Thanks to Hamada for helping with edits.
During the Nineties, Twycross-based game developer Rare made a name for itself by partnering with Nintendo. Their union was fruitful, successfully reinvigorating Nintendo’s dormant Donkey Kong franchise in 1994. On Nintendo’s next console, the Nintendo 64, a Diddy Kong-led racing spin-off sort of served as a backdoor pilot for Banjo-Kazooie, whose headliners both companies were pushing as promising new mascots. Plus, the Nintendo 64 saw Rare’s seminal first-person shooter GoldenEye 007, among other games. But once the Nintendo GameCube hit store shelves, this partnership was nearing its end.
In 2002, industry newcomer Microsoft acquired Rare, making them a first-party developer for the Xbox (though Rare would thankfully continue developing titles for Nintendo’s handhelds until 2008). From Microsoft’s perspective, this investment made sense — Rare broadened their portfolio — but the studio’s transition was uncomfortable. Publishing properties like Halo and later Gears of War gave the Xbox brand a reputation for being the home of violent, “hardcore” software. Rare’s whimsical fare struggled to establish a niche within this ecosystem for many years. No game better symbolizes that mismatch than Grabbed by the Ghoulies, a maligned 2003 Xbox beat ‘em up.
Notably, Ghoulies started life on the GameCube. So did Kameo: Elements of Power, another potential “Beat the Backlog” adventure. (Image: Microsoft)
Ghoulies’ straightforward story deals with the villainous Baron von Ghoul abducting protagonist Cooper’s girlfriend, Amber. Visually, Ghoulies uses cel shaded graphics and a comic book-esque presentation for cutscenes. A haunted mansion is hardly a unique concept (I played the remaster of Capcom’s Resident Evil remake alongside Ghoulies), though Ghoulhaven Hall proves itself a strong setting (thankfully, since our excursion through it spans over six hours). Grant Kirkhope’s score suits the game swimmingly, too. Altogether, Grabbed by the Ghoulies’ quirky presentation serves it well.
Ghoulies’ controls are simple: you move Cooper with the left control stick, and aim his attacks with the right one. Grabbing a makeshift weapon — televisions, chairs, umbrellas, etc. — is achieved by pressing the A button while standing next to it. Should you dislike your tool, pressing B breaks it, and every weapon automatically breaks after too many uses. Some weapons, like glass bottles, are projectiles. Unfortunately, aiming can prove problematic; Cooper automatically locks on to whatever targets are nearby, sometimes favoring them in lieu of whatever you’re actually aiming at. During a few specific segments, Cooper is given weapons — a torch or fire extinguisher, for example — designed around specific threats. Panning the camera left or right is done by holding the respective shoulder button, though the camera can prove uncooperative if you’re near a wall.
Although I understand Ghoulies’ desire to incorporate jump scares, these sporadic quick time events — which get progressively longer — don’t enhance the game in any fashion. (Image: Microsoft)
Cooper has finite health, and it’s game over if it hits zero. Resident cook Ma Soupwell scattered a bevy of her Super Soups throughout the mansion, however. Most of them provide the lad with temporary power-ups, like invincibility or invisibility, or restore health. Conversely, cans donning off-brand labels harm him. Spirits also lurk through the halls, shocking Cooper if he stumbles upon them. If caught in their radius, he temporarily becomes incapable of retaliation and takes extra damage if hit. Additionally, every room houses one Rare Book, totalling one hundred. Collecting them is purely optional, though for every twenty claimed, players unlock a bonus challenge.
Now, I must confess something: I historically don’t enjoy beat ‘em ups, a trend Ghoulies regrettably upholds. The titular Ghoulies unimaginatively try to surround Cooper, usually attacking by punching or throwing stuff. If struck repeatedly, Cooper becomes briefly immobilized, leaving him vulnerable (that’s also true of the Ghoulies, though should a foe’s body emit a red glow, they’re briefly impervious to damage). Additionally, most rooms feature at least one challenge Cooper must clear, like eliminating specific enemies or securing a key. If you fail, the Reaper appears — and it’s instant death if he catches the kid. And the final, fifth chapter is a timed rush through thirteen scenes, testing you to free the Baron’s remaining prisoners. Clearing it yields a more elaborate ending. Regardless, while Ghoulies’ attempts at differentiation are appreciated, its combat just isn’t engaging; no matter the mission, malefactors, or mise en scène, Ghoulies doesn’t do enough to stave off repetition.
Ghoulies has two bosses: a zombified Amber and Baron von Ghoul. Again, neither shake up its gameplay much, though the latter is nevertheless the game’s most sophisticated foe. (Image: Microsoft)
Thankfully, Ghoulies’ cartoony grotesqueries are charming. Skeletons are the Baron’s go-to soldiers, followed by zombies and small, ineffective imps. Gradually, the creep starts introducing progressively more vicious Ghoulies. Imps evolve into flying and ninja varieties. Certain sections of his property are populated by mummies, some of whom can curse Cooper. Spiders drop from the ceiling, lunge at Cooper, or weave webs to trap him. Medusas smack him with their hair or, if you fall in their line of sight, turn the teen into stone. A few walking coffins house vampiresses, who pull Cooper in and violently kiss him. Sometimes, the Ghoulies even mingle with each other, party, or fight amongst themselves (one Super Soup triggers this). If you’re performing well, Ghoulies might even run away from you, which is always gratifying.
And the Ghoulies’ quirkiness factors into Ghoulies’ greatest strength: its personality. Save for the plain but essential duo of Cooper and Amber, Ghoulies’ colorful, eclectic cast is charming. Stealing the show is the man child at its center, whose pettiness surpasses Donkey Kong and Banjo-Kazooie‘s primary antagonists. Rare’s games regularly reference each other, and this one is bursting with Banjo and Mr. Pants paraphernalia. Corpse-like busts in Banjo and Kazooie’s likenesses decorate a hallway. A Banjo regular, the hero’s miserable pet goldfish Roysten, makes a surprising cameo. And despite losing the license that made them a household name, Rare snuck in a few discrete Donkey Kong homages.
Earning a platinum medal on all twenty bonus missions unlocks Ghoulies’ twenty-first and final challenge, which makes sense — only those dedicated enough to master them will ever bother with this gauntlet. (Image: Microsoft)
It’s not surprising Grabbed by the Ghoulies wasn’t a commercial or critical success. It’s an odd experience, one of those rare games, pun intended, where I adore everything about it except the act of playing it. Oddly enough, though, the tepid reception to Ghoulies actually helped cement it a niche within Rare’s larger canon; some of their subsequent works make self-effacing jabs at its lackluster sales (alongside more typical callbacks). Ghoulies‘ development tools also later powered the excellent Viva Piñata. Still, Ghoulies’ inclusion in the Rare Replay compilation is warranted and welcome. All these years later, I hope people are more amenable to trying it, and its structure makes it easy to play in spurts — just take it slowly and go through a room or two a day.
Although the lovebirds successfully escape, every ending implies their aggressor isn’t done antagonizing them yet. Sadly, the next chapter in this story will probably never be told… (Image: Microsoft)
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