#oneaday Day 110: Listen to albums

I’ve been trying to make an effort, when I listen to music, to put a full album on and let it run all the way through. It’s how I enjoyed listening to music as a teen and twentysomething — I had a big CD collection that I kind of wish I hadn’t gotten rid of now — and I’m beginning to drift back into preferring that kind of listening now, too.

Y’see, I’ve become increasingly conscious of the “media as content” problem that we, as a society, have been enthusiastically plunging ourselves headfirst into. Music has become disposable, and streaming services have made it very difficult for career musicians to… well, have a career out of music. Not only that, there is a not-insignificant number of people out there now who simply don’t respect music for its artistry; they just want “background noise”. Doesn’t matter what it is, so long as it’s noise.

I had a 3+ hour drive to and from the office yesterday and today respectively, so I decided to listen to some music rather than putting a podcast on. And I deliberately set up my music queue to play several full albums in succession rather than just a selection of favourite tracks — or, worse, just sticking it on “Shuffle” or “Radio” and letting it do its thing.

I really enjoyed it. And there’s still something very pleasant about listening to an entire album in the context it’s supposed to be heard. Really good albums feel like they’re taking you on a journey; it’s not necessarily that they have a narrative (though, of course, some do) but they do have a definite sense of progression from track to track. This is particularly evident in the case of stuff like Prodigy’s The Fat of the Land, which smoothly transitions one track into the next, making for one continuous soundscape that evolves in character and energy as it progresses through its complete runtime.

I will attempt to outline my enjoyment of several albums that I found to be particular highlights throughout both journeys.

WWDD – Dempagumi.inc

I can’t remember how I first came across Dempagumi.inc, a Japanese idol group that has been around since 2008, but I remember being very struck with this particular album from 2015 the first time I heard it. The songs were catchy and it felt like there was a sense of narrative to it. I didn’t understand a word of it, of course, with it being all in Japanese, but I felt like that didn’t matter all that much; what does matter to the Dempagumi.inc experience is being swept along by the energy of the group.

One track that I particularly like is Dear Stage e Youkoso (above). It’s not necessarily the song on the album that I would describe as the “best”, but the narrative setup of a seemingly downtrodden-sounding man discovering the real-life idol bar Dear Stage really works well. The listener finds themselves inhabiting the role of this man who gradually discovers joy through surrounding himself with the energy of the idols, and it feels like the performance is just for you. Or him. Or both. Whatever. Anyway, it’s good.

The whole album is energetic and enjoyable, and it’s one I come back to a lot. Definitely a good.

These Nuts – Ninja Sex Party

I absolutely adore Ninja Sex Party, the musical outfit run by Dan Avidan (best known as half of Game Grumps) and theoretical physicist Brian Wecht. Their work captures an absolutely perfect balance between being perfect pastiches of classic ’80s rock and ballads, and being utterly, hilariously absurd. I could pick any Ninja Sex Party album to go in this slot, but These Nuts, their album from this year, is the one that particularly stuck in my mind today.

The opening track (after Danny Sexbang’s obligatory introduction) is one of my favourites. Get Ready (To Get Ready) is a brilliantly energetic piece about people who will never be quite ready to do something when you want them to be — there’s always one little thing to do, an email to send or something like that. The whole thing is delivered with such overblown earnestness that it’s hard not to enjoy it.

Sports Anthem is also brilliant just because of the mental image it conjures up. It doesn’t matter what sport it’s referring to — because it doesn’t refer to any specific one, and one suspects that neither Danny Sexbang nor Ninja Brian being really into sports is definitely part of the joke — the sentiment of “don’t fuck it up” is universal.

The Fat of the Land – Prodigy

I vividly remember when I “discovered” Prodigy. I was on a bus for a school trip of some description, and my partial namesake Peter Miles was listening to a CD single of Breathe by Prodigy. I asked him if I could have a listen, and was immediately taken by, more than anything, the immensely satisfying drumbeat.

I hadn’t really thought much of Prodigy prior to this. I’d probably heard Out of Space in passing, and I absolutely detested Firestarter the first time I heard it — though this was, in part, reflected disgust from my parents who, quite understandably, didn’t understand the appeal.

But Breathe resonated with me for some reason, even though I still don’t know what the actual words are. And when The Fat of the Land came out, I listened to it a lot. I liked Firestarter in context, though it was probably my least favourite track on the album.

