1382: Foreword

It’s November tomorrow, and that means NaNoWriMo. Or, if you’re me, and you like to be awkward, it means monopolising your daily blog with creative writing rather than inane blog posts about nothing in particular and/or video games.

Yes! I’m going to do it again. Much like previous years, I’m going to write… something every day for the next month. Exactly what that’s going to be I haven’t quite decided yet — and if previous years are anything to go by I will probably “improvise” it and make it up as I go along, with variable results — but I do have a few themes, plots and characters in mind already; it’s just a case of actually fleshing them out into something over the course of a month.

Normally I try and post a minimum of 500 words per day for my generic posts and often exceed that; in November, because I’m writing something a bit more long-form, I typically set myself a minimum of 1,800 words instead. I’m going to stick to that because it’s worked pretty well for me in past years, and I’ve usually been able to churn out 2,000 words or more each day, resulting in a total of 60,000+ words by the end of the month, which is sort of novel length-ish.

As for what I’m going to write about? Well, you’re going to have to wait and see, aren’t you? Largely because I haven’t decided which of the ideas I have I’m going to run with as yet. Those who have read my previous work know that I have various stylistic elements that I’m rather fond of using — and have been since creative writing classes at school and university, as it happens — so I’m pondering whether or not to experiment a bit with other perspectives or tenses. Again, we’ll see, and I’ll make a decision tomorrow when I actually start writing. Once I start writing, I will stick with whatever I go with until the bitter end, and see what happens. Sounds like fun, non? Of course it does.

I’m half-tempted to work on a story I’ve been working on off and on since school, but I kind of feel doing that would be “cheating” somewhat. While I’m very fond of said story and the characters involved, I do kind of want to do it justice whenever I get around to actually finishing it, whatever medium I end up completing it in. (There’s a distinct possibility it will become a game rather than a book, for example.) Not that spending a solid month of churning out 2,000-ish words a day isn’t “doing it justice,” but I sort of feel like I want to do that without the added time pressure — not to mention the fact that there’s already 17,000 words of it that I’m rather pleased with on my Google Drive that I don’t really want to abandon and start again.

Anyway. I’m rambling in an attempt to fill space and do something prior to dinner being ready. Hopefully dinner will be ready soon so I can spare you further inane ramblings, and you can enjoy (or be subjected to, depending on your outlook) the fruits of my creative labours over the course of the next month. Either way, thanks for reading.

Oyasumi nasai!

1381: The Hand You’re Dealt

There’s been a whole load of drama recently surrounding resolutions — exactly what resolutions PS4 and Xbox One games will run at; the fact that Deadly Premonition for PC only runs at 720p; the fact that Typing of the Dead renders at 720p even if you set its resolution to 1080p — and I find it very difficult to care.

I mean, sure, I acknowledge and accept the fact that if you’ve spent a thousand quid or more on a PC — or bought a brand-new next-gen console, for that matter — many people want everything they play to take full advantage of their hardware and look as good as possible… but if it doesn’t, I just shrug my shoulders and move on. It ultimately doesn’t matter; I can think of very few situations where technical deficiencies have significantly impacted my experience to such a degree that something becomes unplayable or even that word that NeoGAF appears to enjoy throwing around: “unacceptable”. (The last was Guild Wars 2, and that was an extreme case; something the game doesn’t like about my particular system configuration makes it run at about 5 frames per second, which really is unplayable.)

I wonder if part of the reason I feel like this is the fact that I’ve spent a significant proportion of time over the past few years playing games that aren’t at the technological forefront. I’ve played a lot of pixel-art indie games, for example, but I’ve also played low-poly stuff, games from the early 3D era, games on PS2, handheld games and even low-budget PS3 games. Hell, three of my favourite games in recent memory — the Hyperdimension Neptunia series — are some of the most technically flawed titles I’ve played for a while, struggling to reach even 30 frames per second at a resolution that I’m pretty certain is not 1080p.

It could also be the fact that I grew up with PCs that weren’t always the most powerful or the best and as such quickly learned how to optimise detail settings for a good balance between looking good and running smoothly. I remember playing Doom on a 386 and finding that balance; that said, I also remember us getting a 486 and it being like a completely different game.

