Sundry Sunday is our weekly feature of fun gaming culture finds and videos, from across the years and even decades.
Did you know there was a Parappa anime? It was released in around 2001, around the time Parappa the Rapper 2 for PS2 was released.
Parappa creator Rodney Greenblat said, in a Gamasutra interview in 2005, that other than character designs he wasn’t allowed to be involved with producing the anime. I it shows, especially with the focus on the new characters Matt and Paula. They feel like the writers included them because they wanted to write to their personalities, maybe because they didn’t want to step on the toes of the developers of the games by writing for their characters. It’s not an awful show, but it’s not what a Parappa show should have been.
An episode that ties in with the games a bit more than usual is Episode 13, which involves Parappa’s karate teacher Tamanagi-sensei, known to English speakers as Chop Chop Master Onion. He sounds a lot like he does in the game, even speaking Japanese, and it’s great to hear him get more lines.
In my teens I got started coding on my old Commodore 64s. Learning to program was a much different process back then, there was no internet to answer basically any question you’d have almost on a whim, everything I picked up came from some written matter, mostly programmer’s guides (including the definitive guide to using the hardware, the Programmer’s Reference Guide) or periodicals like Compute’s Gazette, Ahoy! and Commodore Magazine.
The C64 had a lot of graphics features, made possible by the machine’s powerful VIC-II chip. All of the home computers of the time had tricks one could use to get extra mileage out of their bespoke graphics hardware. The Atari 8-bit computers had display lists, for instance. The VIC-II had a powerful raster interrupt facility, the ability to share memory with the processor (at the cost of delaying the whole machine while it did so), eight surprisingly large hardware sprites (in double-width mode they could fill a whole scanline, something the NES’ sprites could only dream of doing), and a collection of interesting and flexible graphics modes.
Most of the time the C64 was in character mode, which was the standard kind of tile-based mode that pretty much all home computers at the time used by default, suitable for displaying messages, coding and some graphics. The ’64 three such modes: the standard mode where each character had a single color along with the screen-wide background color; a multicolor mode that gave a character its own color, up to two colors shared throughout the screen and that background color, and (mumble mumble). Sorry, what’d I say? I’ll get to that later.
The system also had two bitmapped modes that worked similarly, just directly viewing a region of memory instead of using each byte as an index into a character set. One mode was like the standard character mode, where the 1s in the bitmap were colored and the 0s were the background color; the other was multicolor mode, which similarly worked like it did in multicolor character mode: one color per 8×8 region, two colors shared throughout the screen, and the background color.
The problem with multicolor mode was, you had to trade horizontal resolution to use it. The big limiting factor to many computers’ graphics then was memory use: finding a way to encode the graphics information so the chip could access it and convert it into a video signal quickly enough to meet the needs of the display. So, to fit an 8-pixel-wide section of screen into the single byte it needed to be squeezed into, it could either use a one-to-one dot to screen ratio, or sacrifice two bits for one extra-wide pixel of up to four possible colors.
UNLESS
The Commodore 64 had a fifth graphics mode. The one I mumbled over earlier. The much-ignored Extended Background Color mode.
It was another character based mode that, instead of forcing you to make use of one background color over the whole screen, gave you up to four such colors. Every cell on the screen could display a character using its full 8×8 resolution, but could also pick which of those background colors it could have. Useful!
Well… not as useful as you’d think. There’s always a tradeoff, and Extended Background Color’s tradeoff was a dire one. How does the VIC-II chip know which background color to use for each character cell? It uses the two high-order bits of each character byte. Meaning, while you could decide which of two colors would be used in each cell with a lot greater nuance, you only had 64 characters to work with! A full screen of 1,000 characters is a lot to fill with just 64 possible tiles. A lot of repetition would be unavoidable, which is probably why it was so little-used.
It essentially was either this:
or this
These images are a little misleading, because I used the Commodore 64’s default ROM character set to make them, and the second half of its characters are just mirror images of the first half. But if you define your own characters, which basically any game worth its salt will do, it greatly reduces the number of tiles at your disposal. There may be some sneaky ways around it, sure, but they all involve their own tradeoffs.