Returning to it today, it’s a great album. An absolute punch in the face of noise for most of its runtime, of course, but it has that really great sense of progression I was talking about before. Wisely, the whole album doesn’t rely on heavy basslines and driving rhythms as in Breathe; around the midpoint there are several more downtempo numbers including the famous Mindfields (probably known by most people due to it being in The Matrix), the Crispian Mills-fronted Narayan and the instrumental Climbatize, all of which I rather like (though I must admit I’d forgotten about Climbatize until today’s listen). Definitely one I will likely pop on when I’m in the mood for something loud.

Album-making is definitely an art form, and I worry that it’s something we’re at risk of losing — as with so many forms of culture. I feel like in the last 25 years or so we’ve lost more forms of culture than we’ve gained; the vapid brain-rotting dogshit that is TikTok doesn’t feel like a very fair exchange for listening to full albums being the norm.

Still, it’s not as if those old albums have gone away. So I’m going to continue making a point of listening to full albums as much as I can. And if you haven’t done it for a while, I recommend giving it a go — you might be pleasantly surprised at how enjoyable it is.

Want to read my thoughts on various video games, visual novels and other popular culture things? Stop by MoeGamer.net, my site for all things fun where I am generally a lot more cheerful. And if you fancy watching some vids on classic games, drop by my YouTube channel.

#oneaday Day 109: Unexpected Downtime

Hello. Perhaps you noticed that for some of yesterday and most of today, this site was down for “violations of the Terms of Service”.

I had not violated the Terms of Service. What had happened was that WordPress.com’s automated anti-spam service had somehow flagged my site mistakenly, and because we’re all so fucking keen to trust stupid, proven-to-be-immensely fallible automation, it just nuked my site rather than, you know, actually attempting to contact me.

I’m glad I got the site back (not before sending about six emails to WordPress, because they didn’t even have the courtesy to send me an email notification that the site had been suspended) but I won’t lie: this whole incident has severely damaged my trust in WordPress.com. And that is a big deal; this site has been hosted on WordPress.com since 2008, and for the longest time, my site MoeGamer.net was also hosted on WordPress.com.

For many years, I have recommended WordPress in preference to all other similar platforms for its ease of use and flexibility. Sure, WordPress.com’s paid plans are vastly overpriced for what they provide, but the simplicity of what the platform offers and how you don’t have to do any complicated configuration or optimisation to get a site running efficiently has always been a big selling point in my book.

Unfortunately, of late, WordPress’ parent company Automattic has been drinking deep of the AI Kool-Aid, and stupid, pointless, obnoxious AI features are infesting every part of their operation, leading to rampant enshittification. When I first attempted to enquire about what had happened to my site, I was greeted with this response:

A screenshot of WordPress "AI Assistant" Wapuu, saying "It sounds like you want to talk to a human. Human support is only available for our paid plans. For community support, visit our forums".

What “Wapuu” did not tell me was that when you have a suspended blog, you are not allowed to post in WordPress.com’s forums, so I was seemingly completely out of luck at any attempt to communicate with an actual human being about the situation. Thankfully, I found a loophole and managed to post anyway. But I was dismayed to see this post as the top pinned post in said forums:

A screenshot from WordPress.com's support forums. It blathers on about how we should all be supportive and understanding of people using AI instead of their own actual brains.

I particularly like how they acknowledge that AI frequently talks complete shit, so you should “verify the accuracy” of anything something tells you. Support forums are supposed to be a place to go to get helpful advice, not a bot telling you to eat poisonous mushrooms or some other such shit. I am not interested in “embracing the amazing potential of AI”, I want someone from the fucking company to help me with a problem I am having which the company has caused.

It took multiple emails to WordPress.com to even get them to acknowledge there was a problem because, as I say, I was not even sent an email notification (or indeed a notification via WordPress’ own system) to tell me that the site was suspended — and, of course, that left me completely in the dark as to why it was suspended, too.

It’s not an exaggeration to say that this blog, as low-effort as it can probably seem at times, is immensely precious to me. It hosts nearly 17 years of memories and helped me survive some seriously dark times in my life, and it’s always been a valuable means of self-expression and self-therapy. To have it suddenly taken away through something that was 100% not my fault in the slightest was devastating, and it’s all but destroyed my trust in WordPress.com and Automattic as a company.

