Category: reviews

GameMaker Studio 2 impressions: IDE/UI

The biggest change in GMS2 is the new IDE. Completely re-coded and largely re-designed, it has some things in common with the old IDE, but overall it has been re-organized and updated in many ways.

GMS2 IDE

Every form in the UI is dockable, and can be moved around into whatever layout works best for you. This is great. Even better, you can pop out any part of the IDE into its own window, which means that you can spread your IDE out over a few display screens if your computer is set up this way. GMS1.x didn’t play nearly so well on multiple displays.

The resource tree is probably the most familiar element of the new IDE. By default, YYG have positioned it at the right side of the screen, presumably to follow other development environments such as Microsoft Visual Studio. It’s a simple matter to drag it and dock it to the left side of the window if you prefer the GMS1.x way.

Workspaces

Probably the biggest change to the IDE is the introduction of Workspaces. These are tabbed regions where you can dock different forms, so you can organize your project in a way that makes sense to you. For example, if you have a set of objects that are related to each other, you may want to set up a workspace where those objects can be arranged together. You can have as many workspaces as you wish, and you can name them something meaningful. This helps greatly to reduce clutter, and should improve productivity as you can leave workspaces set up and switch between them at will, without having to re-arrange windows and forms all the time.

I love the idea, but after using them for a few weeks, I’m convinced they have some serious issues that need to be addressed.

Workspaces can get very spread out, and this implies scrolling a lot. There is a new shortcut, ctrl+T, which will help you navigate the project more quickly than scrolling:

Another navigational shortcut is to middle-click on a resource name in the code editor. Doing this will take you to the resource’s editor window.

A major problem with Workspaces is that the Workspace region only fills a small section of the GMS2 window. Dockable regions at left, right, and bottom make the Workspaces area relatively small compared to the size of a maximized window.

Inside the Workspace area, you have (potentially) multiple Editors open. Certain Editors use Chain View (see below) which spreads out the sub-editors visually, in a way that takes up quite a bit of space, and will all but certainly require you to scroll, both vertically and horizontally, in order to see the whole thing. Vertical scrolling can be done by mouse wheel, but horizontal scrolling is done by CTRL+Clicking in an empty region of the workspace and dragging, which is slow and awkward.

Another problem is the Dockable areas in the GMS2 window. These do not update contextually according to which Workspace you’re in, or what Editor you’re in. If you open the Room Editor in one workspace, the Room Properties will appear in the Dockable area at the left side of the GMS2 window. Switching to another workspace and opening up a Sprite, the Room Properties are still there in the left Dock, where they are useless for the current context, and serve only to distract and confuse, and take up valuable screen real estate that could have been used to present the Sprite Editor UI and/or provide a larger portion of the screen to display the sprite canvas. Fixing this should be a simple matter of showing/hiding the appropriate panels in the Docks for the current context you’re working in. Whichever editor has focus, its Dockable panels should be the only UI visible (apart from the Menu bar and Resource tree).

Maximizing an Editor should make it fill out the entire visible area of the Workspace. And whenever an editor has focus, its entire form should fit on one screen/workspace area without the need to scroll the workspace. I’m fine with a scroll bar within an Editor, for example if I’m in a really long code file in the Code Editor, or if I’m zoomed way in on an Image in the Image Editor. But I don’t want to have to scroll about the Workspace just so I can see from one end of an Editor to the other. I really don’t want to scroll around looking for different editors that are floating about in the Workspace. I would much prefer a tabbed interface where I can easily switch between tabs. Workspaces could be better implemented as groups of related tabs.

The worst part is when you go to open a code editor. The code editor is used in three situations: 1) when working on a Script resource; 2) when coding Events in the Object Editor, and 3) when editing Room Creation code in the Room editor. In the Object and Room Editor use cases, the Code Editor is chained to its parent editor. The code editor is almost never entirely visible in the visible area of the Workspace pane, meaning that very often the right and bottom of the Code Editor will be out of frame, and necessitate scrolling to see. So you’ll often be unable to see the ends of your longer lines of code, and the helpful code tips that appear at the status bar area in the bottom of the Code Editor will also be out of view. This is awful, and needs to be addressed. Code Editing is a primary activity in GMS2, and when doing it, the Code Editor deserves a maximized view, with minimal distractions surrounding it.

I believe the issues with Workspaces are fixable, but as they are now, they’re a bit of a disaster. I find that they make it easier to get lost, and I spend a lot of time flipping between them and scrolling, hoping to find what I’m looking for. They navigational shortcuts may be helpful, but they don’t come second nature to me, and so far I find that they’re so unfamiliar that I have to shift my mental focus form the programming task I’m working on to “how do I navigate to the bloody resource I need to look at?” which takes me out of “The Zone.” They make a 2048×1152 screen seem small and cramped.

Chain view

Another major new feature is called “chain view”. This is a new view for forms that have several sub-forms. For example, the Object editor has a main form that allows you to set the Object’s properties, and then if you add Events to an Object, these are managed in a sub-form that is chained to the main form. From there, Actions are in a sub-form that chains off of the Events sub-form, with a separate tab for each Event’s actions. This keeps related forms together, making it easier to see relationships between different open windows, and reduces clutter. They do spread out more, since the sub-forms do not overlap each other, and this takes some getting used to.

Menu and Tool bar

One thing that can be a little weird, and takes some getting used to, is the Menu bar. Depending on what form you have focus on, the Menus that appear in the main window’s menu bar will change.

For example, if you’re in the Image Editor, the main window will receive some Image Editor menus, to the right of the Help menu, and not in the Image Editor form.

Open the Image Editor, and some additional menus will appear in the menu bar.

Open the Image Editor, and some additional menus will appear in the menu bar.

This felt weird to me, at first, when the Image Editor is sharing the main window with whatever other forms you have open — I expected all controls specific to the Image Editor to be contained within the Image Editor’s form. However, if you break the Image Editor out of the main window and into its own window, it feels right.

Quick import your Asset files

Importing sound and image files into GMS2 is easier than ever. Just drag a file icon, or even a folder, into the resource tree, and the file will automatically be imported into the project, and a resource created for it.

Nice!

There is a lot more to cover in the IDE, but rather than make this article too long, I will be covering them separately in future articles focusing on the various Editors: Sprite, Image, Object, Room, etc.

Keyboard shortcuts

I won’t list them all (look in the manual, under Quick Start) but these are some of the most important/useful shortcuts, which everyone should know and use.

  • F5 – build and run the project.
  • Ctrl+T – Opens the Goto window to search the workspaces.
  • F2 – In the resource tree, rename the selected resource.
  • Ctrl+K – In the code editor, comments out the selected text. (Ctrl+Shift+K to un-comment.)
  • F2 – In the code editor, opens the code snippets menu.

GameMaker Studio 2 impressions: Pricing

[Rather than posting a long article that takes days to organize, I’m opting to do short-form posts that focus on a narrow aspect of the new GameMaker. This means more frequent, smaller posts, which will hopefully be more timely and more digestable for readers. For more articles in this series, just follow the GameMaker Studio 2 tag.]

This is all very early to talk about, and I recognize this, but a lot of people are talking about how much GameMaker Studio 2 will cost.

YoYoGames have put out their “prospective” pricing out on their website:

Currently, it looks like this:

GMS2 pricing GMS2 upgrade pricing

Analysis

First, I am very happy that YYG did not try to go with a subscription-based model with their pricing. This shows that they have listened to their users, nearly all of whom despise the idea of paying a subscription on an ongoing basis for software. For hobbyists and occasional users, it’s not a good deal to pay for a subscription if they’re not going to use it all the time and really get the value out of it.

I find that the costs are basically in line with what I was expecting. Sure, Master Collection is a few more dollars than it was when they released it 6 years ago, but guess what, that was 6 years ago. Stuff gets more expensive as time goes on. That’s how it’s always been

The upgrade discounts are reasonable. 40%-50% off is not bad for an upgrade.

I do question why certain modules are so much more expensive than others. I would rather see the Android/iOS bundle and HTML5 bundle cost the same as the Desktop bundle. The UWP an Console bundles, I can understand somewhat more, as those build targets are of prime interest to commercial game developers who, it’s understood, make money from the games they produce, and it makes sense that they should be willing to pay more for those tools, and if by paying more for them, it helps subsidize the other users, then great.

I’m sad to see no free edition, apart from the Trial edition. Depending on the limits of Trial edition, it could still be viable for hobbyist developers, but it sounds like it’s more intended as an evaluation edition to allow people to decide whether they want to pay for a real edition that can actually build games.

Community Chatter

So, predictably, most people who are talking about it are complaining that the cost is too much. That’s a subjective judgement, and of course everyone wants to pay as little as possible, and get everything for free if that were possible somehow.

Some people think that all software should be free (as in beer). Mostly, these people just don’t have enough money to afford to pay for software. They spend as much money as they have on just getting a new computer, and then they can’t believe that the cost of the software they need to run can more than double the price of the system. I sympathize, because when I was younger I was definitely one of those people, and if it wasn’t for deep discounts on student licenses, bundles that came with new hardware, and so on, I couldn’t have afforded to buy much software.

Fortunately there has always been a lot of good quality, low-cost or free software available, as well. Different products are aimed at different markets. Companies that sell to big businesses charge a lot of money for their software, in part because they can, but also because they need to, because in order to develop they need big budgets and a lot of employees. But some software is the product of a single developer, who doesn’t have all the overhead that a large company has, and they can afford to sell for a cheaper price, or even give away if they feel like it. Additionally, there are developers who feel that they get paid to program, not to sell copies of software, and they can get funded to do a project that someone who has money needs, but then turn around and give away the software as a public good, and as long as the cost of development is met by a few, everyone benefits from it.