Yes, it’s lovely when something looks beautiful and animates smoothly to boot — one of the best things about upgrading or replacing your PC is trying out something that brought your previous system to its knees and seeing that it runs butter-smooth — but it really doesn’t spoil my day in the slightest if something doesn’t run at 60 or even 30 frames per second. It’s just not something that matters to me in the slightest. For me, the important thing is the actual game itself: is it fun? Is it emotionally engaging? Do I like the characters? Am I enjoying the experience? Do I want to talk about it to friends? Whether or not I can give positive answers to any or all of those questions, “does it run at 60 frames per second?” is not something that even enters my mind at any point.

Note: I’m not saying you shouldn’t care about 60 frames per second or 1080p or whatever — it’s your decision what to care about, of course. I’m simply giving my take on all this — and it transpires that I don’t really give a shit about it at all. I’m happy just to play a new Typing of the Dead, or Deadly Premonition on PC, or… you get the idea.

1380: Suffer Like QWERTY Did?

There’s a new Typing of the Dead game out.

There’s a sentence I never thought I’d have the opportunity to type truthfully, but here we are on October 29 in the year of Our Lord 2013, and there’s a new Typing of the Dead game out.

Lest you’re unfamiliar with Typing of the Dead, allow me to explain.

Sega have a franchise known as House of the Dead. Originally, it was one of those big-screen arcade machines that you and a friend point plastic guns at and pretend you’re blasting zombies. House of the Dead and its various sequels were notorious for having some of the worst voice acting ever witnessed in a video game, but also for being fun light gun shooters that didn’t take themselves too seriously.

The Typing of the Dead, which came out in arcades in 1999 and was followed a couple of years thereafter by Dreamcast and PC ports, was a… varation on House of the Dead 2. Specifically, it replaced the light-gun shooting aspect with what essentially amounted to a series of touch-typing challenges — zombies would shamble towards you with letters, words or phrases attached to them, and in order to defeat them you’d have to type out their letters, words or phrases before they reached you. As the game progressed, the things you had to type got increasingly complex and silly, culminating with a final boss fight in which the ending you got was determined by how honestly you typed out the answers to a series of questions you were presented with.

The Typing of the Dead Overkill, which came out today, does for House of the Dead Overkill what The Typing of the Dead did for House of the Dead 2. In other words, it’s pretty much the same game, only you type things out instead of shooting them. And it’s glorious.

I never played House of the Dead Overkill when it came out as a Wii and PlayStation Move-based shooter — lightguns have long gone the way of the dodo — but I was dimly aware of the fact that it was Sega taking the inherent silliness of House of the Dead and turning it up to the maximum, producing a game that is refreshingly unafraid to be completely offensive to absolutely anyone and everyone as often as possible, but which underneath its boobylicious, foul-mouthed exterior, is an immensely enjoyable arcade game of the old-school variety.

The comic juxtaposition between the amusingly mundane things you’re typing and the profanity-laced dialogue going on the in the background is hilarious, plus I can’t not like a game whose three difficulty levels are “Bitch”, “Agent” and “Motherfucker”. Aside from the humorous aspect, though, Typing of the Dead Overkill seems to be a solid game underneath, too; there’s lots of secrets to find in each level, which you need to grab by hitting the Tab key when you see them on screen in the environment, and a combo-based scoring system rewards you for being as accurate, skilful and quick as possible, so there’s plenty of potential for enjoyable high-score chasing.

The voice acting isn’t quite as bad as that seen in the original House of the Dead games, but while the actors involved are now clearly professionals, it’s pretty clear they’ve been told to ham it up as much as possible. The characters — including the original House of the Dead’s hero G — are broadly-painted stereotypes who all call each other “bitch” and “motherfucker” all the time, and the whole thing just revels in its childishness. It’s refreshing.

Also, I’ve just discovered that the game also includes all of House of the Dead Overkill for those who want to play a traditional lightgun-style shooter. Bargain.

1379: Press Pause

The assertion that “video is the future” of online media is probably more hyperbole than anything else — much like the argument that “free-to-play is the future” of gaming — but it still concerns and frustrates me somewhat.

