Entertaining Bits of the Arcade Manual of Wizard of Wor

Lots of arcade machines have boring manuals, full of schematics, operator settings and assembly instructions, and nothing else. The manual for Bally/Midway’s Wizard of Wor machine has some other information, including a fairly complete play description including inner details of how the monsters are generated and how levels get harder, and a listing of all the phrases the game’s voice synth uses during play.

Wizard of Wor

There was recently an upload of 2,000 arcade manuals to the Internet Archive (as reported by Jason Scott on his Bluesky account, although he’s also on Mastodon, twice apparently), and that’s where I found the manual for Wizard of Wor.

Some quotes (italics are mine):

“When you have reached dungeons eight and above, you have become a Worlord. Now you have the honor of testing your skill in the Worlord dungeons. These dungeons are much tougher, there are fewer walls and more open spaces. If even one shot misses, and travels the long distance down to the opposite wall, a monster wiii very likely come up and gobble you down. Finding and establishing yourself in solid strategic positions is very difficult. It is easy to have several worriors chomped up in a row. Sometimes the monsters will line up along one edge of the maze — a lovely parade. However, if just one monster starts approaching from the top, watch out!” (page 11)

“The Wizard of Wor loves to hear the patter of little feet running through his dungeons. So he created some lovely beasties, known as Worlings. Burwor is beautiful, bouncing blue. Six of them exist on each dungeon level. They always remain visible. This is because the Wizards favorite color is blue. As each Burwor is shot, a Garwor may come to take his place. Garwor is kind of overfed, and waddles a bit, but he has yellow scales that are just delicate. As Garwors are shot, Thorwors are teleported in to take their place. Thorwor is sleek and dangerous red.” (page 11)

“The Wizard of Wor: Even at a young age, the Wizard showed promise in the mystic arts. But it took many dangerous encounters and many years of research and study to sharpen his skills to his current high level. Over the centuries, the Wizard has retained his chaotic sense of humor, much to the chagrin of worriors entering his dungeons (see the list of phrases).” (page 12)

And some of the phrases spoken by the Wizard during the game, spoken by the synth:

  • “Hey! Insert Coin!”
  • “Another coin for my treasure chest.”
  • “Ah good! My pets were getting hungry. Ha ha ha ha!”
  • “You’re off to see the Wizard, the magical Wizard of Wor.”
  • “Remember, I’m the wizard, not you.”
  • “If you can’t beat the rest, then you’ll never get the best! Ha ha ha ha!” (The Wizard laughs a lot.)
  • “If you destroy my babies, l’ll pop you in the oven! На һа һа һа!”
  • “Wasn’t that lightning bolt delicious? Ha ha ha ha!”
  • “Hey! Your space boot’s untied! Ha ha ha ha!”
  • “The Wizard of Wor thanks you.” (aww)

A Bluesky User Points Out Excellent Indie Adventure Games

It was posted by Francisco González, who laments that people rue the death of the adventure game genre, when, as he says, there are more great adventure games being made now than ever before. Perhaps what we’ve lost is the big publisher, the press that will call attention to them, or maybe just the narrow field of releases that allows single specific games to stand out above a handful of peers. Although I notice that many of these games have positive Eurogamer and Rock Paper Shotgun reviews!

So Francisco posted links to some games that he personally likes. A lot of these games have a pixel art style to them, in ways that purposely evoke the Sierra and Lucasarts games of the 80s and 90s. You can read Francisco’s post on Bluesky. I’ve called out a few below, but encourage you to check the post!

Death of the Reprobate

Death of the Reprobate: An adventure through real Renaissance portraits by John Richardson, creator of comedy adventure games Four Last Things and The Procession to Calvary.

Near-Mage: You play as a student who’s just discovered she’s a witch, and has been sent to study magic in Transylvania. Maybe a bit of a Harry Potter vibe, although with more vampires and less of Rowling’s transphobia. Its description states, “A game about about Transylvania made by Transylvanians!”

PRIM

PRIM: A “cute and creepy” aesthetic suffused this game about a girl who finds out she’s Death’s daughter. Discworld vibes, perhaps?

