Masahiro Sakurai on Satoru Iwata

I haven’t posted much from Kirby and Smash Bros. creator’s prolific Youtube channel on game development. There’s a lot of good information in there. The channel is winding down now after a good run, but now, near the end, he’s posted at one of his final videos a remembrance of his old boss, and beloved Nintendo company president, the late Satoru Iwata. (10 minutes)

It’s now been nearly 10 years since Iwata’s passing, and the outpouring of respect, admiration, and even affection, for him over that time has been remarkable. There’s a sense that we lost an amazing figure. Sakurai is brilliant in many ways, but he calls Iwata the smartest man he’s ever known. He strove to be polite, not to take offense in conflict, and to always act with logic instead of emotion. He helped transition Nintendo from being under the sole control of the Yamaguchi family to the more varied and ingenious company they’re known for being today.

In addition to running the company, Mr. Iwata started out as a programmer a HAL Laboratory. Think of how rare that is for a multi-billion-dollar company. They didn’t hire your standard MBA out off a business school, but put their future in the hands of a former coder. I have no illusions that, in many cases, that could have been disastrous, because programming and management require different skill sets, but Mr. Iwata pulled it off.

Sakurai finishes the video with a story of the last time he saw Iwata alive. He calls Iwata the person in the world who understood him the most. When Iwata wanted to see him, he didn’t delegate it to an assistant but always emailed him directly. It seems that Iwata was a good person who many admired and respected, but to Masahiro Sakurai, he meant something more.

The video isn’t very long, and there’s a sense of finality to it, not just in Sakurai’s memories of Iwata, but of the ending of his Youtube channel. Masahirro Sakurai on Creating Games is such an unusual series: an important and brilliant working game creator telling the world personally of his views as a creator. Such an unusual move! But Iwata created both the Iwata Asks series, and the Nintendo Direct promotional videos, which may have inspired Sakurai’s own series. Both men understand the importance, often neglected I think, of clear communication, both between others and the world.

Thank you, Mr. Sakurai, for what you’ve told us. And thank you, Mr. Iwata, for all your hard work.

Whatever Happened to Toadsworth?

Another Nintendo post. The company’s tight-lippedness, which has intensified since the days of Iwata Asks, lends itself to fan speculation about nearly everything, and part of that everything is whatever happened to Peach’s minister, Toadsworth. In Japanese he’s キノじい, Kinojii, which I think implies he’s second in rank behind Peach in the Mushroom Kingdom hierarchy. Or was.

Toadsworth was introduced as a third in the vacation party, with Mario and Peach, in Super Mario Sunshine, likely as a kind of chaperone to make sure it wasn’t Peach and Mario taking a personal trip together, which I’m sure would have been a scandal in the fungal broadsheets, their ruler traveling alone with a swarthy Italian. The kooparazzi would be all over it.

Throughout the Gamecube era, Toadsworth was a prominent element of Mario lore, racking up appearances in many games. He was in Paper Mario: The Thousand-Year Door, Mario Kart DoubleDash, several Mario sports, and especially in the Mario & Luigi games, which fleshed out the character more than any other source.

Piantapedia on Youtube made an 11-minute video exploring Toadsworth’s history. It contains the information that Toadsworth was explicitly removed from the Super Mario Bros. Movie, replaced with a character known as Toad General, which is as good a sign as any that Nintendo is purposely not providing the character any more exposure, except perhaps in remakes like the one of Thousand-Year Door.

Isn’t it odd? Nintendo, when given opportunities to expand upon Mario lore, whenever they take a strong stab at it, often walks it back to the baseline of the original Super Mario Bros. They seem reluctant to meaningfully develop the Mario universe. Sometimes this happens in immediately consecutive games: remember how Super Mario Galaxy 2 abandoned nearly everything from the first Super Mario Galaxy, pretending it didn’t exist, when presenting its story?