This isn’t to put down any of the hard work that genuinely talented video producers, editors and performers do, of course. It just makes me worried — particularly given my occupation — and also frustrates me as someone who still likes to, you know, read things.

You see, I don’t like video as a generic means of consuming information. It’s intrusive, it’s noisy, it’s disruptive and it demands your full attention for a fixed period of time. This is fine if what you are specifically doing is sitting down to watch a video, but when you want to get a piece of information quickly, video quite simply can’t compare to a simple piece of text and possibly a Find function.

Video is not particularly portable, either. While mobile phone data networks — and the devices with which to access them — have improved considerably over the last few years, there’s still a significant chance that if you’re out and about on the go, you may not be able to watch a video link, and even if you do, there’s the risk of running afoul of your mobile provider’s data limits and/or fair use policies. A simple text link, meanwhile, is something that is quick to download and, perhaps more importantly, easy and discreet to browse in public or while doing other things.

It also makes me a little sad to see people well-known for their entertaining writing skills stepping back from penmanship in favour of video content. Let’s take Jim Sterling, for example. This isn’t specifically to “pick on” Sterling; he’s just a good example of what I’m talking about.

Sterling’s work around the Web has historically been somewhat provocative, but to an entertaining degree rather than any attempt to deliberately cause offence. He’s mellowed somewhat from his quasi-“shock jock” nature of a few years back and become someone who can bellow well-informed vitriol without alienating people — or at least, without alienating people who don’t deserve to be alienated. His reviews and opinion pieces over on sites like Destructoid were always a good read — he wrote in a distinctive voice, but from a well-informed perspective, and even if you didn’t agree with his points, he usually made a convincing argument.

Now, Sterling is primarily doing video content, in which he does much the same thing. No bad thing, you might think, and indeed I’ve specifically sat down and watched a good few Jimquisition episodes when I wanted to have a giggle at the game industry’s expense. But I’m significantly less likely to watch a Jimquisition video than I am to read an article simply because of the time involved — and now he’s taken to variations on Let’s Play videos I now have even less interest in his content whatsoever. It’s a bit sad, though I also recognise that I am but one person and he is simply doing what there is apparently demand for.

I’ve made my thoughts on Let’s Plays reasonably clear in previous posts, but I’ll reiterate and perhaps reinforce them, since I’ve had a while to think about them as the format has grown in popularity: I’m not a fan. At all. Particularly Let’s Plays of story-based games, which, to me, completely defeat the object of a story-based game. People already get pissy at the slightest hint of a spoiler about games, movies and other media, and yet there are people out there doing nothing but spoiling games… in more ways than one. This is baffling to me; I understand the basic concept of a Let’s Play as an opportunity to see how a game plays and get some commentary about it, but to watch a story-based game with someone babbling over the top of it rather than playing it is just, frankly, the absolute last thing I want to do with my time. Again, though, I recognise that the format has popularity and there’s apparently demand for it.

I guess what I’m getting at is that I don’t want traditional media to go away. I don’t want to see the death of long-form articles about games — or even short, snappy news pieces, though I wouldn’t mind seeing the back of two-sentence placeholder pieces. I want to see talented writers continue to have the opportunity to express themselves in a medium that they’re comfortable with; I don’t want to be forced to watch a video just to find out what a voice I trust thinks about a particular game or issue in the industry, particularly when I’m out and perhaps want to share it with friends.

By all means, then, video content producers and consumers, keep doing what you’re doing; just don’t forget that the way you do things is not the only way to do things.

1378: Oh, Ambassador

Given Dave on Demand’s apparent inability to stream anything to my computer at present — we wanted to watch the last episode of Dave Gorman’s Modern Life is Goodish — I decided to check out Mitchell and Webb’s new show Ambassadors earlier, and was pleasantly surprised by what I discovered.

