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.
Sundry Sunday is our weekly feature of fun gaming culture finds and videos, from across the years and even decades.
I don’t like heaping more views on a video that’s already got 2.6 million, but it’s not always easy finding new ones, so here (33 seconds). I know how Link feels.
Blaster Master, Sunsoft’s English localization of Japan’s Metafight, turns out to have an unreleased arcade version for the Vs. Unisystem. The Unisystem was substantially Famicom/NES hardware with some changes, so it makes sense that there were once plans to make an arcade version.
No known public copies exist, and I don’t think any ROM dumps have been released. The sole record of its existence may be a video (8 minutes) on the Youtube channel of higenekodo:
Both games have added scoring systems and other changes to adapt them for arcade play. Without ROM dumps though, we can’t know the full extent of the changes. Wing of Madoola seems to have been given an English localization, and had Gauntlet-ish timed health loss added to prevent player stalling, but it’s not known what changes were made to Blaster Master’s play to keep them moving. Blaster Master was also made less free-roaming: once you defeat the boss of an area and collect the powerup, the player is taken directly to the entrance of the next area, and each area begins with a map screen giving an overview of the area. And collected vehicle weapons appear in the corner of the screen, which suggests that the pause screen was removed.
I love hearing about games being adapted in design to meet different needs, like arcade play, and I’d love to try these modified versions some day to see what other changes were planned. Maybe they’ll come to light, eventually. I can only hope.
We are told by The Cutting Room Floor this interesting fact. Super Mario Bros. 3 has a debug mode that activates when a specific memory location contains 80 hex, that allows the user to grant Mario any powerup. In normal play this never activates because the cartridge initializes all of RAM to 0 as part of initialization. But the version of the game included in SNES Super Mario All-Stars, while it closely follows the original’s logic in many ways including including debug mode and its criteria for activation, doesn’t initialize memory when starting up. When the console boots up, its RAM contains random voltages that can be interpreted as nearly any value, and there’s a chance that there’ll be 80 hex in memory location 7E0160, and enable the debug mode for Super Mario Bros. 3.
While ordinarily this would be a 1-in-256 chance, some consoles are prone to favoring specific values, so some units will turn on debug mode more often. As a result a legend developed that certain Super Mario All-Star cartridges are special debug versions that accidentally got put into retail boxes and sold.
Supper Mario Broth made a short video (about 1 1/2 minutes) explaining how it works in crudely animated form:
As it turns out, Mario All-Stars has its own debug modes for each game in the compilation, but the one for Mario 3 is different, and buggier. Meanwhile the original debug mode for Mario 3 remains, intact, buried in the code, waiting for the value 80 hex to appear in its magic location to unveil itself.
Sundry Sunday is our weekly feature of fun gaming culture finds and videos, from across the years and even decades.
BitFinity, aka Matthew Taranto, the guy who made the long-running webcomic Brawl in the Family, has kept busy since with making Youtube songs. In addition a number featuring Waluigi, and one with Aeris from Final Fantasy VI, most recently he’s made one starring Ganondorf complaining about people who spell his name wrong, and who also takes the opportunity to dress down peoples’ issues with game language and pronunciation more generally. (3 minute)
Kid Fenris wishes to remind us all that, in the Western release of Hebereke, called “Ufouria: The Saga” (and by “Western” I don’t mean the US, it never got a NES release over here), its localizers decided to rename its characters, and while doing so even redesigned two of them, turning protagonist Hebe into “Bop-Louie,” and fursuited girl O-Chan into the orange dinosaur Freeon-Leon.
The Hebereke bunch were already a random bunch of crazies, but they’re cute crazies. Sunsoft’s localizers tried to inject them with a dose of hip-serum. Here’s a brief summary:
Hebe the penguin Changes: Rechristened “Bop-Louie,” given big eyes
O-chan the cat-suited girl Changes: Made a wall-eyed lizard not in any kind of suit, renamed “Freeon-Leon”
Jennifer the fish/frog thing Changes: Renamed “Gil”
Kid Fenris notes, in a pair of posts, that, in the recently-released sequel for Switch, the localized versions make cameos during the return to base cutscene!
Image from Kid Fenris’ blog. Note the orange character is a lizard and not a girl in a fursuit.
