Cuphead
(2017, E10+)
9/1/23
Being born in 1986, I of course never got to experience the Golden Age of animation firsthand. But that’s not to say my exposure to pre-60’s American cartoons was lacking. I still can’t listen to the over-the-top donkey bray coming out of Donald Duck’s busted accordion in the 1942 Disney short, Symphony Hour, without laughing my head off. And then there was my motley assortment of compilation VHS tapes, featuring some of my favorite Looney Tunes, Merry Melodies, and Noveltoons shorts like “Fresh Hare,” “The Daffy Duckaroo,” “A Self-Made Mongrel,” “Land of the Lost Jewels,” and “The Wee Men.” Not to mention all the help the Disney movie memories would be at beating my family at Disney Trivia! 😊 Similarly cherishing such fond memories are two brothers who created two brothers of their own as a tribute not only to their favorite childhood cartoons, but to one of the most important eras in the history of animation.
On the affable animated archipelago known as Inkwell Isle live two mischievous brothers, the impetuous Cuphead and more cautious Mugman. One day, against the many warnings of their grandfatherly guardian, Elder Kettle, the boys venture to the literal wrong side of the tracks to try their luck at the Devil’s Casino. But their fun at the craps table, under the sleazy eye of the smooth-talking manager King Dice, quickly goes to heck in a hand basket when the satanic owner himself arrives to raise the stakes: one roll, his loot or the boys’ souls, winner takes all. With more gold than sense on his milk-filled mind, Cuphead recklessly goes all in—only for the dice to land on the dreaded “snake eyes.” When the terrified brothers plead for mercy, the sly Devil makes them a deal: he will spare them if they collect and bring him the souls of those who also owe him. But the offbeat inhabitants of Inkwell Isle aren’t going to pay their own hellish debts without a fight, and so the plucky porcelain pair will have to hand out the wallop of their lives if they want their collectees to hand over their goods.
I gotta say, I think Mugman—the other half in this co-op game—got cheated when it came to the title. And that also goes for the Netflix adaptation, The Cuphead Show! I mean, Super Mario Bros. at least implies the presence of Luigi. Oh, well. A retro-style run-and-gun platformer with heavy emphasis on boss fights, Cuphead—subtitled Don’t Deal With the Devil--is the debut of indie developer Studio MDHR, the four letters coming from the last name of the main creative duo, brothers Chad and Jared Moldenhauer. The fact that the plot begins with a huge bet is interesting to say the least considering that the two both mortgaged their homes in order to finance the creation of the game. (If that’s not a gamble, I don’t know what is.) Needless to say, it paid off in spades.
Of course, the game’s real eye-opener is its aesthetic, inspired by the goofy, energetic, and beautifully weird rubber hose cartoons of the 1930’s, namely those of Walt Disney and Max Fleischer, as well as Warner Bros., MGM, and Walter Lantz. Gamers versed in such animation can spot the tributes to many timeless characters among the colorful cast. Heads aside, Cuphead and Mugman are virtually identical to the immortal Mickey Mouse, from the black arms and torsos to the white gloves and colored shorts. (Though ironically, their drinking utensil design was taken from a teacup-headed character in a very bizarre 1936 Japanese propaganda cartoon featuring an evil Mickey Mouse.) Some boss examples: Wally Warbles, a giant bird who wears a birdhouse like a turtle shell, and his son, Willy, each sport the red-feathered head and bonkers personality of Woody Woodpecker; Beppi the Clown mimics the surreal flexibility of Koko the Clown; the Medusian sea monster, Cala Maria, with her personality befitting a sexy siren, is an homage to the queen of classic cartoons, Betty Boop; and the oafish, black-haired Captain Brineybeard is a dead ringer for Popeye’s bully of a nemesis, Bluto. And whenever the player selects a level, up pops a title card, complete with a copyright year in Roman numerals (MCMXXX, or 1930), and an MDHR credit stamp at the bottom. See if you can guess the forms and fighting moves of these bosses based on their hilariously alliterative names above the pun-filled titles, indicating them as the stars of their respective “shows:”
- The Root Pack in “Botanic Panic”
- Hilda Berg in “Threatenin’ Zeppelin”
- Baroness Von Bon Bon in “Sugarland Shimmy”
- Grim Matchstick in “Fiery Frolic”
- Sally Stageplay in “Dramatic Fanatic”
But the game’s artistry doesn’t stop there. The Moldenhauers’ strive for a temporally authentic gaming experience was such that they even applied many of the same exact techniques—imperfections and all—used by animators of the 1930’s. Every one of the game’s 45,000+ frames were hand-drawn and inked with specialized nib pens, and various postprocessing effects and filters were utilized to create that old-time grainy and scratchy appearance. As an added bonus, upon completing certain optional tasks, players can unlock black-and-white and two-strip (Technicolor) modes for an even more vintage look. And while the Disney Snow White-inspired water-colored backgrounds are indeed a wonder, even more impressive are the 3D model backgrounds made via Fleischer’s Stereoptical “Setback” camera system, the same system that helped make shorts like 1936’s Popeye the Sailor Meets Sinbad the Sailor so iconic. And if that wasn’t dedicated enough, just listen to the soundtrack. The brothers recruited not only the jolly vocals of professional barbershop quartet, Shoptimus Prime (and bonus points for the name, gentlemen), but also Toronto composer Kristofer Maddigan along with a live band specializing in prominent 30’s genres like jazz, big band, and ragtime, each finger-snappin,’ toe-tappin’ tune sure to bring out every player’s inner hep cat.