I explain all this because Extended Background Color Mode is my best guess as to how Trap Door and Popeye do their graphics.
Here’s video of a playthrough of Popeye. It’s about 21 minutes, but it shouldn’t take long to get what I mean. It’s not Nintendo’s Popeye, it’s a completely different game.
And here’s a playthrough of Trap Door, with graphics by the same person:
Look at those huge characters! How could this be possible, and with that color depth? The C64 can have huge sprites, but only at the cost of making all their dots twice as tall and/or wide. And the pixels aren’t even multicolor mode wide. I can’t quite make sense out of it! Unless, maybe the games are displaying their large characters using the character set, which explains why they jerk along the screen? And the colors are using Extended Background Mode? That might explain the simplicity of the backgrounds, with only 64 characters to work with that means a lot of reused tiles.
This would ordinarily go into a Sundry Sunday post, but it’s interesting for historical value. Unlike the Switch’s spartan interface, the WiiU took some of its UI design inspiration from the 3DS, which was a bit more playful. The 3DS supported theming the main menu, which is a feature that never came to the WiiU, but they both did support StreetPass, with the WiiU still having its little-noticed StreetPass server settings among its rainbow-colored settings menu options. And of course both systems supported the Miiverse, Nintendo’s failed attempt at its own gaming-focused social media service, which let users make text and drawing posts, tied in with their Mii feature (still in the Switch although much declined in prominence), and allowed Nintendo to send users information directly to players. Miiverse is gone now, has been for years, but some people I hear are working on a fan-led revival. I shudder to think of what will get posted there without Nintendo’s moderators.
Back to the interface. Probably the quirkiest of Nintendo’s UI creations was an animation that went with the tool, downloaded fro the Wii’s Shop Channel, that transferred system and shop data from the Wii into an SD card package to be transferred to a fresh WiiU system. It could have been a simple progress bar, but they had their developers create a charming (gee I use that word a lot) sequence where Pikmin, at that point only those from the Pikmin 2 game that had last been seen on Gamecube, visually bundle up all of the transferable software, use a walkway to carry it into a waiting rocketship, and jet off to a nearby sun marked with the WiiU logo. At that point, the user would be prompted to move the SD card to the WiiU, where after installing a corresponding tool from the WiiU’s eShop, the process could continue, with a matching unloading animation.
If you never had the chance to see this sequence (easily possible given the WiiU’s low sales), or just want to relive the process, here it is, both of the Wii to WiiU data transfer animations, at about eight minutes:
This video only shows the animation. If you’d rather relive the whole process, including system menus, instructions and warning messages, here is a 15 minute video that records it. It also seems to have a couple of scenes that aren’t in the above video, including the one depicted in the head image.
A brief personal story. When the WiiU came out I got one. The WiiU’s fate was already sealed by that point, and I got it pretty cheap from a local Target. By that time my much-played Wii had been suffering from some serious issues. It had been hacked many times, the Homebrew Channel installed and its boot software replaced.
People will tell you that doing this is only for the purposes of piracy, and that’s really not true. We put the Wii to use as a general media player. It lived mostly at a friend’s house, and whenever I would go over we would use it to watch movies and things from SD cards. We even watched a DVD or two that way; while the Wii had a DVD drive installed, Nintendo didn’t spring for the licenses to play DVD movies, so it was purely intended as a data drive. You could bypass that restriction with the right homebrew software, although it wasn’t great and didn’t seem able to do menus, so we almost never used it.
My Wii had put into heavy use for game and media playing, and I put on and removed a lot of software over time, in addition of course to hacking it several times. As a result, it had gotten quite glitchy. Sometimes it wouldn’t boot, sometimes it would boot okay but wait until getting some ways into a game and freezing, and sometimes, weirdly, it’d show the opening Health warning screen, but the letters in the font would glitch out, individually. It was really a sight to see.
