This is a real rarity. Saturday Supercade has, to my knowledge, never been officially released on any media format. All of the tapes of this show date back to their original broadcasts in 1983-5. I’m sorry for the poor quality, but this is from a tape almost certainly recorded off of live television nearly 40 years ago.
The year 1983 was such a weird time in media history. Take for instance the movie Joysticks. A cheaply-made culture cash-in, essentially the Supervan of its decade, it was a teen sex comedy themed around arcades, and it could only have been released in 1983. In 1982 games were big, but it takes time for a movie to be made. In 1984, US arcades and consoles had crashed calamitously, and any projects in production would have been cancelled. Saturday Supercade also dates from 1983.
Saturday Supercade was a Saturday morning cartoon show that hosted a variety of different game characters and universes. By no means a classic of animation, there’s still a lot of interesting things about it. Donkey Kong gives Mario and Pauline their modern names (decided on around the time of Donkey Kong Jr’s arcade release), and Donkey Kong is voiced by legendary early TV children’s entertainer Soupy Sales.
Frogger is depicted by the show as a reporter for a swamp’s newspaper. Q*Bert is a student in a 50s-styled high school, and other characters (including a girl Q*Bert, “Q*Tee,” not seen in the game) are imagined as his friends and rivals. Donkey Kong Jr has the young ape searching for his father, while assisted by a greaser. Pitfall’s cartoon is not only the sole home-original game to be featured on the show, but also lent two of its characters, Pitfall Harry’s niece Rhonda and mountain lion pet Quickclaw, to cameo roles in the game’s sequel Pitfall II: Lost Caverns. Kangaroo and Space Ace were introduced in the show’s second season. Yes, somehow, it got a second season.
The Wikipedia page of the show notes that episodes of Space Ace were once shown late at night on Cartoon Network, and once in a while can be spotted between shows on Boomerang, while “The Best of Q*Bert” is available as a print-on-demand DVD from Amazon. Other than that, many episodes are lost outside of master reels held by whatever company owns Ruby-Spears’ output these days, which I expect is Warner Media. There’s tons of Saturday Morning shows that are lost; this one only survives to us in any form because classic video games have oddly persisted in this weird cultural cul-de-sac, the same one that made Wreck-It-Ralph an improbably hit for Disney.
So please, enjoy, or else, experience whatever substitute for enjoyment you can bring yourself to feel while watching an old old kids cartoon from the classic arcade era. Queasiness? Unease? Existential dread?
Zoid Kirsh on Twitter (while Elon Musk hasn’t completely wrecked it yet) tweeted about how Metroid Prime’s save system works. Metroid Prime save files are less than 60 bytes long! A single Gamecube memory card block is eight kilobytes, so it’s a bit overkill, but it’s still nice when a developer is frugal!
Image, of Metroid Prime’s inventory screen, from Mobygames.
The way they explain it is that the game has a number of “world layers” which determine what is spawned in each area when it’s loaded. Which layer is active when a room is loaded is determined by a single bit in the save. That, plus some basic stats like health and ammo, and the record of object scans, all take up very little memory when bit-packed.
If Metroid Prime’s save file were 59 bytes long, that would mean it had 472 bits to work with. The passwords used by the original Metroid only stored 144 bits of data!
It’s not so much a hack as a recompilation, but it’s distributed in patch form so I’m accepting it. A person identified as “Nintendo 64 Wizard” took the source code created by decompiling Super Mario 64, and, simply, did something that Nintendo didn’t do: compile the game with -O2 optimization turned on. The result is a much more consistent frame rate.
From the romhacking.net article, a scene from the star with Bowser’s Sub in it, which is notorious for causing the game to lag.
If optimizing Super Mario 64 is an appealing concept to you, you might be interested in some of the videos made by Youtuber Kaze Emanuar, that goes into why the game has lag, and his own efforts into improving it.
Have no fear, we’ve not forgotten about Arcade Mermaid, our regular classic arcade feature. I don’t think this post is quite the right material for it, but it’s still very interesting.
