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!
This one’s really going back a ways. The description on this 2012 video says it’s a Newgrounds classic, and I was not a habitué of that site then, I’m sure it goes back to at least 2005.
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.
Please forgive the two exclamation points in the title. We writers are only given a limited number of exclamation points to use every month by the shadowy Punctuation Cabal, but Punch-Out!!’s title has two of them in it, so to properly stylize it I have to use two each time. Wasteful! Oops, there’s another one. I’m just going to save them from here on out. But anyway.
YouTuber Pap is a TAS speedrunner, meaning, he deals with absolutes. He knows the state of the machine, and isn’t limited by any puny human reaction times, but works by recording button sequences that can be played back infallibly. He asked a question: what’s the minimum number of punches needed to play through the main game of Punch-Out? The answer is 120, but since the game has significant randomness, it’s really unlikely.
He presents what is probably the definitive answer, but that’s not really the interesting thing about it. His video is a master class on the game’s state, how it determines knockdowns and knock-outs, and how it awards stars. Some interesting things revealed:
If a fighter ever gets up on a count of 1, connecting with a single star punch can knock them back down immediately.
Many star punches are awarded based on successful punches where the opponent is not stunned or knocked down. You get them on a cycle based on a count that differs with each fighter. Special timing doesn’t have anything to do with it; it’s if the hit was successful of not. Late punches after stunning give star punches because the opponent is no longer stunned, not because they’re late.
On top of that, there are random stars that are awarded sometimes. This randomness is significant for the minimum punch count challenge. But these stars can only occur if you already have at least one star! Keeping a star in reserve actually helps you earn more stars more easily.
You having full health affects multiple boxers in significant ways, including sometimes turning knockdowns into knockouts.
Soda Popinski has a trick where, if you hold down while he’s preparing to uppercut, he delays. He can then be gut-punched, and if you do, your next star punch will always knock him down.
In the second fight with Bald Bull, I always wondered why it was difficult for me to counter his bull charge at first. Turns out, it wasn’t just me. The “long” version of his charge has a shorter success window, of just four frames! The “short” version, which happens if you dodge the long version, however, has a window of 13 frames. It’s so long it’s almost a gimmie. (I am resisting the urge to expend another exclamation point there.)
The greatest minimum number of punches needed to beat any opponent is a tie between King Hippo (an atypical opponent in many ways) and Mr. Sandman (not surprising at all) at 20.
The lowest minimum number is one, which can be gotten from Glass Joe (of course), the rematch against Piston Honda (huh) and the rematch against Bald Bull (what?).
Mike Tyson/Mr. Dream can be defeated in six punches.
It’s Sunday! Time to electrocute your brain with more game-related video weirdness. Electrodes at the ready!
In Japan, it seems, Crash Bandicoot has a completely different, and extremely earwormy, theme song. Well in the Japanese release of Crash Bandicoot 2: Cortex Strikes Back, if you hold Left, Circle, L1, and L2 when the Playstation logo appears, you get this entertainingly bizarre karaoke video showing off a long version of the theme, featuring Crash doing a signature dance move, cavorting with ladies in nightgowns and bikinis, and getting blown up by a jetpack, all right and proper activities to be had by an anthropomorphic marsupial.
The song also featured in commercials for the games in Japan. As an extra, here is a (very badly compressed) compilation:
There’s a more video weirdness concerning Japanese Crash Bandicoot, but let’s save that for later….
A lot of the gaming web has been fawning over Kirby and Smash Bros. creator Masahiro Sakurai’s design videos. I haven’t had the chance to look at them yet, but they look interesting at least. They’ve been coming out at a good clip, like one every two days.
Sakurai’s star is so high right now, that it’s worth noting that (going by memory) he left Nintendo with a bit of a cloud over his head, after Kirby Air Ride was seen as something of a failure. Nowadays KAR (nice acronym!) is seen as an underrated classic, and I have put many hours into its City Trial mode, which is terrific, a tiny open-world high-speed racing/party game. More people should have the chance to play it; it is unique, which is something I can’t say about many other games. While the 3DS version of Smash Bros. has a mode inspired by it, in versus mode human players cannot interact with each other during the exploratory portion of the game, which harms it somewhat.
At the height of his abilities, Sakurai can make really interesting and new kinds of games, like Smash Bros. was, and like Kirby Air Ride and (the sadly neglected these days) Meteos are. It’s a shame that Smash is so popular, one of Nintendo’s biggest tentpoles, enough to crowd out his other work. I’m really interested to see what the next crazy idea he comes up with will be!
