2424: This Month in Old Gaming Magazines, 1988 Edition

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Since I’ve spent the last two days downloading approximately 40GB of old magazine scans comprising near-complete collections of ACE, Atari User, Page 6, Antic and Analog, I thought I’d look back at a few of them to see what was going on this month in the dim and distant past.

Chosen entirely arbitrarily by seeing which issue of ACE had “September” on it first, I thought we’d have a look at 1988 today.

“Games Without Frontiers”, ACE issue 12

“Once upon a time it was just you against the Galaxians,” writes Andy Wilton in issue 12 of ACE. “But revolutions in communications technology are going to bring about tremendous changes in the way we play — and who we play against.”

This should be interesting.

The article begins with a discussion of PBM (Play-By-Mail) games — as in, games you played through the postal service — which, as ridiculous as it sounds today, was once a viable means of playing multiplayer games. Obviously this style of multiplayer lends itself primarily to turn-based strategy experiences, and indeed the first example Wilton mentions is legendarily cynical backstab-o-rama Diplomacy.

Wilton’s designs for PBM are somewhat grander, though; he goes on to conjecture that “if the Royal Mail lets you run a game that’s inconveniently large for a living room, why not set up a game you couldn’t possibly fit in a house?” Why indeed.

Wilton then goes on to discuss play-by-email games; indeed, this remained a viable way to play games as modern as Civilization IV until relatively recently, since the format of the email messages could be made in such a way that the computer program could decode it without any external input required. Clever, but largely irrelevant to today’s constantly connected world.

“Far more exciting things are afoot than postal or pseudo-postal games,” continues Wilton. “For some time now there’s been the technology to get a whole load of people playing the same computer game by means of networking.” He then goes on to describe what we now know as server-based play, or taken to its natural extension, massively multiplayer online games. He does not, however, predict that one day we will have network setups specifically for games, or indeed the Internet: “for a networked game to really catch on,” he writes, “the network it runs on must already be in use for other purposes. Hardware’s the important factor here: setting up several machines, close together, connected with special cables, is a lot more effort than most people will go to for a game.”

Interestingly, Wilton then goes on to discuss distributed processing — the kind of thing Microsoft promised with its “Xbox Cloud” nonsense and has never quite managed to show any real evidence of. While there are noteworthy examples of distributed processing being successful — Folding@Home is a well-known example — it’s yet to be leveraged for gaming.

The article then concludes with the conjecture that the new frontier in multiplayer gaming will be using satellites. Well, plausible — a number of Japanese companies in particular experimented with satellite distribution of games — but again, it never really caught on, because the Internet became a thing.

An interesting article through modern eyes.

“Very Clever System”, Atari User Vol. 4 No. 5

Two issues before it was consumed by its longtime rival Page 6, Atari User took the bizarre step of kicking off a series of deep-dive articles exploring not the Atari 8-Bit, nor the Atari ST… but the by then 9-year old VCS/2600 console.

Actually, it’s not quite as unusual as you might think; the 2600 actually enjoyed a lifespan that the PS3 and Xbox 360 would be proud of; indeed, article author Neil Fawcett notes that an estimated one million 2600 systems were sold in 1987, with more than a hundred thousand of those in the UK.

Fawcett kicks off his article with an examination of how the 2600 differs from the Atari 8-Bit range of home computers. In other words, he defines what a games console is.

“It’s basically a dedicated box of electronics to be attached to your television to play games plugged into it,” he writes. “You can’t attach a disc drive or tape deck, nor can you type in the listings which appear in Atari User.”

On that latter point, one interesting thing about the computer magazines of the time was that in lieu of the downloadable demos or cover-mounted discs we take for granted these days, many magazines simply filled their paged with program listings that you could copy into your computer, save to floppy disk or tape and then run at your leisure. Free software — if you were willing to put the time in to type them in, of course. (Side note: I attribute my speed and accuracy of typing today to the sheer number of these listings I typed in as a kid.)