GameMaker’s history started out with a single developer, who sold the software very cheaply at first, and always had a free edition, and a paid edition that cost $20-25. Later, as GameMaker grew, it became too much for one person to maintain, and he sold it to YoYoGames, who are a larger company, and who therefore have more overhead and need to charge more in order to cover their costs, pay salaries, continue R&D and support, and turn a profit.

YoYoGames initially raised prices, from $25 to $40, around the time of GM8, and users howled that it was too much. And we can see in retrospect what a bargain it was, and how childish people who complained back then were. GM:S has been considerably more expensive, anywhere from $70-200, although they have continued to provide a free edition. YoYoGames can’t continue to exist if they just give away software for nothing.

And YYG charge more for extra GM:S features, up to $800 for their “Master Collection” bundle which includes everything, including stuff they haven’t come up with yet, later for no additional cost. $800 is very expensive for most people, and unless you’re making money with the software, or are wealthy enough not to care, it’s probably not for you. It’s aimed at companies that can look at the purchase of software as a capital investment that is part of the cost of doing business. And if by charging more to these customers, it enables YoYo to keep costs lower for individuals, students, and hobbyists who otherwise couldn’t afford to buy what YoYo would have to sell it for, I think it benefits everyone.

Maybe low-budget amateurs will gripe about not being able to get all the features, but they do get something.

You also have to compare GameMaker against what else is out there. And there’s a lot else out there. There’s stuff that’s completely free, like vi + gcc, which is very high quality and extremely powerful, but that isn’t necessarily the best option for everyone, because it requires a huge amount of learning and knowledge and work to create games with. In more direct competition are tools that are geared specifically toward game development, such as Unity3D (which is more expensive, and uses a subscription model now) and Construct, and free tools such as Godot, Love, and Defold, which may not be as well supported, well documented, or easy to use. And many others besides these. The bottom line is, if you don’t like GameMaker because of what it costs, you have plenty of options to choose from, many of which are very good.

So for people who are complaining that it’s too much, I don’t have much sympathy for you. It’s very likely that at various points YYG will have sale events, as they’ve had in the past. If you don’t want to pay the release day price, you can probably wait a year or two and hit a Steam sale or a Humble Store sale and get it at a pretty good discount then. By that time, it will be even better, with more polish and more features. In the meantime, if you have GM:S1.x you can continue use it, it will continue to receive support and bugfixes, and 2.x will be ready for you when you decide you can afford it.

GameMaker Studio 2 impressions: New Project

[Rather than posting a long article that takes days to organize, I’m opting to do short-form posts that focus on a narrow aspect of the new GameMaker. This means more frequent, smaller posts, which will hopefully be more timely and more digestable for readers. For more articles in this series, just follow the GameMaker Studio 2 tag.]

If I click on New Project, I have to choose between creating a Drag & Drop project or a GameMaker Language project.

GMS2: Create new project

Weird; I can’t use both in the same project anymore? [I haven’t actually created a new project yet; I don’t know. But that seems to be the implication here.]

Really, I expect that most GMS users use GML, but I’m glad that they’re keeping DnD, because for beginners and non-programmers it is much easier to learn. And it looks like they’ve really improved the Drag-n-Drop system by leaps and bounds over what it’s been up until now. (I’ll cover this in a separate post in more detail…)

But I think it’s odd that I have to pick between one or another coding system when I create my project.

Really, what I had hoped for was that there would be a “Convert DnD to GML” button that users could use, and this could facilitate learning how to code in GML by starting out in DnD, then converting to GML and seeing what it generates for you. I don’t know whether this is a feature that YYG have planned or not, if it is I haven’t discovered yet. Or, even better than a one-way conversion, YYG could have made DnD and GML completely equivalent, such that there was full coverage of the entire GML language with DnD actions, and allowed the developer to switch between views, viewing the code as visual drag and drop actions, or as GML code, and develop however they’re more comfortable at the moment.

I think this “one or the other but not both” approach could potentially cause problems, and will result in pushing users to using GML-only. When a new programmer begins to learn GML, at first they typically start out by going through a project they’ve created using DnD, and replacing the DnD actions an instruction at a time with equivalent GML. If you can’t do that in GMS2, it will make transitioning that much harder, because you would have to start a new project, and code exclusively in GML, before you’re totally ready. Rather than make a gradual transition to becoming a GML coder, the neophyte GMS2 developer will need to develop sufficient confidence in their understanding of GML to start a new project from scratch and use it exclusively.

This pretty much destroys GMS’s gentle learning curve that makes it great for first-time programmers. Update: GML-DnD conversion is exactly how it works! Right-click in the object-editor and there’s an option to convert from DnD to GML, and vice versa.

DnD to GML

GMS2 allows you to convert DnD directly to GML, and GML can be converted to DnD (it just shoves the GML code into an Execute Code DnD action, so it’s only semi-reversible).

Oddly, the DnD2GML conversion warns you that this is a one-way change, but that is apparently not the case (although converting GML to DnD simply puts the GML code into an Execute Code DnD action).

I suspect that many users look down at DnD disparagingly, but really there’s nothing wrong with using it. It’s quick, and if it’s all you need, it’s all you need. For what would be a simple, one-liner GML script, I often opt to use DnD when I’m in a hurry, because it’s expedient.

GameMaker Studio 2 impressions: Start Page

[Rather than posting a long article that takes days to organize, I’m opting to do short-form posts that focus on a narrow aspect of the new GameMaker. This means more frequent, smaller posts, which will hopefully be more timely and more digestable for readers. For more articles in this series, just follow the GameMaker Studio 2 tag.]

Here’s what the new Start Page looks like:

GameMaker Studio 2 Start Page

Observations

  1. My display resolution is 2048×1152, and yet the Start Page still doesn’t fit all on the screen without scrolling. Wow.
  2. The top third of the Start Page is taken up by a rotating slide show of images. Personally, I find this annoying. Granted, the Start Page is not a screen I’ll be spending a lot of time looking at, but I just don’t care for the rotating images. I find them distracting. I want a dev tool, not a marketing delivery system. It’s one thing to have the “did you know” tips that provide useful information, and I of course love the news and release notes, but a image that updates every few seconds when I just want to set up a new project is a bit much for me. The images don’t do anything for me, and they take up a lot of space that could be used for something more useful.
  3. Hovering over the rotating slideshow, I noticed the cursor changed to the pointing finger which indicates I’m hovering over a hyperlink. Intrigued, I clicked, wondering what would happen. This is what happened:
    GMS2 Start Page 2Where did Getting Started and Explore go to? How do I get them back? Why did clicking the image at the top of the screen make that happen? It took me a few minutes, but I figured out that if I click the GameMaker Studio logo at the top left of the Start Page, in the transparent ribbon overlaying the rotating slideshow, it puts the Getting Started and Explore sections back.This is really weird navigation. They should just have left and right arrows at either side of the sections, or tabs.

    Start Page UI suggestion

    UI suggestion: Rather than switching between [Getting Started|Explore] and [Tutorials] by clicking on the slideshow or the GMS2 logo, which have no apparent connection to these sections, just use a straightforward left/right arrow navigation system to switch between them.


    Clicking links on the top, which aren’t even obviously links, which have no apparent relationship to the bottom half of the screen, just isn’t good UI design.
  4. I notice Start Page is a tab within the GMS2 window, but I can’t close the tab. What other tabs will appear here when I start using the software?

The RetroUSB AVS reviewed

My AVS arrived from RetroUSB last Friday, 9/16/16. Following up on my earlier article announcing it and some other competitors, here’s a review.

The AVS from RetroUSB.

The AVS from RetroUSB.

 

Selecting the AVS

I pre-ordered my AVS about a half hour after hearing its announcement, about after carefully reading the details and specs. While waiting on my pre-order to be shipped, I saw many skeptics on RetroUSB’s facebook page, complaining about this or that, mainly the price, or questioning the need of yet another console that plays NES games.

Many people think it’s best to play on original Nintendo hardware, on an old NTSC CRT TV, and have taken to repairing and modding their consoles for improved reliability and improved video, split-mono sound, etc. and a cottage industry has grown up around supporting these enthusiasts in keeping their original hardware running.

Still others think that having access to the entire NES catalog for free via emulation and ripped ROMs is the way to go, and that emulation is good enough that there’s no reason to spend money on games anymore.

To be fair, there have been a lot of other products over the years that have over-promised and under-delivered: Messiah’s Generation NEX, the various Retron consoles, etc. It’s fair for the market to be leery of yet another console promising the moon.

I’m not here to tell anyone how to play, or why they have to buy something new. People can make up their own minds. But I will explain why I was excited to buy an AVS, and share my experiences with it.

The most important feature that the AVS delivers, is HDMI without upscale lag. I have played my NES and Generation NEX on a HDTV, and it’s just not good. I only kindof understand why, and it’s complicated to explain, having to do with the differences between CRT and LCD screen technology, differences between the old NTSC standard and modern HDTV standards, and the fact that the NES doesn’t output a true NTSC 480i signal. This leads to visible artifacts as well as processing lag when an HDTV attempts to handle the raw signal coming through an NES.

Rather than try to explain it all, the TL;DR version is that I wanted a simple way too play NES games on a modern TV without having to educate myself to the point where I could be a video engineer.

