Image from the article at Ars Technica. The classic ninja of Mortal Kombat were played by Dan Pesina.
Blogfriend David Craddock has an article up at Ars Technica about the drama that went down back in the days when Mortal Kombat was a big hit of the arcade scene, and people schemed to make careers off of it. Even though it took in a lot of quarters pretty quickly and spawned several arcade sequels, it wasn’t the institution it was today. When it hit it big, the actors whose digital likenesses appeared in the game sued for royalties not received due to the sale of home versions of Mortal Kombat on the SNES and Genesis.
It’s an excellent article. David really did his research on this one! The end result is, most of the actors settled, but one, Dan Pesina, still claims to this day to have “co-created” the game, which seems ludicrous. It seems to me weird to keep at that in this era, with Midway long gone and the rights having moved to Warner Bros., but then, I have no stake in the matter? Ah well.
According to the people at Rice Digital, many of Namco’s games set in the future, including Galaxian, Galaga, Gaplus, Bosconian, Baraduke, Burning Force, and many more, are all part of a common timeline! Namco calls it the UGSF History. Due to the inclusion of Kissy from Baraduke, which was named to be Susumu “Mr. Driller” Hori’s mother, it also drags in the Mr. Driller games, and even Dig Dug! You can read about it on their site here. Namco’s own site concerning it is here.
Hiromi Tengenji of burning force (image from ricedigital.co.uk)
According to their timeline, the earliest game chronologically is Ace Combat 3 (which is not an arcade game), and the latest is Galaga ’88!
The Bally Professional Arcade, a.k.a. the Bally Computer System, then the Astrovision, eventually settling on the Astrocade, was in its hardware a cut-down version of their early arcade hardware. While not a big seller, mostly an also-run alongside the Atari VCS, Intellivision, ColecoVision, or even the Odyssey2, it could, like several of those systems, run a version of BASIC with an add-on cartridge. (The VCS had its Basic Programming cartrige, the Intellivision had the Entertainment Computer System, and the ColecoVision had ADAM.)
The Astrocade (to settle upon one name for it) had some interesting advantages. It uses the same graphics chip as Gorf, Wizard of Wor, and Robby Roto, but due to having less memory to work with doesn’t support as good a resolution as the arcade units. If the chip is used in multi-color graphics mode, it would use all but 16 bytes of memory! The Atari VCS, by contrast, only had 128 bytes of RAM, but didn’t have a bitmapped display taking up so much of it. These were the kinds of tradeoffs console designers had to make at the time. While it didn’t have hardware sprites, it did have “blitter” circuitry for rapidly moving data around in memory.
8-Bit Show and Tell’s video also describes the culture around the machine, which saw production for a surprisingly long time, and had several independent programmers selling their own games for its BASIC cartridge. They even supported a newsletter, the Arcadian, that shared coding tips.
Everything about this system was odd, from the pistol-grip controllers, to the built-in software on ROM, to the calculator-style keypad set into the unit itself, to the almost-but-not-quite Atari-style joystick ports. But I don’t want to steal 8BSaT’s thunder, watch the video if you’re interested in learning more!
For making it through another week of internet life in 2022, let’s reward ourselves with the notably changed soundtrack to the arcade version of a NES classic, Balloon Fight.
Balloon Fight is remembered for its catchy music, which you get to experience in length when you play its Balloon Trip endurance mode. The music is also heard during the bonus round. Well, the arcade version, called Vs. Balloon Fight in keeping with Nintendo’s branding efforts at the time, has a rather fancier version of that track! Whoever is playing those virtual drums is a real show-off.
Extra! There’s a lot of cool little touches that make the arcade versions stand out. Vs. Excitebike has a fun and simple little bonus stage that requires you to jump over trucks evidently owned by the Mr. Yuck Moving Company.
Back in 2013, David Crane chimed in on a thread about Pitfall II. The Atari VCS (a.k.a. 2600) was not known for the quality of its music. For sound effects, especially noise effects like blasts and booms, it was fine, but its TIA chip didn’t have the frequency resolution to produce every musical note precisely, meaning some of it notes would sound a bit off.
Pitfall II’s music, some of the best on the system in the classic era
There was technically a way to produce almost arbitrary waveforms, though like many techniques on the system it was processor-intensive. It involved changing the volume on one of its sound channels in real time to simulate the waveform of the sound you wanted to make. That was fine so long as you didn’t need the processor to do anything else, and sadly, on the VCS, just displaying graphics relied heavily on the processor.
Pitfall II, VCS/2600 version. Image from Mobygames.
David Crane managed to get decent polyphonic music out of the VCS by using Pitfall II’s DPC chip, which Crane created himself, as a co-processor that figured out the right values to set the volume to produce the mixed waveform for the music at a specific time, which the machine’s overworked 6507 CPU could then read and send to the right volume register in the TIA every scanline. The process is explained (to the understanding of a sufficiently technical frame of mind) here. I think I understand it myself!
The fact that David Crane is still around, and so willing to discuss the many tricks he came up with to make his games, is a great blessing, as is the existence of the AtariAge forums themselves, which are a trove of classic gaming information.
