《Viewpoint》（ビューポイント）由Aicom開發、Sammy於1992年發行，是採用斜45度等角視角（Quarter View / Isometric View）的射擊遊戲。這類視角在當時的射擊遊戲中極為罕見，而配合當時相當前衛的預渲染3D圖像風格，使《Viewpoint》在眾多橫向與縱向STG中顯得格外突出。作品的呈現方式常被拿來與《Zaxxon》比較，但《Viewpoint》在判定、節奏與機械風藝術的結合上自成一格，帶來全然不同的遊戲體驗。
作品推出後相繼移植到Neo Geo AES/MVS、Mega Drive等平台，其中Mega Drive版本由Nexus Interact與American Sammy製作，並於1994年在北美獨家推出。儘管時間已過去多年，本作仍因其獨特的美術風格、強烈節奏的配樂與著名的高難度而被不少射擊遊戲愛好者視為「怪奇而迷人的經典」。

在世界觀與關卡氛圍方面，並未以劇情驅動進程，而是延續傳統街機射擊的作法，把焦點放在視覺呈現與動作節奏上。操縱名為Byupo（ビューポ）的小型戰鬥機，穿越六個關卡，每關都呈現獨特主題，包括工業化基地、外太空礦區、生物組織構成的神秘通道等。雖然全程沒有語言敘事，但透過場景、敵人設計與節奏變化，營造出介於科幻、抽象與機械生命之間的特殊世界。每關的終點都會出現造型鮮明的 Boss，而這些 Boss 兼具機械感、誇張造型與幽默氛圍，使整體遊戲世界像是一場穿梭在奇異機械迷宮中的視覺冒險。

在操作與戰鬥系統上，最具特色的，是其斜45度固定視角所造成的獨特手感。方向鍵操作是依據畫面方向，而非機體自身，使按上時代表向畫面上方移動，而並非傳統射擊遊戲的「朝前突進」。這種操作方式需要時間適應，卻也是本作從眾多射擊遊戲中脫穎而出的重要原因。武器系統分為一般射擊、蓄力波動砲以及三種屬性的炸彈。一般射擊需要手動點按才能快速連射，蓄力波動砲則透過按住B鍵蓄力，可穿透多名敵人，是整體火力的核心。三類炸彈分別具有火焰牆攻擊、追蹤飛彈與大範圍瞬間清彈的效果，數量最多可持有三顆，超過會替換最早取得的類型。此外，還能取得提供左右側輔助火力的Option與能承受三次傷害的Barrier。採即死制，但撞到地形不會死亡；死亡後依設定可選擇原地復活或回到檢查點。越到後期，復活能取得的補給越少，甚至完全沒有補給，使難度隨之攀升。

關卡節奏雖屬射擊遊戲，但並非以鋪天蓋地的彈幕著稱，而是更重視視角帶來的空間錯位、精準躲避障礙的反應力，以及觀察地形陷阱的能力。敵彈速度不一定快，但在斜角視覺中往往更難判斷，必須隨時維持高度集中。中後期關卡的設計充滿陷阱與特殊機關，包括移動的平台、無敵衝撞的車輛、突然提速的地形區段等，使玩家在應付敵人之餘還要處理大量環境挑戰。第四關之後的難度被許多玩家視為「地獄段落」，Boss的耐久與攻擊密度都達到高峰。而最具惡名的是第五關的Boss Rush段落，玩家需要再次擊敗前四關所有Boss，即使耐久下降，仍是一段極其消耗專注力的試煉，被許多人認為是整部作品的最終考驗。

在視覺與美術方面，最被稱道的就是其使用當時罕見的預渲染3D精靈技術。所有物件先以3D建模，再轉換成2D Pixel Sprites，使畫面呈現柔滑、金屬質感與科幻感兼具的特殊風格。整體視覺介於冷冽科幻與可愛抽象之間，即便敵人造型怪誕，也不會讓玩家感到突兀。由於等角視角的運用，關卡設計中有許多看似錯位的空間結構與立體機關，帶來極富創意的視覺錯覺與節奏變化。

音樂方面，BGM是公認的亮點之一。作曲者充分發揮Neo Geo MVS的音源特性，將Italo House、Garage、Hardcore Techno、Acid Jazz等90年代流行的俱樂部音樂風格融入其中，使遊戲呈現強烈的節奏感與音樂張力。尤其是第一關的〈NOT ALL THERE〉，以「One, Two, Three, Four—Hey!」的喊聲與躍動節奏開場，成為玩家心中最具代表性的經典旋律。結局曲〈MES VOLUTES BLEUES〉則以平靜柔和的旋律為整場激烈戰鬥畫下一個療癒的句點。

在市場反應方面，當年於街機推出時並未取得巨大的商業成功，部分原因是當時格鬥遊戲風潮（如《Street Fighter II》）正席捲全球，使射擊遊戲在市場上受到不小壓力。然而，即便不是主流成功作品，仍憑藉其突出視覺與音樂風格、獨有的玩法與高難度挑戰，逐漸在玩家間累積深厚口碑。常被視為「值得一玩」、「與眾不同的個性作品」。
雖然之後沒有推出續作，但《Viewpoint》以其獨特且無可取代的創作風格，在射擊遊戲史中保留了鮮明而重要的一席之地，至今仍被視為最具有辨識度、最具個性的STG之一。

Viewpoint, developed by Aicom and published by Sammy in 1992, is a shoot ’em up distinguished by its 45-degree isometric perspective. This angle was extremely rare in shooters of its era, and when combined with the game’s highly advanced pre-rendered 3D graphics, it allowed Viewpoint to stand out among the many horizontal and vertical shooters of the time. Its presentation is often compared to Zaxxon, yet Viewpoint establishes an identity entirely its own through its collision rules, rhythmic pacing, and mechanical-themed aesthetics, resulting in a game experience unlike anything else.