Now that the AVS is here, it seems that they really have delivered a high-quality modernized NES that gives gamers everything they would want in a tricked-out NES: HDMI output; built-in 4-score; no problems with the 10NES lockout chip or worn out ZIF socket; and a 100% hardware, no-emulation implementation to provide full and faithful compatibility with the entire NES and Famicom libraries (with the exception of light gun games, where the compatibility is due to the TV display technology, not the console). If you happen to have a CRT HDTV that can handle 720p, however, you may be in luck (I have not tested this).

The top competition to the AVS currently are the Retron 5 by Hyperkin (not recommended, so no link), the HiDef-NES mod from Game-Tech.us, and Nintendo’s upcoming NES Classic. I covered these in a previous article, but to briefly recap:

  • The NES Classic held no interest for me at all since it does not support playing my vast, existing collection of cartridges, but it may be of interest to more casual gamers who never had (or no longer have) the original games, and want to relive 30 of the most popular NES titles, with the addition of save states. It is official Nintendo hardware, and is the cheapest option at $60.
  • The Retron 5 does HD output, but has some significant limitations, being an emulator-based solution it cannot properly handle some games, and has some ethical issues with stolen software and comes with a really, really bad controller, but on the other hand it can emulate multiple consoles. Currently it is no cheaper than the AVS, and given the choice I’d overwhelmingly prefer perfect accuracy in playing my NES library to imperfect support of multiple consoles and unethical abuse of software license.
  • The HiDef-NES mod requires you supply your own NES console, or else buy a pre-assembled one from Game-Tech if one is available for $500. On the other hand, it’s a true-hardware solution and does 1080p while the AVS does 720p, and the firmware on the mod gives you some great options including color palette choices. I’m planning on getting my top-loader modded soon, because I’m a geek like that. Also, Game-Tech have a great YouTube channel and do fantastic work repairing and modding old consoles, and deserve support.
  • Analogue NT is another modern, upgraded, high end system, and they are rebuilt from original NES components, but very expensive and not currently in production. Analogue are taking pre-orders for a new NT Mini system, at $449. Original NT’s are available on eBay for hundreds of dollars more.

Ordering

Normally, I’m leery about buying new electronics products, until I’ve heard whether they’re good or not, and to wait for 1.0 bugs to be patched.

However, with the AVS I pre-ordered as soon as I found out about it. I didn’t want to take the chance that the initial product run would sell out. I have ordered other products from RetroUSB in the past: controller adapters, mainly, and knowing the quality of these products made the decision easier.

I first heard about the AVS in early August, so my wait time was only a month. Compared with many other product pre-orders (mostly crowd funded) this was a reasonable wait. RetroUSB promised delivery by mid-September, and importantly they successfully delivered right on time.

Way to go, RetroUSB! This, and their years of presence in the retro game market, inspires a lot of confidence.

Out of the Box

The AVS comes with the AVS console, power adapter, USB cable, and HDMI cable, and owner’s manual.

Features

  • Price: $185 ($200 shipped)
  • Video: 720p wide screen HDMI output, 60Hz (NTSC) and 50Hz (PAL)
  • Audio: 48kHz HDMI output with expansion audio from carts
  • Display: Variable pixel scaling including integer options(1:1, 4:3, 5:3) with optional variable darkness scanlines
  • Carts: Front loading NES, top loading Famicom
  • Ports: Built in NES Four Score Pro, Famicom Expansion Port
  • Ports: HDMI Type A for video and audio, USB Mini B for power and data
  • Cheats: 5 cheat code slots with built in code database supporting Game Genie, Pro Action Replay, Pro Action Rocky, and raw formats
  • Online: NA Scoreboard online score system through USB
  • Updates: Upgrade FPGA configuration and menu system through USB

The AVS didn’t come with a controller, and before you start complaining — it doesn’t need to. If you don’t have your original NES controllers handy, they’re easy to find and cheap.

Mine arrived on 9/16/16, right on time for the mid-September shipping date promised by RetroUSB.

Build Quality

I didn’t crack the case for a look inside, so this is just a review of the construction of the system from an external perspective. The outer shell feels like it’s constructed from good plastic, not cheap flimsy junk plastic. The Power and Reset buttons look and feel just like real buttons from a toaster NES. The colors of the plastic are accurate to the original toaster NES. The cartridge slots grip games snugly, the controller ports plug in firmly. Everything looks and feels well made.

One thing I noticed, the AVS that I received does not have any UPC symbol or SKU number printed on the box, and the AVS itself does not have a serial number. Based on this, it appears that RetroUSB intend to be the sole distributor and seller of the system. This may be a necessity due to the power that Nintendo still has with retailers, or it may simply be that RetroUSB want to maximize profits and eliminate middleman markup.

In Use

The AVS comes with a USB cable and power plug adapter to allow you to plug it into the wall, but if your TV happens to have a USB slot on it, you can use that to power the console.

The USB port is also used for data transfer. Firmware updates are applied over USB with a PC as the host for delivering the update. I haven’t had to do a firmware update yet, but it’s nice that the device has this capability. As of this writing, the current firmware version is 1.10.

You can also use a PC with RetroUSB’s software to copy saved high scores off of the AVS, and upload them to Nintendo Age (and perhaps other participating websites).

Finally, the AVS has a Famicom expansion port on the back, meaning that you should be able to plug in Famicom devices that use this port. I don’t own any, and so am unable to test this out, but it’s very cool to have this option, and I may end up picking up some Famicom accessories in the future now that I have an easy way to play with them.

When you power up the AVS, you don’t see the game right away, but the AVS menu, which shows all the options: Start Cart, Scoreboard, Video Options, Controller Settings, and Game Genie Codes.

Start Cart will play the game currently loaded in the cartridge slot. The NES cartridge slot is very tight, and it’s difficult to pull the game out, mostly due to there being not much room to grab the cartridge with your fingers. I feel that RetroUSB could have done a little bit better here. My preference would have been for both the Famicom and NES slots to be vertical, like the top-loader NES, and lose the cover door. I suspect that RetroUSB chose to design the cartridge slots this way in order to make it impossible to have both slots loaded at the same time, but whatever the reason, I would have liked for it to be easier to remove NES carts.

Scoreboard allows you to store your high scores, which can be downloaded from the AVS over the USB port using a PC, and upload them to Nintendo Age if you want to see how your scores compare with the rest of the world. I have yet to try this, as most games that I play on the NES don’t even have a score, but it’s an intriguing feature.

The video and control options provide you with various adjustments to fine tune how your games look, and how the controllers work. The options are all fairly straightforward. You can adjust the height and width of the pixels, draw simulated scan lines for a more classic CRT look, and enable/disable extra sprites, which helps with flickering graphics that are a result of the limitations of the original hardware. The controller menu allows you to set turbo rates for the buttons, and some other miscellaneous settings.

The Game Genie codes are built-in, so you don’t have to enter them manually; just select them from the menu, and play. This is a great timesaving feature, and recordskeeping feature.

Light gun games do not work with HDTVs due to timing issues with LCD and Plasma based HDTV screens. This is not a shortcoming of the AVS. If you want to play light gun games, go with an old NTSC TV and original hardware. It might be that light gun games could work on the AVS if it is connected to a CRT-based HDTV, but CRT HDTVs are rare, haven’t been manufactured in years. If you happen to have access to a CRT HDTV, give it a try. Fortunately there were never that many light gun titles for the NES.

It may well take months or years for me to exhaustively test the AVS with my full library of NES and Famicom games, but so far everything I’ve tried with it plays. I’ve tried both the NES and Famicom slot, and both work with every game I’ve played in it so far, and, not that I claim to have a perfect memory, but I don’t notice any problems. As I continue to play games on it, if I notice anything I’ll come back and update this article.

Negatives

Accessing the AVS’s configuration menu is only possible before starting a game; you can’t change settings in the middle of play. Interrupting and going back to the menu kills the game session. This is unfortunate, but I suspect that it is a concession to making the FPGA implementation of the NES hardware as accurate as possible, and there wasn’t a way to introduce a pause-exit to AVS config-resume feature without making some concessions. If not, then who knows, there could be hope for delivering this as a feature in a future firmware update.

Quibbles

It’s hard to see this from the photos on the RetroUSB site, but the AVS is shaped like a trapezoid. There’s nothing wrong with this, really, but it was surprising to me. From the camera angles they shot it from for their site, it tricks the eye into thinking that it’s a rectangle.

RetroUSB AVS

From this angle, it is less obvious that the AVS is shaped like a trapezoid.

For aesthetic reasons, I’d prefer if it were a rectangle. It would be keeping more in the tradition of the aesthetics of the original NES. But from a functional standpoint, it really doesn’t matter.

The flip-up door cover that covers the cartridge slots is quite large. Compared with the flip-up door on the toaster NES, it’s much longer. This means that there is potential for much more leverage to be exerted against the hinge, which could make this part prone to breaking. When open, inadvertent force applied to the door could cause the hinge to snap off. Although the plastic feels sturdy enough, I will be treating the door with a bit of care.

Despite being awkwardly large, the door still will not close with a famicom game inserted into the cartridge slot. This is simply a matter of poor design. I can’t understand why RetroUSB didn’t take the time to design a console that either had two vertical slots for NES and Famicom games and no door, or a door that would work with a famicom cartridge inserted.

There is no serial number on the console anywhere that I can find. There is what appears to be a model number, but no serial number. This is pretty unusual, as just about every manufactured thing these days does have a serial number. It seems a bit un-professional not to have a serial numbering system. This could make it harder to do repairs and maintenance if RetroUSB goes through hardware revisions.

Recommendation

Highly recommended.

Shut up and take my money!

The RetroUSB AVS is everything I want in a modernized NES setup, without all the DIY complexity. For the cost of all the mod kits, time spent figuring out how to solder everything together and hope it still works, at $185 + shipping, it’s money well spent.

