Analogue was announcing that their new Mega Sg, a FPGA-based Sega Genesis clone, would be shipping in April. But I was pleasantly surprised to receive mine, preordered a few months ago when they were announced, early last week, only a day or two after early bird reviews started hitting my favorite YouTube channels.
It’s pointless for me to do a review after GameSack and My Life In Gaming so thoroughly covered every conceivable aspect of the system, but I’m pleased and impressed that Analogue delivered this not just on-time, but a week early. And really, when they told me April, I was expecting it would be more like mid or late April, which makes this about a month early. In an age of crowdfunded preorder projects that are always later than projected, this impresses me. Kudos to Analogue.
Yeah, they’re still at it. After about a year of relative silence from the VCS project, the other day they made a Big Announcement, which is that they are delaying the project to late 2019.
Surprise! No, not really. Everyone pretty much called this before they finished their initial round of crowdfunding.
But, so as to be able to spin this delay as a positive thing, they are changing the hardware specs to a more powerful system. Still not world beating hardware by any means, not that it ever needed to be. And more is always better, I guess. But I don’t think the actual hardware is all that relevant to this product. Really, it’s just taking a commodity small form factor AMD64 architecture system, and putting it in a nice looking case that evokes the classic, original Atari VCS. Basically, Atari can place an order with AMD to produce the boards and chips, and install them in custom designed cases that they can pay an injection mold company to manufacture, and pay someone else to assemble them.
Atari’s real job is to focus on the software, the operating system, user environment, and the games. Especially the games. And their announcement was, again, suspiciously silent on these topics.
We know the OS will be a linux distribution, with some kind of customized desktop environment designed to provide a good user experience as a game console.
We know that they will include some emulator(s) to enable playing of classic Atari-era games. We know that there are already dozens of platforms that already do this, so while it’s nice, and to be expected, it doesn’t seem to me that this is a compelling reason for anyone to buy an Atari VCS. Atari Classics have been repackaged and resold on every platform for decades, since the NES and Game Boy. While keeping these games around and still available is great, if you already have them on an older system, Atari have to do something extra-special to make them compelling to consumers to make them want to buy them again, like online leaderboards, social media integration, video streaming integration, something. And we’ve heard nothing about it for about two years since they made their crowdfunding goal.
We know that Atari wants to provide modern reinterpretations of classic Atari games. Apart from Tempest 4K, we haven’t heard anything. And Tempest 4K is already out, and has been for about a year now, on the PlayStation 4 and other platforms. Non-exclusive updated classics will not move units. Why would anyone spend $300 on yet another console when they can just buy the game for a console they already own?
We also know they’re supposed to be shipping modern reinterpretations of the classic Atari CX40 joystick, a modern-looking gamepad with Atari aesthetics, and (one would hope, but I have yet to see anything about this) some kind of paddle controller, but there’s been no mention of these either.
So, another year has gone by, and Atari just announces that they’re revising the hardware specs, before they even got the original hardware specs out the door. And we still have no idea what’s going to run on this system, beyond vague “It will run Linux” and barely anything, really next to nothing, about the actual games. Which is the whole reason anyone buys a game console, to play the games.
This is sad, and exactly what I expected from the beginning.
I would have really enjoyed a resurgent Atari with new games based on classic IPs, too.
Google recently announced a new game platform, called Stadia, at the 2019 Game Developers Conference in San Francisco, CA.
It can run though any device that is capable of running Chrome, which means that they already have a huge install base ready to consume. This should make the service very lucrative, potentially, as there’s almost barrier to trying the service out. It streams over high speed internet, meaning that there’s no need for any hardware beyond what is necessary to run a web browser, nothing new to buy, well, except for the gamepad. Which, see below.
I’m immediately disinterested in any game platform that I can’t own in the traditional, tangible sense of own. Streaming games do not appeal to me. I like physical media, I like the ability to go back and play old games that I own, whenever I wish. Streamed content is always in the control of the vendor, and is subject to updating, being discontinued, and so on. There’s no guarantee that streaming resources will continue to stream forever, and it’s virtually certain that at some point the stream will either “run dry” or stream something different than original.
The downside (I guess) of traditional owned-media is that over time you accumulate a vast library which becomes difficult to store and manage, and may deteriorate over time. If you don’t like it, you can always sell it, trade it in, give it away, or throw it in the trash, so I don’t really see why that would be a downside, but if you’re a collector like I am, you like the fact that you can keep old tech and go back and use it 10, 20, 30, even 40 or more years after it’s no longer being supported, as long as the devices that drive it continue to function or be repairable.
But that’s just me. There seems to be a lot of evidence to suggest that a convenient, well-managed service would be popular and profitable with consumers who don’t all care about history and preservation as much as I do. Look at Netflix. They are doing very well, and while people are occasionally bummed out when Netflix drops a movie from its offerings, that doesn’t seem to stop them from having a profitable business selling subscriptions to a service. If Google nails the execution, there’s no reason to believe they won’t likewise be as successful, if not more.
A very standard, generic looking dual analog stick gamepad. Initial impressions are that it doesn’t look especially comfortable in the hand compared to the competition. Google didn’t need to innovate here, gamepad design is pretty mature today, even if companies like Nintendo continue to dare to try new ideas (Switch, Wii U, Wii). Still, I’m not sure why Google would emphasize their controller given that it is so very unremarkable in its design. Given that the controller appears to offer nothing new, one wonders why Stadia wouldn’t simply leverage any/all existing “standard” dual-stick gamepads.
To answer that question, there are two additional buttons: a youtube integration button, and a help button. The help button enables gamers to request help with overcoming some part of the game, somehow, without having to leave the game. Which, I guess is appealing, but man, I’m gonna miss the brutal, unforgiving difficulty, and the completely arcane hidden secrets that you can only figure out if someone tells you what to do, so you had to go buy a book or magazine that made you want to kill yourself from the NES and Atari era. I guess the help button takes the place of the magazine, but it’s just not going to be the same. The youtube button makes it so easy to set up a gamer streaming channel that everyone in the world can do it, which means billions of youtube channels that no one will be able to wade through to find the good ones. Probably. This will likely also kill the professional youtuber/patreon beggar gig that so many of the popular streamers have been doing for the past few years. I guess that’s maybe a bit harsh, naive, and premature, but the bottom line it will become very competitive and difficult to differentiate yourself from other random streamers, so the ones that will stand out will have to be unbelievably good and work very hard to attract and keep an audience.
Do we need another gaming platform?
