Tagged: American Gladiators

Wild West Showdown: American Gladiators meets Mad Dog McCree.

Around 1989, a plucky little sports competition show debuted that captured the hearts and minds of Millennials everywhere: American Gladiators, a show where contenders fought against “gladiators,” men and women who had background in stunts, sports or otherwise. Its campy stadium-like presentation combined with the play-by-play commentary of hosts Mike Adamle and Larry Csonka – with a few other folks before and after – it seemed like peak weekend viewing, after the Saturday morning cartoons have ended and you want something else to watch in a pre-internet world. (As a funny coincidence, there’s been rumblings of a new version of AG casting as of this writing, which has me mildly optimistic. Can’t be any worse than the 2008 version where they thought letting Hulk Hogan host was a good idea.)

You can’t tell me kids weren’t trying to imitate this stuff.

The original American Gladiators went off the air in 1997, which lead to a slew of imitators like Battle Dome to take the space. But even during AG’s peak, there were shows taking the formula and putting it in different environments. Stuff like Knights and Warriors leaned more into American Gladiators original intent of being a competition with a bit of a Medieval Times-like theme to it. There was a kid-focused spinoff called Gladiators 2000 featuring a then-unknown Ryan Seacrest. Even Nickelodeon GUTS likely took inspiration from American Gladiators. But there was one of these shows that captivated not just the game show nut in me, but also my friends who weren’t even that big into game shows. That show was Wild West Showdown. Grab your cowboy hat and boots, y’all, we’re heading into the old wild west for this one.

Okay, this isn’t an amazing logo, but hear me out, it gets better.

Wild West Showdown was a short-lived, mostly forgotten American Gladiators clone that aired for one season in 1994. Produced by The Samuel Goldwyn Company and Four Point Entertainment – the same companies that produced American Gladiators – their approach was to take their formula and give it a new twist. While it might seem gauche to rip off your own show, it’s not uncommon: When Allan Sherman and Howard Merrill was pitching a show to Mark Goodson/Bill Todman Productions, I’ve Got a Secret, they pointed out it was basically a ripoff of their existing show What’s My Line?. To which Sherman reportedly said, “You might as well, because if you don’t start copying your shows, someone else will.” (This comes from a memoir from former Goodson/Todman staffer Gil Fates about the history of What’s My Line? and may not be 100% accurate.)

Taking place in the fictitious town of Broken Neck, the town is constantly harassed by outlaws – this show’s versions of the gladiators – and it’s up to three cowpokes to try to stop the outlaws and hopefully make off with a bit of money in the bank.

Wonder if he loved getting back into the saddle again.

Our host is “West,” played by the late, great Alex Cord, a veteran character actor. Most people will probably know him best as Archangel in Airwolf, a TV series I’ve never seen but cannot deny has quite the banging theme song. While I initially thought this was strange casting at first, it made more sense when I found out he’s been in a handful of western films, as well as bit parts of some notable western TV shows like Gunsmoke. So in essence, this was perfect casting. Cord gives off a storyteller style to the proceedings, talking about the town, its outlaws, and the game outcomes.

Dang, having a lady co-host years before AG did. Inclusivity!

Alongside West, the contestants are interviewed by the local town reporter, K.C. Clark, played by Lisa Coles. She tends to fill the co-host role like in American Gladiators, where she interviews contestants after the game, getting their thoughts on how they did, and telling them if they won or not. So even though the show leans a lot into the wild west theme, there’s still a tinge of the show’s inspiration there.

Partway through the run, they introduced a play-by-play announcer, Joe Fowler, who replaces Cord’s play-by-play while trying to be a part of the proceedings off-camera. This honestly was a grave mistake. While Wild West Showdown is inspired by American Gladiators, Fowler’s commentary feels incongruous to the rest of the show’s overall theme, and completely kills the style the show is going for.

The rules go a little something like this: Three cowpokes – usually two guys and one gal – compete.

This looks like something straight out of Most Extreme Elimination Challenge.

Each of the games varied from show to show, usually with one cowpoke against one of the outlaws in various events, such as climbing a water tower to grab the fuse out of a stick of dynamite, “Rawhide Drag,” where the cowpoke has to grab the harness off a lasso while being dragged by an outlaw in the fastest time, or “Runaway Stagecoach,” where they catch a runaway stagecoach the fastest. Each game is for $100 cash, with the last game being for $200.

Continue reading…

Game Show Themes vs. Their NES Counterparts Volume 2: GameTek’s leftovers.

Several years ago, I did a post where I compared game show themes to their NES counterparts. It was one of the more unique posts I’ve done, and I teased about making another part sometime. Well, that time is now.

Like part one, we’re sticking with GameTek’s output. This was originally gonna cover the rest of the NES games, but it would’ve been a bit unwieldy compared to the last one, so I trimmed it down considerably.

The earliest game show games published by GameTek were developed by Rare, as it was likely cheaper to get a contract developer to make your adaptation compared to doing it in-house. By 1990, Rare had moved on to other projects with other publishers, most notably Milton Bradley and Tradewest. But GameTek was the leader of making game show video games, and naturally they needed to keep publishing games based on hit game shows, thus they soldiered on with a bunch of different game studios tackling the other game show licenses.

This time around, we’ll cover the last few game show games published by GameTek. Two of them are shows we’ve seen on here before, but the remaining three are all new, and have their own unique little tales to each. Let’s get started.

Wheel of Fortune featuring Vanna White (1992)

That’s one colorful wheel.

The NES version (composed by Barry Leitch):

COMPARED TO:

“Changing Keys,” Wheel of Fortune’s theme from 1989-1992 (composed by Merv Griffin):

Our first game is naturally the biggest. Wheel of Fortune really needs no introduction, though this is the fourth Wheel game on the NES. Though I can understand why they did this, which I’ll explain in our next entry.

This is a downgrade compared to before, even with those ugly avatars.

This one is honestly the best of the bunch. Multiple rounds, actually increasing dollar values, even gets the bonus round right with giving RSTLNE for free. A shame the game looks like… this.

This is a bit complicated. For one, the game is credited on most places (including MobyGames) to be developed by Imagitec Design, a small development studio who did occasional contract work. However, the game shares the graphical style with Talking Super Jeopardy!, which was done by people at Imagineering. If I had to guess, Imagineering is the actual developer, with music contracted out by Imagitec. Or in this case, Imagitec’s sole employee: founder Barry Leitch.

This looks a lot less crowded, which is a bit of an improvement.

Leitch composed the music for this game, and it’s somewhat unusual for an NES game. While the theme is pretty close to the show’s theme – albeit a bit too fast – it eventually segues into this breakdown with a distinct arpeggio sound that reminds me very much of MOD tracker music, or something I’d hear on a Commodore 64.

Even the other incidental cues, one of which is a rendition of the four chimes to introduce a new puzzle, has that distinct arpeggio sound. It sounds a bit unusual for a game based on an American game show.

Though, in reality, this isn’t that weird. This is fairly common for European composers who did music for the NES. Listen to anything from Neil Baldwin, Jeroen Tel or even Tim Follin, and this music would fall right in line. Since Barry Leitch was based in Scotland, it all makes sense.

Leitch would also do the music for the SNES and Genesis adaptations of Wheel of Fortune released in the same year, so imagine this guy having to adapt Merv Griffin’s iconic theme song to three different sound chips. Quite impressive, really.

Continue reading…