Mitchell and Webb are an excellent comedy duo, and have proven themselves to be pretty adaptable and flexible through stuff like Peep Show and their sketch show. Of course, David Mitchell usually plays characters that are reasonably close to his real-life persona — or perhaps he adapts his real-life persona to be closer to the characters he plays? — and Robert Webb usually plays slightly supercilious, smug arseholes, but the pair of them actually have a surprising amount of range outside their most well-known roles as Mark and Jeremy from Peep Show.

Ambassadors is a good example of this. The show wasn’t at all what I was expecting, but then, I went into it reasonably blind, so this perhaps isn’t altogether surprising. I was expecting something along the lines of a modern-day Yes, Minister type thing, with bumbling, incompetent British officials having to deal with comic shenanigans in some far-off country, but what I actually got was something a little more serious. Oh, there was still plenty of ridiculousness along the way, for sure, but the ridiculousness wasn’t the main point of the show; in other words, it was more of a “comedy drama” than a straight-up comedy.

Mitchell plays the British ambassador to the fictional country Tazbekistan, while Webb plays his second-in-command — who is actually a little more assertive and confident than his “superior”, but who is also being blackmailed for some reason or another that hasn’t yet become altogether clear. They’re supported by a strong cast of other actors playing officials from both Britain and Tazbekistan, and the first episode revolves around Mitchell having to juggle the seemingly conflicting questions of whether to negotiate the release of a human rights activist or a lucrative arms deal with Tazbekistan for helicopters that can “pick off a rabbit from 70 miles away.”

I can’t say I’m massively switched on politically and thus can’t really comment as to how “biting” the satire inherent in the show really was, but leaving that aside, the show itself was entertaining enough. Mitchell and Webb are always very watchable, and seeing them play characters other than Mark and Jeremy (or variations thereof) is rather pleasing. If nothing else, Ambassadors certainly shows that the duo have the capacity to be serious when it counts — and when strange things do happen, their particular brand of deadpan humour contrasts well with the sillier things going on.

I’ll be interested to see how the show develops. With hour-long episodes and the addition of drama to their usual comedy, it’s a lot slower-paced than Mitchell and Webb’s previous work and thus it will be a good test of their abilities, and whether they can carry an interesting story as well as a series of amusing happenings. The first episode was certainly a reasonably strong start — I’m looking forward to seeing if it continues.

1377: Galactic Competitions of Speed

One of our regular board game group’s recent acquisitions is Race for the Galaxy, a card game which has something of a superficial resemblance to the Puerto Rico spinoff San Juan, albeit with more of a sci-fi theme and some slightly different mechanics. I’m aware there are some people out there who don’t particularly rate this game that much, but we’ve been enjoying it a lot — particularly with one of the expansions in tow, which adds some extra “goal” cards as additional means of earning points.

Race for the Galaxy’s mechanics are pretty straightforward, and the sci-fi theme is, to be honest, largely irrelevant, much as the “colonist” theme in San Juan is. Each turn consists of every player picking one of several different possible “actions” to perform, and everyone gets to perform the actions everyone picked — though anyone who actually chose the action card in question gets a bonus of some description.

The aim is to build up a “tableau” of cards on the table consisting of planets and developments, each of which offer various benefits to the different action phases, and each of which is also worth a certain number of points at the game’s end. Essentially, you want to ensure you have cards on the table that have you ready to take advantage of pretty much any situation as it comes up — one of the reasons we like the game a little more than San Juan so far is because there’s seemingly a wider variety of routes to success than the main two seen in San Juan.

I also like it because I won a game of it this evening, which is not something that happens all that often so should probably be celebrated!

1376: Turnabout Weekend

I am glad this week is over. Really glad. It’s not been a great one.

Granted, pretty much all of the “bad things” that have happened have actually happened to Andie rather than me — she’s the one who got ill, then her phone broke, just to add insult to injury — but what with me being somewhat of the anxious persuasion, all this has had a bit of an effect on me too.

Still, pretty sure the worst of everything is over and done with now, which means we can hopefully enjoy a quiet, peaceful weekend and get back to some semblance of normality next week. Andie’s not yet sure if she’s going back to work next week or not, but that’s up to her, not me, of course.

