I like video games, old and new. But I had more time to play video games when I was younger, and so I like the games that I spent the most time with the best, because they are most familiar to me. So I mostly like old games.
I also like new games that evoke the feeling of playing the old games that I liked.
There’s a lot of talk about “retro gaming” in the gamer communities I follow, and a recurring topic of conversation is to ask what the definition of “retro” is.
Usually people have some guideline, like “anything older than 10 (or 20, or some other arbitrary cutoff age) years old is retro”. Or sometimes they’ll refer to retro as anything that ran on an 8-bit or 16-bit processor. Then there’s a bit of discussion about console generations, about the transition from EEPROM cartridges to optical media, CD-ROM to DVD-ROM, and then the more recent transition away from optical media to solid state and digital download. People attempt to draw circles around the different features in order to define some set of characteristics that define retro.
I believe that these discussions are misguided.
Retro isn’t a thing that something becomes when it gets sufficiently old.
Rather, retro is when someone, in the present, does something in an outdated or obsolete way, creating something in the style of something that is now old.
Atari was state of the art. NES was state of the art. SNES was state of the art. N64 was state of the art. Sony Playstation was state of the art. The Wii was state of the art. Even if it wasn’t using cutting edge technology — Nintendo has a history of using less expensive, less impressive hardware than Sony/Microsoft, but is nonetheless state of the art in its current generation.
A game programmed to run natively on the Switch, but that looks and feels like a NES game, like Shovel Knight, is retro. The original Super Mario Bros. will never be retro — it is old, not retro. Super Mario 35, Nintendo’s 35th anniversary celebration that re-imagines the original SMB, is retro. An indie game written in for PCs that evokes the look and feel of a game that could have been implemented on the hardware of a generation or two ago, is retro.
Retro is something new made to resemble or evoke something old.
Today, David Crane, Garry Kitchen, and Dan Kitchen announced their new company, Audacity Games, a venture aimed at the niche market of retro gaming. They plan to release new games on physical cartridge for still-popular vintage game systems such as the Atari 2600.
This seems crazy at first blush. The Atari 2600 ceased manufacturing in 1993. Yet millions of working consoles still exist, and there’s a strong community of enthusiastic fans. Every year, homebrew developers continue to release new games for the system, and it seems that if anything this has been growing in recent years rather than tailing off.
While no new hardware has been manufactured in decades, companies like AtGames and Hyperkin have also helped to keep interest in the old consoles alive by manufacturing compatible new hardware. And of course, there’s also emulation software.
Update: Audacity has announced their first two titles, Circus Convoy and Casey’s Gold. What I like about this announcement is that it came out within a day or two of the announcement of the new company. What I also like about this is that these games are coming soon — this isn’t a crowdfunding pitch for a game that might get released in 2-5 years; these are games that are ready to go and will be released in the very near future.
The announced price is on the steep side — at $60, they’re targeting a price point that competes with first party Nintendo releases. I’m skeptical that these games will sell well at that price. The homebrew market tends to price games at $30-40 for physical copies, with ROM downloads often available for use with emulators for free. So it’ll be interesting to see how these titles do on launch. Perhaps the star cachet of the Crane and Kitchen names, the quality of the games, and the novelty of the enterprise will carry the day.
I’m about halfway through Once Upon Atari: How I Made History By Killing an Industry by Howard Scott Warshaw, and loving it.
Howard Scott Warshaw, if you didn’t know, was a programmer for Atari in the early 80s. He worked in their console division, where he developed the games Yar’s Revenge, Raiders of the Lost Ark, and E.T.: The Extra-Terrestrial for the Atari 2600. These were groundbreaking games on the most popular home console of its day, and accomplished many “firsts”.
In 1983, the video game market suddenly collapsed, due to a combination of a multitude of factors, but at the time Warshaw’s E.T. was often given blame for causing what came to be known as the “Great Crash of ’83’. E.T. has often been referred to as “the worst video game of all time” but that is quite unfair to the game, which pushed the limits of the Atari 2600 hardware, and while not perfect, was by no means a bad game — although it was drastically over-produced by Atari, leading to a huge amount of unsold inventory, which hurt the company’s bottom line. Warshaw was given 5 weeks to develop the game, a feat thought by his managers to be impossible given that most Atari 2600 games took about 6 months to develop.
