The past two Sundays have been devoted to Playstation cutscenes. Here’s one more.
Pepsiman is an infamous Japan-only PS1 title, created by KID, who produced the NES games Low G Man and Recca. The Pepsiman character was a mascot for Pepsi in Japan. How he managed to swing a Playstation game I don’t know. I assume it was released as a cheap promotional thing, similar to how Sneak King for Xbox 360 was distributed for $4.99 at Burger King in the U.S., but truthfully I don’t know where I got that impression. It’s probably false.
It had a low budget, so they put in these cutscenes with an American actor sitting at home with what I can only describe as way too much Pepsi, drinking, congratulating the player (in English), and exhorting them to consume the caramel-colored, cloyingly-sweet beverage.
The effect is akin to having bubbles of carbon dioxide diffusing through your brain. Please spend time in a decompression chamber after viewing, to avoid coming down with the Pepsi Bends.
rodneylives (John Harris): As anyone who’s been following me on Twitter will be able to tell, I’ve been obsessed with Bee & Puppycat: Lazy in Space. I haven’t felt this way about a show since Steven Universe. In games, I’ve played a lot of The Speed Rumbler on Capcom Arcade Stadium 2 (if you have it, check its internet scoreboards for my name!), and am working on an Arcade Mermaid post about it. I’ve been through five scenarios in Live-A-Live. And then there’s Animal Crossing New Horizons of course.
GWBycer (Josh Bycer): Mentions that he’s been going through Curse Crackers, For Whom The Belle Tolls, and Tinykin.
If you’ve been playing or watching something you enjoy and want people to know, tell me on Twitter (I’m @rodneylives), preferably with a hashtag like #whatimplaying, which I’ll take as permission to relay here.
This is one going out to all you developers out there, either current or aspiring.
It’s amazing to me how fussed, nay, obsessed-over the 16-bit Sonic the Hedgehog games are even to this day. There are a lot of good things about them, and arguably the best is their platforming engines, which are among the best in the field. They take advantage of the processing power of the Genesis/Mega Drive, fueled by a Motorola 68000 processor, the same processor as the classic Apple Macintosh, clocked only slightly slower. This was basis of Sega’s infamous “blast processing” slogan at the time, touting how much faster the Genesis was than the Super Nintendo Entertainment System. This was somewhat unfair, as SNES carts often came with supplemental chips in them that acted like co-processors, and was of a completely different architecture as well with different characteristics, but it did make the Sonic engine possible. A lot of the credit also goes to Sonic programmer Yuji Naka, who is legendary in game coding circles for a very good reason.
If this is the kind of discussion that makes your heart race, we’re glad to have you reading Set Side B! If it’s not, that’s okay. I’m a bit stymied myself, even though I love dives like this. (All images in this post from Sonic Retro.)
The result of the Genesis’s power and Naka’s expertise was a game engine with, yes, raw speed, but also a lot of nuance. If you jump and land on an enemy or monitor, you can control the height of your rebound, no matter how fast you were going when you hit it. If you jump while on a slope, you don’t jump straight up but away from it, which takes some getting used to at first but can be taken advantage of. There’s lots of fun little cases like these, and figuring them out, and their implications, is the source of a lot of the joy of playing Sonic the Hedgehog for the first time.
Those two places where the slope only intrudes slightly into Sonic’s ground tile are what get me.
I’d even argue, without the solid engine, and great level design taking advantage of it, all of Sega of America’s marketing efforts, which formed the foundation of the media juggernaut that Sonic has become today, with several cartoon series and comic books, and two successful movies and a third one in the works, would have been for naught.
Judging by the later 2D adventures, the nuances of Sonic the Hedgehog’s engine are difficult to grasp without a good amount of effort. It is likely that Sega themselves don’t have the institutional memory to understand how they worked, which is why they went to Christian “The Taxman” Whitehead, and others from the fan game community, to make Sonic Mania, which has a faithful recreation of the original games’ physics.
Why has no one made a Sonic half-pipe trick skateboarding game?