Hebereke had a much more productive live in Japan, where the series got several sequels. The changed characters are a relic of the time when Sunsoft seemed uncertain of how to approach overseas markets. Blaster Mastered was (and is) revered, but didn’t sell as well as they expected, so they released a weird kind of sequel called Fester’s Quest, with Addams Family characters. They localized a Game Boy version of Hudson’s Bomber King (renamed to “Robowarrior”in English) as a sequel to Blaster Master, called Blaster Master Boy, and sponsored another sequel, made by Software Creations, for the Genesis.
Back on the NES, the license for a Terminator 2 game fell through, so they rebranded it as Journey to Silius, and not being able to get the Superman license scuttled plans to release another game completely, despite a hasty renaming to “Sunman.” Was there ever another game publisher so cursed with licensing issues as Sunsoft?
Pretty light this time, but light doesn’t mean short. There’s a lot of good tunes in this, with Luigi’s Mansion both leading it up and being well-represented in the sequence. For fun, have this playing during the trick-and/or-treating hours!
Part of Youtube’s doomed-to-fail Playables series, so enjoy this before it gets heartlessly deleted by Google when they decide games on their video platform don’t make sense, isn’t worth it, or whenever Netflix gives up on games and they don’t feel they need to compete on that front anymore.
The game is basically Pac-Man, but with a Championship Edition-like speedup gimmick. As you eat dots, the game slowly increases the simulation rate. it never really gets up to CE’s white-hot speeds, but it does get pretty fast. You get a slight slowdown when you finish a board and lose a life. Since you start with five lives, earn an extra one every 5,000 points, and each of a rack’s three (instead of the arcade’s two) fruit are worth at least 1,000 points, and even more as you advance to later boards, you are unlikely to run out of lives. The game ends after 13 levels, so you have a decent chance of finishing this one!
My best score is right around 150,000 points, but I was only playing casually. See if you can do better!
(EDIT: I’m reminded that AOC is a representative, not a Senator. Which is like, lol, if you care about facts or something. Still I’ve corrected it.)
We don’t post about politics much here. This is entirely not because it might drive people away, but it is because much of the rest of the internet is full of it, and we’re feeling a bit overwhelmed by it all, and the terrible consequences if the wrong person (you know who he is) wins in the US in just a week. Anyway, many of our readers aren’t even in the US, and to all of you, I say, I envy you.
But a weird bit of news came out involving Kamala Harris’* VP** candidate Tim Walz that both edges into our lane and is an excuse to talk about something I’ve long been wanting to remark upon, about Sega’s classic arcade racing-game-but-not Crazy Taxi.
(* For non US-people: Kamala Harris is the Democratic candidate for President in 2024. **”VP” stands for Vice President, a largely ceremonial role, but should something happen to the President, the Vice President becomes the new President.)
I’ve played a lot of Crazy Taxi. I played a lot of Crazy Taxi 2 as well. I had a Dreamcast, for the brief period it existed, and they were unquestionably great games for that system, with amazing (if Youtube-unfriendly) soundtracks. Well as it turns out Tim Walz has great taste in games, because back then he had a Dreamcast too, and he had Crazy Taxi for it. And he streamed a few minutes of it, with terrific Democratic*** House Representative**** Alexandria Ocasio-Cortez.
(***”Democratic” refers to the Democratic Party, the US’s left-ish party that currently serves as our feeble bulwark against the hooting forces of awfulness that beset our entire world. ****”House Representative” means a member of the House of Repesentatives, one of the US’s two Legislative Houses. That concludes the US civics portion of our post.)
I am conflicted about this video. Walz is one of the most personable people ever to be nominated for high office, a genuinely friendly individual. But he isn’t a great Crazy Taxi player. And it might be because he doesn’t know how to do a maneuver called a “Crazy Dash.”
(Let me say now: I don’t even appreciate making jokes that sound like “he’s bad at gaemz lol im voting for other guy,” the stakes are way too high for me to be able to laugh at that. Just, keep it in your hat/purse/gender neutral container, please.)
But this reminded me of something I’ve thought about for a long time, and was driven (heh) home to me over DragonCon this year. There was a Crazy Taxi machine there, at stand-up model, I think with a slightly flaky gas pedal, that made it unreliable to perform Crazy Dashes.
Crazy Taxi. Image from MobyGames.