Rosewater

Francisco’s own Rosewater: A quest for fame across an alternate world version of the old west.

Perfect Tides

Perfect Tides: Set in the year 2000, follow an internet obsessed teen through a year of her life on an island paradise.

Paradigm

Paradigm: A surreal game with bizarre character art, starring a mutant fighting against (adjusts glasses, reads) “a genetically engineered sloth that vomits candy.”

Beyond the Edge of Owlsgard

Beyond the Edge of Owlsgard: Another game set in a world of anthropomorphic animals, the art has a VGA vibe to it and a strong classic Lucasarts vibe.

(And let’s not forget, World of Goo 2 has a change-up last chapter that’s actually an adventure game!)

Sundry Sunday: There’s Something About Pokemon Trading Card Game Pocket

Sundry Sunday is our weekly feature of fun gaming culture finds and videos, from across the years and even decades.

I never got into the Pokemon Trading Card Game scene. I never got into Magic either. The thing about trading card games, I’ve always said, sometimes twice in a row even, is they seem more like a business model than a game.

It’s not that they don’t have good design, really, but that the purpose of that game is to make it so that players buy more cards. And despite that, whenever I bring this up among obsessed players, they say it doesn’t take money to win. No, but it makes winning much more likely. More money gets you more cards, and statistically, that means you get better cards. More money means you can outright buy better cards from traders. Money rules all, just like it does in the actual real physical world, and that’s something I play games to escape.

Recently the Pokemon Company released a second app version of their money-printing game. This one promises streamlined rules, and lets you get booster packs without paying cash, although being “free to play,” monetization is sadly a big part of the game.

Word is, it is also infuriatingly difficult to win at, an experience that TerminalMontage, creator of the “Something About” series of animations, captures aptly in their new animation. (8 minutes)

My opinion of the Something About cartoon is scattered. There’s some funny episodes in there, but it also relies a lot on the “earsplitting scream EXPLOSION” gag. It happens at least once in this video. And sometimes it substitutes hyper-energy for actual jokes. Yet, hidden amidst the LOLrandom, the good ones really are good. Will you find this one to be so? There’s but one way to find out.

Abyssoft Explains Smash Melee’s Home Run Contest World Records

The Home Run Contest in Super Smash Bros. is such a unique part of the game. It began in Melee (the second Smash Bros. game, the one on Gamecube) and has reliably returned in each version since then.

In Super Smash Bros.’ normal mechanics, characters attack each other to increase their opponent’s damage percentage. The higher a character’s damage, effectively, the lighter they become, and the easier they are to knock around with strong attacks. The object is to knock the opponent so far away that they leave the arena, either so they fall off the main platform and off the bottom of the screen, or so far to the side or top that they cross a kill line and are defeated.

The standoff: a character, a sandbag, and a bat.

The Home Run Contest is a solo mode where the kill line is removed on the right side of the screen. The arena scrolls infinitely to the right. On a platform on the left edge is a special opponent character, Sandbag-kun, or just Sandbag, who’s just a large cylindrical mass with a couple of eyes. Sandbag has no moves, and mostly just stands there. The aim is, to wrack up as much damage as you can over 10 seconds, then use the strongest attack your character has to knock it to the right. To assist in this, the game hands you a Home Run Bat, the game’s strongest attack item, to send it off with. The distance Sandbag flies is determined by the strength of your attack and the damage you’ve done to it. The game records the highest distance each character has been able to send it, and adds them all together for an overall record.

As is predictable for a game as fussed-over as Smash Melee, over the 26 years since its players have come up with all kinds of ridiculous strategies for flinging it downscreen. Later Smash games would do things like have the sun rise and fall as it spins through the air, but Smash Melee just lets it sail through the sky.

It’s an information-dense 25 minutes, but I’ve cued it up about two and a half minutes in to skip a lengthy intro and ad embed. Here’s the video from the start.

Size-Changing Effects in Super Mario Bros Wonder

Super Mario Bros. Wonder is 15 months old now, and as is usual for games this far out, the hype around it has died down. But this video, and its information, has been in my to-post file for a long time, so let’s get it checked off of my list.