I’m intrigued by anything Google does, and they have the resources and innovative thinking to do things that few other companies can. That said, I’m not really seeing a need for yet another new game platform. Whether Google can differentiate itself from Microsoft, Sony, Nintendo, Steam, etc. remains to be seen. While it’s hard to bet against a company with the resources that Google has, they’ve had notable failed ventures in the past: Wave, Plus, etc. and have been known to discontinue even popular projects (Reader) leaving fans with little recourse. Will it work? Probably. Even if it doesn’t, it’ll probably be a few years before Google pulls the plug on it or pivots to something else. But it seems like they’re serious about competing in this already-crowded sphere.
It will be interesting to watch.
The Writing on the Wall
What really strikes me about this is, if Google can stream applications as powerful and resource hungry and demanding as videogames, instantly, anywhere, they can do that for any software. What does this say about IT departments in every other company on the planet? We’re pretty much obsolete at that point, aren’t we? It might be a good time to think about early retirement, and finding a second career. Maybe a livestreaming channel.
Since buying it, I’ve only played one game, so far: Tetris 99.
I’m a long-time fan of Tetris. I played it on my NES ever since 1989. I’m decent, but not great at it. My skill tops out around level 13 or so in the NES original. I can cruise comfortably up to about level 9 or so. My best efforts these days are about 1/4 what it would take to qualify for the Tetris World Championships, as I found out when I was at Portland Retro Gaming Expo last October.
Chances are excellent that you need no introduction to Tetris. It’s only the most famous and successful videogame ever. Blocks fall, you rotate and drop them to complete lines and clear them from the well. Everyone is born knowing this now.
Tetris 99 takes the classic mechanics and puts you up against 99 other players in a battle royale. It’s amazing how quickly a new tournament can get ready. It seems that at any given time, there is always at least 100 Tetris 99 players ready to go within a minute’s notice.
That’s incredible. I don’t know how it’s possible, but you never seem to have to wait more than a minute or two for the next game to start. Nintendo has sold 8.7 million Switch consoles since launch. The subset of Switch owners who are playing Tetris 99 at any given moment must be considerable. If we assume every Switch owner is playing Tetris 99 24/7, that works out to 6250 tetris players per minute of the day. Obviously, Switch owners are playing lots of different games, and not playing 24/7, but even so, the fraction who are playing Tetris 99 might well be around 1/62 of the total install base. So, just maybe, it really is plausible that in the real world that you can get 99 players for a pickup game at a minute’s notice. But I’m still amazed that it’s consistently the case every time I want to play another round. Perhaps they’re filling slots with bots? I wonder.
The tetris gameplay is fine. I wouldn’t say there’s any major problems with it. If I want to nitpick, though, I could think of a few things:
First, it’s a bit too easy at times to accidentally hit Up on the control cross, and instantly hard drop your block right where you didn’t want to. Maybe I’m just clumsy, maybe my hands are too big to work with the joycon. But I’ve also played a lot with the Pro Wireless controller, and I still have issues. And from what I’ve read, it’s not uncommon.
Second there’s no tutorial or guide built into the game, and this seems like a real oversight. In the NES era, Nintendo’s first-party games always had outstanding manuals, with higher page count than any other publisher, and high quality content inside. While Tetris may need no introduction or explanation, the competitive aspects that they’ve introduced could use some explanation. Sadly, this is lacking.
Fortunately, you can still get a good experience from Tetris 99 by just playing Tetris, overlook the new features and still have a fun time. That said, it’d be good to appreciate the new features and understand them!
So, to fix the missing manual, here’s what I understand:
On either side of the Tetris playfield, you see mini thumbnails of the 99 competitors.
You can (in theory, less in practice) tell how well you’re doing relative to the competition by seeing the stack size, see who’s in trouble, and see their Badges. Typically, I’m too busy worrying about the next falling block to look around and check on 98 other opponents.
When you complete lines, it sends garbage rows to whomever you’re targeting: 0 if for a 1-line completion, 1 for a 2-line completion, 2 for a 3-line completion, and 4 for a 4-line completion.
The garbage rows don’t pop up under your opponent’s stack immediately — rather there’s a timer that counts down, to give a player fair warning.
If you have incoming garbage, and you manage to complete rows while the timer is counting down, it will deduct the incoming garbage so you don’t have to deal with it, rather than sending garbage to your targets.
Targeting isn’t explained in the non-existent manual, and this is the thing that players should really understand in order to fare well in the battle. Using the right analog stick, you can select between:
Random (the default option), randomly attacking one of the 99 opponents out of whoever’s still left,
Attackers, counter-attacking those players who are targeting you,
Badges, targeting players who have a lot of badges, or
Killshots, targeting players who are close to elimination.
Eliminating a player awards you with Badges, and the more badges you acquire, the more “damage” you deal out when you complete lines.
If you eliminate a player who has badges, you claim their badges and add them to your own. So it’s smart to target players who are close to eliminated, and players who have a lot of badges, to maximize your badges. It can also be effective to counter-attack your attackers, and perhaps dissuade them from targeting you, or if not hopefully eliminate them before they eliminate you.
You can also target an individual game using the left analog stick. Who you’re targeting is denoted by the lines connecting the bottom of your playfield to one of the opponents’ playfields in the background. Or maybe that’s who’s targeting you, I’m not quite sure. Sometimes I see multiple lines targeting me, and it’s unclear what’s going on.
Hard Drop: This feature isn’t in OG Tetris, but if you’ve played a modern implementation, you’re probably already used to it. Press up to instantly drop the piece in play to the botton and lock it into position. This enables much faster play, which is essential to competitive battle. It can take some time to get used to it, if you’ve never used it before. But if you’ve played a modern Tetris in the last, I don’t know, 15 or so years, maybe, chances are you know about this already. There’s also a convenient “ghost” block that shows where the piece will lock into position if you hard drop it. This is really helpful and will enable you to be more precise and cut down on mistakes.
Hold block: Another handy feature that wasn’t there in OG Tetris. This is a holding cell that can be filled with a piece, taking it out of play until you need it. Press the left shoulder button to add the current active piece to the Hold. Press again to swap the held piece for the current piece. Grab those I-blocks when you can, and hold them for when you’re ready to deal out the damage with a 4-line Tetris move. Or put a piece that’s currently a problem on hold, and play it later when you’ve got a clean landing spot for it.