A little disappointingly, Fawcett’s article doesn’t delve deep into how the 2600 itself works, though he does include an annotated diagram of its guts, for all the good that does to someone who doesn’t know how electronics work. Instead, he reviews both old and then-new 2600 titles, in this case California Games from Epyx (“nice graphics and neat sound effects add a wonderful feeling of reality to each game”), Ghostbusters from Activision (“considering the 2600 is only a games system, the standard of Ghostbusters is superb”), Kung Fu Master from Activision (“The 2600 version may not be as graphically good as the arcade version, but it has the atmosphere and playability of the original”) and H.E.R.O. from, again, Activision (“the best conversion of a home computer game I have seen for the VCS”).

“Adventure!”, Page 6 issue 34

Page 6 often had themed issues or at the very least cover features, and this edition was very much focused on adventure games — the kind we now tend to describe as “interactive fiction” rather than the more recognisable point and click adventures we see more of today.

There were several type-in listings of adventure games in the issue, but the real attraction for adventure game fans was the in-depth interview with Level 9, a British software company that specialised in these games.

When I say in-depth, I mean it; the interview goes on for seven full pages with very few images; a far cry from the obnoxious “too long; didn’t read” mentality of many modern readers.

Level 9’s Pete Austin described his company’s formation as being born from a love of Dungeons & Dragons. “The form of D&D that we played is very unlike that played elsewhere,” he admits. “We played political D&D where, frankly, if you had to fight your way out of a situation then you had done something wrong. The basic idea was to bluff and blackmail people in the game and use political intrigue and spy techniques, that sort of thing.” It’s clear to see how this approach to tabletop gaming would naturally transplant itself to creating narrative-centric, text-heavy experiences that were entirely turn-based.

The interview goes on to describe how the team at Level 9 went on to produce their own programming language called A-Code to create their games, in effect creating one of the earliest examples of a game engine, albeit a text-based one. It also describes how Level 9 had people asking for clue sheets for their games even before they were released, showing that even back in 1988, some people still wanted to get through games by fair means or foul. This is perhaps more understandable for narrative-based games such as text adventures, however.

CES ’88, Analog no. 64

In his editorial introducing the September 1988 issue of American Atari magazine Analog, Lee Pappas notes that his 14th Consumer Electronics Show (CES — a show that still goes on today) was one of mixed emotions, in that he had “nothing to report on the 8-bit news front”.

Instead, what he discovered was a world where “the big names in software now read Nintendo or Nintendo compatible. Even Apple Mac and PC supporters were missing.”

The trouble Atari was having at the time was that its peculiar computer-console hybrid the XE Game System didn’t really know what it wanted to be, and being based on already dated technology — the 16-bit computers such as the Amiga and the ST were already available by this time — it struggled to secure releases that were 1) technically impressive and 2) good.

“Most of the games are starving for state-of-the-art graphics and just don’t have the imagination that is clearly evident in the Nintendo and newer Sega products,” writes Pappas. “Face it, the Nintendo and Sega don’t have keyboards. In the Nintendo’s case the unit is plain and boring in appearance and the controls are simple. What those have, however, are spectacular, well-thought-out programs, many of which go far beyond the shoot ’em up concept.”

True indeed. And while the Atari 8-Bit computers certainly weren’t short of imaginative titles in their heyday, by this point we were well into the age of consoles — an age that we would never look back from, with one exception; PC games eventually found a way to thrive alongside their console brethren. But the dedicated, proprietary-format computer was well on the way out.

2144: Link’s Awakening

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Closing in on the end of The Legend of Zelda: Link’s Awakening, and I’ve really enjoyed it — quite possibly more than A Link to the Past, which was previously one of my favourite Zelda games alongside Majora’s Mask.

I haven’t quite finished it yet so I’m not sure of the complete “truth” behind everything, but I’ll comment on what I have seen so far, which is up to about halfway through the eighth dungeon, Turtle Rock.

One of the things I like a lot about Link’s Awakening is its strange blend of melancholy and silly humour. This is something that Nintendo has been quite good at with the Zelda series in particular, but it’s particularly pronounced in Link’s Awakening. The frequent suggestion that everything that is going on is a dream of the “Wind Fish” — and whether or not this is the case is yet to be revealed to me, so no spoilers, please! — allows the game to throw in peculiar and unconventional things along the way, as well as cameos from numerous other Nintendo characters.