After its arcade release, the title was ported to platforms such as the Neo Geo AES/MVS and the Sega Mega Drive. The Mega Drive version, developed by Nexus Interact and American Sammy, was released exclusively in North America in 1994. Even decades later, Viewpoint remains known among shooter fans for its striking visual design, rhythm-driven soundtrack, and famously punishing difficulty—earning it a reputation as a “bizarre yet captivating classic.”

In terms of world-building and atmosphere, Viewpoint does not rely on narrative progression. Instead, it follows the tradition of arcade shooters by focusing on visual style and kinetic flow. Players pilot a small fighter called Byupo through six stages, each featuring its own theme, ranging from industrial bases and outer-space mining zones to bizarre labyrinths made of biological structures. Though the game contains no dialogue or explicit storytelling, the environments, enemies, and pacing create a unique world that lies somewhere between science fiction, abstract art, and mechanical life. Each stage culminates in a boss with a bold and often exaggerated design, evoking a blend of mechanical menace and whimsical personality—turning the adventure into what feels like a surreal journey through a mechanical maze.

One of the most distinctive elements of Viewpoint lies in its controls and combat system, shaped entirely by the fixed isometric camera. Movement is based on screen direction rather than the orientation of the ship itself, meaning that pressing “up” moves the craft toward the top of the screen rather than “forward” into the game world. This unusual control scheme requires an adjustment period, but it is also a major part of the game’s enduring uniqueness. The weapon system consists of a standard shot, a charged wave cannon, and three types of bombs. The standard shot does not auto-fire, requiring rapid button taps for continuous fire. The charge shot, activated by holding the B button, can pierce multiple enemies and serves as a core offensive tool. The three bomb types each have their own functions: a forward-rushing fire wall, homing missiles, and a shockwave that clears bullets across the screen. Players can also collect Options, which attach to the ship for additional firepower, and Barriers capable of absorbing three hits. Although the game uses one-hit deaths, crashing into walls does not kill the player, and revival depends on either checkpoint respawn or instant revival, depending on settings. Supplies become increasingly scarce in later stages, driving the difficulty sharply upward.

While Viewpoint is fundamentally a shooter, it is not defined by dense bullet patterns. Instead, it emphasizes the spatial distortion created by its perspective, precise navigation through hazards, and keen observation of environmental traps. Bullets are not always fast, but their trajectories can be more difficult to judge due to the angled view, forcing players to maintain constant focus. The mid-to-late stages introduce moving platforms, invincible rushing vehicles, sudden speed changes, and other mechanics that require both reflex and foresight. Many players consider everything after Stage 4 to be a descent into “hell,” with bosses gaining extreme durability and aggressive attack cycles. The infamous Stage 5 boss rush forces players to defeat all four previous bosses again—albeit with reduced health—making it a grueling test of endurance and concentration, often regarded as the game’s ultimate ordeal.

Visually, Viewpoint is celebrated for its pioneering use of pre-rendered 3D sprites. All objects were modeled in 3D before being converted into pixel art, giving the game a distinctive look that combines metallic sheen, depth, and a smooth technological feel. Its aesthetic balances cold sci-fi machinery with a quirky, almost cute abstraction that prevents even strange enemy designs from feeling off-putting. The isometric view also allows for creative illusions, layered geometry, and spatial puzzles rarely seen in shooters of the era.

The soundtrack is another highly praised element. Making full use of the Neo Geo MVS’s sound capabilities, the composers incorporated Italo house, garage, hardcore techno, acid jazz, and other early-90s club influences, resulting in a soundtrack with strong beats and vibrant energy. The Stage 1 theme, “NOT ALL THERE,” is especially famous, opening with the iconic shout of “One, Two, Three, Four—Hey!” that has remained memorable for decades. In contrast, the ending theme “MES VOLUTES BLEUES” offers a gentle, soothing melody—a welcome sense of relief after the intensity of the adventure.

Commercially, Viewpoint did not achieve major arcade success, largely because it launched during the explosion of fighting games such as Street Fighter II, which overshadowed much of the shooter market. Nevertheless, its distinctive visuals, unconventional gameplay, and challenging design earned it lasting respect and a strong cult following. It is often cited as a “must-experience” title for players seeking something different.

Though it never received a direct sequel, Viewpoint remains an unmistakable and influential entry in the history of shoot ’em ups—admired as one of the genre’s most unique and instantly recognizable classics.