And yet in spite of all this creative effort, I think Cuphead is much easier to admire when it’s not being played. What do I mean by that? This game is hard. REALLY hard. In accordance with old cartoon logic, everything, including objects, is alive; thus, everything is out to kill you. And they will. A lot. Moreover, the Moldenhauers modeled many of the mechanics and features after those of their favorite retro video games—many of which, like Contra, are among the most difficult ever made. Even most other boss-heavy games like Shadow of the Colossus offer some moments to breathe and take in the environment while you’re fighting for your life. Between the already berserk visuals and the chaotic projectiles—coming both from you and at you— covering almost the entire screen, to the point where a second player’s presence can actually hinder more than help, all I can say is, thank heaven this is not a button-masher, because your fingers, along with the death animations stating just how close you were to beating that boss which, by the way, has no visible heath bar, are going to hurt enough.
That said, many of us go into our video games wanting to be bombarded with lots of noise and lots of color as well as lots of challenge. And besides, it’s not like we ever questioned the logic of our favorite Saturday morning cartoons, or many of our favorite games, for that matter. Cuphead is one of those rare experiences in which it’s a good thing that the plot takes a backseat to the candy-coated visuals and bonkers imagination. More to the point, it’s a virtual, playable love letter to both animation history and the unabashed joys of childhood, and all that other jazz.
CREDITS:
All images, audio, and links belong to their respective owners; no copyright infringement is intended.
MAIN THEME:
“The Call” - Briand Morrison and Roxann Berglund
On the affable animated archipelago known as Inkwell Isle live two mischievous brothers, the impetuous Cuphead and more cautious Mugman. One day, against the many warnings of their grandfatherly guardian, Elder Kettle, the boys venture to the literal wrong side of the tracks to try their luck at the Devil’s Casino. But their fun at the craps table, under the sleazy eye of the smooth-talking manager King Dice, quickly goes to heck in a hand basket when the satanic owner himself arrives to raise the stakes: one roll, his loot or the boys’ souls, winner takes all. With more gold than sense on his milk-filled mind, Cuphead recklessly goes all in—only for the dice to land on the dreaded “snake eyes.” When the terrified brothers plead for mercy, the sly Devil makes them a deal: he will spare them if they collect and bring him the souls of those who also owe him. But the offbeat inhabitants of Inkwell Isle aren’t going to pay their own hellish debts without a fight, and so the plucky porcelain pair will have to hand out the wallop of their lives if they want their collectees to hand over their goods.
I gotta say, I think Mugman—the other half in this co-op game—got cheated when it came to the title. And that also goes for the Netflix adaptation, The Cuphead Show! I mean, Super Mario Bros. at least implies the presence of Luigi. Oh, well. A retro-style run-and-gun platformer with heavy emphasis on boss fights, Cuphead—subtitled Don’t Deal With the Devil--is the debut of indie developer Studio MDHR, the four letters coming from the last name of the main creative duo, brothers Chad and Jared Moldenhauer. The fact that the plot begins with a huge bet is interesting to say the least considering that the two both mortgaged their homes in order to finance the creation of the game. (If that’s not a gamble, I don’t know what is.) Needless to say, it paid off in spades.
