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Lethal Enforcers (SNES) Painting

Philip Leister

Painting, Acrylic on Canvas

Size: 72 W x 48 H x 1.5 D in

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Lethal Enforcers is a 1992 light gun shooter game released for arcades by Konami. The in-game graphics consist entirely of digitizedphotographs and digitized sprites. Home versions were released for the Super NES, Genesis and Sega CD during the following year and include a revolver-shaped light gun known as The Justifier. The game was a critical and commercial success, becoming one of the top five highest-grossing dedicated arcade games of 1993 in the United States. However, it caused controversy as it allowed players to shoot photorealistic representations of enemies. Lethal Enforcers was followed by Lethal Enforcers II: Gun Fighters. Both games would later be released in the two-in-one compilation Lethal Enforcers I & II (Lethal Enforcers Deluxe Pack in Japan) for the PlayStation. Years later, Konami released the Police 911 series as a Japan-themed sequel to the original plot. This was also followed by the arcade game Seigi No Hero, which was localized and renamed as Lethal Enforcers 3 for Western audiences. 
 Plot: The player assumes control of a Chicago Police Department (CPD) officer named Don Marshall in Chicago, Illinois, who is at a donut shop for a break. While sipping the last drop of coffee, he gets a call from his dispatcher. They realize that a major crime organization has invaded town, and they need his help on the double. He is one of the two survivors of the elite group of officers. The rest have ended up in the hospital or killed. Once the call ended, he decided to check out the bank. From that point on, he is going to experience the toughest job that he would have during his years in the police force. He has been assigned and agrees to help stop a growing crime wave that puts the city's security in serious jeopardy, along with a helper (a second player can join in).
 
 Gameplay: The game is viewed from a first-person perspective. Initially armed with a standard-issue .38 service revolver, the player can acquire upgraded weapons during the course of play: a .357 Magnum, a semi-automatic pistol, a combat shotgun, an assault rifle, a submachine gun, or a grenade launcher. The submachine gun and grenade launcher can only be used once while other weapons can be reloaded like the service revolver. Losing a life reverts the player's weapon to the revolver. The game ends when all lives are lost, unless the player chooses to continue. Along the way, extra lives can be earned per 2,000 points scored. There are bonus points (10 each) for destroying certain targets. 8 points per enemy shot. Lethal Enforcers has six stages (including the Training Stage): "The Bank Robbery", "Chinatown (on SNES, Downtown) Assault", "The Hijacking", "The Drug Dealers (on SNES, Gunrunners)", and "Chemical Plant Sabotage". During each stage, the player must shoot the armed robbers without harming any civilians or fellow policemen. One shot is enough to kill most enemies. At the end of each stage, a boss must be killed in order to complete the stage. A dip switch setting in the arcade version allows operators to let players progress through the stages in a linear fashion ("arcade mode") or select individual stages ("street mode"). Enemies always wear sunglasses, ski masks or gas masks, while fellow police officers and civilians are always barefaced. The boss character sometimes will have his face exposed; however, this battle is fought where there are no civilians present. There are different ranks that the player can attain based on performance. The ranks are Patrolman, Detective, Sergeant, Lieutenant, Captain, and Commander. When the game begins, the player's rank is Patrolman, and after each stage the player is promoted, provided they have not killed any civilians. Killing civilians will cause the player to either be demoted or stay the same rank, although the ranks do not go below Patrolman. 
 Ports: Home versions were released for the Super NES, Sega Genesis and Sega CD. The home versions make use of a revolver-shaped light gunknown as the Konami Justifier, which came packaged with the game. A standard controller can be also used in lieu of the light gun in these versions. A second-player Justifier light gun, pink in color, was available only by mail order from Konami. The CD version features higher quality CD-DA music, sampled from the arcade original. The game is also featured alongside Lethal Enforcers II in the two-in-one compilation titled: Lethal Enforcers I & II (Lethal Enforcers Deluxe Pack in Japan), developed by Konami Chicago and released for the PlayStation in 1997. A Sega Saturn version of the compilation was also announced but cancelled. The Super NES version features traditional Nintendo censorship; no blood is shown when a player or criminal dies. Instead, the screen will flash light green or light blue to indicate that a player lost a life. Also, "Chinatown Assault"(which is basically a gang fight) is renamed "Downtown Assault" and "Drug Dealer" renamed as "Gunrunners”. 
 Regional Differences: The Japanese arcade version of Lethal Enforcers contain several differences from the US and European arcade versions. These differences include the "how to reload" animation (the US and European versions show a woman shooting outside of the cabinet's screen to reload in-game, while the Japanese version shows the default revolver and how to reload it), and an additional enemy taunt, "Die, pigs!", which was removed from the US and European versions.
 
