Atari dropped a trailer for a new game in the Yars’ Revenge series, Yars Rising.
Quite a departure from OG Yars, but maybe in a good way
The game seems to be primarily in the Metroidvania genre, with a heavy Metroid: Dread influence.
It looks competent, yet uninspired.
Had Atari been ready to launch the VCS with this in 2017, the year Metroid: Dread released, that would have been something, wouldn’t it?
But as it is, it feels like Atari cribbed Nintendo/MercurySteam and created a “me too” game that recycles the original Yars Revenge, to create a “me-too-vania”.
If the mechanics, level design, and boss battles are on par with Metroid Dread, it’d be worth money and worth a play, I suppose. But something about this feels a bit too “on the nose”, like it’s really little more than a re-skinning of Dread, with all the soul and originality sucked out of it, and the wireframe of what’s left painted in with bits of Yars “lore”.
I feel like it’s a bit sad, because if Atari could put all this effort into a project and have it turn out reasonably good, then they’re firing on nearly all cylinders; they just need to have that spark of originality and innovation.
That’s what the games that original Yars Revenge creator Howard Scott Warshaw created for Atari back in the day always did with the games he created. HSW’s games on the original Atari 2600 innovated, pushed limits, and advanced notions of what a video game could be.
So with that in mind, it’s a little bit sad to see his creation, Yars Revenge, being recycled on what looks like a generic Metroid: Dread clone that will genuinely surprise me if it does bring something new to the table.
The main character of Yars Rising is a woman (like Samus), and has a lot of “attitude”, quipping wisecracks and sounding annoyed at the things she must go through all in a day’s work for a hero such as herself. I think the character model is well done, attractive without being too sexualized, and the voice acting is pretty good. Yet somehow the whole feels a bit forced, and falls a bit flat.
The graphical style of the platform engine feels almost entirely derivative of Metroid: Dread, and while I loved the graphics in Metroid Dread, here it all feels a bit too “seen before.” I’ll be honest, I’m not expecting that much out of Atari’s new releases. I’m happy to ignore what they release if it’s not my thing. It’d be great to see Atari release something that puts them on par with where Nintendo was at… 7 years ago… but I’m not exactly expecting that. I’ll be happy to be surprised, though. I’m open to being surprised by Yars Rising, but not expecting it.
It’s only a 2 minute trailer, so I am not going to speculate too much on the game. There are a few clips showing classic Yars Revenge style gameplay sequences among the clips of Metroid: Dread ripoff fare, but how this is integrated into the whole isn’t really clear. It seems they are min-games that you access through kiosks that you find in the main game.
Overall what we see looks competently executed, just not exactly all that original or innovative. Considering that Metroid Dread came out in 2017, it would have been so much more interesting if this had been a launch title for the Atari VCS.
This is, without exaggeration, probably the worst video gaming news that I’ve read in the last 20 years.
The good news is that they have turned over the content of the website to the Internet Archive, where it will continue to be available for download, hopefully forever.
This development apparently is not driven by copyright or trademark infringement issues resulting in a takedown of content. The site has always been conscientious about not hosting copyrighted content; only patch files were available for download; the patches have to be applied to a ROM file, which itself may introduce legal gray areas, but it’s generally been considered legal to have ROMs that you have ripped yourself, as a backup, from media which you own. Still, the site had to be very careful with how it presented its materials, and with what submissions it accepted for hosting, lest it run afoul of litigious copyright holders.
The maintainer of the website, Nightcrawler, stated in their post that they had tried to find a successor to take on the role of maintaining the site, and were unable to. Apparently there were candidates in talks with Nightcrawler, but things fell through in an apparently nasty way that recalls toxic internet culture. Nightcrawler also mentions that over the past few years operating the site has seen a shift from human operators to bots, and that dealing with bots is a chore.
I’m not clear what the ultimate impact of this will be. But it seems bad. At the very least new romhack projects will have to find a new place to go, and those looking for them will have a harder time finding them. The old content should (hopefully) be safe in good hands at Internet Archive, but the living community of users who made the scene happen is going to be disrupted by this, and that can’t be a good thing.