Of course, the game’s real eye-opener is its aesthetic, inspired by the goofy, energetic, and beautifully weird rubber hose cartoons of the 1930’s, namely those of Walt Disney and Max Fleischer, as well as Warner Bros., MGM, and Walter Lantz. Gamers versed in such animation can spot the tributes to many timeless characters among the colorful cast. Heads aside, Cuphead and Mugman are virtually identical to the immortal Mickey Mouse, from the black arms and torsos to the white gloves and colored shorts. (Though ironically, their drinking utensil design was taken from a teacup-headed character in a very bizarre 1936 Japanese propaganda cartoon featuring an evil Mickey Mouse.) Some boss examples: Wally Warbles, a giant bird who wears a birdhouse like a turtle shell, and his son, Willy, each sport the red-feathered head and bonkers personality of Woody Woodpecker; Beppi the Clown mimics the surreal flexibility of Koko the Clown; the Medusian sea monster, Cala Maria, with her personality befitting a sexy siren, is an homage to the queen of classic cartoons, Betty Boop; and the oafish, black-haired Captain Brineybeard is a dead ringer for Popeye’s bully of a nemesis, Bluto. And whenever the player selects a level, up pops a title card, complete with a copyright year in Roman numerals (MCMXXX, or 1930), and an MDHR credit stamp at the bottom. See if you can guess the forms and fighting moves of these bosses based on their hilariously alliterative names above the pun-filled titles, indicating them as the stars of their respective “shows:”
- The Root Pack in “Botanic Panic”
- Hilda Berg in “Threatenin’ Zeppelin”
- Baroness Von Bon Bon in “Sugarland Shimmy”
- Grim Matchstick in “Fiery Frolic”
- Sally Stageplay in “Dramatic Fanatic”
But the game’s artistry doesn’t stop there. The Moldenhauers’ strive for a temporally authentic gaming experience was such that they even applied many of the same exact techniques—imperfections and all—used by animators of the 1930’s. Every one of the game’s 45,000+ frames were hand-drawn and inked with specialized nib pens, and various postprocessing effects and filters were utilized to create that old-time grainy and scratchy appearance. As an added bonus, upon completing certain optional tasks, players can unlock black-and-white and two-strip (Technicolor) modes for an even more vintage look. And while the Disney Snow White-inspired water-colored backgrounds are indeed a wonder, even more impressive are the 3D model backgrounds made via Fleischer’s Stereoptical “Setback” camera system, the same system that helped make shorts like 1936’s Popeye the Sailor Meets Sinbad the Sailor so iconic. And if that wasn’t dedicated enough, just listen to the soundtrack. The brothers recruited not only the jolly vocals of professional barbershop quartet, Shoptimus Prime (and bonus points for the name, gentlemen), but also Toronto composer Kristofer Maddigan along with a live band specializing in prominent 30’s genres like jazz, big band, and ragtime, each finger-snappin,’ toe-tappin’ tune sure to bring out every player’s inner hep cat.
And yet in spite of all this creative effort, I think Cuphead is much easier to admire when it’s not being played. What do I mean by that? This game is hard. REALLY hard. In accordance with old cartoon logic, everything, including objects, is alive; thus, everything is out to kill you. And they will. A lot. Moreover, the Moldenhauers modeled many of the mechanics and features after those of their favorite retro video games—many of which, like Contra, are among the most difficult ever made. Even most other boss-heavy games like Shadow of the Colossus offer some moments to breathe and take in the environment while you’re fighting for your life. Between the already berserk visuals and the chaotic projectiles—coming both from you and at you— covering almost the entire screen, to the point where a second player’s presence can actually hinder more than help, all I can say is, thank heaven this is not a button-masher, because your fingers, along with the death animations stating just how close you were to beating that boss which, by the way, has no visible heath bar, are going to hurt enough.
That said, many of us go into our video games wanting to be bombarded with lots of noise and lots of color as well as lots of challenge. And besides, it’s not like we ever questioned the logic of our favorite Saturday morning cartoons, or many of our favorite games, for that matter. Cuphead is one of those rare experiences in which it’s a good thing that the plot takes a backseat to the candy-coated visuals and bonkers imagination. More to the point, it’s a virtual, playable love letter to both animation history and the unabashed joys of childhood, and all that other jazz.
CREDITS:
All images, audio, and links belong to their respective owners; no copyright infringement is intended.
MAIN THEME:
“The Call” - Briand Morrison and Roxann Berglund
EPISODE SONG:
“Hot Dawg!” - Alex Nelson
“Hot Dawg!” - Alex Nelson
OST SONGS:
“Don’t Deal With the Devil”
“Introduction”
“Inkwell Isle One”
“Clipjoint Calamity”
“Forest Follies”
“All Bets Are Off”
“Victory Tune”
All other music and sound clips are from Cuphead (directed by Chad and Jared Moldenhauer; developed and published by Studio MDHR).
Download the full 15-minute episode here!
Cuphead on Wikipedia
Cuphead's Official Website
Cuphead on IMDb
Cuphead on Metacritic
Cuphead on Common Sense Media
Cuphead on Tv Tropes
Buy and Play Cuphead on Steam
Buy Cuphead on Nintendo
Buy Cuphead on Playstation Network
Buy Cuphead at GameStop
Buy Cuphead on Amazon
^^ Back to Video Games, Simulations, and Other Interactive Experiences
“Don’t Deal With the Devil”
“Introduction”
“Inkwell Isle One”
“Clipjoint Calamity”
“Forest Follies”
“All Bets Are Off”
“Victory Tune”
All other music and sound clips are from Cuphead (directed by Chad and Jared Moldenhauer; developed and published by Studio MDHR).
Download the full 15-minute episode here!
Cuphead on Wikipedia
Cuphead's Official Website
Cuphead on IMDb
Cuphead on Metacritic
Cuphead on Common Sense Media
Cuphead on Tv Tropes
Buy and Play Cuphead on Steam
Buy Cuphead on Nintendo
Buy Cuphead on Playstation Network
Buy Cuphead at GameStop
Buy Cuphead on Amazon
^^ Back to Video Games, Simulations, and Other Interactive Experiences