Found by long-term MeFite Going To Maine, DOOM: The Gallery Experience is a DOOM mod that changes out all of its various elements for museum equivalents. Ammo becomes drinks from among Wine, Beer, Gin or “Watr”; Health has become Cash (which you can spend in the gift shop) and Armor becomes Cheese. (You still pick them up like powerups, though.) And there’s still secret passages to find. The map is generally the same as that as the first level from the shareware game, although the demons have been moved out and replaced with objets d’art, all of which can be examined for information on the work.
RollingCutter over on Youtube has compiled two videos, so far, of unusual and unexpected facts about classic Mega Man titles. First I link the videos (here’s the first, and the second), then some of the more interesting facts from them:
#1 (10 minutes)
#2 (15 minutes)
So, some (but by no means all) of the interesting facts they revealed:
In Mega Man 2, most of the Robot Masters get healed if you use their own weapons against them (with the exception of Metal Man, who dies in two hits to his weapon).
With the exception of Mega Man 3, the paths drawn on the map screen between levels of the multi-part Dr. Wily stages roughly match the routes you take through them.
In Mega Man 10, there are three boss fight rooms between drone enemies that match the weapons and behavior of past bosses from throughout the series. The lit boxes in the background of the fight generally correspond to the numbers of those bosses. For example, the drone that matches the behavior of Elecman, DLN #8, lights up the 8th of those background tiles, counting left-to-right from the top of the screen. Watch the first video for details.
Mega Man 6 has two instances (one described in each video) where two elements in a stage are linked. In Flame Man’s stage there are oil pools that light up and become deadly if struck by fire from enemies. But one pool late in the level is sometimes already on fire when you reach it. It’s because its state matches that of another oil pool earlier in the level: if that oil pool gets set aflame, then it’ll be on fire too. And in one of the Mr X stages later on, there are balance platforms in the level that match the state you left the same kind of platforms in in the room before.
In Mega Man 7, the cloud platforms can be frozen or electrified by your weapons. If electrified, they’ll do damage to you for a short time.
Hitting Heat Man with the Crash Bomber (MM2) heals him and speeds him up. Hitting Spring Man with thunderbolts repeatedly eventually causes him to glitch out and make the level impossible to finish. (You have to use around three full weapon tanks of energy to do it.)
In Mega Man 3, you usually can’t pause the game while a weapon’s bullets are onscreen, either your default Mega Buster’s shots or those of a special weapon, but they didn’t implement this check when firing shots when Rush is onscreen. If while Rush is onscreen you fire shots, then switch to another weapon, the Buster’s shots will have the properties of the weapon you switched to. In certain places (depicted in the second video) this makes certain enemies must easier to defeat.
In the Copy Mega Man fight in MM3, where there’s one true boss and two fakes, the first time they appear the top one is always the real one; when the bosses teleport out and back in, the real one always appears one frame before the others.
In Mega Man 2, if you pause the game while Wood Man’s in the middle of a jump, the boss will immediately jump again in mid-air.
In my opinion the highlights of the series so far. Mega Man 3 has debug features left enabled in the game, that can be operated using the second controller. This is the reason for the generally-known trick (from Nintendo Power) where you can make Mega Man jump super high, even in the air, using the second controller. And in Mega Man 1, if you’re very high up on the screen in a specific place in Ice Man’s stage (above the score), and jump and quickly move back and forth at the top of your jump, the game can glitch out in surprising ways. The second video has several examples, such as the game resetting or crashing, messing up the palette or graphics, or even immediately starting the Yellow Devil boss fight with incorrect graphics.
There are certain bosses throughout the series where it’s possible to land a hit on them while their energy bars are filling at the start of the fight. In some cases this results in weird behavior, but in Mega Man 7, you can destroy Spring Man and Turbo Man before the fight starts this way. (Cloud Man can also be damaged this way, but it might cause the game to glitch out.)
As it turns out, as explained by the below video (here’s a direct link, 10 minutes long), the NES and SNES have very similar control setups. Both controller ports have seven lines, and both read them using a shift register that can be used to read arbitrary numbers of buttons. The SNES basically just has more buttons to read.
Due to this, there’s homebrew NES software that’s made to use the SNES mouse, and even emulators that will convert your PC’s mouse into simulated SNES mouse signals, which will be fed into the emulated NES and the software running thereon. (It isn’t all buttons, but it sends the displacement as a binary number.)