For people complaining that it costs this much, consider that it’s a small production run, not a mass consumer item made by a manufacturing giant. RetroUSB are hobbyists turned pro and are doing a great service to all gamers by helping to keep the NES alive and relevant.

$185 in 2016 dollars is only about $83 in 1985 dollars. If you think $185 is too much because $185 is a lot of money to you, then complain about how poor you are, not how the AVS doesn’t deliver $185 worth of value. It does.

(And, for that matter, adjusted for inflation, the $449-in-2016 Analogue NT mini is about what a $200 NES cost in 1985 dollars.)

Other reviews

  1. My Life In Gaming
  2. John Hancock
  3. RetroRGB
  4. Kevtris disassembly pt 2 pt 3

Review: Pitfall! & Pitfall II: Lost Caverns

One of the most popular and successful games on the Atari 2600 was Activision’s Pitfall!, designed and programmed by David Crane. A proto-platformer, it featured running and jumping adventure in a jungle setting. Coinciding with the iconic blockbuster movie Raiders of the Lost Ark, released one year previously, it was arguably better at capturing the fun and spirit of an Indiana Jones adventure than the official Raiders videogame released by Atari.

As Pitfall Harry, you explore a jungle and found treasures such as gold, silver and diamonds, while avoiding obstacles and deadly animals drawing inspiration from Tarzan and Indiana Jones, such as snakes, scorpions, and crocodiles. Due to its brilliant technical execution which pushed the limits of the 2600 hardware, Pitfall! was one of the top titles of its era, and is still remembered fondly by retro gamers today.

Pitfall! gave us running and jumping, and swinging on vines, but didn’t really have platforms per se. There’s just two elevations to run along: a flat ground level, sometimes with holes to jump over, or vines to swing on, and an underground level, sometimes with ladders and holes connecting the two. The jump mechanic was a bit primitive, and limiting, compared to later platformers — Harry can only jump up or forward, and once you press the jump button, he always jumps the exact same height and distance, and he cannot change course in midair. While this limits the type of platforming action the game can offer, it was nevertheless enough to create an enjoyable, challenging game. A bit monotonous, perhaps, compared with later Super Mario platformers that would follow a few years later, but if we look to Mario in 1981, his jumping physics were also limited in much the same way.

The way the underground level relates to the above world is strange and mysterious. Pitfall! doesn’t scroll, so when Harry runs past the edge of a screen, the game advances one screen and we find him in a new “room”. But when he crosses the edge of the screen while underground, he advances several screens. Thus, the underground is a potential shortcut, allowing Harry to skip over screens and bypass the challenges there, hopefully to pop up closer to the next treasure. This isn’t really explained to the player, who has to discover it and puzzle through it on their own.

As well, Harry can run both left and right, and it’s not entirely clear which direction he should run — due to the direction of rolling log obstacles, it seems to be the intent that you should run to the right, jumping the logs as they approach you. But it’s a bit easier to run left, going with the flow of the logs — and there are treasures to be found either way. These ambiguous choices of this helped give Pitfall! a depth and replayability it would not otherwise have had.

The sequel, Pitfall II: Lost Caverns, released in 1984, was equally well-received, and in a number of ways was an even greater technical feat. In this installment, we to get see Pitfall Harry swim, and catch a ride on a balloon, and a larger variety of dangerous animals that Harry must evade. There’s even dynamic background music that plays throughout the game, changing situationally — pick up a treasure and the music becomes happier and more adventuresome; get injured and the music turns sad. Go for a balloon ride and hear a bit of circus trapeze music. By 1984, games were starting to come with soundtracks, but this sort of dynamic music was still years ahead of its time.

The game also features an innovative waypoint system that replaces “lives” — you can fail as much as you need to, but the game won’t end; instead you’ll be returned to the last checkpoint you touched, and resume from there. In virtually all games up to this point, games granted the player a number of lives, typically three, and allowed extra lives to be earned somehow. Pitfall II was one of the earliest, if not the first, to do away with this, and allow the player to explore and take risks without the threat of a “Game Over” ending the fun. Decades later, this checkpoints without lives system has became a preferred method for making difficult platformer games that aren’t excessively punishing or unnecessarily frustrating.

There were a number of other games released in the Pitfall series on other consoles, but after the disastrous 1986 NES port, Super Pitfall, I had lost interest in the franchise and moved on to other things, so I never played any of the other games.

Of the two VCS titles, most fans seem to prefer the second. But while I do find it to be the more technically impressive of the two, I find that I prefer the original. I feel that Pitfall II suffers a bit from repetitive sequences where you have to pass the same enemies an excessive number times. Toward the end of the game, you have to climb upward while evading level after level of condors, bats, and scorpions — and each enemy requires near-perfect precision. Make a single mistake and you go all the way back down to the last checkpoint. There’s something like 20 creatures in a row that you have to run under, and it’s frustrating and tedious. There’s no other way to get past them — no ducking, no shooting, just time your run perfectly and get under them, or jump over them, and if you screw up even once, it’s back to the last checkpoint to start over. This has always struck me as poor design, rather than a fun challenge, so I’ve always felt like the original had the superior design, even if the sequel may have had a lot of cool, innovative features.

Still, both games are among the best made for the VCS, and are historically significant innovators that established and advanced the platformer genre

Top plays from Ludum Dare 36

In no particular order, here are the best-made games that I’ve played from Ludum Dare 36 so far…

Anachroma by Zillix

Anachroma by Zillix

Anachroma is a delightful puzzle platformer where the puzzles are defined by the topology of the level and the rewards are color-based, and unlock more new puzzles. I really got into this one.

Cognizance by Managore

Cognizance by Managore

Daniel Linnsen’s done it again, with a fantastic platformer mechanic involving a rotating gear wheel that can climb walls and interact with its environment to power treadmills and other cog wheels in order to move platforms and solve puzzles.

Canoe and Spear by BluShine

Canoe and Spear by BluShine

This is a fantastic single-screen death match, basically a tiny Towerfall: Ascention with a unique canoe paddling mechanic. Toggle left/right arrows to paddle/steer, and fire a spear with the Z or X button. Up to 4 players can play head to head, or you can play vs. AI. Built in PICO-8.

Invent the Wheel by Delicious Code

Invent the Wheel by Delicious Code

This simple game is surprisingly fun and addictive. All you have to do is draw a circle, and the resulting shape will roll down a hill. The faster it rolls down the course, the better your time. The more round the shape is that you draw, the better it will roll. It also seems to help to draw as large as you can.

Supercontinent LTD

Supercontinent LTD

A point and click mystery that you solve with a little hacking and social engineering via telephone. Great atmosphere and mood created by the graphics and sound, and the dialog system is fantastic as well.

The Leak by cabbage_

The Leak by cabbage_

A little adventure/RPG that you can play on a real Game Boy(!!)

Old Man’s Sky by Geared Games

Old Man's Sky

A parody of No Man’s Sky, or a de-make in the style of the Atari 2600, Old Man’s Sky pretty well skewers No Man’s Sky for being a pointless game about infinite sameness, as you go from world to pointless world, exploring and finding only differently colored versions of the same old stuff, over and over again. Never do you encounter anything truly interesting, nor does anything really happen. Still, it’s oddly beautiful, in its own way.

Kites by VitasaMode

Kites

A beautiful homage to Missile Command, set in ancient China. Fire rockets to stop a never ending flock of kites. The kites don’t seem to do any harm, other than if you let the blue ones fly over your city, you lose points. And if you accidentally hit a red one, you also lose points. The art direction is very nicely done.

Review: No Mario’s Sky/DMCA’s Sky

In my last post, I talked about the recent copyright and trademark infringement takedown actions initiated by Nintendo against No Mario’s Sky and various other games hosted on GameJolt.

Here’s a review of No Mario’s Sky/DMCA’s Sky.

No Mario’s Sky was made in a weekend for Ludum Dare 36. It is a mashup of Hello Games’ No Man’s Sky and Nintendo’s Super Mario Bros. The theme for Ludum Dare 36 was Ancient Technologies. It’s unclear how this game relates to the theme. However, due to the popularity and familiarity of Mario and No Man’s Sky, the game got quite a lot of attention in very little time, and was picked up by websites such as Kotaku and Polygon.

The premise of the game is that Mario is looking for the Princess on an infinite series of procedurally generated 2D Mario worlds. The worlds wrap around a circle, giving them the appearance of planetoids.

Once you’ve satisfied your curiosity on one world, you can summon your spaceship and take off in search of another world. Apart from the color scheme of each world, there’s not all that much to differentiate them, which may be due to the game being developed in just 72 hours, or may be a deliberate commentary on the procedurally generated sameness that many players of No Man’s Sky have complained about.

No Mario's Sky

From a Mario standpoint, the game only borrows the titular character, the goomba enemy, and the basic concept of jumping on platforms and enemies, collecting coins, and hitting platforms from below. No sprite artwork is taken from Nintendo’s games, as all sprites and tiles appear to have been re-created by the ASMB development team, and while the Mario and Goomba characters are recognizable, they are not in any way confusable with Nintendo art assets. There is no brick breaking, no super mario mushroom, no star man, no fire flower. Again, this is likely due to the compressed schedule under which the game was created. Each world plays its own variant of the Super Mario Bros theme music, which is again a re-done composition, not the original music ripped from the Nintendo game.

In short, from a copyright infringement standpoint, this game is in a gray area, but pretty safe, in that nothing is actually copied directly from the Nintendo games. This game is about as much a Mario ripoff as KC Munchkin was a Pac Man ripoff. (Atari successfully sued Philips to stop the sale of K.C. Munchkin, even though the game was not Pac Man, but the case was bullshit and probably would not have succeeded were similar suit brought today.)

