For some reason, all the ways I can think of starting to describe Shinobi III: Return of the Ninja Master involve Essence of Ninja packed tightly into a 16-bit cartridge by ninja highly trained in the art of packing Essence of Ninja into 16-bit cartridges.

Shinobi III was released by Sega for the Genesis in 1993. While the Shinobi series is broader and more complex than even I was aware of prior to researching this article, RotNM has one very key distinction over its predecessors and even some successors. Previous Master System and Genesis titles were about walking around slowly and throwing shuriken at things. Previous Game Gear titles featured flips, ceiling-walks, and slashing stuff, but never as the same character. They were also about rescuing Power Rangers and recovering magical rainbow crystals. The most recent PS2 game is about some magic demon wizard stuff and getting killed by your own sword.

Shinobi III, by contrast, is about flipping out and killing people. More specifically, it's about flipping out and killing explosive zombie-soldiers armed with automatic weapons, slicing up giant bioengineered meat-golems, horse-stomping ninja super-soldiers, jetboard-flying-kicking heavily armed marine tank robots, destroying robo-godzilla, scaling cliffs by jumping between falling boulders, navigating entire areas using only wall-jumps, katana-ing heavily armed airships out of the sky, and I think something about an evil super-ninja trying to take over the world, but that's only the plot, and if you know what the plot is, you obviously aren't very familiar with the concept of Ninja-ing.

Chou Wakusei Senki - Metafight was published by SunSoft in Japan in 1988. It was a traditional modern Japanese tale of a blue-haired transforming vehicle combat driver saving the land from an invading robot army, with the help of a cute female sidekick who was also the vehicle's engineer. For reasons which remain ambiguous, the story was ever so slightly reworked for American audiences, and the result was Blaster Master -- a touching tale about a boy and his frog, a big hole in the ground, radioactive mutation, and underground aliens (which are at least still set on taking over the world).

It’s a simple story that has been told in various guises for thousands of years: the beautiful princess is held against her will by the evil usurper of the throne. The hero must come to her aid and save the kingdom from tyranny, undertaking a gruelling series of trials along the way. Jordan Mechner’s 1989 Prince of Persia added a strong sense of urgency to the plot with a strict one hour time limit. Fail and the princess dies; the kingdom falls to the evil Grand Vizier Jaffar. Succeed and become the champion of the people; the tyrant Jaffar dies.

You emerge in the deepest depths of Jaffar’s dungeons, unarmed and with only your wits to defend you against the many guards and traps scattered throughout. In just one hour you brave perilous drops, retractable spike pits, collapsing floors, armed guards, and several other kinds of traps, all of which can slice and dice your avatar in the most terrifying ways. With the odds so firmly stacked against you, it takes remarkable skill -- and more than a little luck -- to reach the end of the game, where you meet the tyrant Jaffar himself for a fight to the death.