So what am I up to? Well, I spent a chunk of this evening playing Hyperdimension Neptunia Victory and finally cleared the enormous backlog of sidequests I’d built up, leading me to achieve a “perfect 40” rating for a chapter, which is what I was really after. Helpfully, chasing all these sidequests has equipped me with some powerful items and levelled my characters up to “comfortably overpowered” status, so the remainder of the story should be reasonably straightforward — though, of course, there will be plenty more sidequests to do along the way, too.

I also downloaded Ace Attorney: Dual Destinies (aka Ace Attorney 5) yesterday, and am already in love with it. Those who know me well will know that the Ace Attorney series is one of those few series that, like Neptunia, I will immediately purchase a new installment of without question and without reading reviews. I’m only partway into the game’s first chapter so far, but it’s already impressive stuff.

The DS versions of the Ace Attorney series were actually enhanced ports of Game Boy Advance games, and thus were rather technologically limited. It wasn’t until brand new content was added in the fifth case of the first game, the fourth game in the main series and the Ace Attorney Investigations spinoff came out that we started to see some slight variations on the formula — better use of the touchscreen, for example, along with objects that could be examined in 3D.

Ace Attorney 5 is a bit of a milestone for the series, then, in that it’s the first installment to be specifically built for the platform it’s on rather than based on old code and assets. And it shows.

I was a little worried when I heard that Capcom was making the shift to 3D characters and environments — the 2D artwork of the original games was always charming and full of character, and I was concerned that the move to 3D would lose some of this. Thankfully, it hasn’t; the 3D characters are cel-shaded and look convincingly like much better-animated versions of their 2D counterparts, with a few tweaks here and there. Phoenix Wright looks noticeably older, for example, but this makes sense — by this point, he’s a veteran defense lawyer, not the frantically sweating rookie he was in the first game.

The 3D aspect also allows for more dramatic, cinematic presentation; occasionally, in the old games, the view would switch to an overview of the courtroom while the peanut gallery would mumble about something that had just been said. Now, rather than this being a static image, it’s a dynamic pan across the courtroom that looks much cooler. It’s a small touch, but it’s neat.

There’s anime sequences, too, to depict things that don’t really work with just the usual visual novel-style narration. This also means that characters have a voice; I’m pretty sure Wright is voiced by the same guy who did Jude in Tales of Xillia, which will continue to prove distracting until I find out for sure.

In fact, let me research that right now.

………

Yes, he is. Here’s proof. Well, that answers that. So long as Wright doesn’t start coming out with things like “I wish we didn’t have to fight, but we must!” I think we’ll probably be all good.

Oh, yeah. You should buy Ace Attorney: Dual Destinies. I’m sure there will be more enthusing about it in the very near future. Now I’m off to play Ace Attorney: Dual Destinies and flip the bird to this week. Mata ne.

1375: Desu

A few weeks into my Japanese evening class and I’m enjoying myself. There’s been a fair amount of stuff I’d managed to pick up naturally simply through watching anime, playing games and looking things up myself out of curiosity, but it’s nice to know that I was at least correct in all of these cases.

I’m finding the process of learning enjoyable. It’s been a while since the opportunity to learn something in a classroom-style environment — and no, I don’t count teacher training days — and it’s good to get back to it. I can’t help but feel that, having chosen to do this, I’m appreciating it far more than if I was obliged to be there at, say, school or even, to a lesser extent, university.

It’s also enjoyable to be in a group where there’s a decent mix of abilities. I know first-hand how frustrating it is to teach a mixed-ability group, but it’s quite satisfying to sit in a room with other people and be able to tell — this sounds bad, but what the hell — that I’m not the worst person there. In fact, so far I’m feeling quite confident in my own abilities with regard to pronunciation, remembering phrases and so on.

The part that’s doubtless going to be somewhat more challenging is the learning of the Japanese characters, beginning with the hiragana set. I can remember a couple of “sets” of these without too much difficulty, but others are a bit harder to remember — and it takes me time to parse them into the syllables they represent. I’m sure that’s something that will come with practice, but it’s my one real stumbling block at present. It’s not a massive problem since the majority of the initial work we’ve been doing is in romaji rather than kana, but I rather optimistically picked up the textbook the course is using in its kana incarnation, not realising that it pretty much expected you to have both hiragana and katakana pretty much sorted by the time you start learning words and phrases. I may have to invest in the romaji version for at least the early weeks — that or spend a bit more time doing self-study on hiragana and katakana, anyway. It’ll come in time, I’m sure.