From a trademark infringement standpoint, of course, the game clearly is using the identity and behavior of the famed Nintendo mascot, without authorization or permission of Nintendo. If this were a commercial product, it would certainly be liable for trademark infringement. However, this is probably closer to a parody, or a “fan game” or homage. Unfortunately, the latter two concepts don’t exist as legal categories. It might be that the creators could have successfully defended the game as a parody, but that would have involved going to court and rolling the dice to find out whether they could persuade a judge of that. There’s simply no way an independent developer has the time or resources to try to defend what amounts to a weekend’s worth of work against a company the size of Nintendo for what would surely be months or years of litigation.

If ASMB had avoided use of the Mario name, perhaps renaming him something recognizable, like “Mustachhio”, say, and if the music had been done in a way that was recognizably Mario-eque without having the exact same melody, probably Nintendo would not have had any copyright leg to stand on, and the game could have remained as-is. From a trademark standpoint, though, it probably does run afoul of Nintendo’s trademark on the Mario Bros. franchise, given that it uses the Mario and Goomba names and likenesses.

While the game is fairly bland as-is, the concept is certainly fun and held promise. Were the game to be developed further, to better incorporate the Mario characters and play mechanics, it could have been a very enjoyable game.

DMCA’s Sky removes the Mario and Goomba artwork, replacing them with a generic space man and alien, and the music has also been replaced, but otherwise the game is much the same. Interestingly, the jump, coin and 1-up pickup sounds remain recognizably Mario-esque, but again do not appear to be direct rips from original sources.

DMCA's Sky

I suppose Hello Games could also make an IP infringement claim if they wanted to, and force the game to remove the procedurally generated planet hopping, at which point the game wouldn’t have much left in it anymore. Notably, so far at least, they haven’t.

It turns out, though, that when you break down just about any video game into its fundamentals, pretty much every game is based on, or borrows from, concepts that came from some other game. And — this is the important thing that must not be lost sight of — concepts are not subject to copyright. Not even play mechanics are copyrightable. Only actual works are copyrightable.

Of course, copyright is only one branch of Intellectual Property law, and there’s also potentially opportunity for patent and trademark lawsuits to shut down a game that borrows “too much” from a well known existing game.

Despite this, much of the charm of No Mario’s Sky was in its mash-up-ness, and this charm is effectively stripped from it by removing the Mario references. So clearly, the game derives some value from referencing the source material that it is based on. I don’t think that can be denied. I have a harder time seeing how this game harms either Nintendo or Hello, however. It was available for free, not for sale. It isn’t reasonably mistake-able for a real Nintendo game, and if that were a risk it could be prominently disclaimed on the title screen that it was not in any way connected to Nintendo, who retains full ownership of the “real” Mario characters. I see little evidence that the existence of this game or the numerous other Nintendo-IP infringing games done by fans over the years (including ROM hacks, homebrew games, de-makes, and homages) has in any way diminished the Nintendo brand or harmed Nintendo as a business.

The takedown of unauthorized fan games isn’t anything new — it’s just the latest in a string of consistent defenses of Nintendo’s IP rights. It’s clear that Nintendo is aggressive in protecting their IP rights, and have always been. This has been in part due to their corporate culture, but also in larger part due to the nature of IP law.

But IP law isn’t immutable. We could as a culture elect to shape law differently, if we could agree to.

Nintendo’s takedown of videos on youtube and elsewhere, of people playing their games who do not participate in or follow the rules set forth by Nintendo in the “Nintendo Creator’s Program” is ridiculous — it’s not a copyright infringement for me to play a video game, or to talk about a videogame, or to record me talking about a videogame while playing it, and footage of said videogame that I create should legally be my sole creation (while the characters owned by Nintendo and other IP-holders are still retained by those holders).

If I want to make a video of a videogame for purposes of review, criticism, or parody, I shouldn’t have to obtain the permission of the IP rights holders of the videogame, nor should I have to share revenue with them. They earned their revenue already through sale of the game, and did none of the work to produce the video, so why should they be entitled to a share of revenue generated by the video?

Likewise, if I want to make a videogame that references other videogames, much as a work of literature may reference other works of literature, creators should have some right to do so. Exactly how this should work out so that the original creator’s rights are protected and respected isn’t very clear, however.

Ultimately, the power seems to fall to those who have the deepest pockets with which to pay the most and best lawyers. As as a result, the culture, and the game playing public, is poorer for it.

Review: Lenovo ThinkPad P50

Back in March, I took ownership of a new Lenovo ThinkPad P50 laptop to replace my venerable and beloved T61p. I’ve had it almost 6 months now, so it’s been a good amount of time to become acquainted.

History

Originally purchased in 2007, my first T61p served me very well until last January (2015), when the video card failed. I looked at the current ThinkPad lineup, and after rejecting the then-current T and W series Thinkpad models due to their keyboard and trackpads, I promptly went out and bought another T61p from a seller on eBay for around $250, and transferred my SSD to it. Over the years that I owned it, the T61p proved its value, with solid construction, great ergonomics, nice, roomy 1680×1050 screen resolution, and ease of service. Originally delivered with Windows Vista, I installed to WinXP Professional, and later upgraded to Windows 7 when it became available. I replaced a keyboard, upgraded the RAM from 4GB to 8GB, and replaced the HDD once, and then upgraded to an SSD a few years ago, when they got cheap enough. The second T61p had a faster CPU (2.4 GHz Core 2 Duo) and the beefier 256 MB Quadro GPU (up from 128 MB on my first) but was otherwise the same as my original 2.0 GHz workhorse.

The extra CPU speed definitely helped me get through the last year, and other than occasionally running out of memory due to RAM-hungry browsers and running with no swap file, the T61p still feels perfectly viable today as an everyday primary workstation. I’ve only had a few occasions in recent months where, possibly due to Windows 7 cruft, the machine has felt slow — occasionally I’ll get a svchost.exe process that uses up 100% CPU and bogs the system way down, but when that’s not happening, the machine has plenty of horsepower for web browsing, software development, graphic design work, and occasional gaming.

In looking for a replacement machine, my main concerns were not performance, but ergonomics.

I wanted a screen with at least the 1680×1050 resolution that I had come to realize was essential. I like to split the screen down the middle and have two windows open side by side, and 1680-wide gives me enough pixels to do that comfortably, while 1050 of height gives me enough lines of code on the screen that I can spend more time reading or typing, and less time scrolling through my project files.

I also had grown very attached to the T61p keyboard, with its near-perfect layout, and full-size scissor-switch keys, and the touchpad with physical buttons. Later generation ThinkPad machines had done away with physical buttons, changed from scissor switch keys to chiclet keys, and worst of all made senseless and wholly unnecessary changes to the keyboard layout, which I found completely unacceptable.

Even so, after almost 8 years on the same hardware, I did want the replacement laptop to feel like a true upgrade, and to have hardware that could feasibly hold up for as many years as I’d gotten from the mighty T61p.

In late 2015, I strongly considered purchasing a W540-series ThinkPad. I held off after seeing a W540 in person, when I saw that the touchpad itself was a clickable button, and there were no separate mouse buttons. Such a trackpad would be completely useless for precision clicking, and thus would require me to plug a mouse in to do any kind of precise work, which in turn would force me to sit at tables where I could use a mouse, and limit where I could easily do useful work comfortably. This would not do.

But then Lenovo released a minor refresh, the W541S, which brought back the physical buttons, and looked like the best thing I’d seen from Lenovo in years. But this model was a bit lacking — where the full-size W540 could take 32 GB of RAM, the W541S was limited to just 16 GB — which, while adequate, didn’t feel as future proof as I would have liked.

The S in W541S stands for slim, so I inquired with Lenovo customer service and was told a full-size W451 was coming soon, which would have the all-important physical touchpad buttons as well as capacity for 32 GB of RAM. I waited weeks and months, and asked again and was told that I had been misinformed, and that no such model was planned. I kept getting different stories from different reps, and got quite frustrated with not having solid, accurate information.

I briefly looked at the Dell XPS 15, which had fantastic specs — 4K IPS display, up to 32 GB of RAM, but again here I didn’t care for the buttonless touchpad.

Finally, in the second half of 2015 I started hearing about the new P-series ThinkPads, and became very interested in the P70. This system is a monster: up to 64 GB of RAM, 4K IPS display, the latest Intel Core i7 CPU, trackpad with physical buttons, and what looked to be an acceptable keyboard layout, though still not the return to perfection that I’d hoped for. I wasn’t crazy about lugging a 17″ laptop, but then a short time later I learned that they were also planning to offer a 15″ model, the P50. Comparing the specs between the two, it looked as though there really weren’t any compromises between the two, so at that point I was sold.

I waited and waited for the P50 to be released, but it kept being delayed. Eventually, in December they became available. As my second T61p was still going strong, I elected to hold off for a bit and wait to see what the initial reviews said. Then, last week, I received email informing me that Lenovo was having one of their EPP sales, which meant steep discounts. I clicked the link and specced out my dream machine: 3.7 GHz Xeon CPU, 4K IPS screen, 4 GB video card, a jaw-dropping 64 GB of RAM, and 512 GB SSD on a PCIe-NVMe bus, and after almost $1000 in discounts, it came to around $2200, which was well under budget for what I had originally put aside for the more expensive P70.

