Displaced Gamers’ series on investigating design and programming problems with NES games continues with a game that I’m surprised isn’t more notorious, Ikari Warriors. (21 minutes)
The biggest problem with Ikari Warriors is probably that it was ported by infamous anonymous NES developer Micronics, who even in their best efforts tended to produce buggy, janky messes. Some other games they made: Ghosts & Goblins, 1942, Tiger-Heli, Elevator Action, Super Pitfall and Athena. All the other problems have their root in that.
Ikari Warriors runs at 15 fps. One game frame for every four screen frames! It uses expensive multiply routines instead of look-up tables for movement! Everything is slow even accounting for that! And it tries to adapt the arcade game’s character rotation system, which supports 16 directions (even though there are only character graphics for 8 of them), and forces the player characters to rotate through them to move.
All of this overhead makes Ikari Warriors really slow and frustrating to play. Displaced Gamers not only diagnoses the problem, but even makes a game attempt to fix them. And they come to the conclusion that it has additional problems, beyond even these, and really needs a bit of a redesign to really make it playable. Ah well, it was a good attempt.
It’s too late to inform you of preorders, those ended yesterday, but Jeremy Parish, whose Video Works series is, along with Chrontendo and Atari Archive, among the best and most informative video game history series on Youtube, and the whole internet, is preparing to sell The NES Era Vol. I, a book that’s as complete a picture of the early 3rd generation video game world in Japan as has ever written. If you’ve been following the channel you’ve seen reviews of strange and obscure games have hardly ever been heard off outside of jolly old Nippon.
This promo compilation presents a good selection of the games covered both on his channel and his upcoming book (2 1/2 minutes):
It is true that publisher Limited Run Games has a book in the works from me about Mystery Dungeon, but I’d be posing this here regardless. It’s an important work, and if it’s as fun as the video series then it’s an essential purchase when it comes out. It’s made of candy!
Sundry Sunday is our weekly feature of fun gaming culture finds and videos, from across the years and even decades.
A scene from the career of Phoenix Wright: an encounter with the brilliant, although linguistically-challenged, Franziska Von Karma. It’s from Mornal, and voiced, and Franziska animated, by Paula Peroff. One minute.
I haven’t posted much from Kirby and Smash Bros. creator’s prolific Youtube channel on game development. There’s a lot of good information in there. The channel is winding down now after a good run, but now, near the end, he’s posted at one of his final videos a remembrance of his old boss, and beloved Nintendo company president, the late Satoru Iwata. (10 minutes)
It’s now been nearly 10 years since Iwata’s passing, and the outpouring of respect, admiration, and even affection, for him over that time has been remarkable. There’s a sense that we lost an amazing figure. Sakurai is brilliant in many ways, but he calls Iwata the smartest man he’s ever known. He strove to be polite, not to take offense in conflict, and to always act with logic instead of emotion. He helped transition Nintendo from being under the sole control of the Yamaguchi family to the more varied and ingenious company they’re known for being today.
In addition to running the company, Mr. Iwata started out as a programmer a HAL Laboratory. Think of how rare that is for a multi-billion-dollar company. They didn’t hire your standard MBA out off a business school, but put their future in the hands of a former coder. I have no illusions that, in many cases, that could have been disastrous, because programming and management require different skill sets, but Mr. Iwata pulled it off.
Sakurai finishes the video with a story of the last time he saw Iwata alive. He calls Iwata the person in the world who understood him the most. When Iwata wanted to see him, he didn’t delegate it to an assistant but always emailed him directly. It seems that Iwata was a good person who many admired and respected, but to Masahiro Sakurai, he meant something more.
The video isn’t very long, and there’s a sense of finality to it, not just in Sakurai’s memories of Iwata, but of the ending of his Youtube channel. Masahirro Sakurai on Creating Games is such an unusual series: an important and brilliant working game creator telling the world personally of his views as a creator. Such an unusual move! But Iwata created both the Iwata Asks series, and the Nintendo Direct promotional videos, which may have inspired Sakurai’s own series. Both men understand the importance, often neglected I think, of clear communication, both between others and the world.
Thank you, Mr. Sakurai, for what you’ve told us. And thank you, Mr. Iwata, for all your hard work.
Another Nintendo post. The company’s tight-lippedness, which has intensified since the days of Iwata Asks, lends itself to fan speculation about nearly everything, and part of that everything is whatever happened to Peach’s minister, Toadsworth. In Japanese he’s キノじい, Kinojii, which I think implies he’s second in rank behind Peach in the Mushroom Kingdom hierarchy. Or was.
