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Night Trap (Digital Pictures/Sega/Hasbro, 1992)

bryan.eddy@newretrowave.com — Tue, 09 Aug 2016 13:41:02 +0000

I can’t tell if I’m reviewing a game or a movie with this one, RetroFans. I’ll leave that up to you.

When the CD-driven generation of consoles and console add-ons hit in the early 90s, they offered unprecedented opportunities in terms of home console gaming. More data, better data, could be stored on the new medium. This included actual video footage and live-recorded audio, not just pixel-mapped images and digitized sound effects. One of the less esoteric devices on the market was the Sega CD (called the Mega-CD overseas), which hooked up to your Genesis or Mega Drive and lent it astounding capabilities. At least in theory, that’s how it worked.

After a while, it got to be more like playing with Transformers than hooking up a video game system.

The vast majority of titles released for Sega’s CD ROM attachment were simply gently-retooled incarnations of Genesis titles, usually with expanded gameplay options, slightly better sound, or touched up graphics.

Then we had games like Night Trap, which blurred the line between console and cinema.

You left the screen door open again, the house is full of bloodsuckers, and Dana Plato is pissed.

Night Trap was originally filmed in 1987 for Hasbro, who had something called Control-Vision in development at the time. Codenamed “NEMO” during its development, the system was to use VHS tapes instead of cartridges. The quiet death of NEMO is its own fairly boring story, but it resulted in Night Trap‘s footage being shelved for four years, until it was bought in 1991 by a company called Digital Pictures… who just happened to know what to do with it. Some extra trimmings were added and the final product was released in 1992, quickly followed by a version that also utilized Sega’s 32X attachment for even better graphics. The title was eventually ported to the 3DO and the PC later on.

The film footage stars two notable Hollywood names (at least, notable to us Retro nerds): Dana Plato, whose notoriety comes from Diff’rent Strokes and her tragic end; and Andras Jones, known to horror fans as Rick from the fourth Nightmare on Elm Street installment. The third notable star is you, the player. You star as the pivotal member of the SCAT (Sega Control Attack Team). Your job is complicated, to say the least; you see, girls have been disappearing at the Martin house (which is described as a winery as well as a residence). A new group of young ladies will be arriving soon, one of whom is an undercover agent (played by Plato). You must watch through a set of cameras (one at a time, or how would it be challenging?) to keep an eye on them, find out what’s happening to them, and neutralize threats using a strange set of Scooby-Doo style booby traps throughout the house that you’ve covertly been given control of. It’s possible for the hosts to find the cable connecting you to the trap system and unplug you, so you have to defend against that as well. Your hands, literally and figuratively, are full.

I never want this dude as my boss in real life.

I will straight up tell you: this game is not a casual one. Gameplay is borderline stressful, but it can be very fun. Constant vigilance (or elaborate memorization) is required. If you’re off by even a few seconds, you get the privilege of watching helplessly as the young women are kidnapped and drained by Augers.

What are Augers, you say? Well, they’re sort of like vampires, but decidedly less pleasant, if that’s possible (it is).

Those dudes in the right-hand picture? The ones all done up like Dracula’s Olympic fencing team? Those are Augers.

And what does the Martin family have to do with this? Well, I don’t want to spoil anything, but let’s just say if they unplug your trap control cord, it’s not just because they think someone’s stealing their cable.

Oh. Good.

Along with Doom, Mortal Kombat, and other video games from the time period, Night Trap figured strongly into the early 90s Senate hearings on video game violence that eventually brought us the ESRB. Night Trap was cited as having, among other qualities, “an unprecedented level of realism” and as depicting “an effort to trap and kill women.” Sega went so far as to take it off the shelves after its initial release, making the original version a relative rarity to this day. The CD/32X and subsequent ports were released after the outcry had died down, along with a reissue of the base Sega CD version.