While that sounds like a lot of money for a laptop, I considered that I’d spent around $1900 for my T61p in 2007, and after using it for almost 8 years, that amortizes away to barely anything — less than $1/day. Considering how much I use the machine (regularly 8+ hours/day), and how productive it has made me, that’s an insanely good value. So when you think about it that way, it’s worth spending a lot of money to get something very good, as opposed to spend less and accept compromises, or have something lower end that won’t last as long whether due to durability or performance.

The Hardware

As purchased:

Battery 6cell 90Wh
System Unit P50 NVQ3 4G E3-1505M v5 vPro
Camera 720p HD 2D Camera Mic
AC Adapter and Power Cord 170W 2pin US
Processor Intel Xeon E3-1505M v5 MB
Color Sensor Color Sensor
Display 15.6 4K IPS Non-Touch
Fingerprint Fingerprint Reader*

*(I didn’t want a fingerprint reader, but there wasn’t an option to remove it.)

Graphic Card NVIDIA Quadro M2000M 4GB
Hard drive 1 512GB SSD PCIe-NVMe
HDD Config SSDx1
HDD Config 2 PCIe SSD
HDD Config 3 512GBSSD PCIe
HDD Total capacity 512GB
Keyboard Language KYB NumPad ENG
Publication Language PUB ENG
Total memory 64GB(16×4) DDR4 2133 SoDIMM (non-ECC)
Pointing device 3+3BCP FPR CS
Preload Language W10P DG W7P64-ENG
Preload OS Win10 Pro64 DG Win7 Pro64
Preload Type Standard Image

*(Windows 7 Professional x64)

Recovery Media W10P64 COUPON WW
Sub Series Variation P50 Quadro Workstation
TPM Setting Hardware dTPM Enabled
Display Panel P50 4K NT 2D MC CS WLWW
Selectable Warranty 1 Year Depot or Carry-in
WiFi wireless LAN adapters Intel 8260AC+BT 2×2 vPro

Price as purchased (incl tax and shipping): $2,271.02

I elected not to go with ECC RAM, which would have added about $450 to the cost, and the P50 doesn’t have a bay for an optical drive, so no DVD option unless I want to plug in an external. I haven’t burned, or even read, a DVD in years, though, so I think optical media is pretty close to obsolete.

Curiously, Lenovo do not offer a Blu-Ray drive option for their laptops that do offer an optical drive bay. The ultra-bay adapter for hot swappable hard drives is a nice option to have, but considering the P50 has an internal bay for a 2.5″ SATA device, and 2 PCIe NVMe slots, it wasn’t worth it to me to go to a P70, for almost $2000 more, just to get a DVD-RW/Ultrabay (although to be fair, that $2000 would have also brought with it 8 GB video card).

Lenovo also just came out with a few more models in the P-series: the P40 Yoga, and P50S. I didn’t consider either of these as I was already eager to buy the P50 that I had selected, but after looking at their specs I have no regrets about picking the P50. The Yoga offers a more flexible screen hinge that allows for using the laptop in different configurations, but with less top-end specs, and the P50S is just a slimmer P50 with slightly less capability, and so I wasn’t really interested in either.

Initial impressions

Pros:

  • 64 GB of RAM! This is 8x the RAM of my old T61p (and 16x the advertised max RAM of the T61p). Knock on wood, but I may never run out of RAM ever again with this machine. 64GB ought to be enough for anybody;-)
  • PCIe NVMe performance. The SSD is very, very fast. I’ve been using SSD for a few years now. The T61p originally came with a 7200rpm hard drive, but I upgraded to SSD after they became available at a price point I was willing to pay. I did notice some performance improvement, but the SATA3 SSD was bottlenecked by the SATA2 interface in the T61p, so I didn’t get the full benefit of the upgrade. By contrast, with the ThinkPad P50, read/write speeds on the PCIe NVMe SSD are amazing. After running Windows Update for the first time on the P50 and installing almost 90 updates, after rebooting the “configuring” that Windows 7 does after upgrades are installed, which normally takes several minutes, were completed in about 20-30 seconds. Waking out of hibernation is nearly instantaneous.
  • 4K IPS is a thing of beauty. The screen is exceptionally clean and sharp, with vibrant color even for an LCD screen. The LED backlight is very even, compared to the florescent tube backlight of older screens. IPS is definitely a much better display technology compared to TFT. I’ve had IPS displays on my desktop, but since I use my laptop much more, I haven’t really been able to appreciate it until now.
  • Speakers are much improved over T61p. One of the complaints I remember from reading reviews of the T61p was that its speakers weren’t very loud even at max volume. I didn’t find this to be a major complaint, and most of the time audio levels were adequate, but I did frequently find it difficult to hear the audio track in multimedia being played on the machine. It just depended on how loud the source was. With the P50, the speakers are much more capable. I don’t need to turn the volume level to 100% just to be able to barely hear audio anymore.

Cons:

  • Trust. The most important con to buying Lenovo these days is trusting them not to pre-install malware and rootkits. Lenovo have been found to do this three times in the last year, which for many is unacceptable. Fortunately, I did not find anything pre-installed on my P50 that I needed to remove. It seems that Lenovo responded to being found out and did the right thing in removing the offending software. It should never have been there to begin with, but at least they had removed it from their newly shipping products by the time I ordered mine.
    • Superfish, the SSL-circumventing private http destroyer, was not found on my machine.
    • I did need to disable “Lenovo Customer Feedback Program 64” using TaskSchedulerView.
    • Lenovo have released BIOS updates that omit the OneKey Optimizer malware that they once preloaded on ThinkPads. I wasn’t able to find information as to whether this was ever included in the BIOS for the P50 model; it’s possible it never was, as this model is more recent than the date Lenovo removed it from machines that had it.
  • Other Software I didn’t want
    • McAfee LiveSafe. I didn’t order this, but I had a subscription to it out of the box. I haven’t ever liked McAffee antivirus, since the late 1990’s I’ve been recommending against it.
    • Microsoft Office. Microsoft are really hard-selling their SaaS Office 365 suite. It was something added to my build list by default, and I had to remove it. I got a reminder at check out asking me if I was sure I really didn’t want it. I debated it for a few minutes, but ultimately I don’t use Office very much anymore, and really prefer Google Docs for most everything, for many reasons. Still, my P50 came with something pre-installed — not sure if it’s Office 365 or 2016. Either way, it’s not getting used, and will be removed. I might install a viewer app so I can handle .doc files that people might send me, or I might install an old license of Office 2007 that is still perfectly fine, but I’m not sure I’ll even need to do that.
    • Windows 10 nagware: This isn’t Lenovo’s fault by any means, but Microsoft is also really hard-selling Windows 10. They want the world to upgrade from Windows 7. I don’t ever plan to. Microsoft’s treatment of user’s private data is completely disrespectful, and unacceptable. And I’m not interested in re-learning how to use and manage the new version. I haven’t ever touched Win8, even. And they keep trying to push Windows Updates on Win7 users which keep trying to push an upgrade to Windows 10. At this point, the only thing that’s keeping me tied to Windows is GameMaker: Studio, and if it weren’t for that I’d be happily running on some Linux distro, most likely Ubuntu. I’m hoping that sometime during the lifetime of this hardware, I’ll be able to make the switch and dump Microsoft for good.
  • 4K resolution problems – TL;DR solution: 2048 x 1152

    It turns out that displaying 4K resolution on a 15.4″ display results in very, very, very tiny fonts. Windows 7 does not handle this well at all. I almost returned the machine for an exchange to a 1920×1080 screen, but after playing with settings for a few days, there are a few workarounds, which I find acceptable, but none of which are perfect:

    1. Set font dpi to 200% or better. The control panel only shows options for 100%, 125%, and 150% at first, but you can set a “custom” dpi using a link at the right. The slider control for this tops out at 200%, but you can override this by typing in the value. I found that 250-300% was about where 12pt text started to get readable to me, but it’s still pretty small, and 10pt and lower is still ridiculously tiny. Unfortunately, this amount of magnification starts to break the containers that Windows puts text into, resulting in an ugly, disjointed Explorer GUI, and probably most applications as well.
    2. Use Windows Classic theme and size the text manually. I created a custom theme for this, so you don’t have to. Download Win7_4K and apply it. I basically doubled the size of all the font settings in the theme. Unfortunately, not everything in Windows uses the Theme settings, particularly older software or software developed by amateurs. But even Windows itself doesn’t make all of its font sizes customizable through this interface, even in Explorer windows there will still be some fonts that are ridiculously small. What terrible design. Microsoft should be embarrassed.
    3. Set display resolution to 2048 x 1152. OK, so native display resolution just doesn’t work well in this size display, at least the way Windows renders its GUI. The only other option is to set display resolution to a lower size. Both 2048×1152 and 1920×1080 look great, and other than not having the full resolution at your disposal, there’s not much of a downside.

Keyboard, mousepad

The basic keyboard layout is acceptable, although I still vastly prefer the T61p’s keyboard for many reasons. Let’s examine those.

The P50 uses chiclet key switches, not the scissor switches used in the T61 keyboard, but that’s acceptable.

I miss the “previous page” and “next page” keys from the T61p keyboard, which weree located at the left and right of the Up Arrow key on the T61p keyboard. On the P50, these have been replaced by Page Up and Page Down, which I definitely use a lot more frequently. As well, an accidental page up/down is less disruptive than an accidental previous/next page keystroke, and so I’ve come to like this change. One problem that I did have with the T61p in retrospect was accidentally hitting the “previous page” key when editing text in a web form, resulting in the browser going back to the previous page, losing everything I’d typed, when I’d simply wanted to move the cursor up a line. This happened fairly frequently, and was a serious annoyance.