The fact that TYD wasn’t rewritten to remove Toadsworth indicates the character isn’t poisonous to Nintendo, necessarily, but neither do they seem interested in giving him any more exposure. For shame! Who knows what Peach and Mario might get up to behind closed doors without Kinojii to watch over things?

Why Is “Snowman’s Lost His Head” So Hard?

Super Mario 64 has 120 Stars to collect, 90 of them from individual named missions in the game’s 15 courses. Many players find that a fairly early one, Snowman’s Lost His Head in Course 4, Cool Cool Mountain, is among the most vexing. When I played it, I found it a illustrative example of what happens when the game gives you imprecise directions, and just asks you to try. I did try, time after time, until it just seemed to work, for some reason I couldn’t figure figure out, and by that point I was just happy to be done with it.

Cool Cool Mountain is a big area with sloped paths leading from the top leading to the bottom. For this Star, some ways up there’s a snowball that talks to you, asking if you could lead it to its body, a larger snowball, some ways down. As it rolls it grows in size. Ideally you stay ahead of it the whole way, and managed to get it to crash into its body. If this happens, it spawns a Star; if it doesn’t, then it doesn’t appear, leaving you to exit the course from the pause button or collect a different star before trying again.

Image from Mario Party Legacy

The problem is, you can do exactly what I explained and the snowhead still won’t collide with the snowbody. Sometimes the head seems to aim at your position near the end of its route, but sometimes it doesn’t, and even when it does, you have to be standing in a narrow region in order for it to produce the necessary impact.

As it turns out there’s three requirements. Kaze Emanuar broke them down in a two-minute Youtube video last year. It’s pretty short as far as these videos go!

The requirements are:

  • You must enter a single invisible sphere partway down, on the bridge along the route, before the snowball does on its trip. If you don’t, the snowball will continue, but it won’t even try to hit the body. You’ve already failed it.
  • At a specific spot towards the end of its route, it’ll check if you’re within a cone in front of its movement. If you aren’t, then it’ll just continue on and out off the course as if you hadn’t hit he sphere.
  • If you are within that cone, it will then direct its movement towards your location. If you aren’t standing so it’ll collide with the body, it can still miss it and you’ll fail the star.

The thing is, to a player, it looks like you’re only really needed at the end of the route. Why do you have to hit the sphere first? Even if you manage to stay ahead off the snowball the whole way, if you don’t touch the completely invisible sphere, the whole thing will break. And since it’s on a bridge, it looks like it should be fine to take a shortcut off onto the lower path.

Further, you have to be both within the cone and in a place where the snowball will collide with the body. There are many places you can stand that would direct the snowball to hit the body, but aren’t in the cone! The cone is also invisible, and the range off places you can stand to complete it is quite narrow.

Watch the video for the full details, it’s really short! Kaze does a good job of explaining it.

Xanadu Next Video Review

My latest game review is for Xanadu Next, a bit of an old school ARPG that was solid throughout.

The Rogue Archive

Hello everyone, I’m back! Today’s find is an archive of old versions of Rogue!

While there were games with aspects of Rogue before it conquered university Unix systems, like Beneath Apple Manor, Rogue still deserves its status as the namesake of the roguelikes. Its great popularity on campuses inspired a slew of expansions and variations.

The world of early roguelikes wavers in its documentation and preservation. There’s several early roguelikes that are nearly unplayable today: the Roguelike Restoration Project (their site appears to have returned to the internet in 2022) has tried to preserve them but its manager has time constraints. I know that Herb Chong, who created a variant called UltraRogue, is still around, and has expressed interest in getting the code running again, but it’s a difficult project, not the least reason for being that the original game saved games by creating and reloading raw chunks of memory. (Roguelike Restoration Project put the original source up here if anyone wants to take a crack at it.)