Romhacking.net was like a digital mecca for video game remixers. The quality of many projects was first rate, as good or even better than many original releases that they derived from. It wasn’t just a site where you could find, seemingly without limit, unauthorized sequels, but also fan translations of games that were never officially released in English, and improvements that provided bug-fixes and “quality of life” improvements to clunky interfaces. All of which were passion projects by and for the fans and gamers who loved the original works and wanted to see them preserved and improved upon and presented in their best possible format. Rom hacking and emulation go hand in hand to preserving video game history, often in spite of the objections of the industry.
I’ve spent about 30-45 minutes in Leap Year so far, and it’s one of the stranger platformer games I’ve played.
The game’s tagline, A clumsy platformer, clues you into what to expect. The jump mechanic is unique among platformers, in that your default jump is generally fatal to yourself. Fall height is what does it; and you can only safely fall one grid-height, approximately the height of your own body, without injury.
But your standard jump height is two grid squares, making it deadly most of the time if you try to jump without a good bit of planning first. You can’t control your jump height by a light press or brief press of the button. You always get the same jump no matter how you try to press the button.
So this forces creativity. A normal jump on level ground will take you up two squares, and drop you fatally onto the ground. So you can work around that by jumping up to a higher platform, one or two squares above your starting level, and thereby avoid falling too far. Or you can jump under a low ceiling, which prevents you from going too high, and thus land safely on the same level you started from. There are perhaps a few other ways to survive falling, if you can figure it out. But I don’t want to give away too much and spoil the puzzle aspect. Figuring it out for yourself is definitely where the fun is found.
The goal of the game is to collect numbers which correspond to the dates of the month of February, 2024, which is a leap year, so there are 29 altogether…. er, I think — I’ve only managed to get through the first 15 so far. Each date is a checkpoint, which you’ll respawn from if you die. You can expect to die a lot, because most stuff you’re thinking is easy and second nature in a jumping platform game is fatal in Leap Year.
The levels provide a solution for getting safely through, and it’s a puzzle to work out for yourself how. So this is pretty clearly a puzzle-platformer. It’s fairly non-violent, despite tripping and dying constantly, and failure is never much of a setback as long as you’ve touched a checkpoint recently you won’t have to repeat much.
The game does require a bit of planning and thinking through your actions, if only because you have to carefully consider how the rules work in this game, since they’re so counter-intuitive to how most platforming games work.
I found that the level design is a bit obtuse and obfuscated — there are walls and platforms that you can move through, but the game doesn’t make it obvious. You can discover these things readily enough through experimentation, but there’s little in the way of clues or signposts. Only the bare minimum is explained: arrow keys to move left/right, space to jump, you figure out how jumping kills you, and what the rules are for surviving. About halfway through, the game throws another mechanic at you: shift will allow you to bounce safely from a normally fatal jump height, and rebound to a taller than usual height than you can jump… but only under certain circumstances, which I’ve yet to completely figure out. So sometimes you can do the bounce move, and other times you can’t, and I haven’t figured out why, and I’m not sure if that’s because I’m a dummy, or because the game design has an issue, or perhaps because figuring it out is the game, and it’s meant to be a mysterious puzzle that I have to discover through trial and error until I experience gestalt.
I’m currently stuck trying to figure out how to get to the 16th. I seem to recall seeing the 16 flag once, early on in the game, and it seemed that it was out of sequence, skipping a lot of the earlier numbers, so I tried to get it but I couldn’t, and I’m not sure if that’s because I wasn’t meant to, or because I just didn’t understand the rules for how to move and solve the platform puzzles well enough to be able to do it. So I went a different way and ended up getting all the rest of the numbers in order, and now I’ve gotten the 15th and the map sort of looped around and I’m back in an area where I’ve been already, only I’m not quite sure how to get back, or where exactly I need to go to find the 16.
So I may need to start over and play through again, noting more carefully where I saw that 16. Or maybe I’ll figure it out eventually.
