Tag: niche

Dark Arts of Pinball: Bang Backs

An unalterable law of pinball is, when the ball slips between the flippers, or goes down an outlane, it is lost, too bad so sad, cue the bonus count, unless you tilted when you tried to save it, that is.

But this is not actually true.

There are a small number of what we might call “dark arts” in pinball, techniques to save balls that otherwise would not be saveable. This is one of the things that’s interesting about pinball. It’s not like video games where everything that happens is the result of processors moving bits around. There is room for things to happen on a pinball table that the game software has no control over.

One might even make a case, if they were feeling argumentative, that the scoring and the rules have an at-best incidental influence over the real game, which takes place purely in the physical realm. This isn’t completely true: the software awards extra balls, controls playfield toys, enforces tilts, and otherwise manipulates the game’s Newtonian world, but it is true that, if the machine is in working order, and the player never misses their shots, that they can play indefinitely, and even score popcorn points for hitting low-value targets. Pull that off long enough and you can earn arbitrarily high scores, but I hope you’re good enough to hit the same shot over and over thousands of times, though, not to mention have the spare time to do it in.

A consequence of this is, lost balls can be rescued, in a number of ways. One of them is the bang back.

When the ball goes down the left outlane, along the side and bottom of the playfield, if the left flipper is raised and the right flipper left down, a sudden forceful blow by the player’s hand against the lockdown bar at the right spot can impart enough force to the ball to cause it to leap up onto the right flipper, and back into play. Even though the machine “knows” the ball went down the outlane, due to triggering its switch, it generally won’t penalize the player for doing this. The ball-ending event is it coming to rest in the trough, the receptacle for out-of-play pinballs beneath the playfield. Until the ball reaches it, it’s live.

Bang backs are a dark art because they enable extra-long turns, and also the force required to execute them risks damaging both the machine and the player’s hand, and so are illegal in tournament play. But they can be pulled off pretty consistently, as this video from the PAPApinball channel (1 minute) demonstrates:

Another dark art of pinball is the deathsave, but let’s save that for later….

AGDQ Starts Tomorrow!

AGDQ, one of GDQ’s two yearly life speedrunning events, begins tomorrow and runs to the 24th! Here’s the schedule!

Here are some highlights, according to me. The times I give are US Eastern/Pacific, but the schedule page linked above can convert times to your own zone:

Sunday, January 14th

Noon/9 AM: Tunic – Everyone’s favorite fox-based Zelda-like.

12:40 PM/9:40 AM: Super Monkey Ball – Monkey Ball speedruns are always awesome to watch!

3:40 PM/12:40 AM: Tales’ Adventure – A glitchless run of a Game Gear game, and one of the less remarked-upon of the Sonic series.

4:49 PM/1:49 PM: Donkey Kong 64 – An infamous 3D platformer experienced the best possible way: watching someone else play it.

8:55 PM/5:55 PM: Ultimate Doom – One of several billion speedruns of Doom, I’d expect this to be heavily optimized.

9:43 PM/6:43 PM: Jet Set Radio Future – The underrated Xbox sequel to the Dreamcast original.

Monday, January 15th

3:13 AM/12:13 AM: The Typing of the Dead – Worth checking in for the funny word list!

5:13 AM/2:13 AM: Marble Madness II race – At last, over 30 years after the prototype sequel to Marble Madness was scrapped, it finally comes to GDQ. Mere days after the game was leaked to the public there were already extremely proficient runs of MM2 on Youtube, so don’t blink or it’ll be over before you open your eyes.

10:01 AM/7:01 AM: Manifold Garden, reverse tree order – This game is amazing.

11:38 AM/8:38 AM: 30XX – sequel to 20XX, a procedurally-generated platformer.

2:37 PM/11:37 AM: Metroid Prime 2: Echoes – A competent sequel to the original Metroid Prime that tends to be overshadowed by the original. This is a 100% run, scheduled for 2 1/2 hours.

7:30 PM/4:30 PM: Sonic Adventure 2 Battle – Another underrated game, this run seeks to get all A ranks.

10:55 PM/7:55 PM: Pikmin 4 – The Pikmin games seem to alternate, with the odd-numbered games having strong time limits, and the even-numbered ones being a lot more laid back. They’re all terrific though, and provide a kind of gameplay that few other games attempt.

Tuesday, January 16th

8:46 AM/5:46 AM: Arkanoid – I presume this is the NES version. Coming from the lineage of Breakout, this game is extremely hard. I hope they’re playing it on NES hardware, with the official paddle controller made for this game.

