Let’s give thanks to uncompensated fan translators.
As a fan of video games developed in Japan, I am keenly aware of the sheer volume of excellent titles that have yet to be localized in English. Thankfully, when a publisher decides not to translate a certain game, the world is blessed with a dedicated group of individuals who freely donate their time so that others can enjoy some of the great games that never made it out of Japan.
Back in the ’90s, Nintendo of America held a pretty notorious licensing monopoly, which restricted developers in the number of games they could release in any given year. For a company like Konami, which had a number of big hits in the West, this meant they had to pick and choose which of their games would receive a localization. Due to the popularity of franchises like Contra and Castlevania, combined with the low popularity of RPGs in the West, some excellent Game Boy titles never officially received an English localization.
Cave Noire is one such example that comes to mind. This 1991 Game Boy title was Konami’s take on the roguelike genre, and it felt right at home on the Nintendo handheld. The restrictive technology of the Game Boy meant that developers had to really know how to optimize every last byte of data to make a good RPG, and the team led by Kazuo Iwasaki proved that they knew the hardware inside and out.
The game features four different styles of dungeons: one filled with monsters with a set goal for how many need to be exterminated, one with a set amount of gold to be collected, another that requires collecting orbs, and a final one that requires the successful rescue of fairies. Like most roguelikes, the layouts of the dungeons and the locations of helpful items are randomly generated. Sometimes you are blessed with the right mix of starting items; other times, you are cursed with the wrong item at the wrong time. The time it takes to explore a dungeon and emerge victorious is just short enough not to wear out its welcome, but long enough to feel like escaping alive is a real accomplishment.
The visual design is quite impressive, especially given the platform. The dungeon layout is highly intuitive, and the enemies are just large enough to show off some interesting details. One particular standout is the opening sequence before entering a dungeon, where the protagonist is gifted items for their journey. The details on the mystical tree and the storybook-style borders look fabulous on the small screen. Konami was already known for quality games, and they lived up to their reputation once again.
Two years later, a team once again led by Iwasaki proved that they were no one-hit wonder. The oddly named God Medicine had everything you would want from an RPG: a great story, engaging characters, solid combat, and memorable moments. The most confusing part of the game is its title, given that the story centers around a group of three teenagers who answer the call to action after witnessing the demise of a group of heroes at the hands of an evil demon. Upon receiving the spiritual energy of the deceased heroes, the teenagers enter a dimensional portal on a quest to gain the powers necessary to defeat the demon—thus ending the threat to their own world while freeing another from tyrannical rule. No gods or medicine are present; perhaps it was something that hit the cutting room floor?
The story takes some unique twists and turns, but ultimately it is well-paced and very enjoyable. The combat system uses a fairly traditional turn-based style, with a few additions that give it a unique feel. The star of the show is the large assortment of enemies, featuring some of the most detailed sprite artwork you’ll find on the Game Boy. From the low-level fodder to the dungeon bosses, each sprite boasts an incredible amount of detail. God Medicine is an easy recommendation for fans of turn-based RPGs looking for a very solid, sub-10-hour gameplay experience.
Not even Nintendo’s own internally developed games avoided relegation to the Japanese market as perhaps one of the best Game Boy games ever made still remains without an official localization. Made by the same team that created Link’s Awakening, Kaeru no Tame ni Kane wa Naru—or The Frog for Whom the Bell Tolls (it’s known as a few different English titles), as it has been named in the West—is a fantastically quirky adventure that very much deserves recognition.
The Frog for Whom the Bell Tolls follows the story of the Prince of Sablé, a young prince named by the player, who has an ongoing rivalry with his childhood friend, Prince Richard of the Custard Kingdom. Both princes are informed that Princess Tiramisu of the Mille-Feuille Kingdom (notice the delicious dessert naming theme?) has been captured by the evil King Delarin. Both princes proclaim their intention to save the princess, and their rivalry continues as they race off to the Mille-Feuille Kingdom to be the one to rescue her.
The game is absolutely crammed full of comedic moments, each one seemingly more hilarious than the last. The player leads the Prince of Sablé throughout the world in search of a path to rescuing the princess. Battling enemies is automatic: the Prince simply runs into an enemy, and a short battle animation ensues. The adventure very much feels like a coming-of-age tale, as the Prince must make new friends and grow his skills to become strong enough to take on the minions of King Delarin. The Link’s Awakening connection is very apparent, as you can tell the same spirit and sensibilities went into both games. Why Nintendo has not acknowledged the greatness of this game with an official translation on the Nintendo Switch Online service is anyone’s guess.
A general lack of nostalgia toward the Nintendo Game Boy seems to be the biggest reason why so many terrific 8-bit handheld games continue to be hidden gems. Back in the ’90s, console games certainly received more respect and admiration. However, as shorter experiences have become more appreciated in the modern age, there is a mountain of Game Boy titles just waiting to be rediscovered and given the attention they deserve.
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