This is an ingenious idea that really makes Vasara feel different from most manic shooters. Part of the reason for this has to do with how you usually need to get in fairly close to get your charge shot to hit. Don’t let that fool you into thinking it’ll be easy though, though because some bosses actively try to push you into their bullet streams. You can crash into enemies all you want, and all they will do is knock you back. This means that some attacks are huge, slow moving, clusters of bullets that are easily avoided, but take longer to leave the screen and some attacks are small, fast, bullets that come out of nowhere.Īdditionally, the characters (enemies and playable) do not die upon collision. The bullet speed can depend on the attack, too. This ability is invaluable because, this being a bullet hell shooter and all, there can be up to (and usually over) a hundred bullets on screen at once with absolutely no slowdown. One of the notable gameplay aspects of the Vasara series is that each playable character has a chargeable melee attack that can cut through enemy bullets. In their last years, after a whole decade of mediocrity, they somehow put out these two outstanding games. The two Vasara games were developed by Visco, a company with a reputation unnotable games like Galmedes, Breakers, Andro Dunos and numerous other largely forgotten titles.
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Vasara, of course, predated Capcom’s series by five years. It’s actually quite a bit like a shooter version of Capcom’s Sengoku Basara series (“Vasara” is simply an alternate spelling of “basara”, as the kanji is the same), in that it uses stylized, reimagined versions of famous historical characters. They’re set in medieval Japan, but feature giant flying robots, much like Compile’s M.U.S.H.A. and Robo Aleste. The Vasara games are two fairly unique manic shooters.