One thing about the Targeting feature, I find that after a certain point I’m pretty much only able to focus on positioning my next block, and can’t devote any mental capacity or time to retargeting. It’d be neat if targeting were also possible through Controller 2, so that a second player could assist me by targeting opponents intelligently while I focus on falling blocks. Wouldn’t that be a cool 2p-coop mode?
My only other nitpick with Tetris 99 is that there’s only one background music for the game. Technically there’s one track for when you’re in game, and one track for between games. But I would have really liked to have seen a variety of tracks, remixing and revamping the old classic Tetris BGM, and giving me some variety. Having the same song for every game gets repetitive and feels skimpy.
I’ve managed to place as high as 4th in round, but more typically I tend to finish in the top 50-20 range. It just depends on how good of a game I’m having, and how many players are targeting me.
I doubt I’ll ever be able to win a round, though, as the game becomes impossibly fast for me when the second speedup happens, with 10 players remaining. When this happens, I’m hopeless and bound to make mistakes quickly, busting out in short order. Still, it could happen if I get into the Top 10 with an extremely clean stack and my opponents are all close to KO.
While I wouldn’t say that Tetris 99 is worth the cost of the entire console, I will say that it’s definitely worth the price of the subscription to Nintendo’s Switch Online services. Considering that Tetris 99 is a free game, but cannot be played without the subscription, it’s just what Nintendo needed to get people to sign up. At $20/year, it’s not expensive, and well worth it for Tetris 99 alone.
It seems a lot of forum activity has been generated by yesterday’s announcement by Nintendo about the remake of Link’s Awakening on the Nintendo Switch.
In short, it seems that a significant number of fans are not in favor of the remake for one reason or another. Mostly this can be summed up as: “It’s not the exact same game as the original.”
Which, is true. The remake completely changes the graphics style, from the old 2-D look of the Game Boy original to something almost claymation-like, using a fixed 3/4 perspective, but with 3D models done in a cartoonish style. It remains to be seen what other changes are in store, and whether they are good or bad. It’s rather likely that the game will play differently in some respects, whether due to differences in the game engine, or changes in the design of the game.
I happen to love the way the new graphics look, so this doesn’t bother me. I liked the original graphics, too. And if I want to play the original game, I still can, and so can anyone with a the original hardware or a decent emulator. But it seems that, among Zelda fans, there’s a certain segment who prefer the graphics to look “serious” — like Ocarina of Time, Skyward Sword, Breath of the Wild, etc., and not “cartoony” like Wind Waker or Four Swords Adventures. Somehow, original LoZ pleases both camps, and Link’s Awakening is in the vein of LoZ and Zelda 3: A Link to the Past. And I guess the new look for Link’s Awakening is too cartoony for them. This does not bother me. I like good art direction, and that can be “serious” or “cartoony” or something else.
It’s certainly true that many attempts at re-making some original classic game fail to capture what was special about the original game. It’s tempting to try to re-imagine something that was very, very good, thinking that adding something more will make it even better. Often that’s not the case.
Certainly, there’s a built-in expectation that a remake has to live up to, which a fresh new game doesn’t, and this can offset whatever advantage the remake had in being based off of a familiar, known, successful game. It can be very easy to mess up by deviating from the original in the wrong way. For example, updating the graphics in a style that fans don’t like, or likewise with the music. But worse would be a major change in the story, something that violates canon or continuity, or is just a change that upsets fans by breaking an unwritten contract to keep the game authentic to the characters and world that Fandom has already accepted. And perhaps the gravest mistake would be failing to ensure that the controls feel tight and responsive and give the game a good feel, ideally something virtually identical to the original. There’s nothing like tasting someone else’s attempt at your favorite recipe that your mom made when you were a kid, and no matter what they do it’s always just slightly off in a way that, even if it’s not bad, it prevents you from accepting it. I think that’s ultimately what makes fans of the original all but impossible to please when it comes to embracing a remake.
But that’s not to say that remaking a game is always a bad thing. I don’t view a remake as an attempt to replace or supplant the original. Rather, I look at it like in the way I look at theater: A playwright can write a play, and it can be performed by an original troupe of actors. And other theater companies can put on productions of the same play. Some may try to do it exactly the way the original was done, following a tradition, while others may stray and experiment. Some will be good, some will not. But it’s not like people shouldn’t continue to put on performances of Shakespeare just because purists who were fans of the original will find something not to like about it. And of course people should continue to write new, original scripts. The entertainment industry is large enough, and the audience is large enough, to sustain both.
Ultimately, it will come down to how the game plays. It’s only fair to judge the remake based on what it is, and not what it’s not. And to be clear, it will not be:
The same as the original.
A brand new, original game.
Different from the original in exactly the way everyone would like it to be.
Will it be worthy? That remains to be seen, and will be a matter of opinion and consensus. But I’m excited about it.
So a bunch of great announcements from Nintendo came earlier today. For me, the highlights are:
Link’s Awakening Remake
Yeah, Breath of the Wild blew everyone away at launch and sold a few million systems, and I’ll admit I was very tempted to rush out and buy a Switch when it was released.
But I’m not an early adopter and I wanted to wait and see if the system would be a success, particularly after seeing how Nintendo struggled with making the Wii U realize its potential. So I held off.
I like 2-D Zelda more than 3-D Zelda, because 2D > 3D, as far as I’m concerned. And this Link’s Awakening remake looks fantastic.
I’m actually maybe more excited about this than I am about finally getting to play BotW soon.
Super Mario Maker 2
I told myself at the time, I would buy a Switch if they had Super Mario Maker for it. For a while I debated getting a Wii U so I could play both Breath of the Wild and Super Mario Maker, but I decided I wanted the real, full BotW experience with the improved controls made possible by the Switch’s joycon technology.
I’m glad I waited, now. I didn’t have to wait, I could have predicted even then that we’d see a SMM at some point on the system; it was just too popular not to be a thing. But now that it’s announced and official, I can’t wait. Really looking forward to designing some Mario levels in June.
Battle Royale Tetris, awww yeah!!!!
Well, actually I’m not quite done with Nintendo news, but these next two are NES homebrew releases.
First, Full Quiet has got me all hot and bothered to put some more hours on my AVS console. I backed the Kickstarter, and got to play it and talk to creator Tim Hartman at Portland Retro Gaming Expo back in October of last year. I’m pleased to say that this game is already looking incredible, and it should be out later this year. Even if it’s not, and release slips another year, it will be worth the wait. This is not one to miss.
Just look at the latest video showing it in action.