In Super Mario Bros. Wonder, every level has a “wonder effect,” a sometimes-optional event that changes the gameplay in some surprising way. Like the Piranha Plants might start singing and marching through the level. That kind of thing.

There is a level with a boss fight against Bowser Jr. where he makes himself really small (accidentally), then really large, and the player’s size changes to the opposite: really big, then really tiny. The player’s physics change to reflect their new volume.

As it turns out, this effect is, in a way, faked. During this whole fight, the player’s size doesn’t change at all! Instead, the room changes size, and the camera is zoomed in or out so it’s not noticeable. Junior’s size actually changes twice as much. The changes to the player’s physics are applied on top of this state.

Rimea on Youtube made a video, like a whole year ago, that applied the Wonder effects from the boss fight in normal levels, and the player’s character doesn’t change size at all there, there’s the physics changes and that’s all. Then they put some other objects in the room, some question mark blocks, and they change size along with the room, making the camera gimmick a bit more obvious.

Here is their video explaining and demonstrating how the effect is done (6m). Why is it implemented like this? My guess is that the player movement routines in Mario games are really complex and detailed, and any time when it comes to a decision whether to change it or something else, the developers do everything they can to not mess with the precise and exacting parts of the engine, for fear of breaking some other obscure part of the game. The player program has to be used throughout the whole game, while the boss and its room are only used in one part, so it risks breaking fewer things to put the changes all on them. That’s how I see it, yeah.

Six Indie Games For Everyone to Enjoy

The indie showcases highlight the many games we check out on (Josh Bycer’s) channel, games shown are either demos or press key submissions.

0:00 Intro
00:14 Verses of Enchantment
1:41 Stopdead
3:44 Garbage Crew
4:46 Jello
6:12 Guardians of Holme
8:18 Reaver

Rampart Again

Perhaps it’s a bit self-indulgent, but I’ve found a playthrough by someone other than me of the arcade version of Rampart, and decided to spotlight it. It’s a game that seems fondly remembered by some, and doesn’t seem to have sold badly. It has a baker’s dozen ports for a wide array of consoles. But no one, besides me, seems to talk about it any more, and until this video I was the only person of whom I have knowledge of completing the arcade version.

Even the MAME people needed my help to correct a game-breaking bug in the Rampart driver, because no one on the project could play Rampart well enough to get to that level. I don’t say this out of pride, but rather of sorrow. Other than its creators, I am probably the person in the world who knows the most about it. For more info, I point you to our Rampart tag.

On the video, there are caveats. The first one is I didn’t exactly it, but instead, Youtube’s vaunted algorithm has filed to hide it from me, because it’s six years old yet my searches haven’t turned it up to me until now. Sometimes I wish Google would stop showing me things it thinks I’d like and instead for a change found something I’ve explicitly asked it for.

Second, it’s by a Japanese speaker, of the Japanese version of Rampart. That was a two-player maximum version with joysticks, and from watching it, I can tell you it’s much easier than US Rampart. The player gets more time to rebuild, levels are easier to pass, grunts are less aggressive, and the game doesn’t pour on the Flagships, the red ships, with anywhere near as much energy in the last two levels. They manage to finish the game in one credit, something I’ve never done on the US version, but I strongly suspect I could do it too on that version, and fairly easily.

Still, it’s someone other than me who has a complete game on Youtube, in however many credits. It’s played on arcade hardware too, which I haven’t been able to do since Rampart was at our local arcade, back when that place existed, around 1991 or 1992. Here is that play (57 minutes):

I really don’t want to detract from their game, bit I’m a bit disappointed. I’ve played Rampart, mostly in MAME but sometimes on the Gamecube version of Midway Arcade Treasures, and on one particular DragonCon I played the PS3 version (there’s something of a story there). Every time, I’ve had to fight against bad luck and the most diabolical impulses of designers john Salwitz and Dave Ralston. Sometimes I win and sometimes I lose, but, ever, only I care.

The search for other people who have finished the US version of arcade Rampart continues.

Late addition: I have more discoveries to offer on this matter, but I have to figure some things out first. To be continued….