People who played the Atari VCS, later renamed the Atari 2600, will no doubt remember David Crane’s seminal Pitfall!, one of the greatest, and certainly one of the best-selling, games for the system.
Pitfall’s huge success spurred the creation of a sequel, Pitfall II: Lost Caverns, which is certainly among the most technically brilliant games for the VCS. We recently covered how one of its best tricks was how it managed to get music out of the Atari’s TIA chip that few other games were capable of. That’s not all it did. Pitfall! was one of the very first exploratory platformers, and Pitfall II expanded its focus greatly. Some might call it the first Metroidvania, although it doesn’t have the item-based progression gating usually associated with that genre.
It does have great design ingenuity though. It gets its challenge not through limited lives but its huge and complex system of caverns. In fact, it abandons lives entirely, replacing them with a checkpoint system, another possible first. Getting “killed” never ends the game, instead, it just costs points and returns the player’s surrogate Pitfall Harry to the last cross he touched. So anyone, given enough time and effort, can finish the game; they might not have a good score when they do it though, which still leaves room for players to improve.
Pitfall II, with its huge world and great music on a system not known to be able to support either, powered by a custom microchip that Crane himself designed, called the DPC, would undoubtedly have been a giant hit if it had been released a year before. Sadly, it came out right at the end of the VCS/2600’s life. Crane had hopes that the DPC would help revive the system but, sadly, it became the only game to utilize it.
But that wasn’t the end of Pitfall II. While it was designed around the limitations of the VCS, it received ports for several other systems, including the Apple II, the Atari 5200 and Atari’s 8-bit computers (which both had a secret second world to explore after finishing the first!), the Commodore 64 of course, Colecovision, MSX, SG-1000 and ZX Spectrum. It even got a kind of NES port, called Super Pitfall, which was programmed by anonymous NES contractor Micronics and is widely regarded as terrible. And then, there was the arcade version.
Sega’s arcade version of Pitfall II is more of a recreation than a port! It’s divided into levels and goes back to the standard arcade paradigm of limited lives. Its first level resembles a condensed version of the first game, with some extra hazards built it. The game world is both smaller and harder than the original, to make it harder to master and thus entice players to put in more money. You can see for yourself in the below playthrough, a deathless run up on the Replay Burners channel. Videos on Replay Burners are done cheatless and without tool-assist, so you can be assured that an actual player performed this run and not a control script. The video is about 27 minutes long.
The title refers to the original NES TMNT, not the arcade version or the NES game based on it. This is the version that Konami released under their Ultra label. It sold well (real well!) but is widely considered an inferior game for a number of reasons. Those reasons are the subject of these three videos, from Youtube channel Displaced Gamers. I recommend them, even if I think every place they say gamer it would be more proper to say player.
The first video:
In a long and difficult game, one of the hardest sections comes relatively early. The only swimming section in the entire game, players must maneuver their supposedly-aquatic surrogates through a difficult course that has imprecise movement, water currents, high damage, instant kill hazards, a strict time limit, and, as the video shows, buggy implementation. Many players in the NES era gave up at this point, which is rather a shame considering it’s only at the end of level two. This video examines the code and demonstrates why it’s so challenging, and how it could be made fairer.
The second video:
TMNT has notoriously floaty jumps, a low frame rate, and a fairly weird implementation of gravity. Any platform game that allows players to adjust their jump height according to how long the hold down the jump button is fudging its physics behind the scenes, but TMNT does it rather poorly.
The third video:
Displaced Gamers examines additional problems with the game’s timing, particular with that of its input reading and attack animation. Like the other two videos, they suggest code changes (sometimes in the form of Game Genie codes) that fix the problem, if you happen to have a fondness for 6502 assembly. (I do!)
If you’d like to try NES Teenage Mutant Turtles, it’s included in the “Cowabunga Collection” that was released for Switch, Xbox X/S and Playstations 4 and 5. Fortunately, it also includes twelve much more playable titles.
On Romhack Thursdays, we bring you interesting finds from the world of game modifications.
