Everyone's heard of Viewtiful Joe, one of
the Capcom five, the Crimson Crusader, the scarlet successor, that design is iconic,
even if you never played his games, if you play video games, you know the character from
store shelves or Marvel, and at a glance, maybe it never spoke to you, but there's a
whole trove of interesting things going on with his series. And I say series, but it's two games and some
spinoffs. Viewtiful Joe burned so hot it died in two
years. Today, we're looking back at a masterclass
in hardcore action. Its sequel and Capcom's failure to spin a
surprising little game into a franchise so viewtiful Joe is about movies. It's fundamentally rooted in cinema, and it
maintains that thread with tropes and cliches slathers itself in the concept. Kind of like this. Will KBash survive his encounter with the
dark overlord? Find out next time on Oh hey Erika, I haven't
seen you for a while. Actually, I am the dark overlord and I have
gun. Oh, mother fu-! Keep the change you filthy animal. Viewtiful Joe, his moves are beautiful, and
he likes to view movies. Viewtiful. Nailed it. Yeah, there's the double meaning "V" being
read as "B" in Japanese, beautiful Joe least someone had fun making the thing. That's usually a good sign. It's a side scrolling beat 'em up. But I'd rather put it directly in the lineage
of Devil May Cry and other character action games. one Because the game was helmed by Hideki
Kamiya, creator of Devil May Cry two beautiful Joe will tear your whole scrotum off. It's really hard. Write okay you know what prequel time the
game presents to difficulties once you're seated kids mode and adults mode. And if you're on PS2, there's a super baby
version called Sweet Mode. It's a demented little developer taunt Like You're not a literal child, are you? You should probably pick adults mode. Now all my footage is from adults mode because
I ran through both main games twice. And if you want to have fun and learn the
game, you'll pick kids mode first. Going in raw with no knowledge of the controls
or available moves. Well, that's a torn scrotum enough that I
bet most players give up and never come back. Viewtiful Joe is good, but it's like spanking
and choking. right, little painful really pays off. Who is Joe anyway? What's this guy's deal? Well, buddy's clearly shooting out of his
league with silvia his girlfriend. Now, most reviewers would probably go, Whoa,
he's turning his hot girlfriend down. What the heckerino? But Joe is a true sigma male, OK? He likes his movies, and he's got his boundaries. He's not swayed by your feminine wiles. Harpy. Joe's just a little gremlin guy. I mean, I can relate it to scamper up stairs
on all fours. And then they were sucked in the TV. And what if it wasn't clear? Story is the functional C plot of viewtiful
Joe. OK, he's in movie land. He spars with his hero, Captain Blue, and
becomes his successor with that famous catchphrase Henshin a-go-go, baby! Flashback to thousands of American kids looking
up. What does Hanshin mean on the June of 2003? Gameplay is what really matters. Here is beautiful. Joe is tight, consistent in its packaging
and delivery of challenge. I mean, not on kids am right. You can kill off the bosses in a single combo
if you know what you're doing. Kids mode is still good, but there's enough
to learn about between the stages bosses even buttons to justify that playthrough. So don't rush yourself beautiful Joe divided
into chapters of three segments three act structure, if you will, a you pummel your
way through each stage, pulling off sweet combos,
collecting coins, completing puzzles. It's a tune, simplicity and enjoyable to replay. There's always something to do better next
time. True to the three act structure, conceit stages
tend to begin with an easy section ramp up the difficulty for round two and end with
a boss just what you'd expect, and the stages are rife with detail decadent and eye-catching. Is that a [adult theatre] ?Nintendo You can
see why Joe was made red with the amount of detail in the background. The general stubbiness of Joe's moves and
the game's tendency to swarm the player with enemies. It'd be easy to lose Joe. Otherwise anyone who's played for players. Smash Bros knows this, but his particular
colors red, white and pink make him impossible to miss. Now Joe's got a couple of tricks. first, hey
Joe, at that time, do you know what they vussy ate? I'm sorry. Joe uses VFX powers in movie land, the ability
to slow time, fast forward and zoom in. These three powers and particularly slow time
are used not only in combat, but to solve stage puzzles like heightening the water level,
making propeller blades stop creating gigantic water drops. No, they're not all sensical, but that isn't