Nowadays this technique has been refined and utilized in homebrew cartridge productions. A particular standout is the music from Champ Games’ version of Mappy, which is frankly amazing. Check it out:
Portopia is the biggest missing piece, to many US enthusiasts, of the history of Japanese gaming. It led to the creation of Dragon Quest, but it had a huge influence all on its own, which can be felt in a wide variety of other Famicom titles, including some that did make it to the US. Why do The Goonies II and Dr. Chaos have those weird room-based adventure sections? It’s because of Portopia, trying to mix its kind of menu-based first-person gameplay with the pre-existing side-scrolling platforming game style popularized by Super Mario Bros. It seemed random to Western players at the time, but Japanese players would have known exactly what those games were trying to do.
We’ve mentioned Jeremy Parish and his various Works projects before, and they’re always interesting and informative, a great antidote to the strident style of many popular Youtubers, and this one is especially important to anyone seeking to understand how the Japanese game industry grew and evolved in the Famicom era.
“We scour the Earth web for indie, retro, and niche gaming news so you don’t have to, drebnar!” – your faithful reporter
Benj Edwards, Ars Technica, on using AI to smooth out the features of Virtua Fighter’s characters. Not in real time, and the results are cherry-picked, and look generic as opposed to the distinctive look of the original game. Still, there you go, people tell me this means art is dead somehow.
Just imagine if this were the box that launched the Zelda ship. (Image from MrTalida’s twitter feed.)
Noted on Twitter by Frank Cifaldi, then cropped and zoomed by MrTalida on Twitter, then called attention to by threads on ResetEra and Reddit (inhale!) then reported on by a plethora of gaming sites, Cifaldi found a picture of an early version of the box-art of The Legend of Zelda in Nintendo press materials form the time, using the original “black box” trade dress, and it is funky.
A dragon-infested day in Brittania. Screenshot from Mobygames.
Finally, it’s not directly related to games, but you should read this article from TechSpot about the Internet Archive’s efforts to preserve websites in this age of paywalls and walled gardens. While content creators deserve to be paid for their efforts, the fact that so much is locked up means a lot of things are just going to vanish when their hosting sites, sometimes when an account at a hosting site, closes up. Please consider that when you publish. Preservation matters.
On Romhack Thursdays, we bring you interesting finds from the world of game modifications.
People who got the expensive Deluxe Set in the early days of the NES received two so-so games instead of Super Mario Bros, both designed around the peripherals included in the set. Their compensation for not being able to bop around the Mushroom Kingdom, and paying a premium besides, was Duck Hunt, which was okay, and Gyromite, which was absurd.
As a bonus, the title screen has been changed from “Robot Gyro” too.
Gyromite, or “Robot Gyro” according to its title screen (it didn’t get localized from Japan at all!) puts you in the shoes of Professor Hector, who has to collect all the bombs in his lab. Sadly, he’s left all these monsters wandering around. Fortunately, there are these red and blue pillars that block the monsters, but they also block Hector.
The pillars can be moved, but not directly by Hector. Instead, you use the A and B buttons on the controller. But, not the first player controller: the second player controller is used. And the player isn’t supposed to manipulate them themself. They were supposed to put the controller into a contraption involving levers, spinning weights, and the “R.O.B.,” or Robotic Operating Buddy, another peripheral included in the Deluxe Set.
The intended process was:
The player uses their own controller to give commands.
The screen flashes in response to those commands.
Photoresistors in R.O.B.’s eyes read these flashes.
Depending on the flash, R.O.B. moves opens or closes its claws, lifts them up or down, or rotates.
Through these means, the player is supposed to manipulate R.O.B. to pick up the spinning, top-like gyro weights and place it in a motorized holder, which begins rapidly spinning it.
The player sends more signals, to cause R.O.B. to transfer it, still spinning, onto a platform.
The platform serves as a lever, so the weight presses down on the platform, which causes it to press the button on Player 2’s controller.
The signals control R.O.B.’s motions, not the controller’s. They result in it lifting or lowering his claws, or opening or closing them, or rotating. What if a weight runs out of spin and falls over? Well, it’s up to the player then to manually pick the weight up and put it back into its holder, during the game, as R.O.B. has not the facility to do that itself.
Above, Youtube user zoclates demonstrates this process in an advanced level of Gyromite. Here is a direct link, it’s about six minutes long. Surely, kids who got the Deluxe Set enjoyed this far more than they would playing Super Mario Bros.
These days R.O.B. has retired to serve as one of the weirder characters in the Smash Bros. series. But there’s actually a kind of fun game there in Gyromite, beneath the involute process intended to control it. You can play it without R.O.B. at all, just by directly pressing the buttons on the second controller yourself, but this is both a bit unwieldy, and makes the game too easy.
The Gyromite No-Robot patch localizes these functions on one controller. Since the unmodified game’s timer for each level is extremely long to allow for the time it takes for R.O.B.’s mechanics to function and for the tops to spin up, it also shortens the time limit to preserve some element of challenge. It turns a game that requires expensive and rare hardware to play it as intended, or at least remapping the Player 2 controller in an emulator, and making it much more enjoyable.