Several versions of UltraRogue, as well as many versions of Rogue, Advanced Rogue, Super Rogue, XRogue, and others, can be found on The Rogue Archive. Playing some of them might be difficult, but the code is there, sometimes in object form, sometimes as source. It preserves the code for Rog-O-Matic, the computer program that, itself, plays Rogue. You can even find more obscure variations of Rogue there, like HexRogue (which has become unplayable on its home site since Java support for browsers was abandoned), zRogue (an implementation for the Infocom zMachine), PalmOS versions, something called Advanced SuperTurbo Rogue Plus, and more.

I’ve always maintained my affection for Rogue, even if in the eyes of many it’s deficient in features these days. But that means it’s short, it won’t consume weeks of your free time to finish it, while it’s also complex enough to maintain interest, and challenging enough that it’ll take a while to master. If, in this Year of our Frog 2024, you haven’t tried Rogue yet, well, why not? You’ll probably die, but in the end, that’s better odds than real life!

Katamari Damacy Turns 20

Paste Magazine has a piece up on Namco’s seminal Playstation 2 game Katamari Damacy turning 20. It’s still one of those titles that has the power to attract attention when they see it played, especially if they’ve never heard of it before.

In case you haven’t heard of it (is that possible?)–you, playing the part of the Prince of all the Cosmos, have a sticky ball, called a katamari, which means “clump,” on a series levels that are laid out as kind of surreal versions of normal Earth environments. Typical places might include a Japanese living room, a modestly-sized town, and a larger city. The idea is to roll the ball so that it comes into contact with various objects. If they’re at most a certain size relative to that of the ball, they stick to it, and in so doing make its aggregate size a little larger. The more things that stick to the ball, the bigger it gets, and so the larger the size of things that will stick. If you reach a certain target size within the time limit you complete the stage. If you fail then the Prince’s father, the King of All Cosmos, expresses his disappointment in you in a ludicrously extreme manner. While not all of the levels are about achieving raw size, the most entertaining ones do, and they’re all about fulfilling certain goals with the katamari. This should give you a sense of how the game plays, if needed:

Since Katamari Damacy, designer Keita Takahashi hasn’t been idle. They also made the downloadable game Noby Noby Boy for PS3, worked on the Flash MMORPG Glitch, and made the weirdly wonderful Wattam. I’ve mentioned previously in these pages that I’m looking forward to his next project, To A T, presuming it survives the travails of publisher Annapurna Interactive.

Back to the Paste Magazine article, it mentions that the game happened due to a fortuitous set of events that involved a bunch of student artists looking for a project, and a number of programmers who worked on it so as not to be seen as idle in a time of layoffs. I personally remember that a substantial part of its legend, perhaps even the tipping point, was due to a particular review on Insert Credit by Tim Rogers. While it’s possible to see his review as a tad self-indulgent, I really don’t have any standing to criticize, seeing as how I created pixel art aliens to be our site’s voice. Hah.

Japanese cover

It did the trick of making people consider the game though, which may have been how this very Japanese game got an English localization, rainbow-and-cow festooned cover intact. I was in college at the time, and for a few months they had PS2s to play in the student union. I found a certain delight in taking in my copy of Katamari Damacy (it had been released in the US by this point) and just playing through Make The Moon. It was the kind of game that would arrest other people in the room and cause them to just watch for a couple of minutes. Another time, I played it on the TV at my cousin’s house when there was a certain teenager, at the age where they sometimes get into a mood to dismiss everything. They scoffed at the game when I put it in; eight minutes later, they were calling out “get the giraffe!”

That Katamari Damacy could happened was a miracle; that it had, and continues to have, this effect on people, seems like magic. It isn’t perfect, because it doesn’t ever make sense to say a created work is “perfect,” there are always tradeoffs, but it is a care where it’s difficult to say it could be improved. Sure, it could be a little easier, but it still never takes more than a few attempts to pass a level. It could be a little harder, but that would make it much less accessible. Suffice to say that it’s at a local maxima of quality, and that can’t be an accident, it’s there because strong effort put it there.