This is all well known and chronicled history for video game fans. Warshaw to his credit has been remarkably accessible and open about his story for some time, and has given numerous interviews over the years. He’s even been known to appear on the Atari Age facebook page and comment once in a while. He’s truly a legend of the industry, and a wonderful, brilliant human being. This book details his story, how he came to work for Atari, what went on there during his tenure (confirming a lot of the oft-retold stories about the workplace culture), and how he faced the indignity of being cast as the creator of the “worst game of all time”.
Warshaw left Atari and went on to become a licensed psychotherapist and has helped people like himself, who worked in the high tech field to deal with the immense pressures that they’re put under to be creative, be correct, and deliver products that will make billions of dollars for themselves or their shareholders.
I haven’t gotten to that part of the book yet, but from what I already know of his story, his approach to dealing with failure, or at least the perception that he had been responsible in large part for a massive and very public failure of what had just a year prior been the fastest growing company in the history of the world, is remarkable as it is instructive. He has embraced the label, but adds to it that his Yar’s Revenge is often cited as one of the best video games on the Atari, thus giving him the rightful claim to having the greatest range of any game developer. Turning a negative into a badge of pride, he has faced the critics, rebutted them with not just clever rhetoric, but also facts, figures, and sound reasoning, and provides us an example of how “failure” often isn’t failure, that perceptions matter, that what you tell yourself matters, and that above all it does not define us — we have the power, if we choose to use it, to define ourselves.
Warshaw’s writing style is accessible, not overly technical, candid, often quite humorous, warm and insightful. Reading his book makes me admire him even more than I did, and grateful for the handful of times that he’s Liked something that I’ve said on the Atari Age facebook page, and most of all, thankful for the many hours I spent as a young child engaging with, and enthralled by, his digital creations.
Usually we hate to forget things. But one of the best things about being able to forget is that you can have a cherished experienced again as though for the first time.
REDDER was a game by indie game developer Anna Anthropy and first released on the web in 2010. I played it for the first time not long after, and it remains to this day one of my favorite puzzle platform games. Few games have made me want to design my own games as much as REDDER, and that’s perhaps the highest compliment I can think of to give it.
I’ve re-played it multiple times since then, and always enjoy it so much.
This year is the first year that Adobe has ended support for Flash, the technology that REDDER was originally built on. I have written previously on the impending death of Flash, and what that means for tens of thousands of video games that were built with it during its 25+ year history.
I feared that this would result in a vast, rich cultural legacy becoming more and more inaccessible. I still fear that. Adobe didn’t just drop support for Flash, didn’t just cease continuing development of it. They pulled the plug. Browsers stopped supporting it, so now in order to run Flash objects in a browser, one needs to keep an outdated browser. This of course has its own problems, and very few people will continue do do it. Moreover, as the userbase moves into a post-flash browser-scape, web hosts will over time have less and less incentive to continue hosting legacy Flash experiences, and in time perhaps the only ones that will persist will be deliberate historical preservation efforts.
That’s a damn shame, because REDDER belongs in the Smithsonian, or the Library of Congress, or both.
Fortunately, Anna Anthropy has re-packaged Redder, in a desktop OS format that wraps a Flash player into stand-alone application, and allows it to be enjoyed on Windows and Mac OS X. It is available for $5 on itch.io, and is worth every penny.
What a beautiful thing it is that I can forget this game just enough to be able to come back to it and experience it again, re-discovering the solutions to the maze and helping my little space explorer friend in their quest to collect all the diamonds to replenish his stranded spaceship.