the point. OK, if you're going to start cinema sensing
beautiful Joe, so help me. How the hell did the robot knock the other
robot through the screen? That's not possible. Why would the robot pick Joe up? Just because the other has Sylvia? Why would anyone think he's a hero? How exactly does one walk through a movie
screen into movie land? That's physically impossible. Oh, and any special powers are tied to a gauge
that expands as you collect these little blue things during a chapter. It means you have to power yourself up by
engaging with the level design. And if I made all those assets, yeah, I want
players looking at them instead of speed running through. It's for the best to more. Gage means more power like slow time or let
your matrix dodge mostly anything. Just be careful you don't use it all and lose
your power. VFX powers aren't the only moves you unlock
during play. Like Devil may cry before it. You earn points in the stage by being good
and spend them on necessary upgrades and extra lives. I said, Beautiful Joe is difficult and it
is, but the context for difficulty is control, complexity and behavior recognition. Once you master your moveset, know what enemies
do. What trick kills every enemy and what the
bosses are going to do. You're untouchable, but it takes a very long
time to get that good. Your basic combat options are little baby
punches and kicks a dodge You can tilt up or down and hold indefinitely, jumps aerial
versions of your other moves and VFX powers. There's no blocking here OK. Dodging is necessary to stun enemies, which
is how you properly start. Combos, I mean, yes, slow dodge exists, but
it's limited use, so it's an aggressive system, and since your hit boxes are so puny, you
got to look enemies dead in the eyes before you beat the tar out of them. It's risky. It's frustrating, but it's incredible to master. And Joe does have a couple of projectiles,
but you've got to pay for them, so they're not the default. It's worth noting that your tutorialized pretty
well throughout the game, as your drip fed new combat options and in fact, you gain the
bulk of your basic moves early into the second chapter. The trouble lies in mastering the controls. Transparency is necessary, but so is repetition,
and a few of your moves either don't have immediately obvious benefits aren't called
for by gameplay nearly enough or require strange button combinations that'll leave you feeling
that exact kind of frustrated when you're stuck on a particular link in a fighting game combo trial. You know the feeling. I really can't stress it enough. I misinput frequently on my adult mode playthrough
of both beautiful Joe one and two because it's fast and complex, overwhelming to learn
punching. Kicking those moves are easy. Tap a button done, but those moves on their
own dramatically fall off in value. It's most efficient to wait for an enemy attack
and dodge up or down in the indicated direction, which will stun the enemy and slow time and
hit everyone you can before your VFX gauge runs out. And you might be thinking, Well, that sounds
like the game encourages passive play, and that doesn't sound all that engaging. Yup, though, to be fair, enemy's swing immediately
once the game knows you're dodging the right way. So maybe it's not passive at all. Proactive reactivity is a word for this, but
I do not know what it will net you points anyway, and it's enough for many enemies. Though some necessitate VFX, you're pretty
commonly asked not by the game, but by the design to use Zoom in your strongest power
that cows regular enemies and opens new moves. A spin kick, a torpedo jump in a rapid jab. The kick is niche but sometimes useful. In fact, most zoom in moves are but the jab. Specifically, the slow down zoom in jab is
the strongest move in the game. Pound for pound, it demolishes bosses. It crushes regular enemies, and while it's
less incredible on higher difficulties, it remains mandatory because it's so powerful
and it's frustrating watching such a beautiful game in terms of art direction to man the
player make use of something that detracts from the visuals. So much like you got to understand, this game
is hard as nails. Like really, really hard. OK, that's false. So you're going to want to stock up on powerful
moves and you're forced into this play pattern that takes three inputs to green light. That being the slow time button. The Zoom in button and the punch button. And yeah, you're doing damage, but half your
punches are whiffing because of the stupid hypocrisies. And you can't even look at the sweet background
because all you can see is Joe. I don't want to see Joe. You seen that Marvel versus Capcom art. What the hell is that Cape bro? That's a shriveled phallus, and it's frustrating