It was inevitable that it would get sequels. Critical consensus is that the best of them was the first one, We Love Katamari, stylized on its logo with a heart in place of Love. It’s the only one with creator Keita Takahashi still at the helm. It’s a little less thematically together than the original; the premise is that the King of All Cosmos from the first game fulfills requests made by fans, much like how the game itself was made due to fan requests. Later sequels were made without Takahashi’s efforts. They feel increasingly fan-servicey, in the sense that they were trying harder and harder to give fans what they wanted, without being sure of what that was.

With each sequel, the luster dulled a bit. There was a furor over the third game in the main series, Beautiful Katamari on Xbox 360, for having paid DLC that was actually just unlock codes for levels that shipped on the disk. There were mobile sequels that were mostly terrible. The last of the series until recently was Katamari Forever, a name that proved inaccurate. More recently, remakes of the first two games have sold fairly well, so maybe it still has a chance to redeem itself with a proper successor.

Anyway, happy 20th birthday to Katamari Damacy. May it spend 25 more years of showing Playstation kids that gaming can be something more than Call of Duty and Fortnite.

A Look At Beta Versions of the Wii Channels

An internal Nintendo metaphor for the Wii’s UI was “more channels for the TV.” It’s a particularly Old Dad idea for the Wii really, as even at that time broadcast TV was beginning to decline in popularity, but it may have made more sense in Nintendo’s home territory.

The experiences of these channels, the Mii Channel, the News Channel, the Weather Channel, the Shop Channel and the like, are receding in memory, although there are fan efforts to revive them and connect them to new information sources. But at the other end of their development life, of their pre-release development very little has ever been known. Early Wiis had stubs in their place, that only directed the user to installing a launch-day update. (I experienced this myself! I drove 140 miles in order to wait in a line for a Wii on its launch day, November 19, 2006. I’m objectively insane.)

Those stubs weren’t the true original versions of the Wii Channels, they had been in development within Nintendo for some time. Those development versions of the Wii software have never been leaked outside the company, but there exists footage of them from various sources. Bjohn on Youtube has compiled what we know about the development Wii Channels into a 21-minute video. Here it is:

There’s a fair amount there, including early versions of the Internet Channel and early evidence of plans to include DVD support. (The Wii has a fully-operational DVD drive, but to avoid playing a license fee to the DVD Consortium it cannot play DVDs without hacks.)

Beta Wii Channels! (Bjohn on Youtube, 21 minutes)

Why Hasn’t Nintendo Adopted Achievements?

Some years back, as a casual remark in a place that I don’t remember, I said that Nintendo has a problem with using ideas that they didn’t come up with in-house. “Not Invented Here Syndrome” I may have phrased it. I forget the context too. It may have had to do with their refusal to use rollback code in internet multiplayer gaming, but there are other time where it’s seemed that there are things that are solved problems everywhere else, that Nintendo still has trouble with.

One of these things has been Achievements, a platform-recognized system where a player’s accomplishments are registered and stored, that can be observed outside the game and shared with others. Achievements began with the Xbox 360, and were soon after implemented by Valve in Steam, as “Awards” by Sony in the Playstation ecosystem, and even by fans playing games and romhacks in emulators as RetroAchievements.

One company that’s always avoided using them, despite being the oldest major console publisher still in operation, is Nintendo. They’ve avoided any cross-game recognition of skill or accomplishment, even though they’ve come close multiple times. Several of their games offer in-game recognition of accomplishments, in the form of “Stamps” or “Trophies” or “Stickers.” Super Mario Galaxy would post images on the Wii message board when the game was completed. When Miiverse was a thing, players could share messages with earned stamps from some games. But none of these systems had sharing outside of their respective games or individual consoles. None promises any account-level recognition.

Why is this? Nintendo’s games are enormously popular, and many players have rued the absence of any support for an achievement system, and to this day show no signs of starting one. Why? It seems like such an obvious thing. Everyone else does it. It would probably heap more value upon Nintendo’s bottom line, so why not?