Without exaggerating, I will say that this may end up going down as one of the greatest releases on the NES. And considering the greatness of the NES library, that’s a truly staggering accomplishment.
From talking to Tim, I’m aware that his game will also be released on Steam, playable on PC though emulation of the NES hardware, which means that even if you don’t own a working NES for some reason, you can play this game. And you should.
MicroMages should also be shipping sometime in 2019. This game bears a resemblance to Towerfall, the 4-player archery arena battle indie sensation from a few years ago, but runs on NES hardware, and is pretty fantastic in its own right.
FPGA retro consoles
If that’s not enough, I’m also looking forward to the delivery of the Analogue Mega SG, a FPGA-based, HDMI-output implementation of the Sega Genesis, and the Collectorvision Phoenix, a FGPA-based, upgraded ColecoVision plus.
I can’t imagine that I’ll have enough free time to play all of these nearly as much as I’d like to, but I still can’t wait, and I can’t believe all the good stuff that’s happening in the world of gaming, so much of it the product of cottage industry efforts devoted to keeping older systems relevant. 2019 is going to be a fantastic year.
Earlier this week, CollectorVision announced the crowdfunding campaign launch for their Phoenix console on Kickstarter. CollectorVision has in the past developed modern homebrew games for the 1982 ColecoVision videogame console, and in addition to that have partnered with OpCode games, developers of the ColecoVision Super Game Module expansion, which augments the system with more RAM and improved graphics capability.
I’m very excited about this system. ColecoVision was a great system, which died too young due to the videogame industry crash of 1983. It offered graphics nearly on par with the NES, a full year before the Famicom was released in Japan, and delivered home ports of early 80s arcade games that offered greater fidelity to the originals than was possible on the Atari 2600.
The Phoenix’s feature list is amazing: FPGA hardware implementation for 100% compatibility and fidelity with the original system, HDMI-out video, SD card slot, built-in Super Game Module and F18A enhancement hardware, 10 built-in ROMs of modern ColecoVision homebrew games, DB9 controller ports for original ColecoVision controllers, as well as SNES controller ports for compatibility with more common/comfortable SNES gamepads, and even a PS/2 keyboard connector. There’s even been talk of including an FPGA core for support of Atari 2600 games, much like the original ColecoVision’s Expansion Module 1 adapter for Atari 2600 games.
This is a dream system, and considering that, its price tag of $200 is very reasonable. Compared to the RetroUSB AVS system and the Analog Super NT, the Phoenix will fill a nice in retrogame preservation and it deserves to make its crowdfunding goal of $230,000.
To hit this goal, CollectorVision will need about 1000 backers to sign up. The kickstarter campaign is off to a somewhat slow start, however — three days into the campaign, they’ve only managed to secure $28,000 in pledges. Usually, a system like this would be fully funded in the first day, or even the first hour of the crowdfunding campaign going live. If the campaign received steady contributions every day at the level they have for the first 3 days, they would make goal, but it’s most typical for kickstarters to get most of their funding on the first few days, and the last few days. So I’m worried that they will not hit their goal.
Perhaps retro gamers are wary of crowdfunding for yet another modern retro game console. People enthusiastically backed Ouya to the tune of $8 million dollars several years ago, and the recent AtariBox/Atari VCS crowdfunding was also successful in reaching goal, but only made $3 million dollars amid serious doubts about the current company calling itself Atari’s capabilities to deliver on what it has promised, and alleged mis-representation of their prototype hardware.
I don’t have any insider knowledge of CollectorVision, but everything I have seen from them about the Phoenix looks good, and I have faith that they care capable of delivering on their promises, if they can make their fundraising goal. Their hardware really exists, and all they need is capital for manufacturing. If you have fond memories of the ColecoVision and the early-80’s era of videogames, definitely check out the project, and consider becoming a backer.
Phoenix is a Field Programmable Gate Array-based clone of the 1982 ColecoVision videogame console, featuring old-school input ports for compatibility with authentic Coleco controllers, and HDMI-output for modern HDTV sets. It promises to be 100% compatible with the entire ColecoVision library, including newer homebrew games that have been released in recent years — even those that depend on the Super Game Module expansion by OpCode Games. The Phoenix will have the SGM circuitry built in to its FPGA. The console will have a cartridge slot for plugging real ColecoVision games into, as well as a SD card slot for loading ROMs. Curiously, it will also have input ports for SNES/SFC controller, and for PS/2 keyboards.
This is an exciting development for ColecoVision fans. The system is very similar in concept to the AVS, a FPGA-based NES clone that RetroUSB released in 2016, and the Super Nt, FPGA-based SNES clone by Analogue.
The announced price point is expected to be “around $200”, so right in the same ballpark as these upgraded clone systems. As an owner of the Super Nt and AVS, I’m very happy with both systems, and so am very excited about this news.
The ColecoVision is underappreciated in the history of videogames, as it came out just before the Crash of ’83, and was knocked out of the market after only a few short years by the NES, but Coleco still has a following even today. The system had a solid library of games which featured better graphics and sound than the Atari 2600, its main competitor, and Mattel’s Intellivision, its closest technical rival. The games were not quite as sophisticated as the action/adventure style of games that the NES introduced, but there are many standout ports of classic early 80’s arcade titles for the system — including Donkey Kong, Zaxxon, BurgerTime, Gorf, Frenzy, Pepper II, and others.
Adventure is commonly regarded as one of the best games on the Atari 2600, and is certainly a top original title for the console. Out of all the games released for the system, this one stands out as being the one that best represents what was unique to the system.
A great introduction
It’s also a fantastic example of game design, with a built-in tutorial. Super Mario Bros has been recognized as having an excellent introductory level for teaching the fundamental concepts of the game, but Adventure did this just as well a good five+ years earlier, with game variation 1. Intended to be an easy difficulty version of the game, suitable for young children, it also works as a way to introduce the gameplay basics to new players of any age.
In Game 1, you start out in front of the Gold Castle, right in front of the gate.
This communicates to the player that this is your home base. The castle is locked, but the Gold Key is conveniently right there on the screen. Since the key and the castle are the same color, this communicates a strong clue that the key must unlock the castle. Since there’s an item in the starting room, and that item is usable in that very room, every basic element of the game is present on the first screen, so the player has the opportunity to learn the game immediately, before they start wandering and get lost.
If the player grabs the key and opens the castle, very likely they will enter inside, where they will find the Sword. The player may drop the Key by pressing the button, but more likely will run to the Sword and pick it up, and in so doing discover that picking up one item drops an already-held item. Either way, the player learns an important aspect of the core mechanic of the game, carrying an item.