9:23 AM/6:23 AM: Gimmick! – The new schedule page doesn’t specify which platform the game is being played on, unfortunately. This could either be the NES prototype original or the official (and ludicrously expensive) exA-Arcadia remake.

11:34 AM/8 34 AM: The Legend of Zelda – This run is glitchless, which is an important consideration for Zelda 1 these days.

2:03 PM/11:03 AM: Gyromite (Game B, Dog Assistance) – 🐕🐕🐕？？？

8:00 PM/5:00 PM: Octopath Traveller II – Might be a good opportunity to see what this game is about, if you haven’t jumped at it yet?

10:52 PM/7:52 PM: Bloodstained: Ritual of the Night – IGA’s post-Konami Metroidvania, with an emphasis on the Vania.

Wednesday, January 17th

2:59 AM/11:59 PM[Tue]: Diablo (1996) – The original game, but played through as a Sorcerer at Level 1?

3:46 AM/12:46 AM: Paper Mario: The Thousand-Year Door – News of the Switch remake has put this classic back in the spotlight. It’s still the best Paper Mario game, and one of the best damn JRPGs period, overloaded with humor but with a great story too. It demonstrated that the Mario universe has the power to tell actually interesting stories-but it may also have been the game that causes Nintendo to rein in Intelligent Systems’ use of the Mario property, as (I believe) it’s the last game with individualized Toads.

7:15 AM/4:15 AM: Ducktales Remastered – The final voice appearance of Alan Young, Wilbur from the long-ago talking horse sitcom Mr. Ed, as Scrooge McDuck before he passed away. It’s one of Wayforward’s technically excellent 2D platformers, so it’ll be interesting to see how they break it.

8:26 AM/5:26 AM: Teenage Mutant Ninja Turtles (arcade) – A 1 credit clear no less. I love seeing arcade games at GDQ, especially if they aren’t rhythm games, or as I like to think of them, Super Simon.

10:24 AM/7:24 AM: Super Mario Bros. 2 USA – I find it sad that NES games tend to be underrepresented at GDQ in this era, although I can certainly see why, as this run is scheduled to be just 12 minutes long.

11:06 AM/8:06 AM: Monkey Island 1 vs Monkey Island 2 – I don’t know what this means. Are they playing them both?

12:25 PM/9:25 AM: Metroid Dread – 100% NMG (“No Major Glitches”)

2:40 PM/11:40 AM: Pokemon Crystal Item Randomizer – Additionally, this is played co-op, meaning (I think) two players are playing, but when one finds an item the other immediately gets it too.

7:05 PM/4:05 PM: The Legend of Zelda: Ocarina of Time – This run is marked “MST.” To explain, that stands for Medallians/Stones/Trials. For an explanation of the explanation, you’ll have to look elsewhere.

9:35 PM/6:35 PM: Super Mario 64 – “16 Star Drum%” Oh those abbreviations. Whatever that means, they expect it to take 24 minutes.

10:06 PM/7:06 PM: TASbot presents Super Metroid – Past TASbot performances have reprogrammed games to present full motion video on a Gameboy and a completely alternate ending to Ocarina of Time, so whatever they’re doing this year is anyone’s guess.

Thursday, January 18th

2:11 AM/11:11 PM[Wed] – 7:25 AM/4:25 AM: Short games – I don’t know if this counts as “Awful Block” since Ninja Gaiden is in there, but they are running a number of lesser-seen games, including NES Beetlejuice, the Xbox 360 promotion Burger King tie-in Sneak King and Virtual Hydlide.

11:42 AM/8:42 AM: Kirby and the Amazing Mirror – That odd Kirby game that was functionally a Metroidvania and gave him Smash Bros. powers as one of his copy abilities. Also, Kirby has three other Kirbies wandering around as helpers, and you can call them in a cell phone. Kind of a failed experiment, but it’s still interesting!

12:19 PM/9:19 AM: Castlevania III – A solid NES game, and one that hasn’t been broken to pieces as it still takes 40 minutes to finish.

2:35 PM/11:35 PM: Super Mario Sunshine – 120 Shines. That means getting all 240 Blue Coins too. AGDQ had a cursed run of Sunshine where the runner suffered a Game Over, but because the play eschewed saving to save time, all progress was completely lost, and they had to start from scratch! Hopefully this one will go better.

8:37 PM/5:37 PM: Super Mario Maker 2 Glitch Showcase – Nintendo seems to be neglecting this game-it didn’t get a bookmark website like the first one did, and now Wonder’s out with nary a remark about SMM2. It feels like they’ll bin this one before long, so please enjoy these glitches while you can.