The platforming is basic. You move, you jump, that’s it. There’s no wall jumps, no edge hanging, no coyote time, it’s pure basic simple. There’s no shooting, no destroying enemies. Your only tools are your brain, to figure out how to get past obstacles and get to where you need to go, and your agility, to accomplish the task. There are save points, to make the deadly obstacles a lot less annoying. There are switches to flip, which toggle special colored platforms into and out of existence, which serve as doors and platforms that block your way or create bridges to access deeper reaches of the world or traverse deadly obstacles to add an element of risk to the challenges you’ll face. When one type is on, the other type is off. And together they serve as the building block of the platform puzzles you’ll need to solve to win the game.
As you progress through the game, the graphics and music begin to glitch. It’s subtle at first, a tile here and there, and it adds an element of mystery to the game. As you continue to collect diamonds, the glitching increases, until, near the end the entire game is out of control with random tile animations. When the final diamond is collected, the entire facade is stripped bare, and everything turns into raw collision boxes, color coded — a clean, pure visual language.
There are only three types of hazard in the game: patrolling robots, which traverse horizontally and are deadly to touch but never react to your presence in any other way; “drip guns”, which shoot deadly pellets that you must duck, jump, or otherwise avoid with good timing, and electrical fields which don’t move and must be avoided.
For all its simplicity, the game provides an engaging challenge to find your way through the complex, maze-like alien world, and collect all 27 diamonds.
One thing I love about REDDER is that there are no locks. You start out with all your powers, and apart from the switch platforms that are the only real puzzles blocking your progress, there’s nothing preventing you from doing anything, going anywhere that you can go in the game, from start to finish.
What I love about this is that this forces the design to challenge you in ways other than “oh if you get the item, you can get past this”. This comes down to understanding the map — the twisting, interconnected pathways connecting the grid of screens that comprise the world of REDDER, how platforms and switches relate to one another, flipping switches in the correct order to allow passage, and having a modest desgree of skill to master the timing and agility needed to make the jumps and avoid the dangers.
It’s a casual play — I would call the vibe relaxing. The music is soothing and evokes a spirit of exploration and puzzle solving. The game provides a fun challenge without relying on fear, anxiety, or frustration. Toward the end of the game, as the graphics and background music become increasingly glitch-ified, the game does start to produce a bit of anxiety. If you’re playing the game late at night, it can almost feel like your lack of sleep is to blame for the game’s breaking down. I really like this. To me it is the “something extra” that gives the game a memorable mystery, a question left unanswered, which both frees and empowers the player to come up with their own explanation, should they choose to.
Additionally there are three secret hidden rooms off-map. These serve no purpose other than to delight you for finding them, and perhaps provide a clue or an auteur’s signature.
It seems there have been a few changes from the original in this version. I don’t remember these secret rooms having these messages — a web search reveals that the original REDDER had secret rooms with the words “ANNA” “TRAP” and “PART”. TRAP and PART are of course pairs that make a palindrome, and ANNA is a palindrome, and REDDER is a palindrome. There’s something up with palindromes in this game.
But I don’t know what ROB? OWOR and BORR mean. It makes me wonder what else may have changed, and why the changes were made.
“Atari” has finally shipped a physical product to its Indiegogo backers.
I didn’t back the campaign, because I didn’t have faith in the company calling itself “Atari” these days to deliver value. One of the backers received theirs already and has published an unboxing/review on YouTube.
And there’s a lot of rough edges. The controllers work differently, depending on whether they’re connected via USB cable or by Bluetooth? Hitches in the e-commerce experience, getting double charged for a failed download? You have to pay for Atari Vault Vol 2, a collection of 30+ year old games? Browser accounts aren’t properly connected to the local user? Really? I wish I could say I am surprised.
The launch library is, as expected, sparse and uninspiring, offering nothing new beyond a warmed-over Missile Command remake. I haven’t seen the new Missile Command in detail — it looks OK, I guess — but having participated in numerous game jams, and knowing the original Missile Command, I know enough to say that a Missile Command reboot could be tackled with a game jam’s worth of effort — in other words, 2-3 people, 1 weekend, bam, playable new Missile Command game. Realistically, to be completely generous, a game like that could be developed in a month or so.
