Norse by Norse West: The Return of the Lost Vikings

Norse by Norse West: The Return of the Lost Vikings is an action-puzzle platformer sequel that reunites players with the three original Vikings – Erik the Swift, Baleog the Fierce, and Olaf the Stout – who must once again work together using their unique abilities to navigate through challenging levels across diverse time periods. The game introduces two new characters, Fang the Werewolf and Scorch the Dragon, expanding the gameplay possibilities as players guide this unlikely team through imaginative settings including pirate ships, futuristic worlds, and gothic graveyards. With its blend of fantasy and sci-fi elements, comedic narrative, and character-based puzzle mechanics, the game requires players to strategically utilize each character’s specialized skills to overcome obstacles and progress through their comedic adventure home.

Norse by Norse West: The Return of the Lost Vikings: Review

Introduction

In the pantheon of 1990s gaming, few franchises embody the spirit of innovative, genre-blending creativity quite like The Lost Vikings. Developed by Blizzard Entertainment (then Silicon & Synapse) in 1993, the original was a masterclass in cooperative puzzle-platforming, forcing players to switch between three uniquely skilled Vikings to navigate labyrinthine levels. Four years later, Blizzard returned with Norse by Norse West: The Return of the Lost Vikings, a sequel that expanded upon its predecessor’s foundation while introducing new complexities and characters. Yet, despite its merits, this follow-up remains a cult classic overshadowed by Blizzard’s meteoric rise with Warcraft and Diablo. This review dissects Norse by Norse West as both a standalone experience and a historical artifact, examining its narrative depth, mechanical innovations, artistic presentation, and enduring legacy in an era of 32-bit transitions and shifting tides in the gaming industry.

Development History & Context

A Blizzard in Transition
Norse by Norse West emerged during a pivotal moment for Blizzard Entertainment. Having established themselves with innovative titles like Rock N’ Roll Racing and the original Lost Vikings, the company was on the cusp of global dominance with Warcraft: Orcs & Humans (1994) and Diablo (1996). Ironically, this very success may have contributed to the sequel’s relative obscurity; as one player review noted, “the sudden success of Warcraft and Diablo overshadowed it” (MobyGames, 2012). Blizzard, however, retained creative control over the Super Nintendo Entertainment System (SNES) version, ensuring its design integrity. Meanwhile, CD-ROM ports for Windows, PlayStation, and SEGA Saturn were entrusted to Beam Software—a decision that would have profound implications for the game’s reception.

Technological Constraints & Platform Parity
The late 1990s were defined by the clash of 16-bit and 32-bit technologies. The SNES version, released in 1997 as the console was nearing obsolescence, leveraged its hardware limitations to deliver crisp, parallax-scrolled 2D sprites and tight gameplay. In contrast, the CD-based ports attempted to capitalize on the era’s “3D craze” by replacing hand-drawn art with pre-rendered graphics. As one critic lamented, Beam Software “rendered the levels into a blurry mess, turning all characters and objects into ugly 3D models” (MobyGames, 2012). This visual downgrade was compounded by technical flaws: the Windows version’s techno soundtrack clashed with the game’s Norse-fantasy tone, and the PlayStation/Saturn editions lacked memory card support—a baffling omission for 1997. The result was a tale of two versions: the SNES original as a polished artifact, and the CD ports as cautionary tales of misguided “enhancement.”

Gaming Landscape
1997 was a year of seismic shifts. The PlayStation and SEGA Saturn were vying for supremacy, while PC gaming was burgeoning with CD-ROMs enabling full-motion video (FMV) and voice acting. Norse by Norse West arrived amid a surge in puzzle-platformers, but its reliance on old-school passwords over save files felt increasingly archaic. Its release also coincided with Blizzard’s pivot to PC-exclusive titles, marking the beginning of the end for their console experiments.