9:22 PM/6:22 PM: Halo: Combat Evolved – Co-op on Easy. I understand that this extremely niche game was nevertheless popular in some circles. The 3? 4? of you who know of this game will enjoy it I’m sure.

Friday, January 19th

9:17 AM/6:17 AM: Undertale, True Pacifist Race – It’s hard to believe this game’s already eight years old! When will we start seeing Deltarune chapters at GDQ?

3:22 PM/12:22 PM: Risk of Rain Returns – This game is very new but already has speedruns!

4:40PM/1:40 PM: Super Mario Bros. Wonder

10:34 PM/7:34 PM: The Legend of Zelda: Majora’s Mask – 100% No Major Glitches Relay

Saturday, January 20th

5:38 AM/2:38 AM: Star Fox 64 – 2k%, which means, in the style of speedrunners, a speedrun with a special requirement, here that the player finish a score of 2,000 or more. Back when I played Star Fox 64 a lot, my highest score ever I think was a bit over 1,700, and I worked hard for that score, so this requires some “skillz,” as they say.

8:46 AM/5:46 AM: Sonic Origins Plus – “Anniversary Mode” Relay

6:33 PM/3:33 PM: The Legend of Zelda: Tears of the Kingdom – Any%, so, expect an unwise confrontation with Ganon with only four hearts.

7:51 PM/4:51 PM: Baldur’s Gate 3 – Last year’s other megahit, this goes through all acts but is only scheduled for 35 minutes. A friend of mine has, over a week, started this game completely over from scratch three times without finishing, so it’s safe to assume he’s falling way behind the curve.

9:04 PM/6:04 PM: Final Fantasy V Pixel Remaster – The last game of the show, with “Cutscene Remover.” Even without them, scheduled for 2 1/2 hours.

The Dreamcast Junkyard on Shenmue-likes

The Dreamcast Junkyard is an underrated blog, and when it’s not telling us about good old Dreamcast games, it’s telling us about games that are like good old Dreamcast games. While Shenmue never got past the second game, despite plans for an epic multi-game story, its spirit lives on in a multitude of other games, from various studios. The specific ingredients of a Shenmue-like, I would say, are a real-time lifesim with a large variety of sidequests. But that technically applies to farming games like Harvest Moon and Stardew Valley, which are not quite the same thing.

Six are listed in this article, and they are the Yakuza series (of course), the Persona series, Bully, Mizzurna Falls, Lake, and The Good Life; I’ll leave it to the post to explain the whys of each. The Good Life, specifically was entirely off my radar, but it sounds like it might be worth looking into!

6 Games That Scratch the Shenmue Itch (Dreamcast Junkyard)

Waluigi Sings “Baby It’s Cold Outside”

Another light post, usually I’d put this on Sunday but we’re so close to C-Day that it’d end up going up on the 24th. It’s the creator of Brawl in the Family, Matthew “BitFinity” Taranto, recorded Waluigi singing a duet with himself (who else?) of Baby It’s Cold Outside. “I like when you’re uncomfortably creepy!”

Waluigi Sings: “Baby, It’s Cold Outside” (Youtube, 2 1/2 minutes)

Inform 7

Still December, still in low-impact posting mode. I figured I’d tell you all about interactive fiction authoring system Inform 7, which still feels new in my mind despite coming out 17 years ago.

I say “Inform 7” to distinguish it from previous versions, which were a very different system. Inform 6 was a cryptic C-style programming language; Inform 7 source code reads like English. Radically so:

A bit of Zork implemented in Inform 7.

I’ve long wanted to learn Inform 7 and create something interesting with it, but every time I do I run into a thick wall of error messages. I feel it’s important to emphasize, from my own experiences trying to code with Inform 7, that this apparent ease-of-use is completely fake. It reads like English, and does what it appears to say. But in fact it’s written in extremely fiddly and precise English. It’s still all programming language, with a precise syntax, it’s just a syntax that makes it readable to both humans and the computer. In this way, it’s like Ultra COBOL.

And yet, reading it is useful to understanding it in an intuitive sense that’s untrue of many programming languages. It eschews the usage of punctuation for random coder things, in the abhorrent C style. Yeah, I said it, I’ve wrestled with C syntax more than once, I even generally understand it, but I really don’t like it.

Inform 7 used to have a great website, at inform7.com, where it could both be obtained and had great examples. That site is gone now, replaced with a GitHub page that is also pretty great, but since it, like all GitHub sites, is relying on the largess of Microsoft, and subject to the eventual enshittification that inevitably affects all corporate-owned hosting, it feels like less than the original. Ah well.