Bringing it back around, the obsession of the Sonic fan community has produced a number of disassembles of the game’s code, which have served as the basis for a wide array of romhacks of rather shocking levels of quality. I wrote about many of those in the Someone Set Up Us The Rom ebooks (ahem).
They also served as the basis for the subject of this post, the physics descriptions at Sonic Retro. Here is basically all you need to make a Sonic-style platformer. Synthesizing this and putting it into practice is a formidable task on its own, but it’s a doable one, and you don’t have to read source code (other than your own) to do it. To those who attempt this task, we salute you! And let us know how it goes!
Please forgive the two exclamation points in the title. We writers are only given a limited number of exclamation points to use every month by the shadowy Punctuation Cabal, but Punch-Out!!’s title has two of them in it, so to properly stylize it I have to use two each time. Wasteful! Oops, there’s another one. I’m just going to save them from here on out. But anyway.
YouTuber Pap is a TAS speedrunner, meaning, he deals with absolutes. He knows the state of the machine, and isn’t limited by any puny human reaction times, but works by recording button sequences that can be played back infallibly. He asked a question: what’s the minimum number of punches needed to play through the main game of Punch-Out? The answer is 120, but since the game has significant randomness, it’s really unlikely.
He presents what is probably the definitive answer, but that’s not really the interesting thing about it. His video is a master class on the game’s state, how it determines knockdowns and knock-outs, and how it awards stars. Some interesting things revealed:
If a fighter ever gets up on a count of 1, connecting with a single star punch can knock them back down immediately.
Many star punches are awarded based on successful punches where the opponent is not stunned or knocked down. You get them on a cycle based on a count that differs with each fighter. Special timing doesn’t have anything to do with it; it’s if the hit was successful of not. Late punches after stunning give star punches because the opponent is no longer stunned, not because they’re late.
On top of that, there are random stars that are awarded sometimes. This randomness is significant for the minimum punch count challenge. But these stars can only occur if you already have at least one star! Keeping a star in reserve actually helps you earn more stars more easily.
You having full health affects multiple boxers in significant ways, including sometimes turning knockdowns into knockouts.
Soda Popinski has a trick where, if you hold down while he’s preparing to uppercut, he delays. He can then be gut-punched, and if you do, your next star punch will always knock him down.
In the second fight with Bald Bull, I always wondered why it was difficult for me to counter his bull charge at first. Turns out, it wasn’t just me. The “long” version of his charge has a shorter success window, of just four frames! The “short” version, which happens if you dodge the long version, however, has a window of 13 frames. It’s so long it’s almost a gimmie. (I am resisting the urge to expend another exclamation point there.)
The greatest minimum number of punches needed to beat any opponent is a tie between King Hippo (an atypical opponent in many ways) and Mr. Sandman (not surprising at all) at 20.
The lowest minimum number is one, which can be gotten from Glass Joe (of course), the rematch against Piston Honda (huh) and the rematch against Bald Bull (what?).
Mike Tyson/Mr. Dream can be defeated in six punches.
Fashion Police Squad is the latest in the boomer shooter craze, but while other games go for the dark and gritty, this game goes for glitz and fashion. A game that fully commits to its tone and aesthetics, I just wish the outfit was just as functional as it is fashionable.
Style Shooter
You play as an officer of the fashion police, when bad fashion trends appear it’s up to you to make things stylish. Everything about the game’s aesthetic helps Fashion Police Squad stand out — areas are bright, colorful, and you have a narrator who says stylish words after every fight.
While this game may look retro, its major inspiration is oddly enough Doom Eternal. Every enemy is a fashion criminal with something wrong with their clothes, surprisingly there are no “white after Labor Day” crimes in the city. To deal with each fashion disaster, you need to use one of five different weapons. Each weapon handles a specific kind of enemy, with some enemies requiring multiple weapons to deal with them in different stages. All the weapons handle nicely with a few having a secondary attack to give them more options. You also have a belt that you can use to stun, attack, and even grapple around the areas with, and your “fab glove” that acts as a super attack once fully charged.
