THE LOST CITY OF ATLANTIS

THE LOST CITY OF ATLANTIS

An extraordinary German! Jump, Run & Swim arcade game that tests your skills and reactions on land and water.

You are Raghim, a young Phoenician merchant, and the gods have commissioned you to find the forgotten kings of Atlantis. Not an easy task, as the kings are hidden in the mysterious labyrinth of time. To fulfill your divine mission, you must find your way through the extensive and dangerous labyrinths of Greece, Egypt and Atlantis. But right at the beginning of your mission you realise that terrible monsters want to prevent you from succeeding. But luckily you keep finding pearls on your mission that you can exchange for weapons.

Access to the next level is only possible with the crystals hidden in each level (seven in each sublevel), which you must hand over to the wizard at the exit.

~ translated from the back of the German Jewel Case

Of all the sub-genres attributed to the classic platformer, I find the Cinematic Platformer to be most nebulous. At what point does it stop being a generic platformer and starts becoming a cinematic one? It is a mechanical distinction or a thematic one? I had this internal argument when thinking about a bizarre shareware title from the mid 90s called The Lost City of Atlantis.

The game originally sparked my interest due to its protagonist - a totally naked, anatomically correct man named Raghim navigating the waterlogged streets of Greece, Egypt and ultimately Atlantis. It's certainly not your average avatar - and one that supports the "cinematic" moniker - but the concept of collecting gems and jewels to unlock the next level does not. So, I gathered up the TV Tropes definition to see exactly how it fits. Let's start with their more common traits;

1) Human characters will have realistic proportions.

If an anatomically correct naked man isn't realistic, then I don't know it. Thankfully, the game's resolution is so pixelated you don't have to pixelate it again. The nudity on display is not there for titillation or sexualisation making its presence paradoxically rather innocent. It isn't even there as a punch line. Personally, I think it's rather refreshing but I would imagine this alone would limit its appeal.

2) Many such games had their character animation made by Rotoscoping, or Motion Capture today, resulting in more realistically-paced animations.

I don't know what technique was used, but Raghim is beautifully animated. His dives into the waters end in a satisfying pose as he settles under the water. Even when swimming, he will occasionally kick off a wall into a butterfly stroke as he navigates the underwater mazes. It's not all perfect, though. It's hard to position yourself correctly in order to pick up items or climb vines - and the enemies aren't given the same amount of care - but I'd say this is very much a tick.

3) Characters cannot instantly stop moving or instantly accelerate to their maximum walking/running speed; it takes time for them to decelerate or accelerate. Nor can they make an Instant 180-Degree Turn.

This is very much true. Under the sea, Raghim swims against the water's resistance making it incredibly frustrating to navigate. On land, there is a separate key for small steps that is most definitely needed. Try making certain jumps without it!

4) Characters have a maximum jump height that is about the same as that of real people, unlike in (again) Super Mario Bros. where characters can jump higher than they are tall. This means that the way to get to higher places might involve walking up steps, climbing up ropes, or clambering up ledges, since simply jumping up there is not an option.

So far, so cinematic. Raghim's jumping isn't really a focus in the game, nor is it programmed how you'd expect. Tapping the "jump" key (the up arrow) won't really do anything outside of climbing and swimming. Instead, if you hold it and tap either direction he'll hop left or right. As such, platforms must be navigated with care and consideration making you curse the annoyingly placed enemies you'll inevitably bump into.

4) A sufficiently long fall will kill a character.

The first point I can definitively say no to, though probably not for the reason you think. While some levels do have verticality to them, more often than not a long fall will simply plunge you into the big blue. We all know water will cushion a fall, so I'm not sure we can count this one.

5) Characters cannot change their direction of motion while they are in mid-air.

Back to being true. If a jump would land into a body of water, Raghim will instead dive in allowing him to reach a good depth quicker than if he were to walk in. 

Enter the temples identified by the flames at their entrance to spend your collected pearls (left).

This is where you can buy expensive lightning bolts, bomb jars or fireballs from the gods (right).

6) In combat, both the player and enemies will use weapons or punches/kicks, rather than game mechanics like Goomba Stomp or Collision Damage.

This is another way in which the game differs from this description. At the beginning, Raghim is completely helpless. He has no weaponry nor the ability to punch, kick or head stomp. Instead, he'll have to buy his defences from the gods. From Zeus, you can purchase lighting bolts that attack directly in from of you. From Poseidon you can buy bombs that are thrown in an arch a few feet in front of you. Mars' weapons shoot diagonally upwards to hit foes in the sky.

The problem with this design is that all three weapons are necessary to get through the stages unscathed. Due to Raghim's stilted movements, he cannot adequately use Zeus' bolts on a flying harpy, nor can he easily use Mars' fireballs on a creature directly in front of him. The more you play, the more a specific path will become noticeable allowing you to prioritise a certain weapon, but getting there isn't an entertaining journey. At least you have a thicc ass to look at as you do.