A Crazy Dash is simple to perform once you know how. From a halt, with the gear shift in Reverse, in quick succession shift to Drive and slam the gas pedal. If the timing is right, your car will lurch forward with a burst of speed. And if you do this while driving, shifting to Reverse with foot off the gas, then shifting to Drive and flooring it with the same timing as a Dash, it’s called a “Limiter Cut,” and you get an even greater burst of speed!
Crazy Dashes and Limiter Cuts are essential to even slightly good games of Crazy Taxi, which is why the sit down version of the game puts instructions for how to do them on the control panel, why the Dreamcast version’s manual explains precisely how to do them, and why at least one of the squares in the “Crazy Box” challenge mode is all about teaching you how to perform them. It’s what I’ve come to think of as gatekeeper knowledge: it guards the way to good scores and long games. If you don’t know it, you’re doomed to fail.
Image from Kotaku
Crazy Taxi is an arcade game. Even on the Dreamcast, it’s just a direct port of the arcade version with added modes. Arcade games want your money, and they don’t want to give you very long games in exchange for it, so the next player can step up and put in their doomed quarters as well. But the catch is, if good players can’t have decently-playing games, then people won’t play. I heard it said that the average target game length was 90 seconds, and average means a substantial number of games will come in under that mark.
Yet, I can play Crazy Taxi for substantially longer than 90 seconds. I can go for 30 minutes. And it’s thanks in part to the Crazy Dash and the Limiter Cut, essential knowledge for the reckless cabbies of Faux San Francisco.
Because of the DragonCon Crazy Taxi machine’s flaky gas pedal, I didn’t have any 30 minute games there. But I did manage to make the scoreboard, barely, at 20th place, with a score of just over $5,000, getting (by the inflated metrics of its scoring system) a Class S license. Thing is, I must have watched a dozen other people play the game at DragonCon this year (the arcades there are always super packed), and none of them came close even to my meager score. Because none of them knew how to do a Crazy Dash. It was a stand-up cabinet, which didn’t have that sticker explaining how to do one.
That’s what I mean by gatekeeper information: it’s literally One Weird Trick to stellar Crazy Taxi scores and game times. Once you know how to do it your journey isn’t over, in fact I think that’s where the game starts to get really interesting, and my highest scores on the easiest difficulty are nearly $70K. But if you don’t know how to at least do a Crazy Dash, you will never get a good game of Crazy Taxi, you just have no chance. You’ll just waste too much time accelerating from a stop, and you’ll have to stop frequently to let off customers and pick up new ones. Its just how it’s designed.
What amazes me is that Crazy Taxi was a hit, it did very well in arcades and on Dreamcast, and yet still most players never learn this information. And in a way, and understand that I’m uncomfortable with this conclusion, that’s for the best? Like how a crane game set to reflex towards a target winning percentage will be more likely not to drop a piece of plush if a lot of players have recently lost, so too are all those players losing quickly at CT allowing the designers to guard half-hour games behind a simple maneuver that, still, few players will ever bother learning. The alternative is to make the trick harder, or even not to have one, dooming everyone, the casual and the dedicated, to those pitiful 90-second games. That’s capitalism for you.
Which shows, I guess, that the illusion of being able to do better is more important to arcade game success than reality? I don’t know, I’m uncomfortable talking about illusions in a post that started out mentioning politics. But hey, Tim Walz! If you read this and want some Crazy Taxi tips, reach out! And good luck in November, please help Kamala Harris to send That Other Person as far away from public office as possible.
Once you start thinking of it in terms of gatekeeper knowledge, you start seeing it everywhere. One-hit kill action games are full of it, since the first time you encounter any enemy, it’s likely to behave in some way that will kill you. The best action games will try to have an enemy demonstrate unexpected behavior at least once before it’s likely to be fatal. And any time a game kills your character out of basic unfairness, like from a sudden unavoidable death trap, that’s gatekeeper info.
UFO 50, for all its greatness, does this a lot. The very first game in the collection, Barbuta, has an instant death laughably close to the start. Some of its games feel like a sequence of deaths you have to experience, each at least once, before you’re allowed to win. But it’s far from unique in this, and in presenting itself as the history of a fictional 80s developer, it could be argued that it’s mirroring the development of game design at the time.