So what other tricks will this game offer me? I don’t really know, but it’s been pretty fun so far. A bit frustrating, and so unlike most platformers that I’m used to that I bet it will be a game that a lot of platformer players dislike. It can be frustrating in ways that won’t feel fair to players approaching it with the expectations of the platformers that they’re used to. It’s counter-intuitive, clumsy, and a bit clunky. But that said, it tells you straight up that it’s a clumsy platformer, so you can’t say they didn’t warn you, and if you play with an open mind and with the understanding that this is a platformer that is trying to explore the space that is enabled by subverting the usual expectations of the genre, then you may come to appreciate its subtleties.
The graphics are charming, crude abstract stick figures, clumsily hand-drawn, as though doodles, and if you enjoy children’s art, you’ll find it delightful. The background music is relaxing and pleasant to listen to, although I’m not at all sure how to describe it.
Leap Year is a bravely contrarian platformer that subverts expectations, but if you’re looking for something deliberately different, and you understand the design language well enough to know the difference between a poor designer who, ignorant of the conventional rules of platformer design, just creates something sloppy, unplanned, and poor quality, and a master designer breaking the rules deliberately in order to achieve something unexpected, then you may just enjoy this game for what it is meant to be.
I first encountered Daniel Linssen through Ludum Dare more than 10 years ago. He was using GameMaker and created a wonderful platformer called Javel-ein. Linssen has gone on to make many other games, all of which are amazing. He has quite a knack for design and for coming up with interesting and novel play mechanics. I love everything he’s created.
His latest release, Leap Year, just came out on Steam, and without having played it yet, I can’t give it a review, but I can without reservation give it a recommendation. For just $5, it is guaranteed to be worth your time and money. Go check it out.
Boulderdash was a classic early 80s videogame. I remember seeing advertisements for it, but I don’t think I ever had a chance to play it. It was available on many platforms, and for some reason I think it was more popular on personal computers of the day (DOS, Apple ][, Commodore, Atari, Amiga) than it was on consoles.
Andrew Davie is a programming legend in the Atari homebrew scene. For the past year-plus, he has been developing a Boulderdash remake on the Atari 2600 that is incredible. It runs on a stock system, no special hardware mods needed, thanks to an ARM chip in the cartridge. That ARM chip is a significant power boost to the processing capabilities of the system, so really the console is just relaying controller input to the computer inside the cartridge, which uses the VCS’s Television Interface Adapter (TIA) chip to draw to the screen. The results are far beyond the normal capabilities of the 1977-vintage hardware. And the program does things that you have to see to believe. If you run this game next to a 2k launch title like Combat or Slot Racers, you wouldn’t believe that it’s running on the same exact hardware. It’s a 32kb ROM, as compared to the 2kb or 4kb of most Atari 2600 games.
Davie has announced through his website that he has obtained permission from the owners of the Boulderdash IP to release just 100 individually serialized copies of the game ROM will be produced, and they are not redistributable — this means that one may not legally obtain the ROM from anyone other than Andrew Davie, who is giving them away for free, but only for 100 lucky Atari fans. This is a must-have for an Atari collector.
It’s my hope that the Demo will be followed up by a full version of the game, hopefully in unlimited quantities. Nothing has been announced formally, but the “demo” label implies that there should be more to come. But it’s possible that the Demo may be all that he will be authorized to release.
The graphics are higher resolution than the 2600 is normally capable of displaying, very detailed, more objects on the screen, more colors, it has music, animation, parallax scrolling, asymmetrical playfields, everything that you would not expect to be possible with the stock Atari 2600 hardware. It’s literally incredible.
Atari SA announced that it has purchased the Intellivision brand and “certain games”.
What is Atari getting exactly?
One less competitor
The Intellivision trademark and brand
The incomplete, unreleased Amico platform
The Intellivision game library consisting of some 200-ish titles.