So far we’ve only learned a few basic words and phrases — introducing ourselves, saying good morning/afternoon/night/bye, giving our phone number — but things seem to be moving along at a reasonable pace, and the class is working well together. I still feel a bit nervous about interacting with relative strangers, to be honest, but I’ve been going for three weeks now, including talking to people, and haven’t exploded or shat myself or anything like that, so that’s good.

I’m interested to see how far this initial course takes things. I’ve certainly got the taste for learning again, so may well end up continuing my studies once it finishes in January — or perhaps that’s the time to switch to self-study. We’ll see. Either way, I’m enjoying myself at present, and hopefully it will prove useful (or at least vaguely bragworthy) at some point in the near future.

1374: Nep-Ko

Now that I’ve finished Tales of Xillia I am, as promised, once again playing Hyperdimension Neptunia Victory. I’m now pushing 60 hours of playtime, a significant proportion of the last few of which have been spent doing nothing but non-story content.

And lordy, what a lot of non-story content there is. There’s sidequests to do, which tend to have fairly modest rewards but challenge you to battle powerful monsters and master the game’s various mechanics. There’s a crafting system, which requires you to discover new recipes for various items, then gather the materials for them either from enemies or “harvest points” in dungeons. There’s the Scout system, in which you send out numerous NPCs on your behalf to check out dungeons and potentially manipulate the items, enemies, drop rates or experience point gain in particular areas and occasionally discover completely new places. And there’s little tricks like earning money by gathering an item called “Invisible Cloth,” purchasing a cheap costume, combining it with the aforementioned Invisible Cloth to make a new item of clothing and then selling them for 1.5 million credits a pop.

All of this side stuff is conspiring to prevent me from advancing the game’s story. Said story is immensely entertaining as it always has been in the Neptunia series, but Victory’s mechanics and optional content are far more solid than even Neptunia mk2, which certainly had plenty of things to do. The combat system has been refined into something that is immensely enjoyable to repeatedly engage in, the difficulty has been ramped up considerably over the rather straightforward mk2, and just chasing down these sidequests and items is extremely addictive.

Although the Neptunia series is widely derided by the mainstream press, I’m consistently impressed by what it’s managed to achieve over the course of three games. What initially began as something of a cheap joke at the expense of the games industry and the “console wars” in particular has developed into something much more over time — each of the game’s main characters has been developed into their own unique person with a distinctive personality. Okay, there’s plenty of standard anime tropes at work, but combined with the fact that these characters are supposed to represent games consoles and manufacturers, it really works; why wouldn’t PlayStation be a tsundere who enjoys nothing more than working too hard, and why wouldn’t she have a sister afraid of never quite being able to match up? Why wouldn’t Nintendo live in a vibrantly-coloured candyland but actually be ruthless, cold and prone to bouts of completely irrational anger?

By nearly 60 hours into Victory, I’m no longer really thinking of the Neptunia cast as “the Sega one, the PlayStation one, the Microsoft one”; they’ve become great characters in their own right, and their interactions with one another are a real highlight. In fact, such is the popularity and success of the series in its native Japan, it’s got its own anime spinoff which I’m curious to watch at some point, and there are several new games on the way, too.

I find it quite odd but also rather pleasing how much this game series has resonated with me since I first picked it up on a whim out of interest one day. “Objectively” speaking — in as much as it’s possible to be “objective” when talking about pieces of entertainment — there are far better games out there, both in terms of gameplay and technical proficiency, but something about the adventures of Neptune and the gang has really spoken to me ever since that clunky first game, and has ensured that any time something with the words Hyperdimension Neptunia is released, it’s pretty much an instapurchase for me. It’s been a while since a “big-name” game has elicited that sort of feeling from me.