I’m presently looking into moving this blog into the self-hosted space, likely as a subdomain of moegamer.net, so watch this space for news on that if I get things sorted. In the meantime, hopefully this post won’t trigger any “AI” to take everything down again, because I’m really angry about what happened here. While you’re always at risk of something like this happening when hosting your work on servers that belong to someone else — particularly if you’re using a free service — it doesn’t feel acceptable that a 17 year old, well-established site can be completely nuked at the whim of a clearly fallible automated solution.

So yeah. That’s the situation. At least things were resolved… for now, at least. I guess we’ll have to wait and see how things go from here.

#oneaday Day 108: Punch punch punch

Because I’m sick of feeling like a decrepit old man and I can’t quite muster up the mental wellbeing to head to the gym right now, I dusted off my copy of Fitness Boxing 2 for Nintendo Switch and have been giving it a go for the last couple of days. I considered grabbing the new Hatsune Miku version of the game, but it’s £50 and I haven’t yet established a good routine with the two previous entries in the series I have on my shelf. So I thought I’d do something about it.

The trouble with exercise is that it always feels like it’s going to be a bloody nightmare to get started, particularly after a long period of inactivity, but then once you actually do it it’s rather satisfying. My two sessions of Fitness Boxing 2 over the past couple of days have been hard work for someone as out of shape as I am — though my rhythm game skills have netted me a “Fitness Age” of 24 on both occasions, thereby proving once and for all that such a metric is, as everyone suspected, complete bollocks — but I’ve come out of both of them feeling like I’ve done something worthwhile, and something that, in the long run, will be good for me.

For those unfamiliar with Fitness Boxing, it’s a game that somewhat follows the mould of Nintendo’s classic Wii-era fitness games, only with a bit more of a specific focus rather than providing lots of minigames. At its core, it’s a rhythm game, tasking you with using the Joy-Cons to punch in various ways and, in the more advanced workouts, ducking, weaving and suchlike, too — though pleasingly, given how dodgy the motion detection can be on movements other than punching, you can turn any troublesome exercises off, or set the game to automatically score you “Perfect” on them, regardless of what the Joy-Cons tell the Switch you were doing.

A full daily workout consists of several stages, beginning and ending with some simple stretches. In between, you’ll have a series of specific workouts of varying degrees of intensity and difficulty, typically following your opening stretches and preceding your closing stretches with something relatively gentle and putting one or more fairly high-intensity (and longer) ones in the middle.

Each individual stage tends to unfold in the same way. You’ll start in “orthodox” stance (left foot forward, right foot back) and gradually be introduced to a complete combo, usually one move at a time but sometimes a bit quicker in the shorter, lower-intensity stages. You’ll gradually build up to performing the full combo, and in a special “Zone” sequence where you get more points, you perform the full combo multiple times in rapid succession — typically four, six or eight times in a row without a gap in between, depending on the length of the combo.

After that, you switch to “southpaw” stance (right foot forward, left foot back) and then do the exact same thing, but the other way around. In the higher intensity, longer workouts, you’ll then do another combo, again both in orthodox and southpaw stances, and then you’re done.

Typically a short stage lasts about 5-6 minutes, and longer stages are about 11-12 minutes apiece. The “Normal” intensity workout for a day consists of stretches, two short stages and two long stages, totalling about 35-40 minutes of activity altogether; you also have the choice of doing a slightly shorter or longer workout, which equates to about 25-30 or 45-50 minutes of activity respectively by varying the number of stages in the complete workout.

As someone who is desperately unfit, the pacing of the exercises seem OK to me at the moment. The longer stages definitely feel like an effort to endure, but that’s good — they’re not so difficult that I can’t make it through them, but I do feel like I’m doing some actual work that will be beneficial.

I could be doing them better, of course; the game suggests that when you’re not punching, you bob back and forth in time with the music and I can’t quite manage to keep that up constantly along with all the other stuff, but I’m sure I can get there over the long term. The important thing is, after all, getting started.

The trainer voices throughout are rather repetitive, but helpful in giving you cues and encouragement, and the visual demonstration of what you’re supposed to be doing (“mirrored” so you can follow along more easily) is very helpful. The game-like feel to the whole thing makes it feel more “fun” than some other forms of exercise, and there’s a wide range of musical accompaniments to go along with your workouts — including both instrumental versions of “real” songs and some original stuff composed specifically for the game. The original stuff is actually quite a bit better than some of the Kidz Bop-tier arrangements, but honestly part of the fun of the game is the absurdity inherent in aggressively throwing punches to something like Hot and Cold by Katy Perry or the frigging YMCA.