When people think about NES games, they often think of pixel art. Big chunky pixels! It’s one of the defining aesthetics of our era. The NES occupies a niche between the truly blocky graphics of the Atari VCS era and the 16-bit consoles, which don’t have a much greater resolution than the NES (since the limitations of CRT displays were a big factor), but had a much greater color depth that could help smooth things out.
But it can be interesting, visually, to try to find a middle ground between the Atari and the NES. That is where the subject of this post comes in: The Legend of Zelda Chunky Edition, a graphics hack by Zero Meaning.
There are no words for how much I love this look!
Only the graphics have changed, and just to make them more blocky, instead of the prevailing trend for remakes, which is to make them less so. (Oh also, the bright cyan of Link’s Blue Ring tunic has been darkened a bit.)
For some reason, this look suits The Legend of Zelda a lot! The greatest challenge to making it, I think is figuring out how to represent letters and numbers. You can see from the title screen above that the S, R and numeral 8 posed particular challenges, as did the copyright symbol.
There’s not a lot more to say about this one! So here are a few screenshots of Zelda, chunky style.
On Romhack Thursdays, we bring you interesting finds from the world of game modifications.
Kirby’s first adventure was, famously, a Gameboy game. Since that system is black and white, it’s been heard that Shigeru Miyamoto didn’t know Kirby was supposed to be pink until his second major game, Kirby’s Adventure, was released as a swan song for the Famicom/NES. The last main world in Kirby’s Adventure, as a nod to its Gameboy roots, is monochrome.
Kirby games tend to have distinctive graphics, and Dream Land is no exception even if it is monochrome. But what would they look like if they were in color? Well we don’t have to wonder any longer, because of a romhack constructed by GreenAndACat. It ports the game to the Gameboy Color hardware, and it looks pretty darn great! They resisted the urge to make it too fancy, instead giving background elements broad swaths of primary color that look great when applied to the game’s simple yet iconic graphics. Have a look:
Green Greens is looking pretty sharp!
The water may look slightly glitchy, but its clarity is really appealing!
I promised I’d explain the origin of the Football Fetus. It’s from the Breaking Madden Season 1 Super Bowl, which is still one of the funniest bits of game writing in memory. Jon Bois does good work.
Half Denver Bronco, half Seattle Seahawk, all madness. It was spontaneously generated by Madden 2013 when Jon Bois set up an experiment to engineer the biggest drubbing that the software could generate. The Broncos fought the Seahawks for the Super Bowl that year, so he set up a match between them, and decided randomly which team would be the Gods, and which would be the Worms. The Gods, the Seahawks, would all have maximum stats in every category. The Worms, the Broncos, would all have the minimum stats.
Image from SBNation
In particular, all the Broncos had the minimum stat in Awareness, which affects their AI, and which seems intended by the developers to create improvised video game comedy. A low Awareness saps a player of the ability to function on any competent level, for any football-related purpose. A low Awareness produces people who willingly walk into tackles. A low Awareness stat produces men who can only say huh.
Further, durability stats were all minimized for the Broncos, so they kept getting injured, but they ran out of replacement players they could field, so they kept on playing, getting more and more hurt. Infinitely hurt. People don’t die in Madden. It would have been a kindness if they could. Oh also, all the penalties were turned off.
Just to make the obliteration complete, Jon took control of the Seahawks. He began to rack up points. Before the first quarter was over, he discovered that Madden 2013, a game for the Xbox 360, still tracked scores with a single byte. The Seahawks’ score froze at 255, although some places listed it as 256. I suppose we should be thankful it had bounds checking, and didn’t wrap back around to zero.
So Jon took a cursory count of score himself. Somewhere around 1,500 points, the game called a penalty even though they had been disabled. Viewing the footage on the play presented, not video, but a single frame, locked in time, of the Football Fetus, resting in the center of the field. A creature of chaos. A mandala of nonsense. Procedural generation at its finest.
While entertaining, still, things like this shouldn’t happen. Jon Bois is generally careful not to tear too hard into EA’s programmers, and truthfully I don’t want to either, they only have jobs to do. But EA Sports is the only source for sports games for multiple fields. If you want to play with pro players, if it’s the NFL, you can only get it from EA Sports, and it’s been that way since 2005. It’s a monopoly, and it’s inevitable that craftsmanship would decline. 2K Sports, these days, is the same with the NBA.