As it turns out, it goes back to their Not Invented Here Syndrome. The person at whose fee the blame trail ends is unknown, but the evidence is there, in an episode of the Kit and Krysta show, available as a podcast with excerpts on Youtube. Hosted by two former Ninendo employees, who ran a periodic show that was promoted for a time on the Switch’s News channel, they tell the story of what happened when another employee brought up the possibility of offering something like achievements at a meeting. The recounting is in this Youtube video (4 1/2 minutes), with the important bit starting around 2:07:

From the transcript (there are some minor errors):

I remember I think you were in this meeting too this was like a pre E3
meeting somebody pretty high ranking got absolutely eviscerated in a meeting by another person who is very high ranking because they were they were suggesting doing something things in the style of micros why don’t why don’t we do like Xbox does this thing really well why don’t we do that and this was like a really like packed full meeting I’m and this person was like a senior director this person got eviscerated in that meeting of like we do things our way this is the Nintendo way we cannot simply follow the path of what Xbox like it was just like it went on and on I was like it was like a 20 minute lecture […]

so there you go yeah they definitely don’t want to do like copy their competitors but they also have that sense of like no everyone’s equal we’re equal opportunist gamers right I think they also see this as like this is not a pure way of experiencing a game like you rushing through it or like only focusing on this thing like that’s not how you should play a game I kind of agree with that cuz we did some dumb stuff get those achievements that’s true and then they also like want you to play that game in a very specific way so they don’t want you to use a different system to like do it your way because they want they’ve built this game specifically in the way that they think that you’ll enjoy it the most and they’re going to want you to do that[…]

The Chances of Unlikely Layouts in Minesweeper

I’ve saved this one up for a while. For those of you who remember when Minesweeper was distributed — for free?? — with every copy of Microsoft Windows. What are the odds that unlikely layouts, like 8s, or neighboring 7s, are possible in that game? Alternatively, is it possible to get a game that can be completed in one move? Find out here (16 minutes):

Spelunky 64

The thing about Spelunky 64, a reimplementation of Spelunky on the Commodore 64, that gets me is how smooth the scrolling is. Smooth multi-directional scrolling isn’t easy to do on the C64 without hardware assistance, but here it handles it without apparent problem. Here is a 7-minute demonstration from Just Jamie:

It’s not the only obstacle Paul Koller (PaulKo64) had in making this surprisingly faithful recreation. It contents itself with the basic Atari-style joystick, with a single overloaded button. So up is used for jumping, tapping the button attacks, holding the button uses an item, down+button takes out a bomb, and up+button places a rope. It’s not perfect, and you have to be really careful in shops, but it doesn’t work badly.

BastichB 64K has an interview with its developer on Youtube (7 1/2 minutes):

Here is a complete playthrough (28 minutes):

Spelunky 64 is on itch.io for $3. To play it, you’ll need a Commodore 64 emulator, or a physical C64 and a way to get the game image onto a disk.

Banjo-Kazooie Decompiled

Kaze Emanuar on Youtube passes along the info that Rare’s terrific N64 platformer, Banjo-Kazooie, has been decompiled (7 minutes):

What does that mean? It’s that they’ve created source code (up on GitLab) that, when put through the same C compiler that originally generated Banjo-Kazooie’s object code, produces an exact binary image of the game. They can now rebuild Banjo-Kazooie. They don’t know the original variable names or any comments that were in the code, so it doesn’t mean that the code is perfectly understandable, but it is a major breakthrough in using the game engine for other things, including game improvements, mods, repurposings, and even compiling it for other platforms.

One result of this is that we now have a complete list of the codes that can be entered into the infamous Sandcastle Room, which are obfuscated in the original binary. The Sandcastle Room is a board of letters on the ground in the second level that can be used to spell things out, and if the proper text is entered it can unlock things in the game, or even enable the items in the abandoned “STOP N SWOP” feature that had been planned to allow players to transfer data between cartridges. If you decide to take a look yourself, the codes are listed out in the file named code_3E30.c.