I have a long drive tomorrow afternoon after work, and then a long drive back home after work the day after, so I’ll likely take a rest for at least tomorrow and possibly the day after also, depending on how I feel when I get back, but I intend to get back to this as soon as I can. It feels pitched at about the level I can deal with right now, and I think it’ll just be helpful to get moving a bit in any way. Because I’m sick of waking up aching all over like someone twice my age, and I suspect a significant part of the reason that is happening is because I haven’t been exercising.

#oneaday Day 107: Tackling Loneliness

I’ve seen quite a few news reports and political manifestos over the course of the last few years that claim “we” as a society are supposedly doing something to “tackle loneliness”.

Okay. What? What are “we” doing to tackle loneliness? Because from where I’m sitting in this extremely lonely state of mind, I can see precisely fuck all going on. I am in a position where I feel like I need some sort of help in this regard, and I do not have a fucking clue where I might go to find it.

Oh, I can see lots of statistics and reports that confirm indeed, yes, people are feeling lonely. But no actual action taking place. Lots of big words like “we need to take a holistic life course approach” and other such shit, but no actual evidence of anything really being done.

Which, of course, begs the question: exactly what can be done? “Tackling loneliness” isn’t just a case of dumping a bunch of people in a room and telling them to talk to one another — though one of our local bus companies seems to think that branding their buses the “ChattyBus” and encouraging people to make “bus friends” is an approach that will have any effect whatsoever, clearly not understanding that the sort of people who will talk to you on a bus are generally not people you want in your immediate circle of friends.

There are volunteer services that exist in an attempt to “tackle loneliness”, but I feel like these would always feel very artificial. Someone is acting like your friend because it’s their job to act like your friend. I’m sure real social connections can and do come about as a result of initiatives like this, but judging by a quick scoot around the websites for ones in the general area, they are all very oversubscribed. Which, in itself, probably says something that isn’t all that good.

Mostly I just want my old friendships back. Friendships from before an age of social media, friendships from before the worldwide political stage became the perpetual firework show it seems to be these days, friendships from when we were all just happy to hang out and do something fun in one another’s company.

And it’s not as if I haven’t tried to maintain those friendships that used to be like that. But I always seem to be faced with resistance: resistance that seems to grow by the year. I have reached a point where I feel very much unwanted by a lot of people with whom I used to be very close, and it upsets me. Like, really upsets me. Keeps-me-awake-at-night upsets me.

And this feeling of being unwanted of course feeds into other mental health issues — including self-esteem and social anxiety. If the people who are supposedly some of my oldest friends don’t want me, how on Earth can I be expected to find the confidence to make new friends? How, even, do you make new friends in 2024? I just don’t know any more.

In fact, I don’t think I’ve ever known. I’ve told this story before, but I’ll tell it again, because it’s relevant.

On my first day at secondary school, I was pleased to discover I was in a class with several of the people I had known at primary school — including the person who was ostensibly my “best friend”. We had been put in a seating arrangement for morning registration, presumably in an attempt to get us to mingle a bit and get to know one another. I was sat next to a lad called Murray. I had absolutely no idea how to talk to him. I vividly remember turning around to my former “best friend”, who was sitting behind me, and urgently whispering to him “I don’t remember how to make friends”.

Because I didn’t. And I still don’t. Any friendships I found myself in tended to be ones of circumstance such as living together in the same flat at university, and I always felt like I existed on the periphery of larger friendship groups that these acquaintances had. I felt like I was “intruding”, like I wouldn’t be welcome if I tried to ingratiate myself with these people who “weren’t my friends”. Those people were their friends, not my friends, and what right did I have to attempt to call them my friends too?

It looks silly on paper, I’m sure, but that’s the reality of social anxiety. Legitimately one of my proudest moments of personal growth in my whole life is a time I was caught in a lift with a stranger I was on a music course with and I plucked up the courage to actually introduce myself. I felt enormously awkward and like a complete idiot at the time, but that one occasion actually became a genuine friendship — and several other friendships came about as a result of that initial contact.

But good Lord, did it ever feel like scaling Everest to get those words out of my mouth in the first place. And these days, I don’t exactly find myself stuck in a lift with people I might have something in common with all that often. So here I am, stuck typing this to myself at 11:15 on a Sunday night, wondering where it all went wrong and even if it’s possible to fix things at this point. Because the longer this goes on, the more I worry about what the end result of it all might be for me.