That site contains the Inform 7 documentation, which has a wealth of examples for learning how to use it. Alex Proudfoot runs another GitHub site, Inform 7 Examples, which contains that after which it is named.

This post risks defeating the entire purpose of making low-effort content during a busy time of year, suffice to say this is an unusually-deep rabbit hole of which much more deserves to be said. Later.

The Current Inform 7 Website (GitHub)

SjASMplus

No image this time. There’s nothing to take a screenshot of! SjASMplus is, simply, a cross-platform assembler targeting the Z80 platform, the processor that runs many classic arcade games. (I refuse to say “powers,” that’s not what that word means!) If you have interest in writing new games for old arcade platforms, it’s something you’ll need.

It’s the holidays still, and I’m trying to unwind a bit. I’m failing, but at least the effort is there: the effort to reduce effort. Maybe someday.

Demoscene: Batman Rises

The demoscene is a rich source of awesome, and at times ridiculous, imagery and sounds. Once in a while we sift through it to find things to entertain you with.

Found from Z303’s aptly named Tumblr The Demo Scene, Batman Rises was created by the aptly-named Batman Group, who might be just a little too obsessed with Warner Bros’ multimedia megaproperty. This demo was created for the Amiga 500 with 1 MB of RAM in 2022. That people are still making demos for the classic Amiga platform today is pretty awesome, whether they focus on Batman, Spider-man or some other be-spandexed corporate-owned trademarked character.

Here is video of the demo in action (8 1/2 minutes):

They also made a blog post describing the narrative of the demo. You may find it interesting. It still seems pretty fluffy to me (I mean it has a scene of zooming down a technological tunnel for no reason I could discern), but I’ll admit it’s pretty awesome to see something like this running on 36-year-old hardware! If you have interest in obtaining the demo yourself, to run in physical hardware or an emulator, both it and instructions for running are here.

On The Red Obelisk

In 1987, programmers Robert Germino and David Todeshini wrote a weird and obscure Commodore 64 game called The Red Obelisk. It barely made a dent in the market, which is kind of a shame. It’s nearly entirely unique, which is a difficult thing to say of any game 36 years after its publication.

Part of why it’s not remembered much today might be how unique it is. It’s mostly a game about alchemy, but not as much in an Opus Magnum kind of way. You’re given an object, kind of like a gemstone, found in an asteroid belt. You shock it with electricity, zap it with lasers, and shoot sound waves at it. All of this is depicted in an illustrated laboratory, with surprisingly atmospheric graphics and sounds. Doing these things may increase its value. You can sell it at any point to earn energy proportionate to its value, which you need to run your ship and guard against hazards, and points. Your real goal though is to create a Red Obelisk

An earlier work of theirs was Sentinel, of which there’s even less information online.

I played a bit of The Red Obelisk and uploaded a recording to Youtube. I don’t do too well. Here is that video (7 minutes):

Both The Sentinel and The Red Obelisk, and another game I think they made called Phaserdome, were included on a disk called Master Blaster put out by Keypunch Software. Keypunch wasn’t a great organization; there are tales of them taking freeware games, scrubbing them of information by which their creators might be identified, and then selling that on a disk. It was before the widespread adoption of the Internet, the World Wide Web was still three years away, so it was easier to get away with that sort thing than it is now.

Later on The Red Obelisk got picked up for an issue of Loadstar, and the veracity of its editors I vouch for completely. I haven’t yet checked their products for the other games. Sentinel is also on Loadstar. The documentation I retyped below suggests they have another game on Loadstar as well. Both The Red Obelisk and Sentinel are on the Internet Archive, but you can get legal and paid-for copies for $15 of the first 199 issues (Loadstar was amazingly long-lived) via LOADSTAR COMPLEAT, still sold by its long-time Managing Editor, my friend Fender Tucker. The Red Obelisk is on LS64 issue 58.

The game is fully described in its instructions, below, so I’ll just give you some of my own impressions. It’s interesting! It has to have something to it for it to have persisted in my memory for so long. I think the game is implemented in BASIC with some machine code routines to handle the real-time portions. This is a perfectly valid way to implement a game; I did it often myself back then. It’s pretty much the only way to get the smoothly-moving asteroids and slick sound effects the game has.

What I remember the most is the Object Mode, where you zap various objects on your workbench in the hopes of creating a hugely valuable Red Obelisk. Everything you do costs energy, and running out destroys your ship, so efficiency is a must. In order to succeed you must take notes as to how each object behaves. Basic directions are given in the instructions: get the Tolerance below 100 with electricity, and the Temperature above 500 with lasers. Is that all there is to these tools? It has been too long for me to remember, but I do remember finding a string of Red Obelisks at one point, so there must be some process to it. Experiment to see what you can find.