It looks like Atari intend to bring the Amico console to market. That’s a surprising decision, considering that they are now supporting the Atari VCS and Atari 2600+ systems. It might have made more sense for Atari to put Amico titles on the VCS rather than try to launch another console. Adding another misbegotten console to their lineup will not benefit the company — it will only serve to divide up the already tiny Atari customer base and increase the companies expenses in supporting another console that doesn’t have enough customers. Considering that Atari is just barely supporting the VCS, it seems crazy for them to split their customer base by resurrecting the Amico from the dead and trying to complete the promise made by Intellivision more than five years ago.
I think it makes sense to buy the Intellivision brand and IP, if it can be had for a bargain basement price. I’m not aware of which games Atari will now own, but whatever they are, having the rights to use those titles, characters and other IPs would be an opportunity for Atari. But what games are they? What unique game titles did Mattel produce for Intellivision back in the day, that would still hold value for nostalgic retrogamers today? I can’t think of too many. B-17 Bomber, Astrosmash, Shark! Shark! …that’s about it, really. And that’s… not much. Most Intellivision titles had generic-sounding names like “Football” or “Sea Battle” and none of them produced anything like a trademarkable, charismatic mascot to carry the brand.
In 2022, I backed a project on Kickstarter for a video game called Meifumado. I donated $20, the cheapest level to get a copy of the game when it was finished. It looked promising. The graphics were pixel art, very detailed and it looked great. The combat animation reminded me of Shank, mixed with a bit of Samurai Champloo.
Immediately after they reached goal and the fundraising period ended, the developers apparently disappeared from the face of the earth, and it seemed like everyone had been had to the tune of some $48,000. People were pissed.
Today, developer OldBit resurfaced and posted a rambling, long-overdue update on the project page. The post is visible to backers only, so the short of it is that OldBit is located in Belarus, and was affected by the embargo on Russia and its allies in the days following the Russian invasion of Ukraine in March of 2022.
It’s odd to me that these events are linked, because man did it feel like Meifumado was a lot longer time ago than just two years ago. Apparently, Kickstarter doesn’t offer service to Belarus, and so to even get listed on Kickstarter in the first place, they had to partner with an intermediary in another country. Then they couldn’t get the funding transferred as expected after the embargo went into effect.
And… it took two years to provide this update? People were asking questions, for months, with nothing but silence, and they couldn’t respond for two years? Seems really weak. OldBit admits that they should have come forward to let backers know what was going on much earlier, and apologizes for it. I can’t say that the apology resonates with me, because there just isn’t any excuse after so long with no update. My confidence in OldBit was shattered, and I wrote off the $20 as a lost cause and forgot about the project.
However… OldBit says that they are close to having the project completed now, and will be releasing in the summer (it’s almost June, so that’s going to be rather soon if it indeed happens, but I’m not holding my breath; I’ll believe it when I believe it.)
If it does come out, and I get my copy for my $20, then I’m satisfied, and it’s certainly not any later than most of the other projects I’ve backed on Kickstarter, GoFundMe, or IndieGoGo. So from that standpoint, the only real difference between this project and most of the others the complete dead silence from the developers. And if that’s all it is, hey, whatever, right? Results matter, and if they do deliver the game they promised, it’s an unexpected nice thing. Like seeing someone you thought was dead, alive and well.
It’ll be anybody’s guess if the game is as good as the kickstarter pitch video made it look. But if it is, it’ll be something special.
In 1987 a pair of NES games had noteworthy sequels: The Legend of Zelda, and Castlevania. Both games were successful and popular, yet as the years went by they came to be regarded as flawed games that aged, let us say, less well than nostalgia would have wished.
More than 35 years later, two fan-made projects to remake and pay homage to these classics have been released.
Zelda II Enhanced Edition: Link is Adventuresome
Hoverbat has created an incredibly faithful homage to the Legend of Zelda franchise’s sophomore entry, Zelda II: The Adventure of Link. A remake and expansion of the original, Zelda II Enhanced: Link is Adventuresome is available (for now) at itch.io. I’m not going to link directly to it, but it is not difficult to find. Created in GameMaker Studio 1.4, it runs on Windows. It’s one of the most impressive projects made with GMS 1.4 that I’ve seen — right up there with the Mega Man Maker project and Hyper Light Drifter.