How sports games have been ruined by monopolies is a story for another time. There’s an article from a student newspaper from 2021, by Blake Malick, decrying their sorry state. Presumably I’ll weigh in in more detail myself someday, but that would require caring about sports games, which is something I am not prepared at this time to do. I will leave that to Jon Bois and the other inhabitants of the Fumble Dimension.
Anyway, still, bad craftsmanship in a game can be hilarious, and so it is in Breaking Madden. Please, enjoy. And here’s the rest of Breaking Madden, which includes the saga of Clarence BEEFTANK. Ah, BEEFTANK. We should look back on his storied career at a later time too.
Every song on the soundtrack of Jet Grind Radio (a.k.a. Jet Set Radio) is out of sight. One of the most memorable (they’re all memorable, but even among this group) is Super Brothers by Guitar Vader, a cheeky riff (in lyrics) on Super Mario Bros., in a Sega game.
When last we left Blaseball, that crazy simulated baseball league with horror elements, deadly weather, necromancy, an evil peanut god, etc., the concept of money had been destroyed and a black hole had consumed the universe. Well that’s certainly a turn-up!
It’s been nearly a year since the rather apocalyptic outcome of the previous era. Now, according to an interview with IGN, producers The Game Band are about ready to restart the game once more. Recognizing that it had become rather impenetrable to people who hadn’t followed it for a while, they’re trying to reinvent Blaseball to follow more of a monster-of-the-week format, which seems as appropriate for a Halloween-season post as anything.
They’re also hoping to make it more sustainable by not relying on corporate sponsors as much, instead offering paid accounts to players, offering cosmetic modifications in the game’s social space. Wait, Blaseball had a social space? Is that new?
Blaseball is hilarious and unique and bizarre, and we wish it the best, provided that wish isn’t somehow corrupted by its fell gods and revisited upon our world, which happens like all the time nowadays. We wish it provisional well, how about that?
If you’re unfamiliar with Blaseball, somehow: it’s a fake baseball league. A bunch of fake teams filled with fake players with weird stats play a game that is 90% Baseball in a computer simulation run on the game’s servers.
The simulation is entirely textual. There are no visible players running around. The simulation is run in discrete units, as a series of pitches and plays. Baseball is uniquely suited to be run in this kind of simulation because of its almost turn-based nature. Other than stealing bases, everything happens in brief bursts of activity, and game states can be represented pretty cleanly: which bases are occupied, which players are in which positions, how many outs, strikes, and balls are there, and, where in which inning are we.
Real sports are essentially drama generators, something without real meaning that people can follow along and support as if it did, and Blaseball, which calls itself a splort, takes that one floor deeper into the rabbit hole.
Because it’s entirely fake, it can do weird things. Like, host random kinds of weather during which players can be incinerated or affect the game in other ways. Or have magic baseball-related items that players can be granted.
The real participants in Blaseball are fans, who during social distancing latched onto it and idolized particular players, like Jaylen Hotdogfingers, who was brought back from the dead through a bit of database-related trickery by fans. Fans can also vote on rule changes, advantages for their favorite teams, and other things. Fans can bet, using fake money, on the outcome of the fake games, and that fake money can be used to buy more votes.
If sports are a drama generator, then Blaseball’s is exceptionally dramatic. Enough so that new fans were finding it increasingly difficult to understand. Blaseball’s previous era ended in an intentional exercise in excess, with the evil (fictional) entity that was running the league adding in feature after feature.
Now it looks like Blaseball will be pared back again. It remains to be seen if this will allow new players to join in easily, or if old fans will return, but it’ll be entertaining to watch at least.
‘@Play‘ is a frequently-appearing column which discusses the history, present, and future of the roguelike dungeon exploring genre.
We’re continuing our look at the classic late-80s and early-90s roguelike Omega! Here are parts one and two.