The levels follow the same kind of structure of Doom Eternal with sections that focus on combat in arenas and those about platforming around. You can also find secret fashion posters and collect items. The variety of content with boss fights and non-shooting sections does help the game as the regular levels do start to feel repetitive.
The charm is certainly on full display, but Fashion Police Squad can’t quite stick the landing when it comes to the end.
A Difficulty Don’t
While I did play the game on the hardest difficulty, that didn’t change the fact that the game’s design lead to some difficulty spikes as you enter the back half. Bosses and enemies are good at tracking the player and your base speed is often not enough to get out of the way of certain attacks. One of your guns does allow you a speed boost while aiming it at the ground, but that is not always feasible due to the design of the encounters. Most enemies attack by a physical projectile you can dodge, but there were two that used hit scan attacks that were almost near impossible to dodge their actual attack in some areas.
Due to the enemies being designed around specific counters, if you try to attack one with a weapon other than their weakness, they will just shrug it off. This is different from DoomEternal where even though enemies had their weapon weaknesses, they could still be hurt by anything. Here, it felt a bit repetitive to approach every encounter without a lot of flexibility in tactics. Besides the secondary functions, your weapons do not gain any kind of customization or additional abilities. The game really leans into small rooms for its arenas in the final quarter, which makes it even harder to properly dodge and hit enemies. There were multiple situations where I was attacked by an enemy entering a small area without any warning or means to get out of the way due to the limited area. The enemies tend to bunch up and if you’re trying to specifically target an annoying one, it’s more than likely their friends are going to get in the way and block those shots.
To the game’s credit, they do introduce new elements and enemies all the way to the final stage, but the charm started to wear out by the final two stages and the very long final boss fight.
Stylish Shooting
Fashion Police Squad proves that you can make a great FPS without the use of demons, blood, and various shades of browns and greys. While I wouldn’t rank it as high as Doom Eternal or Ultrakill, it’s a great first game and concept for hopefully more seasons of stylish shooting in the future.
This was played with a press key provided by the developer
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 is a channel on YouTube of various Super Metroid glitches and weirdness. A lot of it is pretty deep magic, and they tend to throw around evocative terms like Murder Beam, Chainsaw Beam, and even Spacetime Beam. Those links are useful in understanding what in the burning acidic heck the narrator is talking about. Knowing and caring about the gameplay of Super Metroid is, of course, required for comprehension.
But if you do know about Super Metroid, and you do care about learning about some of the more ridiculous glitches in videogamedom, then you’re in for something that is a reasonable approximation of entertainment.
The name of the channel refers to a debug feature left in Super Metroid’s code, that can be pulled off without hyper-obscure tech, although in the process it’s likely to crash your game. When you enter into the room of the of the bosses, the Golden Torizo, if all of the face buttons are held down during the transition, your equipment will be overwritten by a number of items. The code gives you all of the beam weapons in the game, which is good, but also turns them all on at once, producing the afore-mentioned Murder Beam, which will likely crash the game, not good. The opposite of good.
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”
Nintendo released a new Nintendo Direct yesterday, and everyone in the gamesphere is posting about it as they always do. I suppose we should say something too. While it’s not directly related to our subject matter, Nintendo is as niche as a major game publisher gets, so I believe I can find room for it.
First, here’s the video if you care to watch it yourself (the relevent part is about 45 minutes long, I’ve cued it up to the content):
In summary:
Not to bury the lede like Nintendo usually does, the last trailer was about the sequel to The Legend of Zelda: Breath of the Wild, subtitled Tears of the Kingdom. I think they should just call every game Magical Thingumy, but no one ever listens to good sense. The given release date is May 20, 2023, so, not much longer to wait. Despite the closeness of its release, even less was presented about the game than the last time it showed up in a Nintendo Direct!
Fire Emblem Engage seems to offer crossovers between characters from prior games, including Marth himself, Mr. Fire Emblem, the hero of the first game. I mean all the big game companies seem to be falling over themselves to cross their games and even series together into a thick homogeneous paste, why should Nintendo be any different? Arguably they started the whole trend with Smash Bros. anyway. Fire Emblem has been to this well once before with the mobile app Fire Emblem Heroes. Release date: January 20.