7) When the player character collects an item, the game will show the character reaching for it and picking it up with their hand. By contrast, items in other platform games tend to just disappear when collided with by the player character.

The last of the main points can also be applied to a certain degree. On land, you have to press down to crouch and pick up items. This is mostly jars of food and jugs of wine to heal your life bar. When it comes to everything else, then the definition gets a bit dubious.

To complete a stage, you have to collect 7 crystals before handing them over to a wizard who will take you to the next stage to do it all over again. There are four stages in Greece, four in Egypt and four in Atlantis. The amount you have collected is displayed on a HUD at the bottom of the screen, which goes against the first of TV Tropes' lesser points;

8) The gameplay screen will have few or no user interface elements, such as points, time counters, level numbers, character stats, etc.

It's not only the crystals that are displayed here, but almost everything else mentioned. Levels aren't timed, but they are scored. Your lives, health, ammo and the level number is also present giving the first big "NO" against the cinematic moniker. But it goes on from here...

9) Gameplay is usually linear, especially compared to that of Metroidvanias.

The level structure is wide open. Each stage is large and can be approached in any direction you choose. It's no Metroidvania, but one could argue that the order in which you purchase the weapons will dictate the route in which you travel. Either way, there is no straight line between point A and point B. Similarly, the following isn't true...

10) Usually screen-flipping is used, instead of scrolling.

Scrolling is very much a thing. The level is large and labyrinthine and our nudist will rarely escape the centre of the screen. This is to the game's detriment, reducing your line of sight giving enemies a distinct advantage. I found myself edging the screen ready to shoot at any moment just to defeat them. Talking of enemies...

11) Although such games usually include action sequences, most commonly involving one-on-one combat, their gameplay also includes level-exploration and puzzle-solving.

There are three hazards that will reduce your health. Just the act of swimming will slowly eek it down, but generally you safely hold your breath for an alarming amount of time. There will be jellyfish minding their own business in the most awkward of places which will eat out a chunk more of your life. Most are annoyingly unavoidable. Touching a enemy, or getting hit by one of their attacks will gouge out the most, and while you will wand to attack them individually, they can often hunt in packs. Luckily, just one hit or touch will defeat them (though the latter will hurt you considerably too) so the trick is more about timing and positioning than one-on-one combat. 

12) Generally use Le Parkour.

Unless you consider swan dives and vine climbing, I don't thing Raghim practices parkour.

13) Characters have to draw their sword or gun before attacking, and then their movement is limited until they sheath it again.

As there is no hand-to-hand combat, this is not a thing. There is certainly frames of animation used when throwing bombs or hurling bolts, but it's not as deliberate as something like Prince of Persia or Death by Dark Shadows.

14) Standard platforming game obstacles (spikes, conveyor belts etc.) are either much more contextualized or absent.

This is the only secondary point from TV Tropes that is true. The game does have traps and obstacles, but it is contextualised into the theme of sunken mythical cities. I would say there's a touch too much Euro-jank taking place, particularly in the abundant placement of jellyfish and frustrating enemy encounters that border on unfair - so much so that I challenge anyone to get past the first level on their first try. Their fifteenth even. It is these design aspects that make me question my inclination to call this a cinematic platformer.

Raghim using his lightning bolt. Thankfully, enemies are defeated in one hit (left).

Some barriers can be opened up by swimming into it (right).

What isn't mentioned anywhere in the TV Tropes rundown is the story. I would argue that the presence of plot is just as important as the gameplay when discerning what is and isn't a cinematic platformer. Our protagonist needs a clear and personal goal, and while saving a princess in Prince of Persia, escaping slavery in Oddword: Abe's Exoddus or removing a curse in Death by Dark Shadows are personal, I'm not sure seeking out the treasure a legendry lost city because no-one "...would would dare defy those muscles strong and bulging" is an adequate excuse. 

My conclusion is that The Lost City of Atlantis is a cinematic platformer, but barely. But none of that really matters if the game is any good. I would say that is isn't, despite having an appealing premise and original execution. That is entirely down to the difficulty. Whether on land or on sea, you will be wrestling with how Raghim controls. His deliberate movements do not work well with the design of the levels or - more specifically - the combat encounters. He starts off far too weak to adequately defend himself from anyone, and the dangers are there in abundance from the off. Even the inclusion of a 'Beginner' mode isn't exactly beginner friendly. In the end, it is an interesting find, but not much of a game.

To download the game, follow the link below. This custom installer exclusive to The Collection Chamber uses the DOSBox-X build of DOSBox to bring the game to modern systems. Text Manual and Level 1 Map included. Read the ChamberNotes.txt for more detailed information. Tested on Windows 10.

File Size: 20.6 Mb.  Install Size: 53.1 Mb.  Need help? Consult the Collection Chamber FAQ

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The Lost City of Atlantis is © Noch Software, Inc
Review, Cover Design and Installer created by me

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