have him unnamed, so he’ll be named Our Hero going forward. 

After The Event – the nebulous term the game uses for the apocalyptic event that ravaged the country – Our Hero returns to Haverton, a fictitious New York-like locale. He goes to find his wife and daughter – who do have names unlike Mr. Unknown here – but after finding that they’re not home, Our Hero then gets wrapped up in a journey that involves reuniting other families, getting supplies, and taking advice from various strangers around Haverton to eventually escape out of this hellhole.

Ezio Auditore he ain’t.
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