A crossover between Fitness Boxing and Fist of the North Star, the anime property no one’s been clamoring for. “Box with familiar characters.” Sure, like, um, that guy. Hatatatatatatata! I’d explain more, but you’re already dead.
OddBallers, a party game for up to six players. Tunic makes it to Switch, where it should probably have debuted. Remakes of Front Missions 1 and 2 (first time out of Japan for the second), with 3 coming in the future.
New release Splatoon 3 (what, it’s out already?) is getting its first Splatfest. Mario Strikers Battle League is getting new characters Pauline and Diddy Kong.
Octopath Traveler 2 is coming and it looks the same, and a new Final Fantasy Theatrhythm (with a ton of DLC of course).
The original Mario + Rabbids took a lot of people by surprised with its deep gameplay, and it even somehow made the Rabbids more fun than annoying. Other than a couple of minor gameplay features (exploring, Sparks), and maybe playable Bowser, the only really new information was its release date of October 20. I mean, there’s pre-order bonuses and a season pass, but it’d almost be more news if those weren’t going to be offered.
Let’s keep rolling with that farming theme. Harvest Moon: A Wonderful Life is getting remade as Story of Seasons: A Wonderful Life. Why change the brand? Are there rights issues around the original? Turns out, yes. Jessica Thomas lays it all out for us at thegamer.com.
More farming! New games called Fae Farm and Harvestella. I guess if you’ve completely exhausted all of Stardew Valley’s many many features and updates and are still not farmed out, there you go. You could also go out and get some seeds and plant your own garden, unless you live in the city, you poor soul. Still, this way has far less back-breaking labor, and you don’t have to smell manure.
Even more farming! Your feed trough runneth over! Rune Factory 3 is being remade, and another Rune Factory series is coming.
Playing these things since the Atari VCS days has inoculated me against a lot of hype, but the me that played Goldeneye back in college would have been thrilled by this.
A bevy of new N64 games is coming to the Nintendo Switch Online Expansion Pack, including, Pilotwings 64, Mario Parties 1-3, Pokemon Stadium 1 and 2, 1080 Snowboarding, Excitebike 64, and, amazingly, Goldeneye 007 with online multiplayer. I am practically certain that rights issues will have required that it be modified in some way, but that it has managed to come out at all is amazing considering the James Bond property’s owners, and that Nintendo and game creator Rare are nowhere near as close as they were back then. I’d like to know the story behind its rerelease. Honestly, the original came out twenty-five years ago. If this had made it out on Gamecube or even Wii it would have been a sensation, but FPSes have advanced so much since then. Well, nostalgia is a powerful drug. (Yeah, I said it.)
Along those lines. In addition to Octopath Traveler 2, the fandom dairy farm department of Square Enix is rereleasing Final Fantasy VII Crisis Core on Switch. I am apparently the only person in the gaming world without an abiding affection for Final Fantasy VII (the load times put me entirely the hell off the original game when it was new), so I can only watch from the sidelines. S-E also released (yesterday) the oddly-titled Various Daylife. I’m Somewhat Minuteinterested!
Speaking of fandom milking, prepare to low mournfully at the news that Mario Kart 8 is getting still more DLC tracks! And Capcom is releasing cloud versions of various Resident Evil games. Moooooo.
Wii Switch Sports is finally getting its Golf mode, released in a free update, before the end of the year, with 21 holes. I don’t know why they just didn’t wait to release it when it was finished, especially since Golf was the standout mode in Wii Sports, but I guess it’s common practice to delay a major feature or two on release now so a game can get a sales boost by announcing that feature later. There’s a spreadsheet deep in Nintendo’s marketing department that lays out the financial advantages of doing so. They keep it in a folder next to all their demonic contracts.
Shigeru Miyamoto appeared for a moment to hype the animated Mario movie releasing in the Spring, and the Nintendo World amusement park in Japan, and a new one opening soon in Hollywood, California. It’s kind of amazing to think that this is the very same Miyamoto who designed Donkey Kong in the early 80s, at a very different Nintendo. He devoted a lot of time to explaining the smartphone ARG Pikmin Bloom, even though it’s not particularly new. He mentioned that Pikmin 4 is coming out, but very very little about it.