Arcade Mermaid: Rampart, Part 4: Level Strategy

Arcade Mermaid is our classic arcade weirdness and obscurity column! Frequently (no promises) we aim to bring you an interesting and odd arcade game to wonder at.

Yes! More Rampart! I’m still out of town at DragonCon so I’m repurposing an old strategy guide I wrote for Extended Play into a week of posts. Even I’m starting to get sick of Rampart by now, but please stick around. And if you’ve ever tried playing this infuriating game in the arcade, this might give you the advice you need to get through to levels you might not have thought possible! And this is even a fairly short post!

Level Strategies

Level One (“Recruit”)

Castles available: 6

It’s advised not to start on this level unless it’s your first game. You’ll not only miss out of 5,000 points by starting here, but it means the beginning of Level 2 will begin you with only two cannons instead of three, and you’ll face more ships.

This level is so easy that it barely rates mention. It has six castles, and only Gunships appear. Unless you’re purposely stalling, you’ll finish this map in two rounds. Even if you stall, the level auto-completes in three rounds, regardless of if you fire a single shot.

Another reason to avoid picking Beginner is that its selection is always the “J” map, which is one of the easier selections from the initial four boards. It’s better if you pick it later, when the opposition is harder, to balance out the difficulty.

Level Two (“Veteran”)

Castles available: 5

The Veteran level is randomly chosen from one of the other three basic maps, although it tends to be the “C” map most often. Ideally it won’t be the “Hat” map, it being the easiest, as you’ll want it to be your Level 4.

If you started on the board, the first round will always put you up against four ships, one of which may be a Lander. Later ships are frequently also Landers. As a result grunts may appear on this board, but even if some appear, so long as you focus on destroying enemy ships and don’t suffer major setbacks like losing your home castle, you’ll probably wipe out the attackers before they become a huge problem.

On a later round in this level you’ll probably encounter your first Red Ship. A Red Ship tends to get off two or three shots in a round, each producing flaming crater you must build around.

Level Three

Castles available: 5

You always get to pick this level yourself. I usually try to make it “C,” “J” or “Hat,” in that order. I usually avoid picking “N,” but it’s not really harder than “C,” so pick whatever is your preference.

Much of the fleet will be Landers here, so this is the first level where you must be diligent about thinning out their numbers. Especially try to take care of ships about to land; grunts are unwelcome visitors to deal with, and it’s best if they never show up at all. In the event of a landin, which is sometimes unavoidable, try to spare a few seconds to build a barrier to them, to wall them off from the rest of the board. If you can contain them in a small area around the landing, you can keep their numbers down that way and thus reduce the number of shots you must expend in cleaning them up. Don’t think you can just let them be! They will overwhelm you easily if you ignore them.

I try to pick a home castle that’s near another castle, so I can capture them both with one wall. If you can consistently get both each round, that’s three cannons each time. Use them to connect the space between the two castles, but try to keep that space as small as possible. Try to aim for the minimum-sized rectangle needed to save both of them, and then try to place all your cannons within that rectangle.

Level Four

Castles available: 4

Now the game starts to get serious. If you can get here on your first credit you’ve done very well, but your weak basic guns will become more and more of a liability for you. Dark ships start appearing on this level, and will continue to appear until the end of the game. They all take one extra hit to sink. That’s three hits for Gunships, four for Landers, and six for Red Ships.

Try to make Landers that have a chance of landing at a diagonal shore your top priority. If one makes it through, then at the start of the Building phase devote three seconds or so it blocking their progress with walls. If they get away from the shore and a significant number appear, then focus on surviving and shoot them with cannons during Battle. Red Ships start to be a significant threat here. Once all the potential landings are taken care of, try to pump six shots into a Red Ship.