This rewards the player for exploring, and for solving a simple puzzle with one of the objects found in the Adventure world.
If the player doesn’t enter the castle, regardless of which direction they explore, they will run into one of the two dragons: left, and they will encounter the Yellow dragon, and right, they will run into the Green dragon.
Without the sword, either encounter forces the player to run away, or be eaten — unless the player is carrying the Gold Key, in which case the Yellow dragon will flee from him.
Whichever is the case, something unique and different happens — thus demonstrating to the player that the inventory of items found in the game each change the game in distinct ways.
This is enough to encourage the player to experiment with each item they find in the game, in order to discover all the possibilities. But some of the most interesting special item properties in the game are introduced right away.
If the player has the sword, what happens will depend on the difficulty switch position, and the orientation that the sword is held.
If the right difficulty switch is set to A, dragons will flee from the Sword. If set to B, the dragons attack.
If the player is positioned such that the sword is between him and the dragon, the outcome is almost certain victory for the player as the charging dragon runs straight into the sword and dies. Thus, the game teaches the player how to kill dragons in a basic, direct way.
Otherwise, the combat can get exciting, as the player must dodge and move to touch the dragon with the Sword. In other variations, roaming dragons can and will often randomly encounter the player, coming at him from any angle, and this is good practice for such situations.
Again, the game design subtly hints the player toward the more exciting combat — the Sword sprite is always positioned with the hilt to the left, blade to the right. Despite the fact that the player can pick up the Sword (or any of the items) from any direction, most new players will instinctively grab the sword by the hilt-end, which will put the player in front of the sword when they encounter either dragon, making for a more challenging and more interesting combat.
If the right Difficulty switch is set to A, dragons flee from the Sword. Otherwise, they will directly charge the player. If the player is carrying the sword on the side the dragon approaches from, the combat is usually over quickly, as the dragon impales itself on the sword, and is slain.
But if the dragon flees, the player will have a much harder time slaying it — it will take a bit of luck for the player to enter the room positioned in such a way to have a chance at reaching the dragon with the Sword before it runs away. It’s very difficult to do this. One tactic that is effective is to walk near the edge of the screen, such that the Sword is actually off the edge of the screen, then wait for the dragon to approach near, and then attack.
If the player encounters the Green dragon, they will find the Black Key, which the dragon guards. The dragon guards the key, which is positioned on the left side of the screen, so will always charge the player from the left when the player enters the room from the top of the screen.
If the player runs away, the Green dragon will not give chase, as it is programmed to guard the black key, and will stay on the same screen as the key. This gives the player the ability to flee and return to the room repeatedly, and try several approaches to dealing with the dragon.
If the player grabs the Black key before running off, he will be pursued by the dragon.
If the player encounters the Yellow dragon first, the dragon will chase the player from screen to screen, as the dragon does not have an item to guard. But if the player happens to be carrying the Gold Key, this will scare the Yellow dragon off. If the player has entered the castle and grabbed the Sword, the Yellow dragon will approach the player at a slow, deliberate pace, and attempt to eat the Player. If the player is grabbing the sword by its “hilt” side, the player will be to the left of the sword, and this will cause the dragon to trigger its bite attack before it runs into the sword and becomes slain. Thus, the player will learn a) how the dragon moves and attacks, b) that the dragon is temporarily invincible while it in its bite attack mode, but also temporarily fixed in place, and c) that the dragon is dispatched by the Sword by touching it.
If the player is grabbing the sword from its right side, he may slay the dragon directly, without triggering its attack; in this way the player discovers that the sword is lethal regardless of its orientation. Later, the player may discover that the sword is always lethal to dragons, even if it is not in the player’s hand! This is perhaps surprising, but it is highly useful knowledge once discovered, as the player may run around the sword while carrying another object, and lure a pursuing dragon to run into the sword, killing itself.
Once both dragons are dead, the game is easily winnable. The player simply has to take the Black Key to the Black Castle, unlock it, retrieve the Chalice, and bring it back to the Gold Castle, and the game is over.
In order to do that, however, the player must first solve the blue labyrinth. The labyrinth is illogical — it is comprised of 6 screens of interlocking passages which cannot be mapped onto a Euclidean plane.
When you try, certain pathways overlap others, creating a bizarre, confusing maze. The maze is actually fairly easy to traverse, but how the different screens connect to each other don’t quite make sense — space here is warped, somehow.
There are several pathways through the labyrinth, but only one will take you to the Black Castle.
However, due to the placement of the Bridge, there’s a second possible way through the labyrinth. In the first room of the Blue Labyrinth, there are four branching paths: left is the true path through the Labyrinth; right is the secret Bridge shortcut, and the middle two paths loop around to connect to each other, returning the player to the start of the maze.
So, regardless of the direction chosen by the Player, they’ll either a) quickly loop back to the start of the labyrinth, where they can start over without a lot of frustration or risk of getting hopelessly lost, b) go left and make their way through the labyrinth to discover the Black Castle, or c) go right and discover the Bridge shortcut, and a shorter path through the Labyrinth to the Black Castle.
This again shows good design, by demonstrating to the player a) how the Bridge functions, and b) a reward that shows how the Bridge can provide an advantage to the Player, thus demonstrating its value. It’s likely that the player will inadvertently touch the Bridge as they pass over the wall, and thus discover that the Bridge may be picked up like any other object, and that its portability makes it even more useful.
When the Player discovers the Black Castle, they’ll probably know immediately what the Black Key is for, and if they don’t have it with them, will know from their experience in the first screen that they will need to go back to retrieve the Black Key in order to proceed. If the player has yet to encounter the black key, their previous experience with the Gold Castle will have taught them that this Castle must also have a Key that will open its gate, found somewhere.
Upon unlocking the Black Castle, the Player enters into a room where they discover the Magnet. It’s common for players to drop the key upon entering the castle, perhaps in order to retreat and grab the Sword, which they may have also brought with them, just in case there is another dragon to fight — and if they do drop the key, they’ll immediately discover what the Magnet does: attract other objects.
The Player may pick up the Magnet and interact with it, dragging it around as it slowly attracts the key to follow it about the room. This invites the Player to see what else the Magnet will attract. (It works on all the other items in the game, but not the dragons or the Bat.)
When the player proceeds to the last room of the Black Castle, they’ll find the Chalice. From here, all they need to do is bring it back to the Gold Castle, and they win the game. There’s nothing in the game to tell the player that they need to do this, but it is provided in the written instructions pamphlet that comes with the game.