Pleasingly, these cameos don’t feel overly forced and, in most cases, aren’t shoehorned in — they’re just there. For example, there are characters who look like Mario and Luigi, but they’re never referred to as such. There’s a Yoshi doll in one of the shops that kicks off one of the major sidequests in the game. Mr Write from the SNES version of SimCity is there, indulging in a romantic, long-distance letter-writing relationship with a young goat-woman, who is misrepresenting herself using a photograph of Princess Peach. Goombas show up in several dungeons as enemies, as does a monsters that looks and acts remarkably like Kirby. The list goes on.

Another thing I like is how the game blends elements of the original Legend of Zelda and A Link to the Past. There’s the stronger sense of narrative from the latter coupled with the challenging but satisfying exploration of the former. Dungeons incorporate the side-view “cellars” from the original Legend of Zelda, but in a more fleshed-out manner — rather than simply being somewhere that you either get an item or find a route to another part of the dungeon, these cellars are often mini platforming challenges in their own right that make use of the “Roc Feather” item that allows Link to jump manually for, so far as I can remember, the only time in the series.

The dungeons are beautifully designed, too. While their layout is simpler than their counterparts in A Link to the Past, being single-screen rooms rather than larger, scrolling rooms, navigating them is a pleasure, and very often the game rewards experimentation with its mechanics, and even demands it in places. This is not a game that holds your hand in the slightest, which I appreciate, but I also very much appreciate that the game does have the facility for you to get a hint or two to nudge you in the right direction if you’re really struggling.

For me, the only slightly underwhelming part has been the bosses, which, although decent enough, don’t seem to be quite as interesting and challenging as those seen in some other Zelda games, and several of them are reused once or twice in later dungeons. At least they’re better than the ones from the original Legend of Zelda, mind, and there are a few interesting mechanics to play with on some of them. I also like the use of “mid-bosses” in dungeons as well as the big bosses at the end; I’m a fan of boss fights in general, so getting more than one per dungeon is something I enjoy.

Anyway. I’m hoping I finally beat the game this evening, because when I get home from holiday, it’s going to be Xenoblade Chronicles X time for the foreseeable future, and I’d just feel bad if I got this far in Link’s Awakening and didn’t see it all through until the end!

#oneaday Day 783: Prepare for Moxibustion: Shadow Hearts First Impressions

[I am not at all sorry for the above image.]

I recently acquired copies of Shadow Hearts and Shadow Hearts: Covenant for PlayStation 2. My good friend and podcasting buddy Mark has been extolling the virtues of this series (well, its first two entries anyway) for a considerable amount of time now, and given my current aversion to recently-released triple-A titles, I figured it was about time to give it a shot.

For those unfamiliar with this particular little gem, Shadow Hearts is a Japanese roleplaying game from 2001 developed by a company known as Sacnoth (later Nautilus) and published by Midway in Europe. It’s the sequel to an unusual PlayStation 1 roleplaying game called Koudelka, which blended survival horror and tactical RPG elements to create a game that had a rather mixed reception upon its original release. Shadow Hearts, unlike its predecessor, is a much more traditional Japanese roleplaying game, with a great deal in common with the PS1-era Final Fantasy games. Players control a 3D character on a flat, prerendered backdrop and are thrown regularly into random battles against enemies which are otherwise invisible on the field.

Aside from these basic mechanical and technical similarities, however, Shadow Hearts is a very different beast to Square Enix’s franchise, for a wide variety of reasons.

Mechanically, an innovative feature in the game was the “Judgement Ring” system, whereby any action which would be resolved in a tabletop roleplaying game by a throw of the dice is instead left up to the player’s reflexes and sense of timing. The titular Ring appears on screen with markers placed on it to show where the player needs to press the button. An indicator sweeps round it, and the player must tap the button as the indicator passes through the various areas. There are variations on the theme, but this is used throughout the game whenever there is an element of chance — both in and out of combat. For example, the Judgement Ring is seen when attacking an enemy, attempting to cast a spell or use an item in combat (outside combat, magic and item use automatically succeeds, thankfully) or attempting to haggle for a better price in shops. It’s a simple system that through its inclusion lends a much greater feeling of interactivity and involvement to a genre known for making the player sit back and tap the X button 300 times before getting to do anything. Its timing-based nature means that combat can’t simply be resolved by strapping a rubber band to the X button and walking away — the player must learn the various characters’ “rhythms” for their attacks and stay on their toes to tap the button appropriately.