As a result I was really glad to get the saveable data off of that system and onto hardware that was reliable. I had to go through the whole sequence more than once, as the console froze along the way a time or two, but fortunately I got it, and our large Mii collection, all off and onto the WiiU, where it still lives today.
Collecting and saving Miis, from friends and the nearly-forgotten Check Mii Out Channel, and the Mii Parade of random Miis sent from Nintendo, is an aspect of the Wii that has not survived to the Switch. I hope whatever successor the Switch gets has something like it. And bring back StreetPass too!
Owner of Game Wisdom with more than a decade of experience writing and talking about game design and the industry. I’m also the author of the “Game Design Deep Dive” series and “20 Essential Games to Study”
This editorial doesn’t necessarily reflect the views of this blog. However, blogs don’t have views anyway, so what would that even mean?
This is a slightly edited version of a diatribe I emitted on mefi.social. I really want people to see it and think about what it means though.
A dismaying thing is how much of current gaming culture is locked behind Discords, and/or is revealed to the world only through Youtube videos.
These two phenomena are the result of the Myth of the Benevolent Corporation, which was largely started by early Google and their “Do No Evil” policy, which sustained the early web for a good while but itself did huge damage to online culture, and yet promises to do much much more, when they decided that profits mattered more.
When Youtube started, everyone saw it as a kind of miracle. In the early days videos were limited to 10 minutes, but even so they began attracting a huge amount of material. When they switch to just letting people upload anything for free, that exploded.
It’s not just gaming stuff that I’m talking about really, although as a popular fixation for people it’s kind of a hint of things to come. Lots of information is currently exposed to the world through Youtube videos and minidocs.
From U Can Beat Videogames’s video on Shadowrun. It’s great, but some day it’ll be gone. How will people beat an ancient obscure SNES game like this then?
But Youtube has always been a time bomb for all this content. It’s inevitable that Youtube will someday begin deleting things. If not sooner, then later. Yet there are few entities capable of preserving all of it, or even most of it. All of this will [get destroyed] like [crying] in [a downpour].
Of course, it’s not like videos like these have any other hope as it stands. A collection of the incredible size of Youtube’s is so big that only a government could realistically do it, and most of those have their own issues when it comes to continuity of mission and funding.
But combined with Discords as a means of communication, and (bizarrely) information, a lot of online culture is currently a black box to outsiders, unless they sign up to dozens of miscellaneous Discords. And there is a limit to the number of servers you can follow, which is reputed to be 100. (It used to be that Google could get you a quick answer to a question like how many Discord servers can one user follow, but now I’m not sure.)
Social media companies, who all seem to be racing each other to make their services as crappy as possible to non-paying users, are no solution either.
There used to be a Mastodon search engine, at search.noc.social. This is what remains of it. (Yes, it’s just a white page with the text “project has been removed.”)
Fediverse to the rescue! But no, a lot of it is transitory, sometimes intentionally so! In some circles even suggesting that Mastodon be just searchable, let alone preservable, will subject you to a storm of criticism. It’s true that being opaque to general search helps protect vulnerable users, a noble cause, but it also makes Mastodon’s discoverability very low. (One solution, which I think I mentioned here before, is an opt-in search solution called tootfinder, but it currently only goes back three months.)
And I don’t see many other people talking about this, even though the sudden decay of Twitter and Reddit has made this essential problem more visible than its been for a long time.
I feel like going onto every Discord I follow, gaming research ones in particular, and ringing alarm bells, but it’s a task just to find them out, and really what good would it do. People use Discord because it’s free and easy and they even maintain the server for you. These kinds of spaces have always relied on some patron to uphold them; the only real differences are before they were visible to search and the Wayback Machine, and now, it’s a single company that will increasingly hold access to these places obscured behind a storm of pleas to subscribe to Nitro, and someday will delete them entirely.
The Zelda II Randomizer Discord. As a community, it works okay. As a way of storing information, well, it sucks rocks. As a way of preserving everything, it’s DOOOOOMED.