that so much difficulty is curved by just knowing some things. Normally, I'd be happy knowing the tricks,
but for example, uppercuts and aerial moves are this one. Enemy types weakness. And this innocuous little tidbit makes it
so easy and nothing indicates as much. Uppercuts and aerial moves have very little
place in the game. The enemy type it's based on isn't weak to
aerial stuff at all. Same goes for these guerrilla bots. The point is to wait for their Blanka ball. OK, they're a little anti-air attack so you
can run up and slow down zoom in punch. And if you don't know that trick, they take
easily 20 times longer to kill. That's beautiful, Joe. In a nutshell, if you pick this up, you're
going to be pissed off. Tired, annoyed, all that good stuff because
you'll be whipping attacks in slo mo because Jesus guys, couldn't you extend the boxes
a little because you'll be stuck on certain enemies, certain sections. Sometimes it'll be an input error, and other
times it'll be a pattern recognition issue. It's a game that's constantly highlighting
your failures. On the flip side, that makes the game compelling. You can optimize might have been pissed about
missing your slide kick until you are, and you can instantly cancel that kick with a
punch and cancel the punch with another slide kick. Doubling your travel distance that that nerdy
tech junk start picking that up and you love beautiful Joe. Don't and website broke it and that tenuous
hold on the player is highlighted perfectly so perfectly by the [oof]er five The game only really stops for its story before
and after boss fights more or less. Let's see, we got bat Man. You know we got dinosaur yo yo yo yo. So this is Hideki, man. What was that about? We got this shark beautiful jaws clone. And don't say sorry alastor like Dante's Sword
alastor can help yourself, huh? Come here. Look at this. Even does the moves. Oh, and this guy who you only fight once at
the end, he's special on adults mode. Anyway, the bosses are not super easy games
as tight as Joe's jumpsuit. You need to be on the ball like the jumpsuit
all the time or you're getting crushed. Sometimes it's a matter of camera angle. You'll be hit by off screen attacks or not
have enough vision to make tactical moves. But to be fair to Hideki Kamiya, that featured
pretty heavily in DMC. And to be fair to me, I'm using a wide screen
patch for the game on my Nintendo GameCube PC edition, and it's still possible to get
hit by off screen stuff. Hope you like audio cues, bro. Let's go. And when we talk about the context of difficulty,
we've got a table that checkpoint discussion. Half the reason this game is hard is inconsistent
checkpoints. We're talking saves between almost every stage
right before the first boss, for example, but not before the second boss, Hulk Davidson. So if you you have to redo that wobble before
him, why? Oh yeah, they'll give you the shot, but no
save why I ended up abusing by lives and the take two item, a second chance consumable
thing to scrape by. It is not a joke, and putting it right at
the end with no checkpoints or anything is amazingly sadistic. Epic level trolling, bro. Thank you for this gift. I mean, I have it on good word that people
quit this game thanks to this segment. What else is there to say? Well, the point about optimization from earlier
still applies that that bias is a pain. If you tackle him without tricks, the fight
wants you to hit him, break them into smaller batch and kill the batch. But the Strat doesn't do much damage and turns
the fight into a grinder. So eventually you learn that either boomerangs
or the red hot kick knock him down and you can slow down zoom and punch the guy for greater
efficiency. In fact, most of the bosses have at least
some wiggle room for how the player handles the battle and between slow down, dodge a
little practice and some extra lives. It's all possible, though. Fire Leo, let me tell you. Most bosses have wiggle room, but this guy
caps off the boss rush and requires this super specific set of actions you probably never
figure out in a couple runs will just kill your whole boss rush. Start over. We're talking. Fast forward, punch to light yourself on fire. Break his fire shield with any attack because
you're on fire. Break the shield he's holding, then consecutively
dodge five times to dizzy the guy, then do the damage. It's insanity. I could hear kamiya shriek-laughing on the
other side of the ocean. If anything, the game suffers from its own
length in this regard. Beautiful Joe is five hours long give or take,
and I think it could be even shorter if they cut some superfluous sections. I like my game is fast, but with the breadth