Toadsworth was introduced as a third in the vacation party, with Mario and Peach, in Super Mario Sunshine, likely as a kind of chaperone to make sure it wasn’t Peach and Mario taking a personal trip together, which I’m sure would have been a scandal in the fungal broadsheets, their ruler traveling alone with a swarthy Italian. The kooparazzi would be all over it.
Throughout the Gamecube era, Toadsworth was a prominent element of Mario lore, racking up appearances in many games. He was in Paper Mario: The Thousand-Year Door, Mario Kart DoubleDash, several Mario sports, and especially in the Mario & Luigi games, which fleshed out the character more than any other source.
Piantapedia on Youtube made an 11-minute video exploring Toadsworth’s history. It contains the information that Toadsworth was explicitly removed from the Super Mario Bros. Movie, replaced with a character known as Toad General, which is as good a sign as any that Nintendo is purposely not providing the character any more exposure, except perhaps in remakes like the one of Thousand-Year Door.
Isn’t it odd? Nintendo, when given opportunities to expand upon Mario lore, whenever they take a strong stab at it, often walks it back to the baseline of the original Super Mario Bros. They seem reluctant to meaningfully develop the Mario universe. Sometimes this happens in immediately consecutive games: remember how Super Mario Galaxy 2 abandoned nearly everything from the first Super Mario Galaxy, pretending it didn’t exist, when presenting its story?
The fact that TYD wasn’t rewritten to remove Toadsworth indicates the character isn’t poisonous to Nintendo, necessarily, but neither do they seem interested in giving him any more exposure. For shame! Who knows what Peach and Mario might get up to behind closed doors without Kinojii to watch over things?
Super Mario 64 has 120 Stars to collect, 90 of them from individual named missions in the game’s 15 courses. Many players find that a fairly early one, Snowman’s Lost His Head in Course 4, Cool Cool Mountain, is among the most vexing. When I played it, I found it a illustrative example of what happens when the game gives you imprecise directions, and just asks you to try. I did try, time after time, until it just seemed to work, for some reason I couldn’t figure figure out, and by that point I was just happy to be done with it.
Cool Cool Mountain is a big area with sloped paths leading from the top leading to the bottom. For this Star, some ways up there’s a snowball that talks to you, asking if you could lead it to its body, a larger snowball, some ways down. As it rolls it grows in size. Ideally you stay ahead of it the whole way, and managed to get it to crash into its body. If this happens, it spawns a Star; if it doesn’t, then it doesn’t appear, leaving you to exit the course from the pause button or collect a different star before trying again.
The problem is, you can do exactly what I explained and the snowhead still won’t collide with the snowbody. Sometimes the head seems to aim at your position near the end of its route, but sometimes it doesn’t, and even when it does, you have to be standing in a narrow region in order for it to produce the necessary impact.
As it turns out there’s three requirements. Kaze Emanuar broke them down in a two-minute Youtube video last year. It’s pretty short as far as these videos go!
The requirements are:
You must enter a single invisible sphere partway down, on the bridge along the route, before the snowball does on its trip. If you don’t, the snowball will continue, but it won’t even try to hit the body. You’ve already failed it.
At a specific spot towards the end of its route, it’ll check if you’re within a cone in front of its movement. If you aren’t, then it’ll just continue on and out off the course as if you hadn’t hit he sphere.
If you are within that cone, it will then direct its movement towards your location. If you aren’t standing so it’ll collide with the body, it can still miss it and you’ll fail the star.
The thing is, to a player, it looks like you’re only really needed at the end of the route. Why do you have to hit the sphere first? Even if you manage to stay ahead off the snowball the whole way, if you don’t touch the completely invisible sphere, the whole thing will break. And since it’s on a bridge, it looks like it should be fine to take a shortcut off onto the lower path.
Further, you have to be both within the cone and in a place where the snowball will collide with the body. There are many places you can stand that would direct the snowball to hit the body, but aren’t in the cone! The cone is also invisible, and the range off places you can stand to complete it is quite narrow.
Watch the video for the full details, it’s really short! Kaze does a good job of explaining it.
Sundry Sunday is our weekly feature of fun gaming culture finds and videos, from across the years and even decades.
We try here to introduce people to things they may not have seen. This means having a certain mental model of our audience, a guess of what you have and haven’t seen before. And since you’re a bunch of people, a clowder of individuals, even the best guess I make could be wrong for many of you.
(Clowder is a term for a group of cats, not people, but it seemed appropriate in this case. Meow.)
I’d expect that today’s presentation is already known to some of you, it’s very popular on Youtube, with the pilot, from a year ago, having racked up a third of a billion views. But if I asked a random person on the street, “Hey, isn’t the Amazing Digital Circus great?” I’d get blank looks. But then, here in the US, I think certain political choices are beyond obvious, yet I personally know people who choose otherwise. We all have our intellectual ruts.