The game boldly reimagines the original, taking license to fix a number of “quality of life” issues and add new content and challenges while looking, sounding, and feeling exactly like the original did on the NES. I’m blown away at just how well the Zelda II engine has been reimplemented in GaneMaker. This game is a must play for anyone who enjoyed the original version in the late 80s.
Zelda II is remembered these days as being the (so-called) “worst” of the Zelda games on Nintendo hardware. (No one counts the Philips CD-i games,which were truly awful, as official anymore). While many LOZ fans defend Zelda II, it’s not unreasonable to call it the least-best Zelda game in the mainline series. But to call it a “bad” game is really unfair. At the time of its release, it was the most highly anticipated a video game, a sequel to what was probably the best video game ever made to that point in time.
As a sequel, it daringly changed up the formula and offered a completely different experience to the player. Featuring side-scrolling action, and introducing a new magic system and RPG-like elements like leveling up, it was an ambitious and innovative game. It was extremely challenging, and it was imperfect, to be sure, but it was extremely popular and well received by gamers at the time.
Famously, a chip shortage made it very hard to come by during the Christmas season that year, amplifying the demand. It wasn’t a perfect game, the main complaint being that some of the secrets and solutions to puzzles were too cryptic and made buying a guide book necessary to win the game. And while these criticisms are certainly valid, they don’t stop Zelda II from being one of the top releases in the storied history of the NES.
This fan remake addresses much of these issues, and improves the quest design in ways that surpasses the original. It’s essentially a re-telling of the original game, which looks in most ways exactly like the original, but with embellishments. That’s all I really want to give away about it; there’s a lot of new things to discover, and some things have been changed, but pretty much all for the better.
There’s no chip shortage this time, but we all know how protective Nintendo has always been with their IP, so probably don’t expect the game to be available indefinitely. Get it while you can.
Transylvania Adventure of Simon Quest
The Transylvania Adventure of Simon Quest project, demo available on itch.io and coming soon to Steam, started out as a remake of the 1987 Konami classic, Castlevania II: Simon’s Quest.
Originally it was intended to be a faithful remake that addressed numerous problems with the original, which suffered from a poor translation, cryptic puzzles, numerous programming glitches and errors and weak boss fights. Despite all these shortcomings, the core game concept was strong: a non-linear adventure quest with a day/night cycle, towns full of shops and people to talk to, hidden secrets and puzzles. Exploration, a sense of narrative progression, building your power, and finding secrets/solving puzzles were given emphasis roughly equal to the action-based elements of fighting undead monsters.
The remake project ended up evolving into its own thing, rather than trying to remake Castlevania II, it’s become a completely new game, albeit one which owes much inspiration to the original, and is a wholly new game built with the same engine. It feels just like the original, with a look, sound and feel so much like the original, you’d think that they brought the original development team back.
You definitely will want to get this one, too.
Is it too much to hope that someone will do this for Metal Gear? A properly done remake of Metal Gear, which was a hit on NES despite being ridden with numerous bugs and glitches, has been on my wish list for quite some time.
140 is a synaesthetic rhythm puzzle platformer indie game released in 2013. I remember it getting favorable reviews, and bought it, but like so many people who buy games on Steam, I didn’t play it for a long time. I finally got around to it, and I’m glad I did.
So far I’ve completed the first four levels.
The design of this game is so, so good. Let me tell you that straight off. I’ve never played a game where the various design elements are do tightly and intricately interwoven. The graphics are abstract, shapes and colors. The background of the levels animate in sync with the music, which has a strong beat, I presume, of 140 beats per minute. The platforms and obstacles in the game move in synch with this beat as well, so if you are attuned to the music, it helps you time your jumps and when to move to avoid death and achieve success.
The title of the game symbolically represents the 3 states of your avatar. 1, represented as a rectangle, or square, is you when you are motionless. 4, represented as a triangle, represents you when you are airborne, jumping or falling. And 0, represented as a circle, is you when you are moving, rolling on the surface of the ground. Thus, the title serves as a subtle reinforcement of the basic play mechanics: wait, jump, run. It’s brilliant.