I’m lonely. That’s about it, really.

#oneaday Day 106: Best laid plans

Well, I streamed for a bit! But I didn’t do UFO 50 in the end. I wasn’t satisfied with how it was performing while running at the same time as OBS, so rather than faff around attempting to optimise stuff, I decided to stream some Evercade stuff instead — specifically Thalamus Collection 1.

I enjoyed the stream. I kept things simple and just played some games. A few people showed up, including some real people as well as some bots (who were swiftly blocked) and we all had a good time. I’m keen to do some more.

I haven’t yet decided how this is going to fit in with everything else I do, but I think I might want to try and do something at least semi-regular. If I can set aside an evening in the week as “stream night” I think that might be good — streaming in the evening means that I should be able to get people from multiple time zones. I have viewers on YouTube from both sides of the pond, so that’s always been a consideration.

Right now, Tuesday nights are out because that’s Slimming World night, and Wednesday should probably be kept free because I often go into the office on Wednesdays and get back late.

Thursday might be good. It’s midweek, and it’s not an obvious night when people want to go out and do stuff like on a Friday. So I think I might try and make a go of it on Thursdays, focusing on retro stuff.

We’ll see. Next week is a busy one as I’m heading to the office for one of those aforementioned trips, but I think it might be fun to get this sort of thing started.

And getting started is one of the hardest bits, I guess!

#oneaday Day 105: Time to sleep

I barely slept last night. I’m not sure what the problem was, but I’m pretty sure I woke up at least once every hour in varying forms of discomfort, and consequently I’ve been rather tired today. Still, I made it through the day — and without sneaking off for a lunchtime nap, even — so now I feel justified in collapsing, ready for the weekend.

I’m still hoping to try doing a stream tomorrow, likely around lunchtime or early afternoon my time (UK time). I’m not going to make a huge effort to publicise it because I’ll be using the session in part to make sure I’ve got everything figured out and set up properly, but if you do fancy stopping by and saying hello, my Twitch channel is right here.

UFO 50 still feels like a prime choice to stream. It’s current, it’s timely and it’s thoroughly interesting. I’m only three games into it so far — I spent a hefty amount of time playing the second one this evening, and took a brief glimpse at the third one — but there’s a hell of a lot to explore, and each game is substantial in its own distinctive way. The first game, Barbuta, which I wrote about here and made a video you can see below, was a solid arcade adventure affair in the mould of classic home computers; the next two are completely different.

As the existence of the above article and video implies, I’m going to do a full series on all the games in UFO 50, because it deserves that much, and I suspect there aren’t going to be many other folks who explore it in that much detail. I’ve already seen a ton of ten-minute reviews go up on YouTube, and there is no way that they go into any sort of depth other than “retro game go brrr” so soon after release.

Sure, some folks probably just want a simple “is it worth buying?” but there’s definitely scope here for some in-depth analysis. So that’s what I’m going to do. On my own time. Because I like making work for myself.

Anyway, the second game is an interesting blend of strategy game and deckbuilder, then the third is an arcade-style autoscrolling platformer. Both of these are going to be a lot tougher to beat than Barbuta was, I can tell — those little gold trophies you get for beating all the games in the collection (and the cherries you get for beating them in extra special super pro ways) aren’t going to come easy, it seems!

And that’s good. I’m sure it must have been tempting for the team behind UFO 50 to make all the achievements and unlockables relatively straightforward, so everyone has a chance to see everything the game has to offer. But that’s not how real retro games worked; real retro games were tough, because you often only had one or two of them, particularly if you were a console rather than a home computer player, and thus they needed to last you a while.

I’m not going to be too upset if I don’t get all 50 shiny gold trophies and juicy cherries in UFO 50; I’ll be satisfied if I’ve simply figured out how each game works and what you’re supposed to do in it. Because that’s the first real challenge in the package; determining what real games each title is a bit like — with their own unique twists — and getting to grips with their mechanics and structure.

I’m looking forward to playing some more, but for now, I think I need to go to bed and hopefully sleep a bit better than last night! Perhaps see you tomorrow for the stream?

#oneaday Day 104: A Plan

I think I might have a very good idea on what to do for a stream on Saturday. UFO 50 by Mossmouth (Derek Yu’s software house, best known for Spelunky) came out recently, and hoo-whee, is it ever a good time.