Let’s not veer too far from the subject. It should be enough to say that even very popular internet things may not be known to those who are not “very online.” So it is with the Amazing Digital Circus. Created by Gooseworx, who also created the animation Little Runmo (previously here, and again in playable game form), The Amazing Digital Circus is about human characters who get transported into a digital reality and are left stranded there. While it’s not explicitly a game, we do consider all forms of electronic entertainment within our sphere of discussion, and the A.D.C. is very game-like.
At first, the Amazing Digital Circus looks like it’s a crazy-fun kind of cartoon, but it doesn’t take long for the lore to set in, and reveal that there’s a lot more going on than there may seem at first. In the Circus, the humans have a whimsical representation that they didn’t choose, and none of them are much pleased to be stuck there. The circus is overseen by a ringmaster, Caine, who has godlike powers. Caine is an interesting figure, he creates adventure situations for the humans to overcome, and is antagonistic, but isn’t a evil figure. He’s not responsible for the humans being in there or stuck there. Humans in the Circus who give in to despair tend to become abstracted, becoming big and mindless glitchy eyeball monsters, so Caine tries to give the surviving humans things to do to preserve their sanity, even though he’s not really all that sane himself.
The main character though is Pomni, the Circus’ newest inhabitant, and the least content with her predicament. Will she find a way out, or will she eventually manage to make peace with being trapped in the Circus’s virtual world? My own theory is that the human characters aren’t really humans, but copies of humans, that think they’re the originals, so it doesn’t really make sense to “escape” the Circus. But that’s just a guess, and a really big guess at that. Let’s see where it goes.
So far, there are three episodes, each about 25 minutes long, so set a little time for each one.
The pilot is episode one, where Pomni enters the Circus and we meet the other characters:
Episode two is Candy Carrier Chaos, which focuses on an “NPC,” a character who isn’t a human:
Episode three, just a couple of days old as of this post, is The Mystery of Mildenhall Manor, which reveals some off the backstory of one of the human characters, Kinger:
We’re on UFO 50 kick here, there’s so many nice games in there, and of such a wide variety. And that starts right off with the first game in the set, Barbuta, a simple but mysterious platformer.
I suggest walking one tile to the right, then immediately restarting the game. You’ll see why.
Barbuta is made in an old school style, and it’s rough, although short. You get seven lives, instead of the one a really old game might give you, but there are no continues. The very first screen contains a death trap. It’s the kind that you won’t fall for more than once, but it teaches an important lesson: pay attention to the terrain. Anything that looks unusual, different from its surroundings, could be important, or deadly.
Rather than tell you of my findings, which might not be too useful since, while I’ve gotten some ways in, I haven’t finished it yet, I present a Youtube walkthrough from sylvie (32 minues). If you just need a nudge you could just watch a few minutes, until you find something that gets you unstuck. That’s my recommendation, anyway.
Recently I’ve been working on a getting-started guide on what I think is one of the most interesting games in UFO 50, Pilot Quest. (Other games I’ve really enjoyed, though I’ve by no means tried every game in the collection yet: Magic Garden, Waldorf’s Journey, Planet Zoldath, Attactics, Kick Club, Onion Delivery, Porgy, Valbrace, Grimstone and Mini & Max.)
Guides take time, so in the meantime here’s an hour-long talk by Ed Logg on the creation of Gauntlet, from GDC 2012!
Sundry Sunday is our weekly feature of fun gaming culture finds and videos, from across the years and even decades.
Prepare to get the Balatro music stuck in your head all over again, but with the Mother 3 “soundfont,” a word that I’m not thrilled with. I don’t hate it, it’s just that there’s already good ways to refer to that concept, like “instrument set.” Ah. Oh well. Anyway. Here it is. (4 minutes – wait, the Balatro music is only four minutes long?)
I had a car accident last night, and while it could have been much worse in retrospect, I’m still pretty shaken. So for today, let’s just relax and watch Twinbeard, who had been playing through every level and finding every goal, finally reach the end of Super Mario World. (18 minutes) Whew.
Sundry Sunday is our weekly feature of fun gaming culture finds and videos, from across the years and even decades.
It isn’t always easy finding things for this weekly feature. Sometimes it’s backed up a month, sometimes though something gets scheduled just a couple of days after it premieres, and I have to scrape the barrel a bit. But not this time. Oh no.
Back in 2021, developer House House considered making an animated series about the Goose and its village. Nothing came of it, but they did make a four-minute proof-of-concept animation, and it’s wonderful. Please allow your day to be brightened, and moistened, once again, by the Goose:
