It’s new Homestaw Runnew, and it’s vaguely game-welated, so hewe it iiis! You see, I did it in Homestar’s voice. As sorta-human embodiment of capitalization Strong Mad would say: I’M A REFERENCE!
It’s a cartoon from the early days of the site, before they had codified how their Halloween comics work-that is, it’s a Halloween-set story with every character wearing a costume that’s a delightfully unexpected pop-culture reference, and at the end they refer to the characters and Homestar humorously fails to understand what the others are dressed up as. With this special DLC upgrade, the characters have new costumes, and the gags are somewhat different! IT’S META!
The Bally Professional Arcade, a.k.a. the Bally Computer System, then the Astrovision, eventually settling on the Astrocade, was in its hardware a cut-down version of their early arcade hardware. While not a big seller, mostly an also-run alongside the Atari VCS, Intellivision, ColecoVision, or even the Odyssey2, it could, like several of those systems, run a version of BASIC with an add-on cartridge. (The VCS had its Basic Programming cartrige, the Intellivision had the Entertainment Computer System, and the ColecoVision had ADAM.)
The Astrocade (to settle upon one name for it) had some interesting advantages. It uses the same graphics chip as Gorf, Wizard of Wor, and Robby Roto, but due to having less memory to work with doesn’t support as good a resolution as the arcade units. If the chip is used in multi-color graphics mode, it would use all but 16 bytes of memory! The Atari VCS, by contrast, only had 128 bytes of RAM, but didn’t have a bitmapped display taking up so much of it. These were the kinds of tradeoffs console designers had to make at the time. While it didn’t have hardware sprites, it did have “blitter” circuitry for rapidly moving data around in memory.
8-Bit Show and Tell’s video also describes the culture around the machine, which saw production for a surprisingly long time, and had several independent programmers selling their own games for its BASIC cartridge. They even supported a newsletter, the Arcadian, that shared coding tips.
Everything about this system was odd, from the pistol-grip controllers, to the built-in software on ROM, to the calculator-style keypad set into the unit itself, to the almost-but-not-quite Atari-style joystick ports. But I don’t want to steal 8BSaT’s thunder, watch the video if you’re interested in learning more!
For making it through another week of internet life in 2022, let’s reward ourselves with the notably changed soundtrack to the arcade version of a NES classic, Balloon Fight.
Balloon Fight is remembered for its catchy music, which you get to experience in length when you play its Balloon Trip endurance mode. The music is also heard during the bonus round. Well, the arcade version, called Vs. Balloon Fight in keeping with Nintendo’s branding efforts at the time, has a rather fancier version of that track! Whoever is playing those virtual drums is a real show-off.
Extra! There’s a lot of cool little touches that make the arcade versions stand out. Vs. Excitebike has a fun and simple little bonus stage that requires you to jump over trucks evidently owned by the Mr. Yuck Moving Company.
Portopia is the biggest missing piece, to many US enthusiasts, of the history of Japanese gaming. It led to the creation of Dragon Quest, but it had a huge influence all on its own, which can be felt in a wide variety of other Famicom titles, including some that did make it to the US. Why do The Goonies II and Dr. Chaos have those weird room-based adventure sections? It’s because of Portopia, trying to mix its kind of menu-based first-person gameplay with the pre-existing side-scrolling platforming game style popularized by Super Mario Bros. It seemed random to Western players at the time, but Japanese players would have known exactly what those games were trying to do.
We’ve mentioned Jeremy Parish and his various Works projects before, and they’re always interesting and informative, a great antidote to the strident style of many popular Youtubers, and this one is especially important to anyone seeking to understand how the Japanese game industry grew and evolved in the Famicom era.
It makes pocket calculators look like the cotton gin
It’s coming….
It’s fifteen years old now, but I still love the old “funnymovieinternet” video CUBE, which is a promo video from an era of video games that never really existed. In our little circle of friends, PREPARE YOURSELF FOR CUBE is still a signifier and in-joke all to itself. The site it came from is long defunct, but fortunately it hasn’t been hit by a spurious Youtube takedown notice yet, which as time approaches infinity, appears to be the ultimate fate of all videos on that frog-forsaken website.
The Pokemon Mystery Dungeon games are interesting offshoots of the mainline Mystery Dungeon titles. They make clear a stark difference between primacy and popularity: if you only care about sales, then there is no question that Pokemon Mystery Dungeon games are the main games, because their sales vastly outweigh the other games. The games in the second generation, Explorers of Time/Darkness/Sky, are the best-selling Mystery Dungeon games of all. You have to know that there’s around 30 other games, many much older than the Pokemon flavor, in fact older than Pokemon itself by three years, to know the whole story.
Yet the PMD games are still Mystery Dungeon titles, and they play very similarly. They’re graphical roguelike dungeon-crawl games, just, you, your teammates, and your opponents are not generic fantasy creatures, but Pokemon. That is, specific fantasy creatures. Trademarked ones, in fact.
Because PMD’s fairly popular, you’re more likely to find investigations into its internals than the Shiren or other Mystery Dungeon games, just from the number of people who exist in its audience with both the will and skill to investigate. Yet, those internals are close enough to the MD standard that they even provide insight into how classic Mystery Dungeon operates.
YouPotato TheZZAZGlitch’s usualy video stomping grounds in Pokemon, but they have a fondness for PMD, so they’ve made a video on how the first generation (Red/Blue Rescue Team) generates its dungeons, and what do you know, many of these floor types are also very familiar to me from my time exploring the Shiren games, and it doesn’t seem a stretch at all to presume they’re run by the same, or at least a very similar, algorithm.