of knowledge the player needs and the amount of challenge squeezed into what could be an evening binge session. Game is not doing itself any favors with more
casual players. Wright calls him stupid, throws him a book,
makes him struggle, kicks in between the legs six times. What do you say about that? It is awesome for someone like me who makes
a living playing games. It is awesome for someone who's got nothing
else going on. Who's on forums telling people the game's
easy, Oh yeah, you're so right. It's so easy, by the way. So anyway, Joe forgot about Sylvia the entire
time. Welcome to the doghouse, bro. But how does this masterwork end, Sylvia? I am your father Sylvia. Oh, there is nothing sacred anymore. What the hell is this list? It ends with a bus fire you've done three
times prior. That's proper falling action. Respect beautiful Joes, always providing a
challenge between its endless attempts to push the player to new heights, its tricks
and secrets . It's surprisingly in-depth combat system
and its charming characters. It's an extremely rewarding experience. Yes, I've been swayed. Look at Joe. He's just a little guy. This little [hoo] guy. ahh ya won my heart ya bastard and the game
met with critical acclaim, sold well. I mean, not enough to meet projections, but
due to its low budget, the world was set for a sequel. What's that line? Sequels are always worse. You're alive. Yes, because in truth, I was the dark overlord. But actually, I am the dark overlord. no it is I who am the dark overlord. And also too I am your father. What the fu- Oh, beautiful Joe to Electric
Boogaloo v Joe the second. How are you going to build on that last game? Actually, funny story kamiya was tied up with
other projects and wasn't able to direct the sequel, which I understand he's still extremely
butthurt about to the point that he doesn't acknowledge
it. Years later, and fair enough, you put your
favorite things in your work, create something successful for nothing, and can't even steer
the wheel for round two. It's got to be rough and like you might expect
from a game losing its director, the sequels mostly the first. Again, it maintains all major mechanics systems
structure, but something feels off. We'll start with a story the one thing kamiya
demanded control over to maintain continuity. Is that a joke? I'm sorry these stories are not great. You're on a quest to recover the rainbow Oscars,
OK? They might be classed as light satire of Hollywood,
but they don't meaningfully subvert tropes or anything. I think the only rogue element is Joe himself
because he isn't cool, and that's backed by kamiya By the way. Everyone knows joe's a weirdo, but that's
it. The game is one major addition is Sylvia,
Joe's girlfriend as a playable character. Her hero name is sexy. Sylvia, how much you want to bet this game
can't pass the bechdel test? It's insane. They took Sylvia from the nine year old girl
in the first game to I am literally pointing my gun at my boyfriend for being a jerk. The dynamic is totally borked. Joe used to be a funny guy, always screwing
around, but now he's constantly like, yeah, the old ball and chain here totaled. They're interactions aren't even playful. It's just foul. You know, that title is a bit of a stretch. Maybe they could have gone with beautiful
Joe and woman, right? Joe in the female side? OK, I'm done snarking There's a pretty common
sentiment online that two's difficulties are shifted down, so adults mode on two is like
kids in one. Absolutely not. Don't ever speak to me again. Games hard and we'll go into why later. But let's do the tour. How did the sequel shake things up? Oh, what you see, I suggest I'd be freaking
out pretty badly by the stages are fresh, but the concepts remain. Joe interacts with puzzles using his powers,
and occasionally Sylvia does too. Overall, it's hard to fault the stages because
they're pretty. They're well-made. They're not all that different from the first
game. If anything, they make more use of vertical
space than the original, which often felt cramped. But that was mostly the camera angles business,
and there's still not much going on in the sky. It's superfluous space. The stages are cut up into threes like before,
and the designers constantly mix the challenge presented to the player, from difficult fights
to interesting puzzles to heinous bull feces It just would leave the garbage out of your
game. Beautiful Joe, too, feels exactly like a sequel
should, at least for a while. After all, it's more Joe. You collect points like before upgrade your
moves, like before do everything just like before what could go wrong? The first inkling that something's up comes
from Sylvia herself. I imagine outside of big, serious fans in
bobblehead women like hers, Jesus, and nobody actually swaps to Sylvia for any meaningful