The other thing I remember is the noise that your ship makes when you collect an object. All of the sounds in The Red Obelisk are effective, but that noise found a home in my brain when I played it decades ago, and it has never left. I think it probably never will.

What follows are the instructions to the game as included on Loadstar 58, as written by Fender himself, with section headings and minor formatting added by me.

THE RED OBELISK

by Robert Germino and David Todeschini

One of the safest bests of the 21st Century is that treasures will be found in space in the form of small meteors. They may be grey and drab-looking on the outside but inside will be jewels and precious gems, just waiting for the mining engineers to extract them. But it won’t be easy.

If you are a veteran of the universe of STURGRAT (on LOADSTAR #54) you will have an idea of the complexity of 21st Century space mining.

Setting


In THE RED OBELISK you are in control of a mining company. You must gather some object from space and by using the powers of your factory, you can ‘sell’ them for the maximum profit. Your goal, as is any capitalist’s, is to garner as many shekels as you can.

Let me describe your ship first. It is a Sturgrat space mining/laboratory and short-range fighting vessel. It operates in three modes, the Object Mode, the Mining Mode and the Attack Mode. You begin in the Object Mode (which is the inside of your laboratory) where you get a readout of all the capabilities of the Sturgrat.

Object Mode


The most important thing to keep your eyes on is the POWR rating in the lower right of the screen. If this gets too low, you will lose your ship, and, as is shown right above the POWR display, you only have two, not counting the one you begin with.

But your power is running down so you can’t tarry too long making decisions. And believe me, there are a lot of them to make.

You begin with an object on the conversion table. Its type is shown on the left. The idea is to process this object and then convert it into SCORE and POWR. You have to get the tolerance down and the temperature up.

These two values are shown on the left, TOLR and TEMP. You hold down the E key (for the electrodes) for a short period of time and notice that when you let up the TOLR has gone down. Get it down below 100. Press L (for the lasers) the same way to get the TEMP above 500. Since your POWR is going down all of the time, it pays to do these two things quickly and efficiently. They MUST be done for each object.

In the bottom left hand corner is the value of the object (VALU). As a true capitalist, you will want this figure as high as possible before you convert it into cash (SCORE).

You can increase the value of the object by bombarding it with Ultrasonics. Press U and then push the joystick forward and listen to the pitch of the sound. Press the firebutton and the VALU will increase by a certain amount. If you want to increase the VALU faster, push forward on the stick, the pitch will increase and so will the amount the VALU increases when you press the firebutton.

You can get too greedy with VALU. If you’ve increased it too high, the object will be destroyed and will disappear from the screen.

A good Sturgrat miner will write down the TYPE of object and try to discern the maximum VALU an object of that type can attain WITHOUT destroying itself at conversion. Write this figure down, too.

If you convert at too low a VALU, you will only get the VALU, but if you convert it at just below the ‘peak’ VALU of an object, it’ll be transformed into the incredibly valuable RED OBELISK, which, in more ways than one, is the name of the game. It’s up to you to determine each object’s ‘peak’ value.

You cannot do much more in the Ultrasonics mode. Press U to toggle out of it (if you are in it) and then you are ready for conversion. You do this by pressing RETURN. You’ll either (a) convert it for the present VALU, (b) create a RED OBELISK (which pays off handsomely) or (c) find yourself looking at a dreaded FALSE OBELISK. If you see one of these, you have to act quickly and destroy it by firing Caps at it (the F key) or by bombarding it with Ultrasonics. If a FALSE OBELISK is left to itself it will destroy your current ship and its cargo.

Mining Mode

Which brings up the question: Where do objects come from?

You have to space-mine them. Press the SPACE bar to go from the Object Mode to the Mining Mode. You’ll see your Sturgrat drifting through a meteor field. Use the joystick to maneuver around the meteors trying to capture the small, shining object that is floating slowly across the screen. The object must be captured DIRECTLY in the Sturgrat’s scoop. Even a small bit off-line will cause your ship damage.

You have a tractor beam which you can enable with the firebutton. It will draw the gleaming object up the screen where the action is less hectic.

As a matter of fact, the top of the screen is a safe place where you can scoop up hydrogen molecules with your tractor beam and slowly boost your POWR if you are running low.

You can gather up to nine objects at a time or you can gather just one and head back to convert it. To go back to the Object Mode, press RETURN.