The video comes to us from the account of CutterCross, who’s making CrossPaint, an NES art program that uses the SNES mouse. A demo can be gotten from itch.io.
Nintendo’s Rhythm Heaven games are still a bit obscure, but have a passionate fanbase. They share design sensibilities with the WarioWare series, which is because both share a character designer, Ko Takeuchi. They both have a distinctive clean-line look, and a similar sense of humor.
About four years ago, some of those fans made one of those reanimation compilations of the series, and the fruits of their labor is unusually keeping in spirit of the original, which itself samples many different art and musical styles. The reanimation feels like it could have been one of the remixes from the games itself.
Speaking of, the reanimation covers all of the remixes, of all of the games in the series, with the result that the full sequence is eighteen minutes long! It’s quite faithful to the originals, despite the vastly different animation styles, and it even scored an appreciative comment from Takeuchi himself! Here it is, but be warned: you’ll watch it for a while, then see one of the videos mention it’s only half over, and you’ll think to yourself, no way:
An aside, a different reanimation project near to my heart, but unrelated to video games, is the highly-memeable 2004 collaboration that animated They Might Be Giants’ Fingertips (6 minutes, original page). Note, in its original Flash incarnation, different elements would be selected on every play, an aspect that is unfortunately lost in these renderings.
The original Legend of Zelda, unique in the series, not only has keys that can be used in any dungeon, but you can even buy keys, for considerable expense, in shops, for either 80 or 100 rupees.
But, is the purchase of keys ever necessary? Usually Zelda 1 gives you many more keys than you need. Even in the Second Quest, which tightens the screws, you can usually get by if you just make sure to clear every room and bomb some walls.
But consider the worst-case scenario. What if you open just the wrong doors? Is it possible, if you waste keys on rooms that aren’t on the critical path to completing the game, to make it so you have to resort to buying keys in shops?
In an 11-minute video, “TheRetroDude,” as he styles himself, examines this question. tl;dw: not in the First Quest, but it’s technically possible to soft-lock yourself, unless you resort to commercially-provided keys, in the Second Quest, if you’re very injudicious about the doors you open. Here:
Sundry Sunday is our weekly feature of fun gaming culture finds and videos, from across the years and even decades.
Who, among everyone on the internet, is just finding out about the release of Episode 4 of the breakout Youtube hit The Amazing Digital Circus here? It’s already up to 44 million views.
I’ll embed it here, but before we get to that it’s worth noting how it got to this place. Its creator Gooseworx made a number of items before it, including one linked to directly from these halls, Little Runmo. A few other representative Worx from the Goose are The Darly Boxman Show, The Ghost of the Year Award and Elain the Bounty Hunter.
Not too long ago Gooseworx joined up with Glitch Productions, a small outfit that hither-then had been known mostly for machinima based on Super Mario 64. Soon after they released the extremely popular show Murder Drones, but it was tADC that really caused them to blow up.
Now, tADC is released on Netflix around the same time it debuts on Youtube. I hope they didn’t have to sign some kind of demonic contract to do that; some folk have been treated badly by the Netflix regime. But the show is still on Youtube and can be watched there, if you can put up with their horrendous advertising scheme, that is.
Several characters show heretofore unseen sides of their personalities in this one. Up until now Gangle has only been a bit character; usually-helpful Ragatha spends most of the episode in a Stupid Sauce stupor; and Jax, under the prospect of punishment, doesn’t get to be nearly as entertainingly belligerent as in the past. It also sees the return of Gummigoo, but is it really the same person as Pomni remembers?
Gooseworx has a Tumblr, which is full of hints about the show and the direction it may take. One piece of information revealed there is that The Amazing Digital Circus is planned to be a limited series, with a total of nine episodes, although with some possible short detours along the way. The show has turned out to be popular in Japan, and there’s a manga adaptation of it being web-published. I’ll leave it to you to find links to that (there’s fan translations out there too), but one fun page from it, from the issue-end artist created content, is this festive/creepy Abstracted Kaufmo christmas tree!
Ms. Pac-Man. Currently on the outs with Pac-Man rights-owner Bandai-Namco because its origins weren’t with them, and its developer GCC licensed the rights to another party than them, which has given us such travesties as “Pac-Mom.” Which is a shame, because in general Ms. Pac-Man is a better game than Pac-Man. Its four mazes don’t have the nuance that Pac-Man’s does (there’s no one-way routes, for instance), it doesn’t have scatter periods to give the player a breather during each board, and after board #7 its fruit, and the score award for chasing it down, is random, taking an important measure of skill and just throwing it up in the air and shrugging.