Radiant Silvergun is being remade. Actually, has been remade, and should be out by the time you read this. It’s being released by “Live Wire Inc.” The word Treasure wasn’t mentioned at any time during the game’s brief appearance in the video.
Finishing up. Intrinisically co-op 3D platformer It Takes Two comes to Switch two, er, too. Fatal Frame: Mask of the Lunar Eclipse. Another Xenoblade Chronicles 3 DLC update. A new Spongebob Squarepants game, sure why not. Factorio is coming to Switch. Ib. (Ib? Yeah, Ib) Atelier Ryza 3: Alchemist of the End & the Secret Key (what the hell is an atelier anyway and why do so many JRPGs have them?), Just Dance 2023 (sadly not for the Wii), Bayonetta 3, Master Detective Archives: RAIN COODE, Sifu, Endless Dungeon, a remake of Tales of Symphonia, Life is Strange: Arcadia Bay Collection, Romancing Saga: Minstrel Song Remastered, Lego Bricktales, Disney Speedstorm, and Fall Guys: Season 2. Kirby Return to Dreamland Deluxe returns to the classic 2D-style Kirby gameplay.
This Direct’s hype score: 3/10. The only substantive announcements were Fire Emblem Engage and N64 Goldeneye 007! We knew Zelda was coming already, and all the other Nintendo things were either brief teasers or we already knew they were coming.
“We scour the Earth web for indie, retro, and niche gaming news so you don’t have to, drebnar!” – your faithful reporter
From Lorenzo Franceschi-Bicchierai at The Verge. More news on Billy Mitchell, retro game record holder and villain of King of Kong. Now, in addition to having his Donkey Kong record stripped from him then reinstated, he has been accused by forensics experts of having used MAME to achieve two of his Donkey Kong scores that were represented as coming from arcade hardware. It has to do with differences between how MAME and the arcade machine build their game playfields for display when a level begins. It’s interesting reading! Mitchell has sued Twin Galaxies over defamation over how he achieved his records, which this evidence could play a role in.
At NicheGamer, Fingal Belmont presents a list of 24 3DS games to get before its eShop closes. There are ways to get new software on a 3DS after the store closes, but they aren’t legal means, and won’t get any income to the games’ creators, and we all want that!
It’s at Kotaku that Ashley Bardham reports that Twitch is ending their “Host Mode” feature. Through this feature, a channel that isn’t stream itself can choose to host another stream, a loved feature that enables one channel to “raid” another, granting them all its viewers. Twitch says the feature is going away on October 3.
And at VG247, Alex Donaldson tells us of an Indiegogo project to make an updated version of the Dreamcast’s iconic VMU memory cards. The updated devices will be compatible with the Dreamcast and the original cards, which had an LCD screen that could run simple games, and could even be connected to each other to trade information, but will have more powerful hardware and better screen resolution. The project is here.
The Final Fantasy series is loaded with bugs throughout. A full recounting would be much more than a longpost’s worth, but here is a quick description of one specific example, from Final Fantasy IV (originally II in the US, but most people now will probably think of it by the Japanese numbering anyway).
The door to the pub is push-type, potentially causing Problems. Image from mynockx’s guide on GameFAQs.
Some RPGs, instead of coding area transitions all as a sequence of doors and destinations, instead use a form of stack to record where the player was when they entered the door. “Stack” here is a term from computer science, a data structure consisting of a region of memory and a pointed within it. Data can be “pushed” onto the stack, which means putting some number of bytes onto it and advancing the stack pointed by that number. Stacks can “grow” either up or down, meaning when the pointer advances, it’ll go in that direction. When the data is needed again, it’s read off the top of the stack, then the pointer is pulled back to its original position.
So how the door stack works is, when a player enters a location, say enters a town from the overworld, their location before entering is “pushed” onto the stack and they are then moved into the town’s entrance. When they exit the town, their old location is “pulled” from the stack, leaving it empty. (Actually, the data is still there, but because the stack pointer has been decremented, it’ll be overwritten the next time the player enters an area.)