In 2014 the original producers made an effort on Kickstarter to reinvigorate Night Trap, claiming they’d even look into doing sequels if the project was successful. To keep that story short, it wasn’t. However, the original footage remains popular on YouTube and elsewhere on the web, and most conversations among gamers that touch on the Sega CD inevitably involve Night Trap. Other games in a similar vein followed, such as 1994’s Double Switch, but by then these elements of gameplay were more commonplace. Night Trap was the one that made the waves.

As one of the more innovative and memorable titles for the Sega CD, not to mention an overall decent game, I give Night Trap 8 out of 10. It’s worth taking a look at, and it’s definitely worth playing if you find yourself so fortunate as to get a chance.

Night Trap #1 Review

Joey Edsall — Tue, 31 May 2016 17:19:16 +0000

Though the genre is rooted in the late 70’s, with John Carpenter’s enduring Halloween establishing many of its tropes, slasher films are one of the biggest pop culture relics of the 1980’s. We recognize them instantly. The way that soundtracks, camera techniques, storytelling choices, and imagery all coalesce creates something that is distinctly recognizable to us. Night Trap, the latest series from Lion Forge Comics, written by Cullen Bunn, drawn by JB Bastos, and colored by Robby Bevard attempts to bring these elements to a comic book format. In many ways it succeeds, but a lot is going to depend on the next issue in the series. A lot of its best qualities are on what it promises to deliver, an inversion involving Kelly, who will inevitably be the “final girl”.

Night Trap #1 has some heavy lifting to do in this regard. In the first issue, we get just enough characterization to know that Kelly not only is different from her friends who are with her in the rental home in the middle of nowhere, but also that she will undoubtedly survive the entire ordeal. Kelly doesn’t have any interest in romantically or sexually pursuing any of the guys who have joined her friends, and she doesn’t seem to have a desire to get intoxicated. According the quasi-puritanical slasher film ideology, she’s the survivor. Her poor boy crazy blonde friend doesn’t stand a chance.

Despite the promotional material and narrative framework that makes it clear that Kelly will not survive and subvert what is expected of the slasher world in which she finds herself, Night Trap #1 doesn’t get to that point. It instead follows the beginning of the slasher movie point-by-point. There are several young adults who wind up staying together in a house in the middle of the woods, intending to drink and hook up. A backwoods sociopath and his family have set up a series of traps to milk as much terror as they can out of their victims before finally killing them. One of the guys staying in the home is sent out to turn on the water pump, because of course, and while he is out there he is the first of the group to be horrifically murdered.

That is, more or less, the first issue. It’s a standard set-up, and I think that it’s going to be one that makes more sense and will warrant a reread upon reading the next issue. I have a feeling that this is a set up of a very deliberate batch of tropes that are, for the most part, going to be inverted. Only time will tell if I’m right, but if it goes that way this could be a really cool book when read all at once. Bunn’s writing does exactly what it is supposed to if that is the case. Everybody sounds pretty much expendable aside from Kelly. She is immediately written as the most likable and the point of reference for anybody seeking a character to connect with. He also does something interesting with the Trapper, the killer of the story. The comic opens with him watching slasher movies in his home and yelling at the screen. Unlike the characters in Scream, who yell at the victims – which makes sense given that they are the victims of their own story – the Trapper is yelling at the masked killer. It will be really interesting to see how the Trapper applies this sort of genre awareness to the story and how that gets blown up by whatever happens with Kelly.

Bastos’ art is solid throughout. It’s never terribly flashy, but it is very good at conveying just how alone the victims are. In particular, his use of light and shadow, as well as his rendering of the forest as a backdrop really convey the atmosphere of a Carpenter-esque slasher film. His job is just as difficult as Bunn’s in this regard. There is also one particular panel early on that is just stunning as much as it is grotesque. We see the Trapper’s previous victims in the Louisiana bayous, all tied down near the bottom of the swamp. The imagery and Bevard’s coloring choices really make it a memorable panel long after you’ve finished reading.

This is going to be a comic that is made or broken by its next issue. It’s solid and any fan of horror in general, and slasher movies in particular, will find a lot to like here.

Night Trap #1 comes out June 1, 2016