Rise of the Dragon is now almost 20 years old, but that didn't stop it being one of the most immersive experiences I have every had. It mixes the futuristic-dystopian-cyberpunk elements of Blade Runner with a more traditional pulp adventure to create flawed and believable - yet simultaneously clichéd - characters and a terrifying future Los Angeles.
What makes the game so immersive, though, is the way that actions really do have consequences, and there are many ways to progress to the end of the game. In addition, each possible way to die has a different death/game over sequence associated with it, and there is even a "bad" ending where everybody in the city dies. Each game over sequence feels almost as if it could be the end of the game, just as every other (non-fatal) fail state allows the story to continue legitimately, albeit down a different path. These sequences are presented in a classic comic book style, with cartoony but dark character and environment designs, and a plethora of exaggerated expressions. None of the lines are voiced, but the dialog boxes and thought bubbles fit perfectly with the art style. Altogether, the little touches go a long way to making the world of protagonist "Blade Hunter" seem real and plausible. Turning on a tap brings a shrieking high-pitched sound - something to do with heavy water restrictions - yet every faucet is leaky. A helicopter patrols the night sky, keeping tabs on the populace. Dangerous-looking construction is ongoing right next to Blade's apartment, but his jadedness shines through with a sarcastic remark about the dangers of sleepwalking. And the "Em-Way" trains which transport around the map are clearly part of a run-down high-tech system that still works, but is dangerous to use, as stations are typically littered with graffiti and populated by vandals, drug-addicts, and the homeless. You can even be arrested for indecent exposure.
The game is not plagued by the usual adventure game pitfalls, such as pixel-hunting for items, bizarre and non-sensical puzzles, and constant back-tracing to retrieve forgotten items - usually, you can simply move on by some other means, such as blowing up a door if you don't have the key. There are also a few jarring action sequences scattered through the game - jarring because they feel so unreal and out of place in their clumsy side-scrolling shooter execution. I think there was a possibility for these action parts to elevate the game to a much higher level; instead they hold it back from being something great. These sequences can be exceptionally frustrating, as movement is awkward, the controls are clunky, and at times it is not immediately clear what you are supposed to be doing. At least the developers were kind enough to offer a skip option for struggling players (which is activated after five failed attempts; apparently this option was not present in the Sega CD version).
Dragon is a short game - you can easily get through it in a few hours - but its length feels exactly right. A longer game would have reduced the sense of urgency as the time left to win quite literally ticks away, and it would have likely spread the story thin, exposing plot-holes and making characters seem shallower - especially the main antagonist, the Dragon, whose motivations and back-story are barely expressed in the game. These last few complaints may have been avoided in a longer game, but I suspect additional character development would have slowed the pace excessively, making for a far less enjoyable experience. As it is, Rise of the Dragon is a flawed yet enjoyable experience, even after all these years, and is hard not to recommend for adventure game fans and cyberpunk and detective noir enthusiasts. It's great fun trying to get all the different endings and game over screens, and is certainly suitable for multiple playthroughs to explore dialog options and their consequences. Just don't expect too much of a game here - this is as much an interactive sci-fi novel as it is point-and-click adventure.
What makes the game so immersive, though, is the way that actions really do have consequences, and there are many ways to progress to the end of the game. In addition, each possible way to die has a different death/game over sequence associated with it, and there is even a "bad" ending where everybody in the city dies. Each game over sequence feels almost as if it could be the end of the game, just as every other (non-fatal) fail state allows the story to continue legitimately, albeit down a different path. These sequences are presented in a classic comic book style, with cartoony but dark character and environment designs, and a plethora of exaggerated expressions. None of the lines are voiced, but the dialog boxes and thought bubbles fit perfectly with the art style. Altogether, the little touches go a long way to making the world of protagonist "Blade Hunter" seem real and plausible. Turning on a tap brings a shrieking high-pitched sound - something to do with heavy water restrictions - yet every faucet is leaky. A helicopter patrols the night sky, keeping tabs on the populace. Dangerous-looking construction is ongoing right next to Blade's apartment, but his jadedness shines through with a sarcastic remark about the dangers of sleepwalking. And the "Em-Way" trains which transport around the map are clearly part of a run-down high-tech system that still works, but is dangerous to use, as stations are typically littered with graffiti and populated by vandals, drug-addicts, and the homeless. You can even be arrested for indecent exposure.
The game is not plagued by the usual adventure game pitfalls, such as pixel-hunting for items, bizarre and non-sensical puzzles, and constant back-tracing to retrieve forgotten items - usually, you can simply move on by some other means, such as blowing up a door if you don't have the key. There are also a few jarring action sequences scattered through the game - jarring because they feel so unreal and out of place in their clumsy side-scrolling shooter execution. I think there was a possibility for these action parts to elevate the game to a much higher level; instead they hold it back from being something great. These sequences can be exceptionally frustrating, as movement is awkward, the controls are clunky, and at times it is not immediately clear what you are supposed to be doing. At least the developers were kind enough to offer a skip option for struggling players (which is activated after five failed attempts; apparently this option was not present in the Sega CD version).
Dragon is a short game - you can easily get through it in a few hours - but its length feels exactly right. A longer game would have reduced the sense of urgency as the time left to win quite literally ticks away, and it would have likely spread the story thin, exposing plot-holes and making characters seem shallower - especially the main antagonist, the Dragon, whose motivations and back-story are barely expressed in the game. These last few complaints may have been avoided in a longer game, but I suspect additional character development would have slowed the pace excessively, making for a far less enjoyable experience. As it is, Rise of the Dragon is a flawed yet enjoyable experience, even after all these years, and is hard not to recommend for adventure game fans and cyberpunk and detective noir enthusiasts. It's great fun trying to get all the different endings and game over screens, and is certainly suitable for multiple playthroughs to explore dialog options and their consequences. Just don't expect too much of a game here - this is as much an interactive sci-fi novel as it is point-and-click adventure.