1373: Steem-Powered

Although I grew up with the Atari 8-bit range of computers, some of my fondest early memories of using computers and playing games relate to that range’s successor: the Atari ST. Unlike the 8-bit range, the ST was a 16-bit machine with an 8MHz processor, either 512K or 1MB of memory, support for MIDI, hard drives and floppy disks that held up to 720K of information. It was a huge leap over the 8-bit systems in many ways — though it did suffer from an appalling soundchip that actually sounded worse than the 8-bit range’s POKEY chip in the hands of anyone other than the most skilled chiptune musicians.

I had a sudden urge to revisit some old ST memories the other day, prompted partly by a discussion with Andie on the subject of chemistry, of all things. (Andie’s in hospital right now, if you didn’t know, so discussions naturally turn to vaguely medicine- and science-related things on occasion.) Our discussion caused me to randomly remember an old Atari ST puzzle game from Psygnosis and Blue Byte called Atomino in which you had to create molecules by attaching atoms to one another and not leaving any… err… connecty bits (I’m not a chemist!) dangling loose. Remembering turned into downloading the Steem emulator and a copy of the game just to see if it held up. And it does!

I played Atomino for a bit until the emulation crashed (I think it was more a problem with the dodgy pirate disk image rather than the emulator itself) and then suddenly remembered a few other things — specifically, a few entries from the demoscene that I used to enjoy indulging in on occasion.

The demoscene is an odd old beast when you think about it, but it was a popular movement that, I believe, is still going on today. For the uninitiated, a demo disk was exactly what it sounds like: it was something you booted up when you wanted to demonstrate what your computer was capable of. More often than not, said demos were technically impressive in some way — they might use graphical trickery to get more than the normal 16 colours on screen, for example, or they might show off by putting graphics in places where it was normally “impossible” for the ST to render graphics. They’d often have good music, demonstrating skilled chiptune artists’ mastery of the ST’s crappy three-channel sound chip, and they were also often notable for quite how much stuff they fit onto a single disk.

One demo I remember particularly fondly — and which I successfully found a disk image of, so am enjoying while I type this out — was called The B.I.G. Demo. I can’t remember why we had a copy with our original computer — chances are it was one of the disks acquired via my dad and brother’s attendance at the local “computer club” (actually more of a local piracy swap meet — everyone was at it in the ’80s and early ’90s) that adorned the several big boxes of 3.5-inch floppy disks we had for the ST.

Anyway, The B.I.G. Demo was pretty neat. It wasn’t the absolute flashiest demo I’ve ever seen, but it was cool. It had graphics in the borders, it had 256-colour visuals, and it had renditions of a wide variety of music from the 8-bit era. In fact, the main point of the demo was to act as a jukebox, providing access to a huge number of C64 classics in glorious ST-o-phonics. There was also a “Digital Department” menu that loaded separately and included digitised (more than likely MOD file-based) renditions of a number of the same tracks. Aside from this, though, everything in The B.I.G. Demo was loaded into the ST’s memory, meaning no loading breaks whatsoever — not bad for a 512K machine.

One of the most interesting things about many of these demos was the scrolling text that inevitably adorned them. In many cases, the length of the scrolling message in the demo was the source of considerable bragging rights for the developers — not an unreasonable boast, given that when you only have 720KB tops to play with on a double-sided ST disk, even a short bit of text can and will eat into that space significantly.

The B.I.G. Demo had a whole bunch of scrolling messages, including one on the main screen that bragged about its lower border artwork, and the demo’s crowning glory, the B.I.G. Scroller. This was quite simply a scrolling message that whizzed past in large print and would make you quite dizzy if you watched it for more than a few minutes at a time, but reading the whole thing would take you a significant amount of time. I can’t remember a lot of the content from the B.I.G. Scroller (and haven’t tried to read it since re-downloading the demo), but more often than not these “scrolltexts” took the form of stream-of-consciousness ramblings from one of the demo’s creators, and were often quite interesting to read. In many ways, I guess they were a precursor to stream-of-consciousness blogging, and they’re certainly an artifact that is very distinctive to the late ’80s and early ’90s.

I haven’t kept up on the demoscene since I was a daily user of the Atari ST but I’m sure this sort of thing is still going on. I wonder how long the longest scrolltext is today?