length of time, except for fun. The game requires her for several puzzles,
but those are passing moments. They come and go, and you're left with what
feels like a second less useful character, like a full teardown from Joe Wright. We're talking Captain Falcon, the little Mac,
bro. Joe's moves are the same. The game was designed for him, and it's really
apparent once you start playing. Sylvia has no punches, just heard gunshots,
which combo arrange and there's utility in that, but they're laggier than Joe's punches
don't string nicely on the ground like Joe, who's more aggressive by design. Her kicks are on par with Joe's, but like
we established in the first section, the most powerful move and beautiful Joe is the slow
down zoom in punch. Sylvia doesn't have it, instead getting this
tekken ass shoulder tackle or whatever, but it's worthless by comparison, disgustingly
slow. She has some of Joe's good moves and not his
best move, and because she's used for puzzle solving, they had to give her unique powers. But since the game pad has limited buttons,
she lost fast forward, which was useful in. one for dealing mass damage to a stunned group
and gain this triple up attack and yet gives her a lightning buff. Yeah, it does more damage, but it just can't
compete with Joe. So let's spell this out. Clearly beautiful, Joe. one is an incredible,
if frustrating action game masterclass. The big addition to to the whole selling point
of the sequel is a big ole forgive the vulgarity, and I originally thought that certain enemies
in one were kind of dumb because they required a single trick to master. But in a game with this much going on their
satisfaction in that simplicity, certain enemy types were revamped for the sequel. Guerrilla bots became aliens. Dear God, and while they've got a similar
combat pattern, they do a lot of other things, including grappling the player and creating
minions. Even the big attack you're supposed to punish
has movement tacked onto it, and these sound like small changes, but they warp the dynamic
of the battle. Create frustration where there should be none
enemies that used to be fun. Like these cowboys whose bullets you would
reflect turned into laser guys, a laser that you can neither reflect nor dodge. In this case, simplifying the fight made it
more annoying to deal with. It's hard to tell what they were thinking
coming off one, because as tough as it was, the first was pretty darn perfect. They did learn one lesson, though fixing the
checkpoint system. That's right, folks. It's time for the Gear five Redux boss design
and to took a fat nosedive into the dirt. Maybe you'll think that's hyperbolic, but
I've got a pretty good case. first, though, there's something more important
at hand boss battles and the plot in general. I'm still shocked kamiya I wanted his name
on the writing. It really cannot be stressed enough that Joe
this time around mostly complains to the bosses about Sylvia, like my girlfriend. Such a bit like he's so bad he wants to put
it in a robot. Grease the gears, if you will, dude, what
is going on with you? Yeah, let's be friends, Rachel. Give me your number or something or not. You're awful in this game. Where's the Pep? Where's the fire? What's going on? But don't let this fool you into thinking
the other characters are endearing. Take the first boss, for example. Sergeant just first reconnaissance regiment
second to OK. Hey, shut it up. Everybody was concerned I won, but this time
now this time is different. This is a complete and total defeat. Damn, they really did. Over talking as a gimimick on two bosses. jeez but what's incredible in terms of thematic
consistency is they brought that over talking that unnecessary space into the gameplay. Now that's some gameplay narrative coherency,
bro. The first boss comes back at least four times
in different contexts. It's super annoying during play, but even
worse than that, he's got no big damage windows during his proper fight, no stunt and unload
moment. So you kind of have to chip away at the guy
during his recovery frames, and they compounded that misery with tons of projectiles, fire
barrels, things that force you to play defensive and mindful, which is good for an action game
in theory, but sucks any kind of fun out of the battle. It's weird for the game to compound its own
proclivity towards passive play. I mean, the dyno boss in one would at least
fling himself into a wall, or you could break his weapon and you could capitalize in those
moments. Not here. And this is the first boss. Even the Aztec boss, at least on first pass,
lacks in meaningful damage window unless you abuse the esoteric character swap charge attack
