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Having previously worked for Toaplan, he arrived hot off the heels of their swan song title, Batsugun, for which he penned the one-shot Manga, ‘Skull Hornets’ – its first printing possibly the rarest shooting game-related book in existence. This was the first of many CAVE titles to which art designer Junya “Joker Jun” Inoue would lend his talent.

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Formats: Arcade, PlayStation 1, PlayStation Network, Sega SaturnĪ flagship series that would go on to be both the prologue and epilogue of CAVE’s tenure, DonPachi crashed onto the scene with expletive-ridden boss introductions telling you to “Target for the weak points of f**kin' machine”, and a pilot voiceover bleating Top Gun-style calls over the action, not limited to “look out kid, they’re on your tail!” and, “Just a couple more shots!”.

With Arika at the publishing helm, there was rarely a problem, although other ports varied in quality, with Ibara’s PlayStation 2, slowdown-free release probably being the worst offender, and Cave’s own DoDonPachi SaiDaiOuJou Xbox 360 port suffering chronic input lag.

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While Danmaku disciples and intercontinental traders spent years courting Shibuya and Yahoo Japan Auctions for elusive arcade PCB’s – items that now command thousands of dollars – CAVE’s console ports began to filter through to European shores and digital download services. An ailing genre was suddenly transformed into a contemporary beast to which CAVE held the leash.

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Morphing bullet curtains and tank-crunching laser beams seduced hardcore arcade goers with edge-of-your-seat highs, and, by the time sadist programmer and ex-Raizing employee, Shinobu Yagawa ( Battle Garegga, Recca) joined the ranks to continue his reign of terror with Ibara (2005), Pink Sweets (2006) and Muchi Muchi Pork (2007), the shooting game revival was in full swing. From the screen-dwarfing ignitions that accompanied a Ketsui boss defeat, to the unyielding, expert-only hell of Mushihimesama’s Ultra Mode, CAVE games didn’t just cook, they boomed. Tearing up the rulebook and assuring their legend to the sound of gunfire, they ushered in a new era of audacious, adrenaline-fuelled violence. While an oblivious western mainstream press courted Ikaruga as though it were some kind of sacred artefact, CAVE’s flamboyant pixel-driven hell was reducing the more worldly shmupper to a quivering human coin dispenser. DonPachi and DoDonPachi were both released on the Saturn and PlayStation in Japan, but no western launch was forthcoming - Image: Damien McFerran / Time Extension By the early '00s, they all but owned the distinction. At its peak, CAVE was synonymous with hardcore gaming, becoming its own brand of cool. Mechanisms became increasingly intricate, pandering to high-tier players and enthralling score hunters with deep methodologies that fostered creative, layered approaches then unseen in the genre. (1998) started a dynamite string of ever-evolving, increasingly creative works that demonstrated Ikeda and his team’s eagerness to fly close to the sun. Ikeda would quickly rise the ranks at CAVE to become both lead programmer and manager – a rare arrangement in Japan’s typically rigid workplace hierarchies.įlying in the face of 3D gaming’s all-consuming onset, ESP Ra.De.

DoDonPachi DaiFukkatsu / DoDonPachi Resurrection (2008)ĭonPachi (1995) and its sequels resurrected Toaplan’s spirit, but with Tsuneki Ikeda’s fresh take: an unbroken aggression shared between player and enemy, screens awash with bullets, and a non-stop, twenty-five-minute stationary form of cardio.

With Batsugun being the last title Toaplan would produce before its closure, Ikeda would join several of his colleagues at the newly formed CAVE Co. By slowing down bullet speeds while in turn greatly increasing their number, the sub-genre ’bullet hell’ was born. Tsuneki Ikeda – affectionately dubbed “IKD” by fans – joined Toaplan toward the end of its life, co-programming two pivotal titles: Grind Stormer (AKA: V・V) and Batsugun.

As shoot-em-up heavyweights Raizing and Psikyo faded from prominence, CAVE reignited the genre with new energy, making an out-of-fashion niche a fashion all its own.

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Rising from the ashes of eminent '80s software developer Toaplan – and consisting of several former employees – in 1995, CAVE tore into Japan’s arcade landscape like a band of unruly upstarts. For the avid shoot-em-up enthusiast, CAVE’s incendiary rise and fall was a journey of rare wonder.