“Atari” have spent $3 million and 3 years creating a cool-looking case and joystick for a commodity PC that runs a Free OS and have developed a front-end for it that could be used to deliver new original games, first-party exclusives, if Atari had them. but all they currently offer is Google Chrome browser, Netflix, and a couple bundles of emulated games that have been available for 30+ years, and absolutely don’t need a new console to deliver them.
Another awesome Legend of Zelda romhack, this one by Garret Bright. This one is an overworld randomizer.
It takes the rom file for the original Legend of Zelda (not included), and replaces the original overworld map with a completely new map. The new maps are randomly generated by a seed function, and the seed value always generates the same map, so if you find one that you find especially interesting, you can easily share it with your friends, without copyright violations, by sharing the seed.
The randomized overworlds seem to be well designed, for a randomized generator, in that they feel like they are following similar design principles that are evident in the original game, meaning that the maps are playable, and feel like they are broken up into zones, much like the original. It doesn’t just take the existing overworld screens and re-arrange them, it creates new tile layouts for novel overworld screens that have never been seen before, and stitches them together to create a coherent overworld consisting of distinct zones.
But, curiously, some design rules that are present in the original game, are not followed in the randomizer. For instance, in the original, most dungeon entrances have a single enemy roaming around outside, but in the randomized maps, this does not seem to be the rule. Also, enemy placement seems to be less concerned about starting Link in a part of the world that is far away from the more powerful monsters. You can expect to start on a screen with the cave to the Wooden Sword, but you may find yourself surrounded by blue Leevers, Peahats, and Moblins sooner than you’d expect to run into them in the original. And the trick where leaving a single enemy on each overworld screen prevents the screen from re-spawning enemies again doesn’t seem to work any more.
I’ve always wanted to see more games made with the original LoZ engine, so this is probably one of the best things ever. Now I can play unique Legend of Zelda games for the rest of my natural lifespan. If only there was something that created new dungeon maps and new items as well. Perhaps we’ll get something like that one day. Until then, I’ll be burning every bush, and blowing up every rock, until I find every secret there is to find in a virtually limitless multiverse of alternative Hyrules.
Atari Age, the fan-operated homebrew operation that holds the most legitimate claim to the legacy of Atari-that-was, has opened up pre-orders for a new batch of games for the Atari 2600, 5200, 7800, and 400/800/XE systems, and even the Atari Jaguar.
I’m most excited about Zoo Keeper, a faithful port of the early 80’s arcade classic to the 2600 developed by Champ Games — who have been killing it with their talented Atari 2600 ports of classic arcade games like Galaga and the upcoming Robotron 2084 — and Ninjish Guy in Low-Res World, a homebrew platformer for the 2600 in the vein of Super Meat Boy. I’ve been looking forward to playing a 2600 homage to one of my top early 80’s arcade classics Zoo Keeper for quite some time.
Also-worth-a-look releases are Deepstone Catacomb, a zelda-like adventure game, which looks really well done for an Atari 2600 title. Venture Reloaded, another early dungeon crawler, finally does justice to the classic arcade game Venture, should appeal to fans of the original.
Fans of the maze genre should find Hugo Hunt and Robot City to their liking. Dare Devil shows off some impressive chiptune chops and parachuting action reminiscent of classic games like Frogger, Freeway, and of course Sky Diver. But it appears to be an update or direct sequel to 1983 release, Parachute. Cannon Head Clash is a really fun-looking 2p artillery duel with destructive terrain and frantic action. If you enjoyed games like Outlaw/Gunslinger, and Combat on the 2600, this is one to check out. It’s even available for SECAM60 television sets, which is amazingly rare for a homebrew. Avalanche should appeal to fans of Activision’s classic paddle game, Kaboom!Tower of Rubble features fantastic audio, and super-slick animation and platform-edge hanging action as you struggle to stay atop a crumbling tower of falling blocks.
