Flashback (also titled Flashback: The Quest For Identityin America) is a Cinematic Platform Game by Delphine Software International. It was first released in 1992 on the Amiga, and then ported pretty much everywhere. It's full of nods to classic Science Fiction films like Total Recall, Blade Runner, and They Live!.You play as Conrad Hart, a government agent in The Future. Using a molecular-scanning eyepiece, he discovers alien impostors living among the population, known as Morphs, who don't take kindly to him sniffing around their operation. Kidnapped, his memory wiped, he escapes his inattentive captors on hoverbike and is shot down over a jungle. Upon awakening, Conrad finds a Holographic log of himself instructing him to get his ass to Mars— ...err, New Washington, where his contact is waiting to help retrieve those memories.Gameplay is similar to Prince of Persia, but with a gun. You get a personal force field generator in the second level that lets you block shots- this, along with rolling, is the key to winning battles. The levels can get quite long, although checkpoints (misleadingly called Save Points) are scattered throughout.Made by the same company that created Another World, Flashback used a similar method to create polygonal cutscenes and rotoscoped animation that could be played on an Amiga, Genesis, or SNES. It billed itself as "the CD-ROM game on a cartridge/floppy", and was stuffed with cinematics, most notably when you pick up items. Later, it was ported to the CD-based consoles of the era, with a replacement soundtrack and CGI cutscenes.A sequel, Fade to Black, was released for the PC in 1995 and for the PlayStation in 1996. This was DSI's first 3-D game, and it really shows.An HD Remake for PS 360 has recently been announced.
Bittersweet Ending: Conrad has saved the galaxy, and destroyed the Morph homeworld... but he is stranded in unknown space, with no way back to Earth. He enters cryogenic sleep, prepared to drift in space a lone for a long time.
Bottomless Magazines: Conrad never runs out of ammunition, which is fortunate. His blaster apparently does not fire bullets, yet it still spits out shells.
Dirty Cop: The police seem to be in on the alien plot, or, at the very least, insanely corrupt and trigger-happy. They nearly gun down Ian before you arrive in his lab on New Washington. As for airport security, let's just say it's beefed up◊ by the year 2XXX.
The aliens erase Conrad's memory upon his capture, instead of killing him outright. He might have been more useful to them alive, but this is never explained. Later, Conrad is imprisoned yet again. When the jailer opens the cell door, there's nothing preventing you from simply dashing out of the cell and reclaiming your gun, which is conveniently lying on the floor.
Guide Dang It: There's a jump at the beginning of the second level that requires a maneuver you won't use often. The obscure move was deliberately included as a form of Copy Protection. Unless you had the manual, you were unlikely to progress past the second screen of level 2.
Also, there's the door in the sixth level that requires you to shoot it open, the only door of its kind. Nowhere in the game at all does it suggest to shoot any door, but the comic book in the game's instruction manual shows Conrad doing just that in this exact area.
Marathon Level: New Washington is particularly obnoxious with its sheer size, tedious subway travel... and a surprise Timed Mission which will likely reduce the city to an irradiated crater on the first attempt. Clear your calender for this one.
Meat Moss: Planet Morph (though it looks more like bubble gum).
Nice Job Breaking It, Hero: While on planet Morph, Conrad finds another human survivor. Unfortunately, you can't reach him without triggering a motion sensor, which leaves the stranger wide open to getting shot by an alien lying in wait.
No Body Left Behind: Flashmen (quite rightly) explode once defeated. Fallen cops, on the other hand, vanish into a purple flash of light. It could be that they carry teleportation devices to warp them out of danger — or maybe the dev team just didn't want dead cops' bodies littered around.
The Morphs revert to a plume of blue smoke and disappear. Which is a pretty unique way to expire.
The mutants' corpses are persistent, however.
No Hero Discount: An old hillbilly who lives next to a giant chasm on Titan won't fork over his Anti-Grav belt for less than 500 credits. New Washington is even worse, with a 1500 credit requirement for advancing to the next stage.
See-Thru Specs: Conrad's transparent green eyepatch doohickey, used to spot aliens who are hiding in human guise. Features prominently in cutscenes as well as the box art, yet you never actually get to use it.
Shout-Out: The final image of the game is Conrad entering a sleep-stasis, and the camera panning outward from the window of his ship. Sound familiar?
Spirit Advisor: During the final sequence of the game, an "inner voice" (implied to be the survivor from earlier) guides Conrad in planting an atomic bomb in the planet's core.
The Taxi: Conrad's first task upon returning to Earth is to hail a hover-cab.
Terraform: Titan (Saturn's moon) has been transformed into a lush alien jungle, with a metropolitan city beneath its crust.
Teleporters and Transporters: An important tool to master, especially in the last leg of the game. The Telereceiver acts as a portable beacon; Conrad can lob it over great distances, then activate the Telecontrol, which beams him directly to the beacon's location. Nifty.
Other teleporters exist in the game, such as the one in New Washington's Job Center. This is also the mode of travel by which Conrad journeys to the Morph homeworld.