Omega is a cool game with a variety of RPG adventuring to be had, but it also has a slightly steeper learning curve than a Hack-like. So, under the principle of getting the broccoli out of the way so we can get to dessert after, let’s go over a couple of the more mechanical parts of the game: character creation, and the game’s unusual inventory system.
A note: It is the year 2022, we are all busy people, and Omega is an open source game. Thus I have availed myself of reading the source code to get some details of how Omega does things internally. This might be considered to be cheating, but honestly? Omega doesn’t play fair in some areas, so I feel no guilt about reading the code. One of the virtues of roguelike games is that often one can source dive and still find the game very challenging to play, and that’s definitely the case with Omega.
Character Creation
The first thing Omega asks you is if you want to [c]reate a character, or [p]lay as yourself.
If you choose to “create a character,” the game generates stats in D&D style, rolling virtual dice to produce a set of stats in the range of 4 to 18. You’re given ten re-rolls to try to get the best stats you can. (Under the pre-alpha, development version, you get 30 re-rolls. That version has been pre-alpha since 2001.) The system used is similar to the Dungeons & Dragons tradition of summing three six-sided dice for each stat, but there’s two departures:
You’re spotted one point on each stat: it’s impossible to roll a stat less than 4 by this method. You still can’t roll more than 18: one of the dice is essentially five-sided.
When the game rolls Intelligence, it saves the two six-sided dice that were rolled, and also uses those two die values for your Power, Agility and Constitution. Meaning, a lucky character in Intelligence will probably be lucky in several more things. I don’t know why it was designed this way, but it explains some trends in stat rolling I’ve seen.
When rolling character statistics, two of the dice are shared between four stats!
If you run out of re-rolls, the game throws you into play with the last set you rolled. There is absolutely nothing saying you can’t immediately quit (Shift-Q) and start over with a fresh set of re-rolls.
If you choose to “play as yourself,” the game will give you a series of questions and ask that you answer them honestly. They include things like how many pounds can you bench press, how many miles you can run, and can you shuffle a deck of cards with one hand.
It does not ask if you can juggle. Omega characters cannot juggle.
If you’re asked a number and answer higher than a certain amount, the program will print a message expressing incredulity, but accept it anyway. A few of the questions ask if the player has some supernatural abilities, like “Do you have ESP?” and “Can you see auras?” A bit of a spoiler: if you answer these in the negative, your character probably won’t have much Power, and Power is important. You definitely should lie about this.
At one point the game asks if you’re “physically handicapped,” which seems insensitive to me. If you’re in a wheelchair, why should you be expected to carry that over into the computer games you play? But again, everyone lies here anyway.
The last question asks if you’re Irish, which is worth a couple of extra points of Power, so here, too, you should apply a bit of the old blarney.
By lying, you can use the quiz to get yourself a character with 18s in everything without difficulty. You could think of it as an easy mode, in that you can still die pretty easily. After you take the quiz, you’re given the option to save your answers to easily get those stats again. I use the roller system when I play, to add additional variety, but it’s up to you.
Whichever method you use, you’re then asked for your character’s name, then whether you’re interested sexually in [m]ales or [f]emales. Ahem. Poly and asexual players might feel snubbed by this, but secretly, the game also lets you answer ‘y‘ or ‘n‘! Answering ‘y‘ for yes means your character will be considered interested in both; answering ‘n‘ for no means neither. This doesn’t have a huge effect on the game, but it does matter for brothel visits: if you answer ‘n‘, you have a chance of gaining an Intelligence point for a visit. If you answer something else, the point you might gain is in Constitution.
What Do These Numbers Mean?
If you’re familiar with Dungeons & Dragons-style attribute scores you probably already have a good intuitive sense of what the game’s stats do, many of which are the same as in D&D. But not everyone knows those, and even old-schoolers might miss some of Omega’s nuances.
In D&D, these are relatively set in stone except for the occasional gain upon gaining a level. In contrast, Omega has several ways for stats to increase, and a few ways for them to go down.