This is really well outside the realm of simple repair, as the video demonstrates, the machine is basically totaled. There’s no monitor! The power supply is obviously kaput! They get it working though. HAPPY END!
It is a type of meme video that long time internet layabouts will recognize the irreverent take on some property, in this case Super Mario Bros. done up in a whimsical yet somewhat profane way. The highlight of the audio, though, comes after the introduction, where performers Group X do a voiced rendition of playing Super Mario Bros., including music and sound effects, back by drum and cymbal (and, later, bass). Being a part of gamer culture from that that you can expect some coarseness (like a crude Flash animation of poop being tossed at a toilet). Some people like that kind of thing I hear, I can’t tell you why.
The attributes of early Flash animation are prominently on display, like copious use of tweens. Flash is still around as an animation tool, and I presume tweening is still available, but with the death of browser-based Flash (not counting Ruffle) recall of the unique crappiness of badly-made shape tweens is rapidly fading from internet memory.
Well, there it is. Hey, it’s Sunday, I’m not supposed to be stressing about posts made today!
I’ve been doing a lot of high-effort posts lately, even for things that should be fairly quick. Working to make this more sustainable, here’s a laid-back post that’s mostly just a Youtube video of a talk between the guys of Digital Foundry and Randy Linden, coder of the SNES port of DOOM, which uses the SuperFX chip to make the hardware push polygons at a rate that, while not stellar by PCs-of-the-time standards, at least not abysmal.
Let’s run down the differences of hardware:
PC running MS-DOS: targets VGA monitors, displays all its pixels in software, but makes up for it with a minimum requirement of a 386 running (if memory holds up over nearly 30 years) at 33 mHz.
SNES: Its processor is a much slower workalike of the 65C816, a 16-bit version of the 6502, running at 3.58 mHz. While it makes up for its slower clock speed with a simpler design, meaning instructions complete generally in fewer cycles, it’s hard to make up for that 10-fold difference in speed.
Their use of specialized graphics hardware was an important advantage, at the time, of consoles over personal computer hardware. Even many standard home microcomputers, like the Commodore 64 and Atari 800, had dedicated graphics hardware that helped games run better than what most PCs could do. Even when VGA came out, the standard had no hardware-level support for scrolling or sprites.
Consider what it takes to scroll a screen without hardware support: something in the system has to be able to move every pixel from one spot on-screen to another. The NES pulls this task off by having a bank of memory that its PPU can be pointed within, meaning the memory could stay in the same place, and the graphics chip would just work from a different region within it. Sadly, this technique is not amenable to 3D graphics, which usually do require every pixel on the screen to be recalculated every frame, either in software or hardware.
The SNES is known for having a rather slow chip for its time, but more demanding games tended to make up for it with co-processor chips included on the cartridges. The most well-known of these are the DSP-1, which functioned as a math co-processor; the SA-1, which was basically a second 65C816 running at around triple the speed and with a few added features; and the SuperFX, which ran at about the SA-1’s clock speed but functioned as a graphics accelerator. (The later SuperFX 2 ran at twice that speed.)
These were far from the only add-on chips included on Super Famicom and SNES carts. Since the SNES had a much larger address space than the NES’s 6502-clone, the need for mapper chips was much less, but these co-processors were used in a number of more notable games to help it make framerate goals.
Hm. Well, I tried making it a laid-back kind of post. Ah well, back to playing Live-A-Live.
We’ve posted Strong Bad videos a few times before here, and for that I make no apologies. Left up to me we’d be a 24/7 Homestar Runner joint. But there already is a 24/7 joint of that nature, and it’s called homestarrunner.com, although we do have a more frequent update schedule than them these days.
This one’s special though in that it is a new Strong Bad video, one that went up late last Sunday evening. In it, the bulbous-headed wrestleman plays the short DOS text adventure Vampire’s Castle, which was written in less than 200 lines of BASIC code. It inspired the HSR Flash game series, previously linked, Thy Dungeonman, Nos 1, 2 and 3 (“Behold thy graphics!”), which you can still play (drumroll)… with Ruffle!
Vampire’s Castle is completely text, so the Baddest Strong enlisted the help of The Cheat to make illustrations of the rooms, which is where a lot of the entertainment value of this video derives.
A raycaster engine is a simple 3D engine that just draws lines from the player’s position to the nearest terrain wall for each horizontal pixel on the screen. It was what was used in one of the foundational 3D action games, id Software’s Wolfenstein 3D.
For those with a coding bent (the word bent seems so suitable when it comes to people who enjoy programming), Youtube account 3D sage demonstrates how to implement a raycaster in a series of three videos. The first one is embedded below:
Here are links to the whole series: Part 1 (17 minutes), Part 2 (14 minutes), and Part 3 (22 minutes)
Later he did another series on implementing the kind of engine that’s in DOOM, but we’ll look at that at a later date.
The past two Sundays have been devoted to Playstation cutscenes. Here’s one more.
Pepsiman is an infamous Japan-only PS1 title, created by KID, who produced the NES games Low G Man and Recca. The Pepsiman character was a mascot for Pepsi in Japan. How he managed to swing a Playstation game I don’t know. I assume it was released as a cheap promotional thing, similar to how Sneak King for Xbox 360 was distributed for $4.99 at Burger King in the U.S., but truthfully I don’t know where I got that impression. It’s probably false.
It had a low budget, so they put in these cutscenes with an American actor sitting at home with what I can only describe as way too much Pepsi, drinking, congratulating the player (in English), and exhorting them to consume the caramel-colored, cloyingly-sweet beverage.
The effect is akin to having bubbles of carbon dioxide diffusing through your brain. Please spend time in a decompression chamber after viewing, to avoid coming down with the Pepsi Bends.