But it does have multiple mazes. And its Red and Pink ghosts behave randomly for the first bit of each board (here’s a prior post about that), eliminating the major design flaw of Pac-Man: its vulnerability to patterns. Pac-Man is certainly not the only game to lack substantive randomness, but the nature of its maze-based play is that it’s relatively easy to perform them. So long as you hold in the direction you need to go at least five frames before you reach an intersection, you can be sure that you’re performing a pattern perfectly, making Pac-Man into an endurance game more than anything. Ms. Pac-Man doesn’t have that problem.
But that doesn’t mean that Ms. Pac-Man can’t be mastered, and the basis of that is through a technique called grouping. Grouping can be done in Pac-Man too, but if you know some good patterns it isn’t necessary. But in Ms. Pac-Man it’s a key skill, both to make sure you eat as many ghosts as possible in the early and mid boards, and for general survival, for a bunch of ghosts in one lump is much easier to avoid than a scattered mess of four separate ghosts.
The basic idea is to understand the ways to move in the maze so that pursuing ghosts take slightly different routes to reach you, so that leading ghosts are delayed just a bit, or trailing ghosts approach you slightly faster.
This time I’m going to leave the explanation to the video, but it’s interesting to think about, and to see if you can apply this information yourself.
In Mario Party games, the most dreaded spaces tend to be the Bowser Spaces, where the King of the Koopa himself intervenes to ruin your, or even all the players, day(s). It’s pretty consistent overall: prepare to lose a number of coins, or even one of your Stars, those game-winning MacGuffins.
But what you might not know is that, usually, if you land on one of his spaces and you don’t have any coins or Stars, Bowser usually gives you a small number of coins instead! It’s one of the series’ many catch-up mechanisms, designed to keep trailing players in the game.
In this video (9 minutes), Nintendo Unity shows us the result of a destitute player landing on a Bowser space throughout many of the games in the series. You see? He’s not so bad after all! Now if we could only do something about his kidnapping habit, it’s hard to put a friendly face on that one.
Despite the words’ lack in the title, the two videos linked here, both made by Some Body, are all about roguelike behavior, and likely have implications for Chunsoft’s Mystery Dungeon engine generally, from which the Rescue Games derive.
In terms of depth, this post is rated 4 out of 5: highly detailed information for obsessed fans and game designers.
And, the second (44m), it goes further into the weeds and is longer:
So, here’s a tl;dw overview of the first video. Despite the length, this is really only a brief summary! Some Body got their information by reverse engineering the games’ code, so it should be considered authoritative.
PMD has three times of actions, moving, attacking and using items. First they try to use an item–if there is no item to use, or the situation isn’t appropriate, or there’s a random component and they choose not to, they fall through to attacking. If there’s no one appropriate to attack, they fall through to moving or wandering. If they’re not pursuing a target and aren’t wandering, they wait in place.
Awake Pokemon try to reach a target: team members try to reach the leader (you)*, enemies try to reach a party member of yours. If they are following someone, they try to reach the target by default moving diagonally before moving orthogonally. This is good to know, and an effective strategy, since it’s harder to escape a cardinal-adjacent Pokemon than a diagonal-adjacent one. If a Pokemon has a target in sight but can’t move towards towards it, it doesn’t move.
(* Note: for teammates, this assumes the “Let’s Go Together” tactic is in effect. Generally, tactics settings are covered in the second video.)
No Pokemon can move towards a target they can’t see. Sight in Blue & Red Rescue Team is two spaces around them, or throughout a lit room they are in plus one space into corridors. Of course, invisible targets can’t be seen, even if they’re nearby. Note, a quirk of the Mystery Dungeon series generally: when standing in the first space of a corridor, you can only see slightly into the room, but everyone in the room can see you. While your default sight range in darkness is two spaces in the PMD1 games, instead of MD’s standard 1 space, you’re still a bit blind when moving into rooms. Notably, that two space distance around you is a square, so in corridors with bends in them you get a bit extra sight distance.
Now comes the interesting part (to people who are as obsessed with roguelikes as I am): what happens if a Pokemon loses sight of its target? In PMD1, it considers the last four locations the Pokemon was in, and tries to go to the one it was visible in most recently. Note in bent corridors, it becomes harder for a character to lose its target.