All of these new games show that the Atari 2600, released now 43 years ago back in 1977, still has many extra lives nearly half a century later, and nearly three decades after the last Atari 2600 rolled off the assembly line. The dedication of the programmers who pull off these minor miracles to their craft is astounding. The fact is that every produced by the homebrew community these days are among the best ever released on their platform. While the prices might seem steep at $40-50 apiece, the games are produced by hand in small batches, and are every bit as professionally presented as the best games produced by top industry developers during the system’s heyday. If you’re a fan of the system and still have working hardware hooked up in your house, they are absolutely worth their price.
I haven’t even looked at the titles for the other systems yet, because my budget frankly can’t take it. Just about every game I have looked at looks like a game worth playing, with most of them being must-buys.
The original Legend of Zelda has received a HD remaster treatment by the romhack community.
The hack is playable through an emulator called Mesen. Mesen is free, and you’ll need a copy of a specific version of the original of the Legend of Zelda ROM as well as the HD remake files in order to play it.
Applying the HD remake files to the game is not difficult, but requires following a series of instructions that are demonstrated in the video below.
I gave it a try. The graphical updates give it a look on part with the SNES, and have a look reminiscent of Zelda III: A Link to the Past, although the sprites appear to be original artwork, not rips from the SNES ROM. Likewise, the audio sounds much like a SNES update of the original LOZ soundtrack.
The terrain sprites are fantastic, and make old Hyrule look spectacular. The repetitive tiled look of the original is completely made over, and now overworld features like bombable rocks and burnable bushes are a bit less of a pain than they were before — rather than having to try to burn every single bush on the screen, there’ll be one bush (or a small handful) of bushes that will stand out and look suspicious from the rest of the background terrain.)
I’m not as impressed by the character sprites. Moblins, Goriya, and Stalfos all look less charming than they did in the original. Creatures like Octorocks, Tektites, Leevers, and Kees look like they are done better, to me.
One thing I notice right away is that Link’s HD sprite looks visually smaller than the original, but his hitbox doesn’t seem to have changed. This makes him feel somewhat clumsy, and I kept colliding with enemies when it looked like I should have a bit of space between us. While I’m sure this can be gotten used to, to me it’s an unfortunate, huge, and immediate negative. Ultimately, enjoying a videogame comes down to gameplay, not graphics, and gameplay is impacted by an improper hitbox like this. I believe the developers of the HD Remaster could fix this pretty easily by making adjustments to Link’s sprite.
Another thing I noticed is that when climbing up/down stairs, there is no animation showing Link descending and disappearing into the dark hole, as there is in the original.
The HD Remaster enhances the game in a few other notable ways: increased bomb capacity, pressing Select toggles your B-inventory item so you no longer have to pause to the subscreen to select it, text draws faster, and the dialogs are somewhat altered from the original, offering better translations and more useful clues than were present in the original.
I’ve played through the first dungeon. I notice that in the dungeons, the map doesn’t seem to give you any visual indication to differentiate between rooms you have visited vs. rooms that you have not yet reached. This is another gameplay issue that I feel should be rectified by the maintainers of the mod.
Overall, this seems like a fantastic mod, very well done, but not without minor flaws. It is nevertheless enjoyable and should not be missed if you’re a fan of the original game. Nintendo legal often clamps down on fan projects like this, so if you want to play this yourself, it’s best to grab it while you can. Although, the maintainers do appear to have taken pains to separate the mod pack from anything that directly infringes on Nintendo copyright, such as the original ROM that is needed in order to make the mod pack work.
After about a year of not feeling like doing anything related to game development, last night I felt like making something.
So I stayed up all night and made a simple Snake clone that I call Tangle.
There’s nothing special about this project, it’s just a bare bones, no frills clone of the classic snake game, but I think for a few hours work it’s decently well done, and it plays well.
I think it took about 2-4 hours to build, and would have taken about a quarter that if it wasn’t for the fact that I haven’t done anything with GameMaker in a long time, and have never felt comfortable using GMS2’s revamped IDE. It’s minimalist, so don’t expect a whole lot, is what I’m trying to say. But enjoy it for what it is.