 Controversy: Lethal Enforcers gained controversy for its use of photorealistic imagery and was one of the video games part of the 1993 Congressional hearings on video games, led by senators Joe Lieberman and Herb Kohl. Lieberman, during C-SPAN’s coverage of the hearings, showed Nintendo and Sega the Konami Justifier that was bundled with the game and that it looked too much like a real revolver. At the time, it was pulled from toy stores, such as Toys R Us. Along with Night Trap and Mortal Kombat, which were also part of the hearings, the Genesis version was one of the first video games to be rated MA-17 by Sega's Videogame Rating Council.
 
 Legacy: Lethal Enforcers popularized the use of digitized sprites and backgrounds in light gun shooters. Its release coincided with the release of another popular game using digitized sprites around the same time, Mortal Kombat (1992). Lethal Enforcers subsequently became the yardstick by which later light gun shooters were compared to up until the mid-1990s. Digitized sprites also became the most popular graphical representation for light gun shooters up until the mid-1990s, with the arrival of Sega AM2's Virtua Cop (1994) which replaced them with 3D polygon graphics. Popular culture: A level in Konami's shooter Jikkyō Oshaberi Parodius is modeled after Lethal Enforcers and has the player character avoiding moving crosshairs. Both the blue and pink Konami Justifiers appear at the bottom of the screen during the stage. The We Are Scientists album Brain Thrust Mastery contains a song entitled "Lethal Enforcer" in reference to the game. The album contains many video game related titles such as "Altered Beast", "Ghouls" (from "Ghouls 'n Ghosts") and "Gauntlet”. 
 Source: Wikipedia

Details & Dimensions

Painting:Acrylic on Canvas

Original:One-of-a-kind Artwork

Size:72 W x 48 H x 1.5 D in

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I’m (I am?) a self-taught artist, originally from the north suburbs of Chicago (also known as John Hughes' America). Born in 1984, I started painting in 2017 and began to take it somewhat seriously in 2019. I currently reside in rural Montana and live a secluded life with my three dogs - Pebbles (a.k.a. Jaws, Brandy, Fang), Bam Bam (a.k.a. Scrat, Dinki-Di, Trash Panda, Dug), and Mystique (a.k.a. Lady), and five cats - Burglekutt (a.k.a. Ghostmouse Makah), Vohnkar! (a.k.a. Storm Shadow, Grogu), Falkor (a.k.a. Moro, The Mummy's Kryptonite, Wendigo, BFC), Nibbler (a.k.a. Cobblepot), and Meegosh (a.k.a. Lenny). Part of the preface to the 'Complete Works of Emily Dickinson helps sum me up as a person and an artist: "The verses of Emily Dickinson belong emphatically to what Emerson long since called ‘the Poetry of the Portfolio,’ something produced absolutely without the thought of publication, and solely by way of expression of the writer's own mind. Such verse must inevitably forfeit whatever advantage lies in the discipline of public criticism and the enforced conformity to accepted ways. On the other hand, it may often gain something through the habit of freedom and unconventional utterance of daring thoughts. In the case of the present author, there was no choice in the matter; she must write thus, or not at all. A recluse by temperament and habit, literally spending years without settling her foot beyond the doorstep, and many more years during which her walks were strictly limited to her father's grounds, she habitually concealed her mind, like her person, from all but a few friends; and it was with great difficulty that she was persuaded to print during her lifetime, three or four poems. Yet she wrote verses in great abundance; and though brought curiosity indifferent to all conventional rules, had yet a rigorous literary standard of her own, and often altered a word many times to suit an ear which had its own tenacious fastidiousness." -Thomas Wentworth Higginson "Not bad... you say this is your first lesson?" "Yes, but my father was an *art collector*, so…"

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