Sundry Sunday is our weekly feature of fun gaming culture finds and videos, from across the years and even decades.
People remember the DK Rap, the theme song from Donkey Kong 64 back on the Nintendo 64. It’s certainly memorable, and arguably iconic, although most would agree it’s not great as a rap? It was written by George Andreas (who wrote and sang the lyrics) and Grant Kirkhope (who composed the music).
We’re referred to it before here in a Sunday Sundry about brentalfloss’ excellent (but very dark) 2018 parody version, which kept most of the music the same. Well here’s an update that’s changes the music and lyrics, with the music from original composer Kirkhope, and the words written and sung by rapper Substantial, and by all rights it’s a much better song. Hear for yourself (3 minutes), it’s (puts on monocle) remarkably funky:
Modern-day Tetris contains some weird techniques. Some time back they regularized the ruleset of Tetris, using a confidential, yet mostly deduced, system called the Tetris Guideline. Although there are some games that go outside the guideline in some ways, modes that are called standard Tetris, or just plain “Tetris,” must stick to the guideline as a condition of their license agreement.
The Tetris Guideline, by now, has been part of the game for longer than it’s existed without it, but the most popular versions of the game, the Gameboy and NES ports, existed before the Guideline became a thing, so many people who mostly played that version may not be aware of how the game has changed since those days.
Some aspects of the Guideline are a bit controversial, like allowing infinite spin. Others have to do with regularizing how pieces move when rotated, which has some unexpected consequences.
These two short videos contain demonstrations of Tetris piece spinning. Now, I know for a fact that some of these spins are not part of the Tetris Guideline, especially those that involve spinning the “O” piece, the 2×2 square. Apparently a couple versions of Tetris support spinning this piece, even if it doesn’t make sense, and it has the potential to behave in odd ways. It’s interesting to speculate on the exact kind of drugs the spin algorithm is using when they allow pieces to warp into completely enclosed regions.
Here are the videos. Tetris Spins From Satisfying to Cursed (2 1/2 minutes):
And an “All Spins Tutorial” (6 minutes):
While some of the spins are not possible in standard Tetris modes, many of these are. Some games even reward you for pulling them off.
This is a store page review for the indie game Andy Blast vs. the Forces of Evil (45 minutes), if you would like me to review your page for a future episode, please reach out.
(Editor’s note: this is a review of a Steam store page, to help developers to construct better customer-facing material. It is not a review of the game itself.)
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”
Clyde “Tomato” Mandelin, translator and localizer of video games, including especially of the fan translation of Mother 3, has a website and blog called Legends of Localization. It had been sleeping for a couple of years, but recently has sprung to life again with two posts this year. A few days ago he linked to a 2017 live playthrough and translation in a series of Youtube videos he made of a Sega Saturn JRPG called Tengai Makyō: The Apocalypse IV, a satirical game that pokes fun at Western culture, that he refers to as kind of a cousin of Earthbound. At 31 videos, each about two hours long, it takes quite a while to get through the whole thing, but it sounds like fun. Here is the 62-hour epic:
Back in April he curated a collection of articles about bad game translations, including games like Twinkle Star Sprites and Breath of Fire II, but also has a collection of iffy translations of English games into Japanese. It turns out that Atari Games was notorious for them, inspiring a couple of long-lasting Japanlish memes.
At the top of the screen: “koin ikko ireru,” an awkward way of saying “Insert Coin.” (image from the Legends of Localization site)
I hope these posts are an indication of further writing from Tomato in 2025!
Two whole days in a row of non-Youtube links? Who’d have thought it possible! Shame yesterday was on Nintendo-related things, the other over-frequent subject of our little blogmachine, but I guess you can’t have it all.
Aftermath is composed of just five webugees (original word plz steal) from various other bigcorp contentboxes, and is one of a whole wave of similar creator-owned outfits that also includes Second Wind, 404 Media and Defector. All seem to be doing pretty well… for now… but we’re hoping all the best for all of them, at least until they grow into Kotakus, Escapists or Washingtons Post of their own, and come to oppress an entirely new generation of writer. But that’s the future, and there’s still time to avoid it, at least according to my good friend, the Ghost of Collective Ownership Future.