I do miss that Page Up and Page Down are no longer in a tight cluster with Home/End. I also find that the cursor navigation keys are a bit harder to find by touch than they were on the T61p, where there they are at corners and edges, which made finding them very easy, even in the dark. On the P50, they’re to the right of the Right Ctrl key, but to the left of the 10key pad. I can find them most easily by going directly below the right Shift key.

A notable omission from the P50’s keyboard is a key for the Context Menu. Normally this is thought of as the “right-click” menu, but there’s a dedicated key on most keyboards for this as well, which is known as the Appskey. A workaround, to re-map the right-alt key to Appskey exists, using a free application called AutoHotKey. However, a downside of this is that Alt+PrintScreen is a very commonly used keystroke in my work, and if I re-map the right-alt key (which is right next to the print screen key on the P50) I sacrifice being able to do quick, easy print screen to copy buffer for the current window. But I also use the Appskey very frequently in my work as well. So I can instead re-map right-Ctrl to the Appskey, and do without a right-Ctrl key. None of these arrangements is truly ideal; they’re all compromises. My advice is to try it and see which arrangement you prefer.

The 10-key pad on the right side shifts the main keyboard left of center of the screen, which makes it a bit less comfortable to use, and the navigational keys aren’t as easy to find without taking my eyes off the screen to look for them. If I turn off numlock, though, it turns the 10-keys into Home, End, and arrow keys, which I like. I leave numlock off most of the time, unless I’m actually keying in a lot of numbers, and then I find it handy.

However, a huge negative with this keyboard is its rollover. If N-key rollover isn’t possible for technical reasons, I feel that at this price point a minimum of 6KRO should be expected. I can’t play games that use the keyboard for controls, because after just 2 buttons held down, a third key press is not reliably detected and reported to the OS. As a gamer and game developer, this matters, and is a huge, huge disappointment. If I gave laptop reviews a star rating, I’d penalize the P50 an entire star just for this issue. Maybe two stars. The built-in keyboard is that important to me.

The mousepad is off-center from the screen, but centered under the spacebar. It’s large enough that my palms will accidentally bump it occasionally, and this can be annoying, but it’s not a severe problem. I think I would like a slightly smaller mousepad, all the same.

The return of the physical buttons (three of them!) above and below the mousepad is what I like the most. It’s great to have physical buttons back in this generation of Thinkpad. The lack of them was why I refused to buy a W540 last year, when I first considered replacing the T61p.

If the machine didn’t have a 10key pad, and the layout was more like the T61p keyboard overall, and it had NKRO, I’d be completely in love. As it is, the keyboard is mostly decent, other than that it completely sucks for gaming.

BIOS tweaks

Looking in the UEFI BIOS, there’s a couple of nice configurable settings. Foremost, Lenovo have enabled the user to decide to switch the Fn and left Ctrl key. This was a popular 3rd party hack for the T61p BIOS, but I never bothered with it because I didn’t want to risk running an unofficial BIOS. Now that it’s an officially supported option, I’m happy to have Ctrl in the standard location where it belongs, even if the keycaps aren’t identically shaped so I can’t switch them physically.

Also, there’s a BIOS setting to change the top row of keys from being special functions or F-keys. By default, if you press the top row keys, they’ll do things like adjust volume or dim the screen. If you’re used to using the F-keys for shortcuts, Alt+F4 closes windows, and F5 is browser refresh — I use that all the time. For me, it’s essential to switch this in BIOS. I could also do it by hitting Fn+Esc, which sets the Function lock on, but then the Fn lock LED is lit all the time, and I’d rather not have it lit all the time, just to save what little bit of battery drain it might use if for no other reason.

I didn’t find a default Numlock state setting in the BIOS, but I’d like the numlock to be disabled, so I can use the 10-key pad for its alternative function of navigating by cursor. Keeping the 10-key pad in this mode makes the keyboard layout slightly less annoying, since Home, End, Page Up, and Page Down, and another set of Arrow keys are all available through the 10-key keys. It’s just a single keystroke to toggle the numlock, but it’d be nice if it was always off after a reboot. Fortunately I don’t need to deal with this much, as I don’t reboot very often.

Warranty Service

In August, I had to send my P50 back to Lenovo for warranty service, after a column of pixels got stuck on.

P50 4K IPS screen with a column of stuck pixels

At 5 months, a column of pixels got stuck “on”. Lenovo fixed the issue under warranty, and the machine was out of my hands for a little over 48 hours. Very impressed.

Overall the experience was great, but contacting the right folks at Lenovo and getting a clear connection was not as easy as it should have been. After a few attempts I finally got a hold of the right department, they asked me some rudimentary troubleshooting questions, and once they understood the problem I was describing, they issued me a support ticket number and explained the process for the warranty repair.

The next day, a return shipping box was at my door. I removed my SSD, not wanting to risk my data being lost or falling into the wrong hands. Lenovo considers the SSD to be a “Customer Replaceable Unit” so there was no problem for me to do this, and it did not void my warranty. With the SSD removed, I packaged the laptop up and shipped it on a Wednesday, and it was returned to me Friday morning. This made me very happy.

Considering they had told me to expect it to be gone 7 days, I was very happy with the turnaround time. I don’t know what the problem was with the screen, but I suspect that it may have just been that the video cable needed to be reseated. They did not replace the screen (the tape I had put over the webcam was still there when I got it back), but the problem is gone.

Overall Recommendation

This is a very high end midsize laptop with a ton of value and great features. Performance is outstanding, and the warranty support is even better. It’s pricey compared to lower end machines, but if you need a high end laptop, this is a very good one.

If it lasts me as long as my T61p did, it will have been well worth it. My T61p lasted me an incredible 8 years, and while I don’t think anyone expects that from a laptop (most are replaced in 2-4 years, typically) if I get 7 years out of the P50, that works out to less than a dollar per day. When you think about it that way, suddenly spending over $2.2k on a laptop seems very reasonable.

My only complaint with it is the keyboard. The keyboard is very good compared to most current laptops, but unfortunately it has terrible key rollover characteristics that make it a dud as a gaming machine. The keyboard layout may not be everything I wanted, but considering what we saw Lenovo putting on ThinkPads between the T6x generation and now, it’s nearly a return to their old form, and close enough to what I wanted that I can live with it, although I absolutely want Lenovo to deliver an NKRO keyboard with their next hardware revision.

Some users might feel that the lack of an optical drive/ultrabay is a disadvantage, and to them I would point them toward the ThinkPad P70.

The Dell XPS 13 and XPS 15 are also worth looking at in this performance class. But I think the P50 likely edges them out in most respects, but especially on the mousepad and keyboard. If you would prefer to avoid Lenovo for now due to the trust issues mentioned above, or other reasons, they might be more for you.

I haven’t tried out Linux on this machine yet, so I have no remarks as to it’s compatibility and stability with a Linux distro running on it.

Appreciating MegaMania

Megamania, published in 1982 by Activision for the Atari VCS and designed and programmed by Steve Cartwright, is one of the all time great video games, and is a standout on the Atari 2600 console and in the vertical fixed shooter genre. Inspired by the Sega arcade game Astro Blaster, but vastly better, it is an extremely well refined shooter for its time, and is a fun and challenging game to this day.

Above: Astro Blaster, an 1981 arcade game by Sega that bears some resemblance to Activision’s 1982 hit on the Atari VCS, Megamania.

Astro Blaster had many features, including digitized speech, that made it technically impressive for its day, but the design did not integrate the features particularly well, making the game overly complicated and clunky. By comparison, Megamania offers a stripped down, almost poetic experience, with elegant symmetry and proportions. Far from a ripoff of an original game, if anything it’s a refinement. Megamania expresses its beauty through minimalism and an elegant orderliness to its structure. This game is all about action and motion, and the original version just gets these things right. There is a rhythm to the game that a good player will develop a feel for, and learn to use to his advantage.

A major hit for Activision on the 2600, Megamania was later ported to the Atari 5200, and Atari 8-bit computer line, but the original remains the best play experience despite modest graphical improvements in the later releases. I’ll be discussing the original VCS version of the game for the rest of this article.

Here’s how Megamania looked on the Atari 2600:

Due to the hardware limitations of the 2600, the player is permitted only one shot on the screen at a time. The player can steer the shot with their ship as it travels upward, giving them the ability to guide their missile into the target. Somehow, despite their varied and erratic motion, the enemies often seem to line up just right so that if you’re in the right position and have the right timing, your next shot will rapidly find your next target, enabling you to clear the wave quickly and resulting in great satisfaction. But if you’re off target, the same proportions of speed and distance that line up your shots on target will cause you to miss frustratingly. It’s an elegant symmetry that provides both challenge (when the player’s timing is off) and reward (when it is on) with the same few, simple mathematical relationships, giving the game a subtle beauty.

The object in Megamania is to survive wave after wave of zany household objects that come at you from the top of the screen, as you shoot up at them for points. Your ship has an energy meter that slowly winds down, providing a time limit to complete the wave; when you complete a wave, your remaining energy meter is converted to bonus points, then refills, and the next wave begins. The waves repeat in cycles, in the following order: Hamburgers, Cookies, Bugs, Radial Tires, Diamonds, Steam Irons, Bow Ties, and Dice.

megamania enemies

There are two variations in the play mechanics, having to do with the way your shots behave:

  • In variation 1, the ship will fire continuously as long as the fire button is held down, and the shots are steerable, moving in line with the player as the player moves. This generates the rhythm that makes the game so fun, as I will show with some detailed explanation to follow.
  • In variation 2, the player must press the fire button each time to fire a shot, and the shot moves vertically only; once it leaves the gun it cannot be guided by the player.