Attack Mode

You begin your stint as space-miner with 3 ships and 3 Caps, but as your POWR gets higher (above 1500 megajoules) your Sturgrat becomes more attractive to marauding space-hijackers. When you least expect it you will be attacked.

The message says that you have lost the object on the conversion table and that the marauder wants to know if you surrender or not. If you surrender, you won’t lose your ship but you’ll have to continue with what you have. If you answer N to the surrender prompt you go to the Attack Mode.

This is the arcade portion of your mission. Move the joystick so that the cross-hairs are on the middle of the attacking ship and press the firebutton to fire. Keep an eye on your POWR level. If you are in danger of losing your ship you can weaken or destroy the marauder with a Giga-Gem by pressing the G key.

Giga-Gems can destroy any cargo that the attacker may have, so you should use them only as a last resort. When you have bludgeoned the attacker into submission he’ll ask if he can trade his cargo for his life. If you feel in a benevolent mood (or in a greedy one) you’ll probably do better accepting his offer and letting him limp off into space.

If you choose to destroy the enemy, you may be able to salvage some of his Caps. If you let him live you may get CRGO (objects), Krystals or Giga-Gems. Base your decision on what you need most.

The Krystals (KRYS) cam be converted in the Object Mode by pressing K. A Krystal is mainly a bonus score you get for defeating a marauder and being kind enough to let him slither off alive.

That’s about it. It will take a little practice with the controls of your Sturgrat but soon you will be grabbing objects and converting them like crazy hoping to find a level for each TYPE of object that will give you a RED OBELISK. As your POWR rating goes up you will have to fight off space-raiders more. Try to get the highest score so that you can head back to Earth a rich man.

As for the trip back to Earth, that’s another game, but one I’m sure Bobby and David will be creating soon. Sturgrat rules! Long may it run.

DISK FILES THIS PROGRAM USES: RED BOOT, RED BOOT 2, RED OBELISK, SPR1, T.RED BOOT

**** End of Text ****

Dan Fixes Coin-Ops Repairs a Baby Pac-Man

Over on Mastodon, Dan Fixes Coin-Ops has been documenting an epic quest: the repair of a Baby Pac-Man machine.

It’s one of the non-Namco Pac-Man spinoffs that Bally/Midway released in the wake of the original’s extremely high popularity. I’d like to remind readers that while Namco has been the sole beneficiary of Pac-Man’s heights lately, the original game, at first called Puck-Man in Japan, was not popular there. The spin-offs, console ports, handheld games, trading cards, stickers, clothing, cartoon show, Christmas special, breakfast cereal and unnumbered other items, that was all Bally/Midway’s doing. Toru Iwatani created and designed it, his team made it into a game and cabinet, Namco released it in Japan to middling success, and from there Bally/Midway got behind it and turned it into one of the most gigantic video game hits there’s ever been, a machine that at one point had one hundred thousand units.

Now, I’m not going to deny that their effort led to some erasure of knowledge of Namco’s existence at the time. All those Pac-Man machines and spin-offs mentioned “Bally Midway Mfg. Co.,” with nary a mention of Namco. But it’s undeniable now that erasure is happening in the other direction: a search over the History page on official Pac-Man website has no mention of Bally at all, even though the page acknowledges that the game was “a major hit in the United States.”

Some of that success leaked back to Japan and fueled some Namco-made sequels: Super Pac-Man, Pac N Pal, Pac-Land, Pac-Mania, Pac-Man Arrangement and eventually Pac-Man Battle Royale and Pac-Man Championship Edition, and more recently things like World’s Largest Pac-Man and Pac-Man Battle Royale Chompionship.

Bally/Midway made their own sequels. One of those, Ms. Pac-Man (created by GCC), came to eclipse the original in popularity, but in addition to their licensing of Super Pac-Man and Pac N Pal they made Jr. Pac-Man (also from GCC), as well as Professor Pac-Man and this game here. The one Dan Fixes Coin-Ops repaired. Baby Pac-Man.

Baby Pac-Man is a game that only could be made by Bally, because it’s a video game/pinball hybrid.

Bally, together with the company that would buy them, Williams, is arguably the greatest pinball maker there’s ever been. Up until around 2000 (a heartbreaking year) they made wonderful machines like The Addams Family, Twilight Zone, Attack From Mars, Star Trek: The Next Generation and quite a few others. In 1982 though pinball was in a slump while video games had reign over arcades. The decision to make a game that connected one of the greatest arcade games of all with pinball must have seemed obvious. (It wasn’t their only attempt to capitalize on their golden license with a pinball table, witness Mr. & Mrs. Pac-Man, which I’m informed was released eight months before Baby Pac-Man.)