The game uses this subtle, abstract visual language pervasively throughout the game, communicating to the player without words what they are supposed to do. This lets you discover the game on your own terms, and you don’t feel like the game is ever holding your hand or hitting you over the head with tutorials. The early stages of the game are simple and very gently pull you in to learning how to read the visual cues, as if instinctively.
The result is that you get get really deeply immersed in the action. As you learn how you can move, at just the right time the game provides you with a new challenge, and it’s up to you to work out for yourself how you’re supposed to overcome it. There are pits to jump over, ledges to jump up to, moving platforms, disappearing and reappearing platforms, platforms that alternate between being safe and being deadly, ceilings that will crush you, platforms that have a trampoline effect that will bounce you with a super jump in rhythm to the background music. There are keys which you can pick up by jumping into them, and you can carry them to a circular “doorway” which the key will unlock, changing the level in some way, activating dormant platforms or introducing some new play mechanic or transform the level to up the challenge.
It’s a combination of hand-eye coordination, rhythm, and figuring out puzzles for how to get through the obstacles. At the end of each level, there is a special challenge, a kind of boss battle, where you have to quickly learn a new puzzle mechanic and master it, handling iterations of the obstacle repeatedly until you’ve succeeded in defeating the level.
The first four levels were a fairly quick play, I probably completed each one in about a half hour or so, dying a lot, and taking breaks here and there. It felt like after the fourth level I had won the game, but after watching what seemed like some kind of ending, I found myself back in the starting room, which serves as a level select, and discovered that there appears to be another four levels waiting to be unlocked and played.
I started the fifth level (or is this more of a “second quest”? and found that now instead of moving to the right, this level seems to be all about moving to the left, which for some reason feels less natural and therefore more difficult. I guess since English is read left-to-right, and most platformer games tend to follow the convention established by Super Mario Brothers, and treat scrolling to the right as “forward”. It makes the level seem more difficult than it really is. The obstacles are simple, but then I died and instead of starting over at a checkpoint the game kicked me all the way out back to the starting level select screen. So it’s super-hard, you have to beat the entire level on one life, no mistakes. Yeah, this definitely feels more like “second quest” level difficulty increase. Well, as much as I died in order to get through levels 3 and 4, I have no idea if I’ll be able to get through level 5 at all, so this might be as far as I get.
I really enjoyed the challenges of the game, and have a great deal of appreciation for the style and design of the game as a whole. Everything feels so purposeful and deliberative, like every single thing in the game was done just as it was after a good deal of thought had been put into it — its purpose in the game, how it relates to other elements of the game, and how to tie those elements together to make everything seem like a unified whole.
It does seem a bit brief, but if the difficulty continues to ramp up from levels 5-8 as it has from 1-5, you might well never get to see all the game has to offer.
Everyone should give this one a try. It’s timeless and will be just as good another 10 years from now as it was back when it was first released.
I pre-ordered the day it was announced, 7/31/2023. The original ship date was supposed to be 10/1; this was quickly moved up to 9/1. My delivery date was supposed to be 9/5. 9/5 came and I still didn’t have a shipping number; Amazon finally acknowledged there was a delay. The listing on amazon.com went offline for a few weeks, then came back, with a new launch date of 10/31.
I started hearing a few weeks ago (early October) that units had showed up in Costco and were selling for 20% off. I still didn’t have a shipping number from Amazon. I don’t have a Costco membership, so it didn’t do me any good, but then I heard that these were at Target retail stores, so I went to my local store and they had them. I canceled my order with Amazon, who were still telling me that they were delayed in shipping these and couldn’t tell me the truth about a shipping date. Always 2-3 days from the point I contacted customer service to ask for an update on when my order would ship.
I bought one at Target, and played it a bit today, and I’m not as impressed as the reviewers who received advanced copies of the system were. In fact, I’m totally disappointed.
The main problem seems to be with the controllers. They do not feel good.