Sundry Sunday: Oh no! It’s the Lemmings 2 Music Video!

Sundry Sunday is our weekly feature of fun gaming culture finds and videos, from across the years and even decades.

You know, it’s a effort sometimes to keep up this weekly game culture section. Youtube’s algorithm sucks unless you have an account you use for one purpose and none other, for it’s always trying to send you things related to the very last thing you watched. That means its efficacy as a source of finds varies widely and wildly.

Today’s find, however, is the kind of insanity that makes the effort worth it. It’s no thanks to the Youtube feed either, but from a Bluesky post. As it turns out, they made a music video for Lemmings 2, involving adorable Lemming puppets (4m).

And as it also turns out, the title screen theme music of Lemmings 2: The Tribes is a version of that song (also 4m)!

A Video Claiming Old Zelda Was Better

It’s kind of an old subject now. The Legend of Zelda was originally released in 1985, and right with the next game, Nintendo started toying with the formula.

The third game in the series, A Link to the Past, is widely revered among classic game-players, but there’s been this small coterie, growing over the years, that despite greatly improved graphics and controls, a much greater variety in enemies, like 13 dungeons in all and a host of cool secrets, in some ways it’s not up to the original. And the darn thing is, I agree with them.

The Legend of Zelda is kind of the victim of being left behind by design trends, in some ways. Link to the Past is an inflection point; while TLoZ is infuriatingly vague in some ways, and very challenging, some players latched onto those aspects and relished the challenge. Its second-sequel is almost luxurious in how it tells the player how to progress. There are establishments around the fantasy world of Hyrule whose whole purpose is to tell you what to do next. That’s great for making a generally-playable game, but if you want to figure the game out yourself, like solving a great puzzle, it’s lacking.

Its secrets are much less secret. It feels like the world wants you to discover its hidden caves, imagine that. Of the differences between the two, most players preferred the new direction, as did developers, not the least being the makers of the Zelda games themselves.

Of the fans who recognize the first game’s gnomish inscrutability and obscure secrets as a strength, probably the best-known advocate has been Tevis Thompson, who made the case in his 13-year-old essay Saving Zelda. He followed up some of the ideas in the graphic novel Second Quest (which is great), but it more goes in its own directions.

That was where the discussion stood, until the release of The Legend of Zelda: Breath of the Wild. After over a dozen games that leaned in to the Link to the Past template, it seemed to represent a rejection of that whole line, of the very trends they themselves had started and build upon. Instead of the mechanistic puzzlebox world, where exploration is carefully gated and players can’t get themselves into situations they’re not ready for, they threw open the doors. Here, have a world not only much bigger than any previous Zelda, but one of the biggest worlds in gaming period. Go anywhere, right from the start! While the secrets are still not that secret, the vast land obscures their locations pretty well, so it adds up to about the same effect.

Breath of the Wild was the first Zelda game that largely felt like Game #1, and there are signs this was intentional. The Japanese release made direct references to the 1985 original, using the font from the cover of the original game for its own title screen and to announce locations, have a look:

Comparison image from (ugh) r/zelda

When the game first game out, there was bewilderment, but players were very appreciative, but, did this mean all Zeldas were going to be vast open-world exploration games now? Tears of the Kingdom seems to indicate, maybe! Then Echoes of Wisdom last year showed that, while that game itself had many changes to the formula (such as actually starring the title character), they had not abandoned the classic formula, or look either.

All of this is to introduce the video by ThePlinkster, which like Thompson did in 2012, makes the case that the first game is still, largely, the best, and it even claims it’s better than BotW, which might be a bit of a reach. It’s 18 minutes, and while I don’t really agree with him entirely, he doesn’t make his case badly. Here it is:

Gamefinds: Wor Games

We love it when we find weird and unique indie games to tell you all about! Our alien friends to the left herald these occasions.

This one’s another of Paul Hammond’s series of classic arcade games recreated in Pico-something. Most of these have been in Pico-8, but today’s find uses its more-powerful successor, Picotron. To us end users though, the result isn’t that different.