Otherwise, the purpose and use of the Chalice is mysterious. The Chalice is unlike the other items in the game, in that its color flashes and shimmers. This makes the Chalice stand out as a special object, and probably more likely for the player to pick it up, even if they skipped reading the instructions and don’t know what to do with it. Since it flashes a golden color, that may be enough of a clue to the player that they should bring it to the Gold Castle, as they did with the Gold Key.
Once the player knows what to do, they can complete Game 1 in a minute or less. Even without knowing what to do, it’s likely that a first time player can complete the quest in just a few minutes.
The tightness and self-teaching design of Game 1 of Adventure is nothing short of impressive. Considering how early this game came out in the life of the system, the level of refinement present in the level design is amazing. As obvious and intuitive as the placement of the objects and dragons is, we must recognize that these were the result of deliberate design choices, and that any other arrangement would have made the introductory level of the game less inviting, less intuitive, and less fun.
Game Variations 2 and 3 introduce the player to a larger world, with a third castle (White), and two Catacombs (in the Black Castle, and en route to the White Castle). The White Castle itself adds another Maze, and in total the world has about doubled in size.
The Epic Quest
Game 2 is the canonical full Adventure experience. You have to visit every castle and use every item in order to complete the quest. This game introduces the Bat, which appears on the start screen, and swipes the Sword which appears where the Gold Key was in Game 1.
The timing here is tight enough that it must have been deliberate — try as you might, there’s no way to beat the Bat to the Sword. It will get there just barely ahead of you no matter how fast you can get there.
Another thing about this introductory encounter: the Bat continues in a straight line, continuing to wrap from bottom to top of the screen in an endless cycle, which lasts until the Player either leaves the room, or touches the Bat or the Sword.
Because the Player has learned the value of the Sword, very likely they will try to grab it and fight the Bat for control of it. The screen wrapping behavior of this initial encounter invites and practically guarantees that this will happen. The Bat is programmed to win these contests, thwarting and frustrating the player.
This teaches the player everything they need to know about the Bat, immediately: the Bat steals the item you need.
Best case, you can grab the Bat, and carry it with the sword until the Bat either drops the sword, or picks up another item. If the player does manage to grab the Bat, capturing it, sometimes it can struggle free, often at the wrong time.
Going to the right, where in Game 1 you found the Green dragon guarding the Black Key, you’ll encounter the Catacombs that lead to the White Castle. In the Catacombs, you’ll find the Yellow Key, the Bridge, and in the room South of the White Castle, the Magnet. The Green Dragon is wandering nearby, and will likely encounter the Player in a situation where the Bat has dropped the Sword, and picked up one of the other items.
If you’re lucky, you may dispatch the Green Dragon in the catacombs without much trouble, but it’s just as likely that you’ll get stuck in the catacombs without the Sword, which is very dangerous — especially prior to learning how to navigate the catacombs. If you can, kill the Green Dragon as quickly as possible, but if you lose the sword, try to grab the Gold Key and run for it so you can at least get the Gold Castle open. The Green Dragon will always guard the Magnet or the Black Key, so you can use the Magnet to “trade” for the Gold Key so he’ll ignore you while you run to the Gold Castle and unlock it.
The White key is found in the Blue Labyrinth along the path to the Black Castle, and inside the White Castle is the Yellow Dragon, and the Black Key. If you’re new to Game 2, you’ll probably head up the familiar path to the Black Castle, and discover the White Key here.
You’ll need to run with the White Key to unlock the castle, then come back with the Sword so that you can face the Yellow Dragon and slay it. If you can, once you open the Gold Castle, go back and grab the other items in the game and bring them to the Gold Castle. The Bat does not enter the Gold Castle ordinarily (he will only be found there if you grab him and drag him there yourself) so anything you store in the Gold Castle is generally safe from the Bat randomly picking it up and moving it somewhere.
If you can, put the Sword in the Gold castle for safekeeping, and then go unlock the White Castle, run back to retrieve the Sword, and return to the White Castle and slay the Yellow Dragon. The White Castle’s maze is divided into two interlocking sections. To get to where the Black Key is, you’ll need the Bridge.
Once you have the Black key, you’re ready to take on the final challenge. Take the key to unlock the castle, then return to the White Castle and grab the Sword, and return to the Black castle. You’re about to face the Red Dragon, who is the fastest and fiercest of them all. He guards the Chalice in the catacombs of the Black Castle. All you have to do is kill him and take the Chalice. Fighting this dragon in the tight confines of the catacomb is tricky, but not too difficult. Just keep the Sword between you and the Dragon.
Once the Dragon is defeated, there’s nothing left to threaten you; run back to the Gold Castle with the Chalice and win the game.
The way this variation is laid out guarantees the player will take the longest path through the game, and experience all of it. It’s well designed from that standpoint. The Bat’s mischief can greatly lengthen the time taken to complete this quest. It’s very common for the Bat to grab the item you need right when you are about to use it, and leave you with something you don’t need, or even bring a live Dragon to eat you! If you’re accustomed to the layout of Game 1, you’ll probably spend a lot of time exploring the Blue Labyrinth, where you’ll find nothing of value, only dead ends. But by exploring the new catacombs area, you’ll quickly find most of the items in the game, and it’s just the chance interactions with the Bat, and the risk of being caught without the Sword when a Dragon draws near that can lengthen the game.
The randomness of the Bat makes Game 2 somewhat different each time you play, but the initial position of the items is always the same, and the order in which you must unlock the castles always is the same. So playing this variant repeatedly doesn’t offer a lot of replay value. Even so, the random element introduced by the Bat still gives this variation a decent amount of replayability.
The Random Remix
Game 3 randomizes the starting position of every item in the game. There are a few constraints, of course: no key can be locked in its own castle (although, there is a bug, by which the Gold key can sometimes start out locked in the Gold Castle, rendering the game unwinnable), the Chalice never can start in the Gold Castle, but otherwise everything is random. It can happen that you start out getting attacked by all three Dragons immediately, with no Sword in sight to save you. You’ll have to explore everywhere and anywhere to find the Chalice, and the items needed to get to it.
This is my favorite variation of the game. It’s the most replayable, because every time you play you’ll have to figure out where things are and which ones are needed in order to unlock the Gold Castle and retrieve the Chalice — the only two things in the game that you must do to win. Everything else is optional. And due to that fact, it’s often possible to complete the quest more quickly than is possible in Game 2.