Level Five (peninsula)

Castles available: 3

Regardless of how you got here, you have a choice between two new maps for this level, a diagonal peninsula going upper-right to lower-left, or one going from upper-left to lower-right. I call these the “slash” and “backslash” maps, respectively. I usually pick backslash, but both are about the same difficulty.

These maps have the property of having two seas, a small one at the top of the screen and a more typical larger one at the bottom. The small water region is both a blessing and a curse; the restricted movement makes it easier to destroy ships there, but landings are very likely unless you clear out the Landers arriving there. What is more, these maps are the only ones in the game that break the rule about landings only being possible on diagonal shores. Landers in the small sea are also counted as landed if they contact land at the very edge of the screen, even if there’s no diagonal shore nearby. This property doesn’t extend to screen-edge landings in the larger sea.

The worst thing about these levels is that the game takes off the limiter on the number of Red Ships that can be generated each round. Red Ships here are nearly as common as Double-Sailed ones! You’ll frequently see seven or more on-screen at a time. While you must remain vigilant to prevent and/or mitigate landings, you must also work towards reducing the number of Red Ships. The large number of flaming craters on these levels made adopting a “summer home” strategy imperative, where you switch off between castles when one gets too difficult, or even impossible, to save. It’s usually a good idea to try to capture two castles in the first round because of this; then you can station some or all of your cannons for that round at the other castle, so you’re not defenseless when you’re forced to turn to it for survival. From there, you can focus on getting cannons around the third castle for maximum safety.

This level is a strong test of your Rampart skills, and often is a barrier to progression until you’ve played many games. But it’s not invincible. On Easy difficulty, I’ve passed this level still on my first credit multiple times. The biggest thing you have to worry about is the high probability of impossible situations.

Consider: when any castle is adjacent to other objects, you must capture the whole collection as a set. Chains of objects like this increase the difficulty of getting the whole thing, and increases the odds of getting an impossible save. I’ve seen this happen after even the first round on a peninsula board, and I’ve seen it happen on all three castles on one of these maps at the same time.
The only substantive thing you can do, besides rotating between castles, is to shoot some of the dangerous walls yourself. Red Cannonballs don’t leave craters if the wall is already destroyed, but that takes time and often makes for a difficult repair.

So, what if you manage to clear this map? What happens next? The game scrolls the FINAL BATTLE banner, and you get a one-way ticket to:

Level Six (island)

Castles available: 2

It all comes down to this. This level is a special kind of hell, only slightly mitigated by the fact that it seems you can get away with sinking fewer ships here, and, because you’re surrounded on all sides, your shots often don’t have that far to travel to reach a ship. There are four prime landing areas, each in one corner of the map, so landings can only be delayed, not prevented. And you only get two castles. Enjoy!

When you start looking more closely at the map, some slight advantages become apparent. There’s a lake in the bottom-left of the board, which gets in the way, somewhat, of grunts approaching from the bottom. Both castles have a good amount of land around them, although there are so many Red Ships here that the “summer home” strategy is essential to survival.

The continue limit eases up a little bit here. If you were at the maximum of four continues upon starting Level Six, the game will grant you an extra continue when you get here. (You still have to pay your coins for it though.) And also, if you were at that final credit, the game will actually downgrade your cannons one step when you get here, so get used to expending two/three/five shots for Gunships/Landers/Red Ships again. If (ha ha, “if”) you do expend that last continue, you go back to only needing one/two/four shots to sink ships. (There is more information on the effects of continues on cannon power in the notes, later on.)

This level is an ordeal, but it can be finished surprisingly quickly. I’ve seen it cleared in three rounds, although that was after several continues (it had been a pretty great game up to that point). This level is the big obstacle to one-credit clears, I’ve managed to finish everything up to it on one credit only to bang my head against it repeatedly. Using save states, I’ve managed to finish it with a single continue, so it is possible to finish it relatively cheaply, but making do with such weak cannons is a real challenge.