Set at a share house where three men live together. Kaname Yokoyama is a freeter who wants to become a movie director. Kaname Yokoyama and his friends become involved in instances that take place around them.
Runtime: 30 minutes
Replay & Destroy - Blast Corps - Netflix
Blast Corps is a 1997 action video game for the Nintendo 64 in which the player uses vehicles to destroy buildings in the path of a runaway nuclear missile carrier. In the game's 57 levels, the player solves puzzles by transferring between vehicles to move objects and bridge gaps. It was developed by Rare, published by Nintendo, and released in March 1997 in Japan and North America. A wider release followed at the end of that year. The game was among Rare's first for the Nintendo 64. Its development team ranged between four and seven members, many of whom were recent graduates. The team sought to find gameplay to fit Rare co-founder Chris Stamper's idea for a building destruction game. The puzzle game mechanics were inspired by those of Donkey Kong (1994). Blast Corps was released to universal acclaim and received Metacritic's second highest Nintendo 64 ratings of 1997. The game sold one million copies—lower than the team's expectations—and received several editor's choice awards. Reviewers highly praised its originality, variety, and graphics, but some critiqued its controls and repetition. Reviewers of Rare's 2015 Rare Replay retrospective compilation noted Blast Corps as a standout title.
Replay & Destroy - Reception - Netflix
The game received “universal acclaim”, according to video game review aggregator Metacritic, and “unanimous critical success”, according to Retro Gamer. Reviewers highly praised the novelty and variety of Blast Corps's gameplay. Peer Schneider (IGN), in particular, lauded the game's originality in an industry hesitant to take risks. Reviewers struggled to master the game's controls. Schneider (IGN) overcame his initial concerns to appreciate the complexity of the controls and the differences between the vehicles. He considered the locked camera view restrictive when compared to the unrestricted 3D camera in the game's contemporaries. Schneider thought the game should have been longer, with fewer bonus levels and more main missions, though he did appreciate the pacing, design, and difficulty of the included levels. EGM similarly found the bonus stages mediocre. One of their reviewers went further and thought the whole game was repetitive, as did Computer and Video Games. The latter, though, praised Blast Corps's level design and difficulty progression. Crispin of Electronic Gaming Monthly (EGM) wrote that the game's best feature was its “palpable sense of suspense” as the carrier advanced on resistant buildings. Critics praised the game's graphics and sound. Schneider (IGN) found the game unpretentious in comparison to video game trends of photorealistic rendering and cartoonish art. He likened the slick vehicle animations and metallic elements to Micro Machines and Rare's R.C. Pro-Am, but felt that Blast Corps's explosions were not as robust as those in Turok: Dinosaur Hunter. Schneider praised the game's texture maps, which made the night scenes and houses look realistic, and the canyons breathtaking. He also liked the detail in the vehicles' skid marks and gradual building disintegration. He wrote that the game's 3D programming was errorless, and was particularly pleased about the game's lack of fog, usually used to cover developer limitations. EGM echoed Schneider's praise of the deep landscapes, which the magazine called “incredible”. Scott McCall (AllGame) praised the game's realistic polygonal models and technical prowess, and Steve Polak (The Weekend Australian) wrote that Blast Corps showcased the console's graphics capabilities. Schneider (IGN) described the soundtrack as between “70s pop, disaster movie score, and Country Bear Jamboree”. He praised the range of engine, tire screeching, and crashing sound effects. Reviewers disliked the country music tracks with jaw harp, though IGN thought it was a matter of taste. IGN wrote that Blast Corps exemplified qualities of enjoyable Nintendo Entertainment System and arcade games, while EGM considered the game unlike all others. Retro Gamer wrote that the game's combination of puzzles and continuous destruction made the game so unique as to defy genre classification. The magazine described the gameplay concept of returning to explore without a time limit as “a stroke of genius”. Retro Gamer thought of Blast Corps as a 3D successor to “nail-biting reaction games” such as Loco-Motion. Computer and Video Games agreed with a reader that Blast Corps was part of a “Destroy” subgenre including games like Desert Strike, Return Fire, and Body Harvest, and Matt Fox of The Video Games Guide put the game in a lineage with Highway Encounter and Lunar Jetman. Schneider (IGN) said Blast Corps was on par with the quality of Shigeru Miyamoto games and an excellent display of Rare's potential. Blast Corps sold one million copies, which was fewer than Rare had expected. The game was most successful in Japan. Metacritic ranked the title among the top ten games released in 1997. It remained Metacritic's highest ranked 1997 Nintendo 64 game after GoldenEye 007. Blast Corps was selected as Electronic Gaming Monthly's May 1997 Game of the Month and an IGN Editors' Choice. Four of six Nintendo Power reviewers recommended the game.
Replay & Destroy - References - Netflix