Let me correct myself: I have spent approximately five hours this evening playing one of the 50 games in UFO 50. The first one. I have an idea brewing for a video and/or article series covering each and every game in the mix, so I’ll save the specifics for when I kick that off, but suffice it to say for now that when they say this isn’t a collection of microgames or minigames, they really mean it.

Let’s back up a moment for those unfamiliar with UFO 50. It’s a project that has been on the cards for quite some time — and was delayed by the development and release of Spelunky 2 — but now it’s finally hit Steam. (Other platforms are apparently “TBC”, so it’s Steam or nothing for now.)

The concept behind it is that a hitherto-unknown game system from the ’80s has been discovered, and you’re taking a look at its library. Laid out in front of you are 50 disks for the system, each containing a game. It’s your job to play them, as much or as little as you want.

Each of the games is designed in part as if it was running on technology of the ’80s. That means low resolution pixel art, limited sound capabilities and a palette consisting of a whopping 32 possible colours. However, as a nod to modern accessibility, all of these games run in widescreen, which is something that wouldn’t have been possible on the CRTs of yore, and annoying limitations from real systems like sprite limits causing flickering and suchlike are omitted. Essentially what we have here is a collection of “enhanced retro” games — games like you want to remember the ’80s as being like, as opposed to what they actually were.

That said, the first game in the collection, Barbuta, which I’ve spent a lot of time on this evening, has very little in the way of sounds and is resolutely old-school in its punishing difficulty and deliberate obtuseness. I absolutely loved it because it feels like something you’d play on an ’80s 8-bit micro, but I would completely understand if anyone bounced off this one hard. In UFO 50 “lore”, this game dates back to 1982 and, outside of the deliberate enhancements mentioned above, it could absolutely pass for something from the period.

And no, there are no save states. If you want to beat one of these games, you have to do it as if you were using the real machine. That said, there is a mysterious “Terminal” function built in to UFO 50, which looks as if it might be the sort of thing you put Game Genie or Action Replay-style codes into, but I haven’t figured anything out about that as yet. I’m not sure anyone has, but I’m sure some turbonerd on the Steam forums will have datamined it and spoiled it for everyone by the weekend.

Anyway, from my experience with just one of its 50 games, I can highly recommend UFO 50 so far. It’s a fascinating way of looking at gaming history and the evolution of game design over time, plus simply a really interesting project. Making 50 worthwhile games and bundling them all together for just shy of 20 quid is quite an achievement, and the indie all-stars team behind it should be very pleased with what they have seemingly accomplished.

I’m looking forward to investigating further. I actually beat Barbuta after that five hours of playing and retrying this evening, so tomorrow I can move on to some of the other games! Looking forward to it a lot. And, as I said at the start, I think this seems like a great game to do some streaming with. So I will pencil it in for Saturday while my wife is out, and see how things go from there!

#oneaday Day 103: A solution?

Following yesterday’s ponderings, something blindingly obvious occurred to me earlier: there’s quite a simple solution to what I was contemplating, and that is to actually finally start doing some streaming.

I’ve tried streaming a couple of times and not had a terrible time doing it, but I fell off from doing it because I didn’t really set aside a specific time to do it and haven’t (yet) put in the work to try and get any sort of “community” going. To be honest, it’s that “work” part that kind of puts me off a bit; one of the nice things about YouTube is that I’ve been able to just sort of do it slowly and gradually build up an audience naturally without having to faff about promoting myself or whatnot.

Twitch is a platform that is still quite alien to me. There’s a lot I don’t like about it. It’s noisy and filled with distracting features that don’t play nice with my autistic brain. I feel certain portions of the Twitch audience have unreasonable expectations of what a streamer can be expected to do to keep them “entertained”. And I’ve seen far, far too many people burn themselves out because they “needed” to get Partner, or Affiliate, or whatever their monetisation program is called.

But at the same time, I kind of like the idea of having a platform where I might be able to make some new friends, chatting about the stuff I love. If I do decide to kick off some streaming, I’ll almost certainly keep it retro-focused — at least partly because in my study, which is the place that is really “set up” for streaming, I don’t have either a gaming PC or a current-gen console — but I think there’s plenty of potential to cover things there, between Evercade, the various mini systems I have (Atari 8-bit, Amiga, C64 and, later this year, Spectrum) and, of course, the gigantic Launchbox library I have on a 5TB hard drive.