Previewers said that they had some weight and felt like quality sticks, and gave me a false hope that this system would be worth buying. I don’t agree. The joysticks are lightweight and while not exactly flimsy, they don’t feel robust, either, and the joystick switches do not have satisfying travel, and buttons do not have satisfying click. The joystick sensitivity felt off, and I didn’t feel like I had the fine control that I expected — and received — from original hardware.
Worse, the tiny buttons on the base of the stick which are used for menu, game select, and start, are prone to accidental presses, which can abruptly end the game in progress and restart it or return you to the main menu. This is a disaster for user experience — a game should never be one easy accidental button press away from being abruptly ended.
And many of the games MyArcade picked to include in the system’s built-in library simply are not well suited to the controller.
All of the Atari 5200 games are seriously compromised by the fact that the GameStation joystick doesn’t have a 10-key pad like the original 5200 joystick, nor does it have an analog joystick. You can’t play a game designed for play with an analog stick with a digital joystick worth a damn. And any functions that depend on the 10-key pad are simply not supported at all. RealSports Baseball is a decent game on the 5200, but on the GameStation Pro it’s terrible — batting relies on the analog stick, and the 10-key pad is critical for pitching and fielding. It’s a tragedy — the Atari 5200 had a decent library of games, and most people don’t know it because the original console didn’t sell well.
The original joysticks for the 5200 were pretty terrible, too, but mainly that was due to being engineered to be cheap, which meant they were fragile and broke easily. The non-centering analog stick was also not a good design choice, but could be overcome through practice or by buying a 3rd party controller with a self-centering stick. The sticks included with the GameStation Pro just simply aren’t the type of controls that the games for the 5200 were designed to be controlled by, and that entire section of the game library is basically unplayable. I mean, you can start a game, but you’ll be frustrated, denied the real experience that the game’s original development team delivered to the original platform it was built for.
The menu screens are inadequate as well. The thumbnail images of the game box art are terrible low-res images that are just barely readable. The “About” info on the screen is just a brief paragraph of some 25-50 words or so, and not complete instructions. Many of the games are simple enough that you can just figure them out by playing, but that’s no excuse. Storage is cheap, and MyArcade easily could have included full manuals for each game title. But they didn’t.
The tiny dial for controlling the paddle games doesn’t feel good — I tried a game of Super Breakout, but the paddle wasn’t smooth, and I lacked fine control. The experience is terrible compared to how the game played on 1977 hardware, and it’s a travesty.
Tempest, an arcade game controlled by a spinning knob, doesn’t use the paddle dial, it uses the joystick, and it feels completely off, and basically unplayable.
And there are trackball games on this system, which just don’t play well with the substituted joystick.
I’m not sure how many of the 200 built-in games are actually playable, as in designed to be played with a digital joystick with up to 3 buttons. But whatever fraction of the built-in library does, pretty much most of them will simply not play as well as they did on original hardware.
I have to wonder if anyone who was involved in the design and engineering of this product ever played the games on original hardware. They picked too many games (even one is too many!) that weren’t supported by the input device the provided, and it just screams WHY.
Why pack in 200 games and give such a terrible experience of them? Even the games that nominally do play with a digital joystick don’t feel very good due to the travel and click characteristics of the hardware MyArcade provides.
The games from the Atari 2600 and 7800 libraries are a lot more playable. Both systems used a digital joystick, no 10-key pad, and 1 or 2 buttons, which will work with the included sticks. But even then the included sticks don’t feel as good as the original CX10, CX40, or Atari 7800 Proline sticks did, and you’ll be frustrated by how imprecise they feel.
The Arcade library will be a mixed bag as well. Many of the Arcade titles are obscure, black-and-white era games that are really interesting as historical artefacts, but they deserved better treatment than they receive, thanks to the poor feel of the joysticks.
Verdict: D. Do not buy.
Even for $100 it’s just not worth it for the experience you get. It would have actually been better if they had not included the games that wouldn’t play well with the included joysticks.
Maybe a fun device to “hack” with a sideloaded SD card, but even then it’d be better to pick one up secondhand or on clearance.