Strength helps determine the damage done by heavy weapons. If your Strength is high, you should look into a smashing or a two-handed weapon. Just as important, Strength determines your maximum carry weight. Even if you’re not carrying anywhere close to your maximum, being weighed down even a little reduces your speed, which is dangerous in a roguelike world! It also helps you join the Mercenaries and the Gladiators.
Constitution affects your maximum hit points. It doesn’t seem to give you resistance to poison or disease. You need at least average Constitution to join the Mercenaries.
A high Dexterity makes it easier to hit monsters, and also affects damage done with light weapons missile weapons. It reduces the cost of joining the Thieves’ Guild.
Agility determines your base movement speed, which affects how often you act and how easily you can run away from monsters. Since Agility factors into speed, it’s really nice to have. You need good Agility to join the Gladiators.
Intelligence affects the chance to learn spells from random sources. You need an Intelligence of at least 13 to join the Collegium Magii. If your Intelligence is 18, joining it is free! It also helps you cast a couple of high-level spells, but day-to-day, it doesn’t seem to affect much.
Power directly affects your maximum mana (that is, magic) points, making it very nice to have for spellcasters. High Power reduces the cost to join the Sorcerors’ Guild.
During the game, there’s a few more, derived from your level, the above statistics, your equipment, and the whims of fate:
Hit Points (HP), of course, are your character’s healthiness. If you run out you die, but that’s far from the only way.
Mana Points are your character’s immediate magic strength. Your maximum is your Power times your character’s level plus one. (Remember: Omega starts counting levels from zero!) Spells cast come out of this total. A subtle thing about Omega is that your Mana also counts as a protective factor. Some spells that monsters cast will be automatically countered if you have enough mana left.
Hit is your chance to hit, given a general situation.
Dmg is a measure of the amount of damage you might do. Luck matters for a lot; I’ve had a character with a Dmg of over 40 take several whacks to dispose of a lowly sewer rat.
Def is how easily you can dodge blows. Pluses on magic armor go to decrease this.
Arm is what D&D players would call “damage reduction,” it’s a property of heavier armor that reduces the hurt you take that gets through your Def.
And finally there’s Spd, or Speed, measured as a decimal value. A Speed of 1.0 means you act as often as an average monster. High Agility, low carry weight, riding a horse, and Boots of Speed can improve this. I’ve seen as high as 2.50. Carrying a lot of things can save your bacon, and being a little under 1.0 can be okay. I try to keep it above 0.70, preferably 0.80. Your ability in battle decreases sharply below that.
There is also a weird system in Omega that confuses some players, the “combat maneuver sequence.” This system was intended to be transparent to players who don’t care about it, so you don’t need to know about this to play, but you do need to know it exists, because of a bug that manifests sometimes.
When you walk into a monster to attack it, it’s not considered a single hit as in other roguelike games. Instead, your character can automatically perform as many as eight separate moves! Each move can be an Attack, a Block, a Lunge, or a Riposte, and each of these moves can be either High, Center or Low.
By default, your combat maneuver sequence is Attack Center, Block Center, and that suffices in many cases. But some enemies like to attack at certain heights (rats tend to bite at your feet, for example). Intelligent monsters are known to watch for when you attack at a given height, and to then block more often at that height, so changing your combat string sometimes can be helpful.
Higher levels, higher speeds, and being a Gladiator all can give you extra maneuver points, and they’ll go unused if you don’t acknowledge them. You change your combat sequence by pressing Shift-F. There’s subtleties to the system that I’m not covering here, but the game does a good job of explaining it in the help for that function.
The thing you need to know is: there’s a bug in Omega that, once in a while, causes it to forget your combat string. And if your Speed drops too low, it might reset your string to the default. If you’re fighting and you notice that you aren’t seeing any messages from your side, no hits, no blocks, not even misses, you might want to hit Shift-F and at least choose a default string (press ‘!‘).
Keyboard Reminders
I mentioned the main keys back in part two. If you need to be reminded of them, you can get a complete list in-game by pressing ‘?‘ (the traditional roguelike Help key) and then hitting ‘l‘.