If you think I’m being hyperbolic, there are vast swaths of online culture that are already lost permanently: the Compuserve forums of the era immediately preceding the rise of the web. Compuserve was once the biggest online presence. And AOL, which grew to eclipse it in size, likewise holds (still? I don’t know, it’s on AOL!) a vast amount of early internet culture.
Newsgroup archives are a bit better off because of their openness, although nowadays it’s mostly seen as just a way to enable piracy.
Still, essential web services are at least preservable. The Fediverse resembles those, at least in principle, so it’s immediately better off than Discords and Youtube, for making old information findable, even if it’s currently really hard to do it (and some people are outright opposed to it).
It is time to wrap this all up. I say things like this frequently these days. Maybe someday someone will listen. The power and reach of the internet doesn’t have to rely on big companies. I also have qualms about the ability of a even a horde of individual servers to keep things going, mind you. All those dead links on all those surviving old websites, they once represented living projects too.
I think what we ultimately need is an independent organization that can keep up old sites and communities, and provide a place for new ones, maybe supported by donations, without the explicit profit motive of the bigcorps. Something that looks like the Internet Archive or Wikipedia. There’s places where you can host plain websites even today, like the Tildeverse (but its individual pieces, like Fediverse servers, always feel like they could vanish at any time), ancient-yet-still-here Angelfire (of which, like the Lycos it’s a part of, it’s amazing still survives), or the newer, enthusiast-focused Neocities (which too has no guarantee of longevity).
Companies can live longer than people, or their interest cycles. It doesn’t feel right that something like a website require someone to dedicate their life to maintaining it, but due to the dysfunctional way our economic has come to see companies (involving the hateful words fiduciary duty) are also vulnerable to the winds of change. It feels like a non-profit, or at least a durable privately-held company that isn’t pushed by rapacious groups to chase every profit lead no matter how disastrous, may be a solution. I don’t know if it really is, though. I’m just watching this, mostly from the outside. I hope someone can do something though, to overturn the cold tides of entropy. I really do.
The World Wide Web is now over thirty years old. In that time, more content has vanished from it than remains now, but some of it can still be dredged up from the shadowy archives of the Wayback Machine. This is the latest chapter in our never-ending search to find the cool gaming stuff that time forgot….
DHTML means “Dynamic Hypertext Markup Language.” The term is little-used now; it later got renamed AJAX, and now is pretty much just how websites are made if they have any interactive aspects. It was originally presented as an alternative to Flash applets, which were threatening to crowd out actual web pages at that time.
Lemmings, of course, is Psygnosis’ classic puzzle game where you grant members of a horde of suicidal rodent people specific skills to guide them to an exit while losing as few of them as possible to the hazards of their ridiculously dangerous world.
Back in 2004, DHTML Lemmings was a brilliant example of how much could be done with Javascript. Original Lemmings was released in 1991; we’re now further away from DHTML Lemming’s release than the original game was when it was published.
Its first home went away, although the server and even its page still exist. It says that the Lemmings page was taken down (and implies they did it to dodge legal liability), but promises something called The Pumpkins to replace it. It never did, but the promise survives. The game itself has been preserved, relocated as-was to a subpage of the site of Elizium, a dark rock band from the Netherlands.
Only the first ten levels of each difficulty, about one quarter of the original Amiga game, are presented. And this version has not survived the years unaltered: the distinctive sound effects and music appear to be missing. Still though, what’s here is playable, and fun. Enjoy, if you have the inclination and deliberation. And check out those requirements: IE 5.5 or better, or recent Firefox or Opera. And a 500 Mhz processor, wow!
For this developer interview on the Perceptive Podcast, I spoke with Endo who for their first indie dev game is working on Scholar of the Arcane Arts, a game that combines roguelike and emergent design. We spoke about what it’s like designing a high-level concept, learning game dev for the first time, and the balancing considerations of trying not to go overboard in terms of game design.
Owner of Game Wisdom with more than a decade of experience writing and talking about game design and the industry. I’m also the author of the “Game Design Deep Dive” series and “20 Essential Games to Study”