If the target is four turns outside of the follower’s sight, it has lost track of it, and the follower begins wandering randomly. This can happen if the Pokemon has never had a target (none has come into sight), or the target or follower teleports, the target moves over terrain the follower cannot cross, or the target moves away when the follower is occupied, or, due to the variety of events that can happen in the Mystery Dungeons, other ways.
Followers without targets wander randomly. When they spot a target, they cease moving randomly and pursue it. But if still wandering, in rooms, they pick a random exit, go to it and go down the corridor. In a corridor, they follow it until they reach a room (then entering it), or they reach an intersection. At an intersection, we see an interesting behavior: PMD1 occured before Chunsoft switched over to making wanderering monsters pick random directions at corridor intersections! In later Mystery Dungeon games, including later Pokemon Mystery Dungeons, wandering monsters go straight in intersections if they can. This is behavior that can be relied upon, but not in PMD1.
Outmatched Pokemon can decide to flee, essentially, moving away from their targets instead of towards. In rooms, they pick the exit furthermost from their pursuer, unless they moves them towards that pursuer; then they just try to get away as best they can, likely remaining in the room. A quirk of this: sometimes a fleeing monster breaks for an an exit that is more distant from the target, but not away from at attacker, giving it a free hit. The circumstances around this are complicated: the explanation begins at 7:16 in the first video.
For attacking, Pokemon have up to four moves, and a normal “attack.” This generic attack is not part of the main Pokemon game series. It was present in the first two PMD games, but after that became less effective. In the fourth and fifth PMD games, the normal attack only does five points of damage, and in the Switch remake of Rescue Team, it does no damage at all; it’s only a tool for passing time. But we’re still in the realm of PMD1, where “normal attacks” are not only useful but frequently used, because they don’t consume any PP.
Attacks are chosen based on a weighted average of all the usable moves. Each move has its own weight value; the normal attack weight’s varies according to the number of other moves available.
Ranged attacks are an interesting case. If a Pokemon has a ranged attack, and an enemy that can be attacked at a distance, it triggers the attack routine, where it picks a move from those available, but then only actually performs the move if the attack can reach its target. This can result in an attacker passing up opportunities to attack while an opponent approaches it. Out of fairness, room-range attack moves are only used by the AI when adjacent to an enemy.
Items have a bunch of minutiae associated with their use by the AI, but a lot of it is pretty ordinary. A few highlights: teammates can throw held negative status equipment at enemies, wild Pokemon start using items at Level 16, and there is only one Orb that wild Pokemon can use, and teammates can’t use it: the Rollcall Orb, for them, summons a number of other wild Pokemon into adjacency with them.
Sundry Sunday is our weekly feature of fun gaming culture finds and videos, from across the years and even decades.
From Periscope Films, a video preservation group that rescues niche short subjects from destruction and obscurity to be enjoyed by all. Many of their videos are of old army training videos or newsreels or the like, but there’s a deeper variety of subject there, waiting to be found. And one of them was a cartoon fro 1982, to introduce kids to the idea of microcomputers.
A microcomputer is an old name for small (compared to mainframes, and desktop-size minicomputers) computing devices made for home use in the 70s and 80s. You still see it once in a while, but it’s given way to just the term “computer,” especially since even some gigantic information companies mostly use clusters of consumer-class PCs, or else pay Amazon to use simulated computing power of that type. The word “microcomputer” was most often applied to machines like the Apple II, the Commodore PET or the like.
In this cartoon (17m), Jennifer is a girl living on a farm and has a gigantic chunk of microcomputer sitting on her desk, and introduces its use to her technologically-clueless visiting city cousin Jack.
It’s amazingly cringey, and perfect to show to friends and acquaintances, both students of what the Subgeniuses call badfilm, and more normal types who have been suitably psychologically altered.
Jack has bigger problems than scoffing at technology, like getting his eyes to focus.Jack would grow up to become Jon Arbuckle“Keep looking! It’s back there somewhere!” Jennifer then sneaks off to smoke weed.
In addition to Jennifer helping Jack learn how to use a computer that has 64K of RAM, tops, they also use it to catch a bank robber, by trapping her in their completely automated dairy barn (that contains no cows).
It’s been up for five days now but is at over 300,000 views, the owner of the Youtube account Newbie Indie Game Dev performed a six-day scrape of the Steam catalog back in October, and not only made a video of interesting observations, but even opened a Github project where you can download CSV files of their data. I predict that certain people will find this information very useful, or interesting, or valuable. Maybe you’re one of them?