Once the Dragons are killed, the Player is safe. This frees him to explore the game and experiment. The Bat can get annoying, but it’s fairly easy to grab it, run to one of the castles, and lock it inside.
It’s an interesting discovery that you can carry the Bat into a castle, run out quickly, locking the gate behind you, and never have to see the Bat again. The insight may be learned by the fact that in Game 2, the Yellow Dragon never appears in the game until you unlock the White Castle. Since that is the case, the Yellow Dragon must have been confined in the White Castle. Might this work with the Bat also? It does!
It’s also possible to gain this insight by locking a Key in its own Castle. It’s possible! To do this, you need to touch the open castle gate with your Key, which causes the gate to lower. If you drop the key in the doorway, as the gate lowers, the Key will disappear, apparently into the castle. Now behind the locked gate, the key and anything else inside that castle is forever locked, inaccessible to the player evermore.
At this point, Adventure becomes a sandbox game. You can play around with the items and figure out all kinds of things to do with them. Mainly this means playing around with the Bridge and Magnet. The Bridge may be placed at various walls, and you can even try to use it to cross the boundary of a room that is normally blocked by a solid wall. This sort of, almost works — you can see into an adjacent room this way, but not quite enter into it.
Experimentation is at the heart of what makes Adventure special.
Eventually, through much trial and error, but more likely through reading about it or being shown by someone who knows, you may discover the Easter Egg, the hidden room with the Dot, which is used to access a secret room where the author’s name is hidden.
Items with purpose
One of the great aspects of Adventure is how purposeful every item and character in the game is. The items in the game give the player the capability to do anything they might need to do, and give the game’s design a sense of completeness. There’s nothing missing, and nothing obvious to add.
Keys unlock Castles, and there is one key per Castle. They give the player something to find and something to do in order to access parts of the map that are locked when the game begins. They give the Dragons something to guard (or flee): The Yellow dragon runs from the Gold key; the Green dragon guards the Black key, and the Red dragon will guard the White key.
The Dragons exist to create danger and tension for the player, something to overcome and defeat. They make Adventure be a game about more than simply exploring.
The Bat exists to give the game randomness that makes the game world feel “alive” as the Bat randomly moves items around the world, which would otherwise only move if the Player moved them. The Bat is a mischievous and frustrating enemy, who cannot be killed, but may be dealt with by locking it in a castle. The Bat makes the Dragons more dangerous while they’re alive, since it can take the Sword or bring a Dragon at an inopportune time. But the Bat’s randomness also means that it can sometimes aid the player, by taking a threatening Dragon away, or dropping a needed item that the player had trouble finding. This redeems the frustrating aspect of the Bat, to a degree, and makes it an entertaining character.
The Sword gives the player a way to defeat the dragons.
The Magnet gives the player a way to grab items that are stuck in walls, or otherwise inaccessible, making it much less likely that the player will get stuck in an unwinnable situation due to a trapped object that they cannot reach.
The Bridge serves a similar purpose to the Magnet, in that the Bridge can enable to Player to get around dead Dragons that may block narrow paths. But the Bridge also has several specific purposes: A) To enable a short-cut to the Black Castle by Bridging over the dead-end of the right branch of the Blue Labyrinth; B) access the inner chamber of the White Castle maze, necessary to complete the quest in Game 2; C) to reach the hidden room in the Black Castle labyrinth, where the Dot is hidden, necessary to unlock the now-legendary easter egg and find the secret screen with the creator credits.
The Chalice gives the player a goal, and something to do to give the game an ending. The existence of the Chalice makes the game about more than merely exploring, more than merely slaying dragons. It gives the player a quest and a purpose.
Speculating on a Sequel
Adventure has been a frequent target of homage for homebrew and hacks and indie game developers. I don’t know how many projects I’ve seen over the years that took direct inspriation from Adventure, but I can recall a Quake mod from 2002, and unofficial sequels for the Atari 5200 and Atari Flashback system, a pair of homebrews called Evil Magician Returns and Evil Magician Returns 2, and certainly others too obscure for me to find with a quick search.
I’ve played some of them, and of those that I have played, I have found them to be lacking in some way — they just don’t feel as good as the original, for various reasons. Either they offer more of the same, without offering enough new, or they attempt to update the graphics in ways that spoil the utter simplicity of the original graphics. The graphics weren’t really the point of the original — the Player is represented by a simple square pixel, after all — and so I would like to see a sequel that focuses on gameplay, but retains the graphical style and overall feel of the original, but adds new items and new areas to explore.
Making it my own
I think anyone who loved the original has probably thought about what they’d want in a sequel. So in that spirit, here’s my proposal for how I would extend the original game. Perhaps I’ll try to program it at some point.
My idea is more like a “Game 4” variation of the original than it is an Adventure II. A “Game 5” variation would be a randomized version of the game with all of the elements from Game 4, much as Game 3 is a randomized version of Game 2.
Here’s what I would add:
There are three empty rooms in the area (Marked 1, 2, 3 in the map below) where the White Castle is found:These feel like unfinished, purposeless rooms in Adventure. This is where I would extend the world map. I would replace these empty rooms with entrances to new mazes that lead the player to new areas of the game. Perhaps I’d have all three entrances lead to three inter-twined mazes, which require the use of the bridge to go between them. The Brown Key would be hidden somewhere in this new maze. The exact details of the maze aren’t shown, but the maze would occupy the empty region shown in the map detail below, with the new Brown Castle somewhere in there, perhaps where indicated… but possibly not.
I’d add at least one new castle, but probably just one, found at the other end of one of the mazes. The existing castles are White, Black, and Gold, this castle would be some new color. Which color? It should be a color that is possible with the Atari 2600, and not already in use as a Castle or Dragon color, or a color that is close to one of those colors. This rules out Green and Red, Yellow, Black, and White. Probably a good color for a fourth castle would be Blue, or Brown.
I’d add a new Dragon. The existing Dragons are Red, Yellow, Green. The new dragon should be a color that is possible with the Atari 2600, and not already in use as a background or Dragon color. This rules out: Black, White, Gold, Yellow, Green, Red, and Blue. I’d also avoid Purple, since that’s the color of the Bridge.