It’s kind of a scary prospect, though. Even more so than YouTube, Twitch is “putting yourself out there” and inviting comment from any old random who happens to stop by. I should probably comfort myself with the fact that the kind of people I wouldn’t want to engage with probably wouldn’t be watching retro gaming streams, anyway — but it’s still somewhat nerve-wracking.

Perhaps I’ll give it a go this weekend as a sort of trial run. My wife is going into town with a friend for a bit, so maybe I’ll take the opportunity to try some bits and pieces out back then. If you’d like to stop by, here’s my Twitch page. No promises, but I have mentally “pencilled this in” for this Saturday, and we’ll see how it goes.

#oneaday Day 102: Pondering YouTube… again

Having one of those days where I’m pondering my approach to YouTube. Y’see, my latest video, which covers Atari’s Yars Rising and is essentially just a video version of this article, has gone and done very well. Relatively speaking, I mean, and by that I mean it’s broken a thousand views.

For a small-scale sub-5,000 subscriber YouTuber like me, getting anything to break 1,000 views is significant. I’ve had a few successes over the last couple of years, and most of them have had something in common: they’ve been pre-scripted videos, as opposed to the “Let’s Play” style I built my channel on, and which I think I probably enjoy doing the most.

Probably my most significant success to date is the above video, which covers the excellent modern isometric racer Super Woden GP. This video has, to date, managed 87,000 views and is still trickling along. This was absolutely overwhelming to watch happen, to such a degree that I ended up having to “pause” the comments section because I was getting so many people commenting.

My second best is the above, which covers Moonring, an excellent modern take on the classic Ultima RPG formula, developed by one of the folks who worked on the original Fable. Plus it’s free. This one has been a slow burn; to date it’s done over 29,000 views, but it got off to quite a slow start. Compare the graphs for these two videos.

Here’s Super Woden GP 2:

And here’s Moonring:

Notice that the latter one spiked for some inexplicable reason about 250 days after I posted it. I don’t really know what happened here; I can only assume that it got shared somewhere and a lot of people showed up. But the analytics seem to suggest that YouTube just decided to suddenly start pushing it one day, so it started appearing when people were just browsing around the site:

The Yars Rising video hasn’t done anything like the numbers of these two, but it’s also still early days for it — at the time of writing, it’s just two days old. But it’s had a strong early push:

The one thing that the Yars Rising video has in common with the Super Woden GP 2 one in particular is that it was something timely. I made the video shortly after Yars Rising came out, when there was still some discussion going on about it. That, presumably, helps. But it doesn’t account for what happened with the Moonring video.

Anyway, the point is, any time something like this happens, I end up wondering if I should change tack a bit with YouTube. The approach I’ve taken for the vast majority of my videos is one where I introduce a game with a bit to camera at the start, then do a “Let’s Play”, where I explain the game as if I’m sitting down to play it with the viewer.

Some of these videos have done quite nicely. This one, on Seven Cities of Gold for Atari 8-bit, broke a thousand views:

As did this one on Beamrider for Atari 2600, though that’s over the very long term:

I like making those videos. I think they’re a good way of helping people to understand how to play and figure out the appeal of retro games. And yet the numbers don’t lie: what gets people watching is pre-scripted, more “review-style” videos.

Don’t get me wrong, those are fun to write and to make, also — plus I can generally cross-post them between YouTube and MoeGamer for two completely different audiences to see them — but any time I ponder maybe switching to doing that kind of video all the time, I think of the people who have very kindly stuck with me since the earliest days of me fumbling around with the platform, figuring out what the hell I actually wanted to do with my YouTube channel.

I suspect it’s not an “all or nothing” question. I suspect the answer is something I know already: that the optimal approach would be to do a bit of both. Perhaps “Let’s Play” style videos on simpler, earlier games, and more elaborate scripted affairs for more complex, longer games.

I don’t know. I’m just thinking out loud here. If I was a bigger channel I’d just say “fuck it” and start a second channel then split the two types of video between the two channels, but it seems foolish to do that as a small creator.

But anyway. I’m glad the Yars Rising video is doing reasonable numbers, at least. It’s a cool game and I’m glad people want to know more about it. So if nothing else, I can be glad about that!