Many of the keys are roguelike standard, but there are a few that are different: the pick-up-an-item key is ‘g‘, on DOS the recall-message key is Ctrl-O, and to zap wands you use ‘a‘, I guess for ‘a’pply. To use miscellaneous items, it’s Shift-A; it’ll ask if you want to use an item or an artifact. Artifacts are powerful and rare items, and you usually won’t find any of those until much later.
Omega uses both number pad and the vi keys, with added diagonals, for movement. In case they’re useful (maybe you don’t have a numpad), the vi keys with diagonals are hjkl and yubn.
One of the keys, the letter ‘i‘, is your gateway to your most formidable challenge to learning Omega: its inventory system. Prepare yourself!
Oh Boy, It’s Time To Explain Omega’s Inventory
Probably its inventory has dissuaded more players than anything else from playing Omega. I think it’s really not hard to understand! It’s just different, so it takes a little getting used to. Please try to bear with me, and try to consider what Omega’s creator Laurence Brothers was trying to do with it.
The first thing you have to know is your character has two inventories. The most obvious one consists of the equipped items, the ones your character wears on their person; the other is the character’s pack, which is just a bag for loose things.
Most of the time you’ll want to deal with your character’s equipment items, and just store extra stuff in your pack. There is an array of item slots around your character’s body. If this were Ultima VII or Eye of the Beholder or some other 90s CRPG you’d probably have a paper doll display to drag item icons into, but this is a terminal-screen roguelike, so your equipment slots are all represented by letters of the alphabet.
In most roguelike games, you use the ‘w’ key to Wield a weapon, Shift-W to Wear armor, Shift-T to Take off armor, and a couple other keys like that. Not so in Omega. Instead, you move the item you want to use into the proper slot, and it’s automatically utilized. So to wield a weapon, you put it into your weapon-hand slot, which is slot b. To use a shield, you put it into your shield slot, h. (Unlike D&D characters, Omega characters have figured out they can attach a shield to their arm!)
Omega’s item system generalizes the idea of wielding weapons, wearing protective gear and magic items, and having a few items at-hand for immediate use. Instead of having special commands for these things, they’re all put to use using the same process. If you put items where they’re supposed to go, your character will use them.
Gym Class Movie: Your Body Slots And You
So, you have a plethora of slots in which you can place the various fantasy accouterments that are necessary to successful exploration. Here is a list of these slots. When playing, you might want to keep a list of these until you’ve internalized them all:
*: “up in air” a: ready hand (for general items, like maybe a torch) b: weapon hand (for what you use to bash things) c: left shoulder (a place to store generic items) d: right shoulder (likewise) e-g: belt (more generic item slots; I’ve kept a goblin corpse in one before!) h: shield (used automatically in combat situations) i: armor (put a piece of body armor here to wear it) j: boots (like above but goes on your feet) k: cloak (goes over armor) l-o: fingers (slots for up to four magic rings)
I hope that’s easy enough to understand. Note, if you’re playing 0.90, these letters will be a bit different. They were rearranged a bit to avoid confusion with the inventory management keys.
The most vexing, yet most used, of these slots is the “up in air” item. This is a special slot used as a crossroads between all the other slots and your pack. Whenever you obtain a new item, it goes up in the air, and throws up an inventory prompt so you can communicate to the game what you want to do with it.
A Romp Through The Prompts
When you press the ‘i‘ key (that’s lowercase: in Omega, capital letters are always shifted), you’re shown the list of your item slots and their contents, and the cryptic line:
d, e, l, p, s, t, x, >, <, ?, ESCAPE
If you pick up an item you’ll get a very similar line, except with a tilde in it, and without the list of item slots! This is the short prompt. From the short prompt, if you just press tilde (~), you’ll get to the usual inventory list.
Pressing ‘?‘ describes what these keys all do, and offers to show you full help, but I’ll give you an overview here. They’re all pretty important.
One of the slots will be highlighted with a >> cursor in front of it. That’s the “current item.” You can move the arrow to point to other items with ‘>‘ and ‘<‘ to move up and down. (> and < are the standard roguelike keys for Down and Up. Why don’t the arrow keys work? That’s a good question.) Most of the other commands make use of either this current item, or the “up in air” item.