something you never use in normal play. And generally he flies around invulnerable
to attack unnecessarily long and frustrating battles. Say what you will about the first game's bosses,
but at least they had the decency to kill you quick. You know, it's not that dramatic cameo. Leon here is highly exploitable if you know
what you're doing, but the game ain't helping any. Probably take more than a few runs to figure
out where he's stumbled. It even has the gall to port the fire Leo
fight over, even though it's his brother contextually. And yeah, it looks awesome. He's the best fight in the game, but he's
on that beautiful Joe won design anyway. What do you expect? The other returning boss is Alister, and yes,
he's cool. Kind of wish we could play as him instead. But you know, it's weird. I feel like there was this other game where
you would unlock playable characters by beating progressively higher difficulties. Anyone know what game I'm thinking of? They gave him the second form to drag the
fight out. So you can leave now. Kidding, right? Oh, come on now. Even the ending manages to fumble what one
did so well, where one ended on Captain Blue, a boss. The player fights three separate times prior,
turning the final fight into proper falling action, something you can handle two ends
with your dad. They let you, Joe. Holy [mama mia] So, yeah, Gabagoolio out here. It turns in a shredder x Virgil or whatever
and cuts you down in a blink. The fight sucks. It's brutal. I mean, good on them for acquiring Sylvia. Occasionally, I guess, where one was brutal
until the very end. two ramps up and ends on the teabag ends on
the ball buster supreme. I don't remember the ending DMC one where
the game suddenly swapped genres, and it's totally obnoxious. Just unless you've done it before, a few times,
it's almost like that, except it's in genre and it wasn't directed by hideki kamiya It's
the big takeaway from to where one was notched. Titan, fresh and forgivable to languishes
in dead space, lessens the challenge, but increases the frustration. It'll give you a battle, but it rarely leaves
you satisfied, and it's reflected in the reception to an ever hit. The first game's heights won the same affection
or sold the same number of copies one did. Strategy Wiki doesn't even have the list of
enemies in two, but there is all the first game centuries deafening volumes in pictures. It's fairly common in games for a successful
IP to be milked for a low budget spin off revenue, and that's exactly what happened
to beautiful Joe. Apparently, Capcom decided to spin the one
mostly successful game into a franchise beautiful Joe, double trouble and OK, transliteration
of a high quality action game to the split screen. Though I think its existence implies that
somebody somewhere thought that the audience for Joe was kids who liked the designs as
opposed to the real audience hardcore action gamers. This ain't it beautiful, Joe Red Hot Rumble,
a crushingly average smash like that no one remembers and nobody bought. But hey, you can play A-lister and Jet Black. Why are the side characters so much cooler
than Joe? Man, that's some way to handle franchise optics. Jesus Beautiful Joe, the anime Beautiful Joe,
the manga Beautiful Joe in the console version of tatsunoko versus Capcom Beautiful Joe in
Marvel, Baby. Some of this stuff is fondly remembered, but
it's questionable if the series ever had franchise potential anyway. The designs are appealing in that weird bobblehead
and excessively shredded man baby, but taking something with adult elements wrapped in cartoony
visuals laden with immaturity and cliché, it's hard to tell who they were selling to
kids, sure, but how many of them pulled through adults mode or even
want a sequel? The best in its series sold OK because it
was a high quality Kamiya action game because it was new and different, and everything else
went from cutting edge to bleeding wound in the flick of a knife. The games imply a trilogy, and we never got
that game, something kamiya still wants to put a wrap on shoot. He's even confirmed certain characters from
Beautiful Joe are present in the Wonderful 101, his New Age masterpiece. But for now, beautiful Joe's stuck in unsuccessful
franchise hell, and it take a lot of letters to resurrect, and I don't think people care, and it is a charming
series. I have to stress this it might not look like
much, but if you get through the easy modes first, it really is a fun little way to pass
some time. So we'll remember the good parts, the action,
the humor, the passion. Beautiful forever, baby. Hey, it's bash. Special thanks goes out to my four dollar
patrons whose names are on the screen. The show's on its way somewhere good thanks
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