Variation 2 requires more hand-eye coordination and greater attention from the player, and is therefore much more challenging, but I find that the feel of the game is not nearly as immersive as when you are able to steer your shots. In variation one, you feel at one with both your ship and its missile, and while you steer your shots to hit your target, you must simultaneously dodge to keep your ship safe. This creates an inherent conflict that causes the player to constantly be making decisions at a subconscious level. In variation 2, once your shot is launched, you have no further influence over it, and can only watch until it hits something or leaves the screen, leaving you only to avoid enemies and their fire until you can fire again yourself. And since there is no auto-fire in variation 2, the subtly clever timing that results from the relationship between the distance and position of the enemies, their speed, and the speed of your missile, is lost.

The sound effects, while rudimentary, are strong, and fill the game with noise from start to finish, despite being limited to your laser shot, enemy destruction, the energy meter countdown and refresh, and player death. The enemies, rather than explode, disappear with a brassy, synthesized “clang!” , while you fizzle away into nothingness when you are hit by a missile or collide with an enemy. The effects are blaring, loud and harsh, but with the volume turned down low they serve well.

The wave cycle in Megamania is particularly well paced, with a fantastic challenge curve, and a structure that reminds me of a sonnet or a fugue. Certain waves (metaphorically) “rhyme” with others, being similar in their motion patterns. Patterns established in earlier waves are elaborated upon in subsequent “rhyming” waves.

The odd-numbered waves (Hamburgers, Bugs, Diamonds, and Bow Ties) all move horizontally from left to right across the screen. In the first cycle, their motion is constant, while in the second and subsequent waves, their motion pauses periodically for a few seconds, then suddenly accelerates before settling down to normal, and then repeats. Starting with the Bugs wave, the horizontal scrolling waves add a vertical undulation to their motion, which becomes more pronounced with Diamonds and Bow Ties. Diamonds and Bow Ties “rhyme” further with each other by having a “winking” or “spinning” appearance. These are the easiest waves to clear, as the enemies pose no collision risk to the player, who can only be destroyed by enemy shots or running out of energy in these levels. As the first, third, fifth, and seventh levels in the wave cycle, they provide a breather between the more challenging waves. Each odd-numbered wave may be seen as an elaboration of the previous in the series: Hamburgers move horizontally; bugs move horizontally, and with a slight undulating vertical dip; diamonds move horizontally, have a more pronounced dip, and spin; and bow ties move horizontally, have the most dramatic undulation, and spin.

The even numbered waves all feature objects that pass vertically through the screen.

Wave 2, cookies, introduces the player to vertical motion gradually, as the cookies move primarily horizontally, while doing a two-step drop periodically, and reverse their horizontal motion as well. Cookies move in unison, all moving left or all moving right at the same time. Wave 4, radial tires, kinetically “rhymes” with cookies, but the radial tires dip more quickly, and the wave introduces a more complex motion where alternating rows of tires move left or right simultaneously. These levels are particularly dangerous, as in later cycles they descend increasingly rapidly, but a skilled player will learn, after the panic subsides, to make small, economical moves, and let the shots line up and rapidly take out strings of enemies quickly. At this point the levels remain challenging, but reliably beatable by a skilled player. You’ll die quickly if you get out of rhythm and fail to clear out enough enemies to give you adequate space to dodge, or if the computer gets lucky with one of its shots, but if you’re on your toes and in the zone you should be able to clear these waves with only an occasional death.

The next two even-numbered waves are of special difficulty, although their unique patterns do not “rhyme” with each other.

Wave 6, Steam Irons, uses a deceptive and tricky pattern. Three columns of steam irons descend, pausing and then sweeping irregularly from side to size at a speed that is very difficult for the player to track, as they seem to deftly weave right around your shots, and then descend again. The spacing of the formation is such that the player must shoot out at least one from each column, or else that column becomes an unbreakable chain when the column reaches bottom and wraps around to the top again, providing insufficient space between the rows to allow the player to squeeze in and get a shot off. If the player fails to take out at least one steam iron from each column, it is guaranteed that he will die at least once before completing the wave. The interesting thing about wave six is that it is the one wave in the entire game where the behavior pattern never varies, no matter how many times the player cycles through the game, the steam irons always move the same. Despite the lack of increasing challenge, the behavior is so frustrating and erratic that players often ascribe a sinister artificial intelligence to the steam irons. They are a constant threat to the player, no matter their skill level.

Wave 8, Dice, are special in that they are the only wave that is always the same color, yellow, no matter how many cycles the player completes. Dice are also unique in that they are the only objects that do not fire any shots at the player, and are therefore dangerous only due to collisions. Yet this is more than enough to make dice the most challenging wave to survive. The first dice wave is also the only level in the game where the objects move straight down. While their speed in the first cycle may seem overwhelming, their simple vertical motion makes it a fairly safe level. Simply stand your ground beneath a falling pair of dice and shoot, and your shot will surely find its mark, protecting you. But in the second and subsequent cycles, the dice move horizontally as well, in rows that alternate left and right, and create an almost bullet hell-ish level where dodging takes a great deal of finesse. The player has to move constantly on the dice levels to avoid fatal collisions, making it the most strenuous and challenging level, a climactic finish to the wave cycle. A skilled player can still beat the level without getting hit, but it requires great concentration and timing.

If we think of the eight waves that make up the wave cycle as a stanza in a poem, then the “rhyme scheme” suggested by the structure of the eight waves is as follows: A, B, A, B, A, C, A, D. The difficulty curve of a cycle is interesting, in that it does not simply progress in a linear fashion, but instead plots two different curves: the odd-numbered waves follow a more linear progression, while the even-numbered waves follow a steeper progression. This gives the challenge curve a continually escalating trend line while still affording the player a “breather” between two more difficult levels.

megamania difficulty curve

After three or four cycles, the difficulty does not ramp up further, and the game turns into an endurance match to see how many cycles the player can endure. If you can make it to 999,999 points, the game ends, effectively a killscreen.

One of the more interesting things to realize about the mechanics of Megamania is that (with the exception of the first Dice wave) the horizontal speed of all the enemies in the game matches the player’s horizontal speed. After the first cycle in the odd-numbered waves when the enemies accelerate to double time. The rest of the time, the horizontal speed of the enemy objects always matches the player’s horizontal speed exactly. This, combined with the shot-steering in variation 1 makes tracking the enemy objects easier, since you, your shot, and the enemy all move at the same speed, it is trivial to line up and guide the shot into the enemy on the odd-numbered waves. It also means that if you are behind an enemy, there is no way to catch up. Interestingly, players often don’t realize this, and novices and even moderately experienced players will persist in trying, to no avail, to catch up with an enemy that is just past the reach of their fire. Once you realize that it is impossible to catch up, and stop chasing, the player gains an insight that will lead them to higher skill levels — it is very common for a player chasing an enemy that they cannot possibly hit to accidentally run into an enemy missile, or run out of room at the edge of the screen and get pinned. But once you learn to avoid these two common causes of death, you become better at dodging, and the game opens up and becomes easier.

Another important realization is that the positioning of the enemies often is such that when you connect with a shot to destroy one, your very next shot will also connect with another enemy if you don’t move. It’s very common to chain together “string” of two, three or even more hits in a row, in very rapid sequence. This is key to success, and especially critical on the later cycles on the even-numbered waves, where the falling enemies present a collision danger, and taking a chain of them out immediately when the wave begins is crucial to carving out enough space to enable you to dodge and survive. When you realize this, the game becomes less about chasing aggressively and aiming, and more about being in the right position, and letting the enemies come to you. This is where the auto fire feature of variation 1 comes in to play, as once you have connected with a target, you are likely to hit again with your very next shot, and may start a chain of hits just by holding position and keeping the fire button pressed.

A final note of strategy helps with avoiding being shot by enemy missiles. Only two enemy missiles are capable being on the screen at any given point in time. What’s more, there are only two enemies at any given time who are capable of firing. If you see an enemy shooting bullets, you should avoid it and concentrate on eliminating the enemies that are not shooting, as they are less of a thread and easier to safely destroy. Don’t go under them when they stop moving, and wait for them to move again before tracking them. Then, take out the shooting enemies when they are moving, by matching pace with them. Enemy shots do not steer, so if you move in sync directly below a horizontally-moving enemy that enemy cannot hit you, and you cannot miss them. The most dangerous time in the odd-numbered stages is when are moving against their motion, from right to left, since this is the only time when you are likely to hit an enemy missiles.

Wrapping a formation of enemies

Another point of refinement that I find interesting is in the way the enemy objects wrap around the edge of the screen. Enemies in Megamania move together in large formations, but the way they wrap around the edge of the screen is interesting.

What I find innovative in this is that it doesn’t matter how large the formation is — looking at the odd-numbered waves, if you don’t shoot any of the enemies, they will form an unbroken chain as the first to appear wrap immediately behind the last. If you shoot a few, leaving holes in the formation, the holes persist and are not closed up — except if you shrink the formation at the leading or trailing edge. When that happens, the formation wraps sooner, closing the gap between the last still-extant enemy in the formation and the first. Thus, when the last Hamburger, Bug, Diamond, or Bow Tie is left in the wave, when it reaches the right edge of the screen, it wraps immediately to the left, rather than waiting for the space taken up by the no-longer-existing members of its formation. This is important because it avoids wasting the player’s time, as the energy meter winds down while no enemies are visible on the screen.

The tight, precise nature of the motion of the enemies makes Megamania a satisfying and exciting play experience, and feels complete despite a relatively small feature set. Megamania demonstrate that refinement and polish matter far more than feature count.