The ‘e‘ and ‘x‘ keys are your main tools for getting items where they need to be. ‘e‘ exchanges an item from the up-in-air slot with the current slot. ‘x‘ does the same thing, but it also automatically closes the inventory display if the operation ends with the up-in-air slot empty.
If you leave the inventory screen with an item up in the air, that item will fall to the ground! It’s not a place to keep things indefinitely. As I said before, Omega characters can’t juggle.
If you’re at the short prompt, there will be no visible item slot list, and no cursor. Instead, the ‘e‘ and ‘x‘ keys will ask you the letter of the slot you want to move the item to. When you’ve played enough to have memorized what the slot letters are, you can use those and play much faster. Before you get to that point, you can just press ~ to get to the list. There is no game advantage to using one over the other.
Another important inventory operation involves getting stuff into and out of your pack. Your pack also has slots, but they’re all generic.
Pack operations take time. Omega actually simulates your pack like a stack. While you can get items out no matter where they are in it, items deeper in the pack take more time to dig out. Items you want available for instant access are best kept in your main inventory slots, if not in your ready hand (a), then maybe on your shoulder (c, d) or belt (e-g). These slots all can contain any item; slots like shield (h) and armor (i) can only contain those kinds of items.
Items deeper in your pack take more time to reach. Ideally though, you won’t keep immediate emergency items in your pack at all.
The ‘s‘ key shows the contents of your pack; ‘p‘ puts the up-in-air item or pointed-at item into your pack; ‘t‘ takes something out of your pack. The ‘t‘ key also offers to show you pack contents if you press ‘?‘. Another thing to note: for some reason, pack letters are all capitals. If you try to get something out of the pack, but don’t press shift, it won’t work.
Remaining functions: ‘d‘ drops the up-in-air or current item immediately; ‘l‘ gives you a text description of the current item, ‘?‘ gives you a reminder of all these keypresses, and ESCAPE transports you out of Inventory Land, and back to the game world proper.
The Inventory System In Practice
So how does this work in play? Well, at the start of the game you have no food. So enter buildings until you find one that tells you:
Commandant Sonder’s Rampart-fried Lyzzard parts. Open 24 hrs. Buy a bucket! Only 5 Au. Make a purchase? [yn]
Answer ‘y‘ to use some of that starting money to obtain some sustenance. It asks “How many?”, so let’s say 10, a good amount for the start of the game.
A passel of Lyzzard Buckets, for your pleasure. *** MORE ***
Omega’s *** MORE *** prompts work like NetHack’s, but appear at the right edge of the screen for some reason. Press the space bar to clear it. You’ll then be thrown into the inventory short prompt:
Action [d,e,l,p,s,t,x,~,?,ESCAPE] ‘Up in air’: 10x red and white striped bucket
You have an item, the new-bought buckets, in the up in air slot, so if you just pressed escape you’d drop your newly-acquired food. What you might want to do is press ‘p‘, to put the item in your pack for later. But if you want to eat immediately, you could press either ‘e‘ or ‘x‘, to move it, to ‘a‘, your ready hand slot. If you do any of these things, you’ll keep the Buckets O’ Lyzzard, and not drop them.
If you put them in your ready hand, or somewhere else on your person, then now you can eat! Exit inventory (if it didn’t happen automatically) and press ‘e‘, the Eat key:
Eat — Select an item [a,?]
Even if you have other items on your person, the food is the only thing that can be called edible, so it’s the only letter listed. You can press ‘a‘ now to chow down.
Your mouth feels like it is growing hair!
Well, it is fast food after all.
If there was already something in the ‘a’ ready hand slot, then the food will go into that slot and whatever had been there will be moved up in the air. You only have so many suitable body slots. You can usually stash anything into your pack, with ‘p’, if you don’t want to be fussed. But your pack has limited space too. If all your suitable body slots and your whole pack are full, you’ll probably have to drop an item.
Ah, that was a lot of broccoli. Are you still with me? Next time, we’ll actually be able to go into game strategy!