Why use a stack? Well mostly it’s a convenience thing for the programmers. A door’s location can either be “into” an area, or “out of” it. “In” doors have to know where they’re going, but “out” doors just have to know they’re going outside. But it helps in one particular instance; if a game has a spell or item like “Exit,” “Outside,” or “Warp,” it can work simply by pulling every location off the stack until it gets to the last one. This means the programmers don’t have to have every location “know” where a given area is on the World Map. Just rewind the door stack until you get to the last location on it, that must be it.
Well there’s a subtle bug in some locations in Final Fantasy IV where some transitions that push when they should pull. One such transition is the one to the pub in the Dwarven Castle. When you enter the pub, the way in is pushed onto the stack; when you exit, instead of pulling that location off, the way out is pushed onto the stack.
There’s only so much memory reserved in a stack, which for old games is usually implemented as a single page (256 bytes) of memory. The pointer into it is thus one byte long, and so if the stack fills up, it wraps around. If you find such a door, and go through it enough times, you can cause it to overflow on purpose, with unexpected results.
This can be taken advantage of in Final Fantasy IV by overflowing the stack, then going through a pull-door, which causes the game state to be read from unexpected memory. Speedrunners (you just knew they’d be involved) use this to flip rapidly to the end of the game. Most players will never notice this very subtle bug, since when you return to the world map the game knows enough to completely clear the stack.
Something I’ve noticed about the 8- and 16-bit Final Fantasy games is, if there is a potential for an obscure bug somewhere, there is almost certainly going to be an example of that bug somewhere in that code. A lot of these bugs are only visible to a player with obsessive observation or repetition. This results in spells with unexpected effects, stats with no function, features that don’t operate, and item duplication bugs. Truly, it was an age before unit testing.
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”
We’re getting into some weird elements of electronic gaming here, in the form of games that are not actually electronic, but spread amongst the World Wide Web. These are two similar games that became semi-popular-ish, relatively speaking, in the naughts.
Sadly, Pikachulu’s (?) card is cut off in this archived version. Nice rendition of a playing card though.
To play either, you need a deck of blank index cards, practically-speaking at least two available friends (the more the better), writing implements for everyone, and some quantity of alcohol also helps. It technically can be played by only two people, but they’re both party games, and two people makes for a rather poor party.
1,000 Blank White Cards was one of the victims of the shutdown of Geocities (R.I.P. 1994-2009), that bastion of early web culture, or whatever substituted for it. These days Neocities is a useful replacement for it, and really deserves its own post, but that’s neither here nor at a spot roughly 30 feet from me that I’m going to call “there.”
An archive of the site in PDF form was saved by someone in academia and can be found here. Warning: contains edgy early-internet comedy. Content warning for mentions of tentacle rape, ass thorns, Hitler as a car mechanic, and a crude drawing of someone simultaneously experiencing diarrhea and vomiting. You had to have been there, but in retrospect, you’re better off for not being there. None of it is intended seriously at all. It’s exactly the kind of vibe Cards Against Humanity goes for, for whatever that’s worth, although crucially you don’t actually have to play it that way, and index cards tend to be cheaper.
The point of both 1,000 Blank White Cards and Dvorak is that you customize the game as you play, building a deck for your group that grows larger the more times you play one of them.
Dvorak example cards, from the website.
Both games involve people drawing upon their inner Magic: The Gathering designer, and both making up and illustrating cards. 1KBWC is the sillier of the two, but Dvorak seems only slightly more serious. Both games lend themselves to cross-referential cards, like the one in the first image that refers to other monkey cards. It’s possible to get really complex with cards (“All cards with an L in the name have all the numbers written on them effectively doubles for the rest of the game, if it’s a weekday.”) but that seems like it’s going against the spirit of the play. If a particular kind of card in the Permanent Deck turns out to be really powerful, it’s just begging for someone to take it down with a later card, so games like these tend to be self-correcting over time.