Narrative & Thematic Deep Dive

An Epic of Absurdity
The plot picks up where the original left off, with Erik, Baleog, and Olaf living peaceful Viking lives until the alien overlord Tomator kidnaps them during a fishing trip. After a comical heist where they dismantle a robot and steal its cybernetic parts—granting new abilities—the Vikings are accidentally flung through time. The narrative unfolds with self-aware humor, epitomized by the manual’s prologue, which cheekily asks: “Will Olaf be reunited with his wife and daughters? Will Baleog ever get a date with Freya, that Valkyrie babe on the ‘Resume Game’ screen?” (MobyGames, 2012). This fourth-wall-breaking tone permeates the game, with post-death quips like, “Sequels are cheap ways for video game companies to make money when they’re out of ideas” (Hardcore Gaming 101).

Characters and Thematic Cohesion
The trio’s personalities remain intact—Erik the impulsive, Baleog the sarcastic, Olaf the bumbling—but their stolen robot gear expands their roles. Erik’s newfound ability to swim mirrors a thematic exploration of adaptation: the Vikings survive not through brute force, but by scavenging and repurposing alien technology. The introduction of Fang the Werewolf and Scorch the Dragon adds diversity, with their abilities (wall-climbing, fire-breathing) symbolizing the game’s embrace of mythological and sci-fi fusion. Thematically, the game champions camaraderie; as one review noted, “the sense of camaraderie [keeps players returning],” as players must “figure out how best to employ each Viking’s abilities while also keeping them out of trouble” (BestDOSGames).

Worlds as Narrative Devices
The time-spanning levels—from Transylvanian graveyards to pirate ships—are more than mere backdrops. Each setting introduces thematic conflicts: the Dark Ages chapter references Warcraft’s “Swamp of Sorrow,” blurring Blizzard’s universes, while the futuristic levels critique technology’s dehumanization. This eclecticism avoids repetition, ensuring the narrative remains as unpredictable as the Vikings’ journey.

Gameplay Mechanics & Systems

Core Loop: Teamwork and Trial
The gameplay hews to the original’s formula—guide all Vikings to the level’s exit—but introduces significant complexity. Each character’s abilities are now contextually critical: Erik’s turbo boots enable speed-based puzzles, Baleog’s bionic arm allows long-range item retrieval, and Olaf’s shrinking ability grants access to mouse-holes. The new characters, Fang and Scorch, add further permutations: Fang’s Mega Man X-style wall-jumping and Scorch’s limited flight expand the puzzle-solving toolkit. As GamePressure noted, this “greater diversity among the characters allowed [developers] to complicate the boards,” creating puzzles that demand “intellectual battles” (GamePressure).

Innovations and Flaws
The sequel’s greatest strength is its mechanical depth, but this also becomes its weakness. Early levels teach new abilities gradually, but by Level 15, “even seasoned pros will find themselves struggling” (Mega Fun, via MobyGames). The password system exacerbates this frustration; codes like “B3SV R3T0 DRNK Y0VR 0V4L T1N3” (spelling “Be sure to drink your oval tine”) are charming but impractical. The SNES version’s secret “suck so hard” mode—unlocked by killing a Viking in Level 1—grants superpowers (e.g., Erik’s fireball attacks), rewarding experimentation with a tongue-in-cheek nod to player ingenuity. However, the CD ports omit this feature, stripping away a layer of discovery.

Design Philosophy
Hardcore Gaming 101 astutely observes that “the concept just doesn’t feel as fresh as it did in the first game.” While new abilities like Olaf’s fart-propulsion add novelty, they often feel prescriptive (“see this thing, use this Viking”). The 1-2 player co-op mode, where players control different Vikings, emphasizes communication but suffers from chaotic execution. Despite these issues, the game remains “a very smart, funny, and highly addictive combination of puzzles and platform gaming” (MobyGames, 2012).