The combination of an arcade video game and pinball makes for a unique experience. It also makes for a game which breaks down even more often than your standard arcade game, as the thread notes: there’s three computers in the thing, and it’s subject to all the typical arcade game problems, all the typical pinball problems, and special problems with the portions of the machine that connect the two halves together.

The thread begins memorably:

In case y’all were tired of hearing about popular Fediverse people making bad decisions, just thought I’d let y’all know I bought a 1980’s hybrid pinball/videogame tonight

I bought a god damn Baby Pacman

Like this isn’t for a client, I’m not working on it to earn. This game COST money. This is my game now, I paid for it and it lives in my house. I’m not gonna get to give anybody a bill.

This is such a perversion of the natural order of things. I’ll probably route it one day, but for now this is an arcade machine that I SPEND money on!

It’s taken me a little while to get it into the house and have a chat with the mate who sold it to me and let the littleun have a go and put her to bed and fix a couple things and have a go myself so I’ve not been catching up on my notifications, I saw some questions so I’ll do a little thread on it over the next couple of days

I cannot stress enough that you should not buy one of these things

Folk who like 80’s pinball want stuff like this or Haunted House and you shouldn’t buy a Haunted House either

These are games for pinball techs or people with money to hire pinball techs or very close friends of pinball techs

Except Baby Pac-Man needs you to be friends with an arcade tech too.

He finally got it working after three months of work, and what a journey it is. He did it for love of the game: while Baby Pac-Man is dissed in some circles it’s a genuinely interesting game. But to like it, you have to abandon the relatively lenient expectations of classic arcade video games. Pinball is inherently unfair, and that unfairness oozes out and coats even the video portion of Baby Pac: the ghosts don’t waste time in coming after you, and you start with no Energizers: you have to earn them in the pinball portion, which for the most part you can only visit once per life/board. You can return to the video portion temporarily though by locking the ball in a scoop.

Here is the full thread (to date) in Masto Reader, which is a Mastodon version of Threadreader. It takes maybe half a minute to collect the posts and present them though, so to read the whole saga you’ll have to be a little patient.

An interesting video about Baby Pac-Man (although with some bad sound) District 82 Pinball’s here (12 minutes), which covers the tech and gameplay:

And Joe’s Classic Video Games’ demonstration (25 minutes):

Dan Fixes Coin-Ops: Baby Pac-Man Repair

District 82 Pinball’s Baby Pac-Man play and tech tips (Youtube, 12 minutes)

Joe’s Classic Video Games on Baby Pac-Man (Youtube, 25 minutes)

Milliways: The Restaurant at the End of the Universe

A long time ago, there was a radio series called The Hitchhiker’s Guide to the Galaxy. It was about a man named Arthur Dent, who with the aid of his friend Ford Prefect managed to escape from the Earth when it was demolished to make way for a hyperspace bypass, after which he went to have increasingly weird and ridiculous adventures.

At the center of the story was an electronic book named, like the radio series itself, The Hitchhiker’s Guide to the Galaxy, which was like an iPhone and Wikipedia combined into one device, only Douglas Adams somehow thought of them in 1978, which was the same year Space Invaders was being manufactured. It was written by a brilliantly funny man named Douglas Adams. Adams also wrote some scripts for Doctor Who, and some other books, including The Meaning of Liff, Last Chance to See and Dirk Gently’s Holistic Detective Agency.

Before he wrote those other books though, he wrote some more about the Hitchhiker’s Guide. He wrote a TV series based on the radio series. There was also a vinyl recording, which was simply called an album then because CDs hadn’t been invented yet. Each of these versions of The Hitchhiker’s Guide to the Galaxy has substantial differences from all the others. Then Douglas Adams met Steve Meretzky, and the two of them did a computer game version of The Hitchhiker’s Guide to the Galaxy, itself with major differences from the other versions.

They made the game for a company called Infocom. Infocom was one of the first great successes in computer gaming. They wrote what they called interactive fiction, but could more generally be called text adventures. They presented the world of the game as text on a screen, like you were reading a book, and you expressed what you wanted the protagonist character to do by typing commands. Sort of like those things some inaccurately call AIs, and are more properly called Large Language Models, or LLMs, except a person actually wrote everything that can happen, and there’s a point to them.

The Hitchhiker’s Guide to the Galaxy was the second best-selling game that Infocom ever did, after Zork. It sold over a million copies, a gigantic success at the time, and still pretty good today. So everyone was keen to do a second Hitchhiker’s Guide game. The game even says, at the end, that an incredible adventure was about to happen, but you’d have to buy the next game to find out what it was.