The trick with the colors is that the Atari 2600 can only produce 128 distinct colors in NTSC, as shown by this chart. While the RGB color space isn’t exactly gamut compatible with what the Atari 2600’s TIA chip generated, this is close enough for our purposes. There are only 16 hues to choose from, and we don’t want to pick something too close to what’s already in use. This may not be exact, but my best guess as to which colors are already reserved in Adventure is as follows: There’s a lot of possible colors still available, but many of them are too light or don’t contrast well enough. But a purple, green, aqua, or brown would seem to be the best candidates. Brown seems like a good choice for a Castle, or Blue, while an aqua or orange shade seems like the best choice for a Dragon.
Spider (New Character). The spider’s purpose is to create Webs. Like the Bat, the Spider is black. The Spider cannot be killed. Can he be picked up and carried? I haven’t decided — probably not, just to make him different from the Bat. The Spider lurks in the Brown Castle, spinning webs inside, making the catacombs inside the Brown Castle more challenging to get through. When the Brown Castle is unlocked, the Spider is set free, and can roam about the rest of the world.
Webs are obstacles which slow the player down, but do not block him. Webs will stick fast to any Object in the game, so that they cannot be moved, will not be attracted by the Magnet. When the Player is holding the Sword, he can cut through the Webs, so moves at normal speed. Cutting the web destroys it, freeing up any trapped objects so that they can once again be picked up and carried, or moved by the magnet. Dragons ignore Webs, and are not impeded by them. The Bat can pick up a web and move it to another part of the world. The Bridge can be used to navigate over webs without being slowed down.
New item: The Torch. The Torch serves to light up catacombs areas, making them easier to see in when present. It can also be used to destroy Webs, by touching them. The Torch will destroy Webs whether or not the Player is holding it, and the Torch will light up a catacomb maze whether or not the Player is holding it. The Bat may pick up the Torch. The Torch is found in one of the new maze areas in the game. This maze area is very dark, and has the shortest catacomb sight radius yet, when the Torch isn’t present.
Anyhow, this idea isn’t quite fully formed, particularly in terms of the map. But as a general sketch of a concept for an extended “variation 4” game, I think it’s got potential. I think the Torch and Spider give the game new features that have purpose, without wrecking the balance of the existing items.
Who knows if I’ll develop it — it’d definitely be a challenge to build.
My five year old nephew started learning to play Chess recently, as I discovered on a visit a few weeks ago. We played two games, and I didn’t have too much trouble beating him, but for a five year old he’s not bad. He knows all the pieces and their basic moves and their relative value.
I thought it would be fun to build a video Chess game that he could use to help learn strategy and how to see the board. So this is my latest project. I’ll be posting more about that as I work on it.
My first step was to design graphic resources. I didn’t want to spend too much time on it, just a basic “programmer art” chess set, that I could use to build the program with. Of course, it didn’t end up that way, and I’ve gone down the rabbit hole designing variations on sets of minimalist pixel art chess men. It’s too fun and fascinating not to.
My first attempt was actually rather good, I thought. I went for 16x16px representations of the classic chess pieces. I drew them very quickly, but was very pleased with my results, particularly the Knight.
I could have stopped right there, but it was so fun to make this set that I wanted to continue exploring and see if I could refine my pixeling technique further.
I decided to search the net for images of chess pieces to see what variety there was, and found a lot of examples of beautiful sets. I started to take notes and to infer design rules for chess men:
Chess pieces are called “chess men” which seems antiquated and sexist, especially given that the most powerful piece in the game is the Queen.
The modern standard chessmen are a design named for English chess master Howard Staunton, and have been in use only since the mid-19th century. A strength of its design is that each piece is easily distinguished from the others, making errors from mistakes in identifying a piece — a problem with other sets — unlikely. Previously, chess men of different types had a less distinct appearance from one another, and were not as standardized.
In a Staunton set, the Knights are the most detailed, ornate, varied, and realistically represented pieces.
In Staunton sets, there is a standard height order: pawn, rook, knight, bishop, queen, king. (This surprised me, since Rooks are more valued in Chess I would have expected them to be taller than Bishops.)
The pieces are differentiated by their tops. Each type of piece has a distinct, unambiguous shape.
The body/base of the pieces have a common design, to create unity among the pieces in the set.
I tried to apply design choices to my chess set following these insights.
A follower on Twitter offered feedback that the pieces should be different heights, so I tried that. With a 16×16 pixel tile size, I could only shorten the back row pieces by 1-3 pixels. I also tweaked the King piece by adding a few more pixels to its top, to make it a bit more distinct from the Queen, and moved the Pawn so that it wold be more centered in its square.
I do like the result:
I think my initial 16×16 Staunton set look like they’re in ALL CAPS, while this set is more “readable” by using “mixed case” heights for the pieces.
I wanted my chess game to be focused on usability and instruction. I needed each piece to be immediately recognizable, and not to convey a bunch of extraneous information to the player that has nothing to do with play mechanics.
My next attempt was a different take altogether. I wanted the look of each piece to suggest its rules for movement. I also thought that it would be clever if the pieces communicated the rules for using them through their visual design.
I ended up being very pleased with this set as well, although I went through many more variations, particularly with the Pawn. This one also came together easily and rapidly. When your tile size is 16×16 and you’re working in just a few colors, it’s easy to work fast.
Things I like about this set:
The shape of the piece is a built-in tutorial for how the piece moves.
The Pawns still have a pawn-like shape (at least the black pawns; white pawns are “upside down”).
The Knight’s shape may be read as an abstraction of the horse’s head shape of the Staunton piece.
I think out of these variations, my favorites are: P9, Kn2, B3, R1, K? I’m least certain which King I like. I think K4 and K5 are my top two, but I also liked the idea of incorporating a crown motif into the design, to signify the King’s special property of being the King. K1, K2 and K6 were attempts at this, but I think K1 looks too much like a Staunton Rook, unfortunately.
I wasn’t sure which of my designs to use for my final set, so I posted my sets on Twitter and a pixel art community on Facebook. @Managore responded to my request for feedback by coming up with a set of his own design, which I quite like.
His design was retweeted and liked over 500 times, and received many positive compliments from his followers, many of whom are game developers. One of my favorite indie developers, @TerryCavanaugh, who made VVVVVV and Don’t Look Back, pointed out an physical chess set that had been designed a few years ago which incorporated the same ideas.
It’s exciting to see my idea get picked up and reworked by fellow game developers who are inspired by the concepts I am exploring. So fun! Getting that validation that what I’m working on is interesting to others is very motivating. But it’s particularly good to get some attention from developers whose work I’ve admired for years, however modest.
I’m excited about this project and look forward to working on the program. I have more design ideas that I’m looking forward to getting into soon.