World-Building, Art & Sound

Visual Identity: SNES vs. CD
The SNES version’s art is a triumph of 16-bit pixel art. Characters retain their expressive, cartoonish designs, while levels burst with parallax scrolling and vibrant palettes. In contrast, Beam Software’s CD ports prioritize pre-rendered 3D, resulting in “ugly” deformed models and “blurry” environments (MobyGames, 2012). The FMV cutscenes, intended as showcases, instead resemble “a 3D nightmare” (MobyGames), with Vikings resembling Muppets. This divergence highlights a critical design philosophy: Blizzard prioritized gameplay fidelity, while Beam chased technical trends at the expense of soul.

Sound Design: Personality in Audio
The SNES soundtrack, composed by Johann Langlie, expands the original’s whimsical themes with richer instrumentation. The CD versions, however, overhaul the audio entirely. Windows replaces melodies with “sick techno tunes” (MobyGames), clashing with the medieval sci-fi vibe. The PlayStation/Saturn editions redeem this with stellar voice acting, featuring Rob Paulsen (Animaniacs) as Erik and Jim Cummings as Tomator. Their deliveries amplify the game’s humor, with snarky interludes (“Sequels are cheap ways…”). Sound effects—like Olaf’s comical fart or Baleog’s bionic clangs—add tactile feedback, making the world feel alive despite its pixelated or rendered constraints.

Atmosphere Through Design
Environments like the candy-colored levels and Transylvanian graveyards create a dreamlike absurdity. The pirate ship stage, with its swinging ropes and cannonball puzzles, exemplifies how setting drives gameplay. This fusion of art and function ensures each level feels distinct, even if the core mechanics remain consistent.

Reception & Legacy

Critical Consensus
At launch, Norse by Norse West polarized audiences. The SNES version was lauded, earning a 95% from Total! (Germany) and an 86% Moby score, with critics praising its “brilliant mixture of several genres” (Mega Fun, via MobyGames). CD ports fared worse; IGN scored the PlayStation version 60%, calling it “repetitive” and “unenjoyable” (IGN). Common complaints included the difficulty spike, password system, and Beam’s “amateur port” (MobyGames). Yet, even detractors acknowledged the game’s charm, with GameSpot noting it offered “just enough action to keep it interesting” (GameSpot).

Commercial and Cultural Footprint
Despite critical support, the game sold modestly, overshadowed by Blizzard’s PC juggernauts and the 32-bit console market’s focus on 3D. Its legacy, however, has grown in retro circles. The SNES version is revered as a “perfect sequel” (MobyGames), while the CD ports are studied as cautionary cases of licensing missteps. Crucially, the game preserved Blizzard’s early ethos: “quality, quality, and more quality” (MobyGames), even when polished by outside studios.

Enduring Influence
Norse by Norse West left a subtle imprint on gaming. Its emphasis on character-switching puzzles foreshadowed titles like Trine (2009), while its comedic tone influenced indie platformers. Blizzard itself never forgot the Vikings: they cameo in World of Warcraft and StarCraft II, where a hidden arcade game pays homage. As Hardcore Gaming 101 notes, the sequel “isn’t a bad game at all compared to its predecessor,” though it “lacks the freshness” of the original.

Conclusion

Norse by Norse West: The Return of the Lost Vikings stands as a testament to Blizzard’s early genius and the perils of sequel design. It refines the original’s puzzle-platforming brilliance with new characters, abilities, and worlds, but its increased complexity and divisive ports prevent it from reaching its predecessor’s heights. The SNES version remains a hidden gem—a “perfect sequel” that balances challenge and charm with cartoonish aplomb. The CD ports, while flawed, serve as fascinating artifacts of 1990s gaming’s transitional era. Ultimately, Norse by Norse West is more than a game; it’s a time capsule of a studio on the cusp of superstardom, and a reminder that even the most polished sequels can’t escape the shadow of their own legacy. For puzzle-platformer enthusiasts, it’s not just a trip down memory lane—it’s a journey worth taking again.

Verdict: A flawed but essential sequel that cements The Lost Vikings as one of gaming’s most underrated duologies. Seek out the SNES original for the purest experience, but appreciate all versions for their unique contributions to gaming history.