Time passed….

Infocom tried to get Douglas Adams to create a sequel. He did co-write Bureaucracy with the staff of Infocom, a lesser game with some brilliant ideas in it. Later he wrote Starship Titanic for a different company, which was fairly well-received. Douglas Adams was, as said, a brilliant person, but his was a whimsical and capricious intelligence, fixating on things that seized its fancy, but that made it difficult to focus on mundanities.

Infocom’s games sold steadily fewer copies as time passed. Eventually, they were bought by Activision, and functionally shut down. They made some Zork games themselves, but eventually Activision forgot that Zork or Infocom even existed.

Some more time passed….

Douglas Adams wrote some more Hitchhiker’s books. At the time there were already two, The Restaurant at the End of the Universe and Life, The Universe and Everything. He soon followed it up with So Long And Thanks For All the Fish, and then Mostly Harmless.

He never did write that sequel to the computer Hitchhiker’s game. Then, sadly, Douglas Adams, who in Last Chance to See wrote movingly about animals on the edge of extinction, went extinct himself, dying on May 11, 2001.

Time continued to pass. Disney, the least-suited company for such a thing, made a big movie version of The Hitchhiker’s Guide to the Galaxy. It wasn’t too bad, all told, but it wasn’t Disney-level popular, probably because it didn’t have space magicians or superheroes in it.

Lots of people, not the least of which his old friends at Infocom, were saddened that Adams never followed up with that second Guide game.

Then in 2023, a person with the nom de net of Max Fox wrote their own version of what a sequel to The Hitchhiker’s Guide to the Galaxy might have been. It’s called Milliways: The Restaurant at the End of the Universe.

It adheres to older trends in adventure gaming: you die sometimes just from trying things out. Puzzle solutions can be a bit cryptic. But it also has a simulation of Infocom’s “Invisiclues” built in, where you can pick the area you’re in and problem you’re having from lists and get a series of more specific hints for getting past your problem area, which is still a pretty good way to provide play help without giving away the whole puzzle like a walkthrough might.

No, it isn’t the sequel that Douglas Adams would have written. But that thing will never be. It’s possible that someday a different sequel will be written that matches Douglas Adams’s voice a little better. But in the meantime, we have one idea of what it could have been like.

It doesn’t make it a happier galaxy to live in. But it does make it marginally less sad, and that’s the best we can hope for.

(Note: following images have spoilers for the very early phase of the game. If you want to play this game, you’ll need a program that can play Z-machine files. I suggest Windows Frotz.)

The beginning, after the ending
An unsettling landscape
Five points, and a sudden demise

Milliways: The Restaurant at the End of the Universe

Decker

The history of computers is filled with great transformative ideas that never took off, or sometimes, were even actively sabotaged.

One of those ideas was Hypercard, a “multimedia authoring system” for Mac OS Classic. One way to describe it is like an individual website, contained within a file on your computer, that you could click around and explore. Unlike websites, instead of learning a special language to create documents in it, it has its own creation system that allowed users to wield the Macintosh’s powerful UI to make things.

Hypercard was an early version of several different things. Of course its concept of linking between different “cards” of information was influential to the design of the World Wide Web. Its method of placing controls onto cards and attaching code to them is reminiscent of RAD development environments like Delphi and Visual Basic. And its multimedia capabilities allowed for the creation of full games, the most prominent example of which, of course, is Cyan’s Myst. Hypercard also could be seen as the inspiration, with varying degrees of directness, of a swath of creations ranging from TWINE to alienmelon’s Electric Zine Maker.

But wait! Don’t we live in something rich people call the “free market?” Aren’t superior products supposed to make their creators (and, of course, investors) billions of dollars? Why aren’t we all making Hypercard stacks now, on our Macintosh System 29 computers? Of course: it’s because good things are not necessarily profitable, that corporate politics matter much more than the intrinsic worth of a technology, marketing is grotesquely powerful yet also somehow overvalued, and finally, the World Wide Web came out and essentially did it one better.

Yet Hypercard still has its fans even today. Decker (not Docker), the subject of this post, is a kind of homage to Hypercard made for current OSes. It looks, on purpose, like it’s a program for early versions of Classic Mac OS, with 1-bit graphics and copious use of dithering. Yet despite that it’s still reasonably powerful. So, rediscover the promise of computing circa the late 80s, with Decker.

Decker (itch.io, $0, for Windows, Mac and Linux)