Wor Games is a remake of Bally’s classic arcade game Wizard of Wor, probably the most popular game made for its Astrocade-based hardware, interesting for being an early framebuffer-based game when memory was very expensive, instead of tile-based, and as a consequence only having four colors: black, blue, yellow and red. Wor Games largely holds true to that, but adds a couple of extra colors.

Both Wizard of Wor and Wor Games are shoot-or-be-shot maze games. Wizard of War could be played either by one player or by two co-op (although players could easily blast each other). Wor Games played in one-player mode adds a computer-played helper. The helper does a good job of killing the monsters. It doesn’t try to kill the human player, but neither does it make an effort to avoid shooting them, so be wary of accidental shots.

Each maze has a number of monsters, and more spawn in over time. Blue monsters are relatively slow, yellow ones faster, and red ones faster still. All three kinds can shoot at you, but the higher-difficulty monsters have much faster reactions to your presence. Monsters move randomly in large part, but usually make an effort to stay out of your line of fire. This forces you to move in closer, and they’re never more dangerous than when they’re just around a corner from you, and randomly decide to pounce on you from the side.

The game simulates line-of-sight for yellow and red monsters, who have the extra property of only being visible to you if you’re nearby, or else visible down corridors. Even if they aren’t visible on the main screen, their locations can be deduced by occasional particle effects, or by letting your gaze stray to the radar display at the bottom of the screen. Taking your eyes off the main arena gives them the perfect chance to walk into your corridor and shoot you. Be wary.

After a number of monsters are blasted that the game decides to be enough, the level may end. Or, alternatively, you may be blessed (cursed) by a visit by the Worluk. The Worluck’s a fast-moving critter that doesn’t shoot at you, but rushes around so quickly that shooting it is a big hassle. It moves randomly too, but is kind of trying to reach one of the exit doors at the sides of the arena. If it makes it to one, it escapes, too bad. But if you can shoot it, you and your partner both earn an extra life, and the next level will be proclaimed, to dramatic music, to be a DOUBLE SCORE DUNGEON! Blam!

What’s more sometimes, if you dispatch the Worluk, you’ll be in for a visit from the Wizard of Wor himself, a purple-robed freak who’s fast, sneaky, and can shoot you too. He’s worth a bucket of points if you can kill him, and even more if the DUNGEON is DOUBLE SCORE. Blam, again!

In addition to the basic “Arcade” mode, Wor Games has two alternate difficulty levels, and a special mode that makes the base game into something resembling Pac-Man. It fills the screen with dots, and until you or your partner have collected every one of them, the monsters will keep respawning. Some of the dots are large, and act like Pac-Man’s Energizers, affording you invulnerability (can’t be harmed) and invincibility. (Kills enemies on contact. Why do I have to explain these things?) If you don’t get to an Energizer-dot fast enough though it hatches, resulting in a tiny new monster that you have to kill. The best plan seems to be to dash and collect all the big dots you can at the start of the board, since if you leave them be they’ll just make more problems for you.

Both games, the original Wizard of Wor and Wor Games, are interesting for feeling easy enough to convince you to play time and time again, and yet each game is over so fast that you wonder why you keep dying. One reason is that the controls are a bit weird. Your Worrior’s movement is locked to a grid, and you can only shoot in four directions. If you’re partway into an intersection and decide to go back, sometimes your clumsy fightyperson will decide to step forward instead and get blasted. It’s sort of how Link in the original Legend of Zelda tended to get a bit slippery if you tried to go diagonally, but here the grid is even coarser, and all shots are fatal.

The original arcade game was a throwback, even at the time. I note that it, a four-color arcade game with coarse pixels, was released the year after Pac-Man’s US release, by the same company no less! Wizard of Wor used its weird CGA-like color scheme and menacing audio to effective advantage ago. Its world felt strange and oppressive because of it, and so it doesn’t seem like it’d be nearly the same game with more powerful graphics and sound hardware, and so it is with Wor Games. While Picotron is a purposely-limited fantasy console/workstation, Wor Games restricts its visuals even further, not to the limits of the arcade game, but not too far from them either. It’s an entertaining play, and while your games will probably end very quickly, you can always try again.

Wor Games (by Paul Hammond on itch.io, $0)