#oneaday Day 101: Body Harvest

Today, inspired by yesterday’s post and my recent acquisition of an EverDrive 64, I decided to have a “fuck it, I’m playing something new” evening and booted up an N64 game I’ve always been curious about but never actually tried: DMA Design’s Body Harvest, often described by many as a proto-Grand Theft Auto 3. Naturally, as with any sort of widespread and oversimplified opinion, that does Body Harvest something of a disservice, but it is an interesting game that I’m going to spend some more time with.

For the unfamiliar, Body Harvest is a quasi-open world action game in which you take on the role of time-travelling supersoldier Adam Drake in a quest to defeat a bunch of pesky insectoid aliens who show up every 25 years and attempt to eat everyone in sight. For reasons it’s best you don’t ask too much about — the game’s original designer and writer has more on that — it has been decided that Drake should travel back to each of these instances of the aliens arriving on Earth and obliterate them rather than, you know, just attempting to cut them off at the source.

This then unfolds as a series of absolutely vast open-plan 3D levels in which you can control Drake on foot or in a wide variety of vehicles. It’s open world and it has vehicles in it, therefore it’s just like Grand Theft Auto 3, see?

No, if anything, Body Harvest is closer in execution to something like 16-bit classic Hunter, but with a bit more focus. Because despite unfolding in wide open environments, there’s not a lot of incentive to go off exploring; for the most part, completing the game involves running through a series of objectives one at a time, dealing with alien invasions that tend to punctuate getting from one place to another, and attempting to ensure that the little meter indicating how many humans have been eaten doesn’t fill up.

It’s a game I’d always assumed to be a bit more complicated than it actually is, though to be honest I’m kind of relieved. Body Harvest, although incredibly clunky by modern standards, and even by N64 standards, feels like it has some focus to it, and you’re rarely left in a situation where you have no idea what to do or where to go. Being a game from the fifth generation, though, you’re not bombarded with tutorials and guide NPCs telling you to shoot the hinges or whatever, meaning there are sequences where you’ll have to determine what the best course of action is — even if that action makes you a bit of an asshole, such as a point where you shoot the blades off a windmill because you need one of the cogs that runs it.

Body Harvest scatters a lot of vehicles around the map with good reason: it’s a lot easier to get around in them, and they provide considerably more protection for Drake. It’s possible to fight while driving a vehicle, either using Drake’s weaponry if it’s a civilian vehicle or the weapons fitted to the vehicle itself if it’s military hardware, and the game’s excellent lock-on system means that you don’t need to faff around aiming too hard; you can just concentrate on positioning yourself strategically and/or avoiding incoming attacks. In fact, the lock-on system is so good I can’t help but wonder how they managed to completely balls that aspect of Grand Theft Auto up so badly, and not even come anywhere approaching to fixing it until the ever-present, never-ending Grand Theft Auto V, which is, of course, the twelfth game in the series.

But yes. Aside from unfolding in a kind-of-sort-of open world and having vehicles in it, Body Harvest doesn’t have much to do with Grand Theft Auto. There’s no picking and choosing what missions to do, there are no side activities aside from a few collectibles here and there, and your progress through the game is, outside of a couple of opportunities to sequence-break, linear.

But that’s fine. It works well for the game, and it keeps you on your toes, always pushing you onwards into the next section of the game world rather than keeping you confined to one place. I appreciate how the game gives you a feeling of freedom, but doesn’t overwhelm you with it.

The one aspect that I can see being troublesome is the save system. Each level is absolutely enormous, and is split into several distinct “stages”, each of which culminates with a boss fight of sorts, which, early in the level, tends to take the form of eliminating a large static structure that is trying to pelt you with lasers. Upon clearing one of these “stages”, a beacon is dropped which acts as both a save point and a fast travel point; outside of that, you can’t save, meaning if you fuck things up after an hour of poncing around the open world, you’ll have to do all the important stuff again.

Still, this at least gives failure some degree of consequence, and encourages you to perhaps find more efficient ways to complete your objectives — or just memorise the things you need to do. I haven’t fallen foul of it yet, but I suspect I will before long!

As an N64 game, Body Harvest is ugly. It was renowned as a particularly ugly N64 game even on its original release and, as you might expect, time hasn’t been all that kind to it. But if you can look past that — I certainly can — there’s a really enjoyable game with a menacing atmosphere, a moody soundtrack and some satisfying bug-squishing combat to enjoy. I like, so I’ll definitely be playing some more of this.