Aftermath’s principals have an article up describing their experiences, and its variously enlightening and illuminating. Running a small business is a process rife with pitfalls, and when you’re just five people, most working part-time and not able to afford to just pay others to take care of the hard parts, it can be difficult, especially when at your last jobs you could just focus on doing the thing you’re good at, the thing you like doing. Another problem that being only five people creates is fragility. Not intending to jinx them at all, but if one of them were to suddenly pass away, could the remaining four keep the banner held aloft?
But they are doing it. It’s working! And they have plans to expand next year. If you want to follow them and help keep them afloat, they have a trial subscription going where you can read them for one month for just $1. And their monthly rate is just $7 anyway, $10 for commenting privileges and Discord access.
Reading the article, especially the bit about how sites like this tend to slowly bleed subscribers over time just as a fact of their existence, as life happens to their readers in the aggregate, but gain them in lumps as new features are introduced or bursts of publicity occur. It feels like we could all stand to recognize this, and remember these sites need subscribers to survive. Aftermath’s rates are quite reasonable I think, considering that the New York Times charges $25 a month for their output, and as a bonus Aftermath doesn’t even publish frequent transphobic op-eds from right-wing jerks. Huh!
Joshua Rivera on The Ringer reminds us of the history of comedy RPGs involving Mario, beginning with Super Mario RPG, then branching into the twin threads of the Paper Mario games and the Mario & Luigi series. They all share the common aspect of making Mario pretty boring, the archetype of the silent protagonist, and instead focusing on the world he inhabits.
Mario & Luigi (image from mariowiki)
In particular, the article mentions how the two of the principals behind Super Mario RPG went on to work on Mario and Luigi, and how Nintendo hasn’t made developing the series any easier with increasingly strict guidelines on how the characters can be used, like how modified versions of iconic, yet generic, types like Toads and Goombas can’t be created, possibly for fear of diluting their brands.
Zess T., a classic Thousand Year Door character who couldn’t be created today, because she’s not a bog-standard, mint-in-box Toad. (Image from mariowiki.)
The article also notes that both subseries have undergone revivals lately, with Origami King and Thousand Year Door in the Paper Mario series, and the new Brothership in the Mario & Luigi line, despite the shutting down of AlphaDream, who made them. But it’s not getting easier to make new games in either series, with Nintendo’s growing strictness over outside use of their characters and the serieses painting themselves further into a corner with each installment consuming more of the feasible possibility space.
Oh Fawful. Will we ever see your like again? (image from mariowiki)
“We scour the Earth web for indie, retro, and niche gaming news so you don’t have to, drebnar!” – your faithful reporter
(I decided to get some use out of the old news roundup post template for this item.)
News comes from Ars Technica‘s Kevin Purdy, and was announced on Sega’s website, a large number of items will be removed from Steam and all the major console storefronts with the end of the year, although as Ars points out, the Playstation and Switch storefronts are only seeing the Sega Classics Collection removed. Steam is seeing the most removals. Items on the Nintendo Switch online compilation will not be affected. Nothing removed will disappear from your library of online purchases (unlike what happened with Oxenfree on itch.io when it was picked up by Netflix), so if you want to play these items, in this form, later, buy them now, and you’ll “always” be able to download them again later. (Always deserves scare quotes because nothing online is forever, but you’ll be able to play them some while later at least.)
Why are they being removed? Purdy speculates that, like how Sonic the Hedgehog titles were removed in advance of the release of Sonic Origins, there’s probably some new collection of Sega classics in the works that these items will be a part of, or maybe they plan on bundling a bunch of them with a Yakuza game or something.
Sega’s website lists them all, but the great majority of them are Genesis titles, along with Nights Into Dreams for Saturn, and Crazy Taxi, Space Channel 5 Part 2, and the Dreamcast Collection, originally for Dreamcast of course. I personally recommend Crazy Taxi, of course.