It’s not just in mechanics that Shadow Hearts differs somewhat from the norm, however. In a typical Japanese RPG, the party tends to be made up of a group of idealistic teenagers (with optional “old man” character who is actually simply in his late 20s), at least two of whom will be childhood friends; at least two of whom will fall in love with one another; at least one of whom will be a moody bastard who grows to understand human kindness and friendship by the end of the story; and at least one of whom will be a demure, shy girl while another will be a borderline-inappropriately sexy girl in a teeny-tiny skirt. This kind of ensemble works well, which is why we see it so often, particularly in popular franchises such as Final Fantasy.

Not so in Shadow Hearts. In Yuri, we have a moody protagonist, sure, but he’s angsty because he can turn into monsters. Also he’s half Russian, which explains why he hails from Japan but has a name which is commonly used to refer to lesbian-themed content in Japanese. (His name also means “lily” in Japanese, which might explain why he’s so upset and surly. Although if we take “Yuri” to be the Russian half of his name, then that means “farmer”, which is a bit more manly.) Then in Alice we have the shy, demure girl, but she’s clad in what can only be described as an incredibly impractical outfit which precludes her from ever volunteering to bend over and pick anything up ever. She’s also English. I’ve never met any English girls who dress like that. But then I wasn’t alive in 1913, either.

Aside: not only does Shadow Hearts take place in the “real world” (albeit a real world with magic and demons and vampires and whatnot), it also takes place in recognisably “recent” (relatively) history, meaning we get a pleasing blend of low-tech fantasy-style stuff with the trenchcoats and Mauser pistols of the World War I-ish era.

But back to the cast. We also have a crotchety old Chinese oracle who calls people “son of a bitch” all the time and a friendly vampire called Keith (Keith?) who woke up from a 200 year slumber only to find himself bored stiff with nothing to do in his monster-infested castle. There may be more, but I haven’t got that far yet. Already it’s a memorable, bizarre cast, though the game nails the whole “suspension of disbelief” thing so well that it seems perfectly natural for this oddball group to be hanging out together while discussing the movements of the Japanese army.

Shadow Hearts is a slow burn that takes a while to get going. If you’ve been playing more recent Japanese roleplaying games that tend to be a bit pacier or have battle systems that veer a little closer to “action” (see: Final Fantasy XIII and its sequel, The Last Story and Xenoblade Chronicles to a certain extent) then there’s a bit of an adjustment period to get back into random battles and completely turn-based combat. It’s also a bit of a culture shock to go back to a game where the dialogue is pretty much all text — though this rekindles the once-common love for renaming your characters; a joy which the age of voice acting has rendered obsolete.

I’m guessing I’m about halfway through at the moment. Further thoughts to follow when I’ve beaten it.

#oneaday, Day 205: Protect Me, Knight!!

As I’ve said before, the Xbox Indie Games Marketplace is a veritable treasure trove of golden doubloons mixed in with stinky, festering turds of considerable awfulness. Tonight I’d like to share with you another one of these golden nuggets of goodness.

It’s called Protect Me, Knight but in the Marketplace it’s listed under its Japanese name which I don’t know how to type owing to its excessive use of kanji. Kanji? Whatever they are. Yes, it’s a Japanese game—those of you who have explored the Indie Marketplace will be aware that the Japanese titles on there often have some of the best production values and gameplay. Even if said production values and gameplay are perpetually stuck about fifteen years in the past.

Take Protect Me, Knight, for example. This is a game so committed to its retro presentation that upon loading it, the graphics sometimes corrupt and you have to blow on the cartridge by pressing A. This is a joke which is funny the first time but which can mercifully be skipped after this point.

Once you’re into the game proper, you’re shown a screen with a princess in a castle imploring the player to “HELP ME MY HERO” and “KILL !@#?ING GOBLINS”. Leaving the game in its attract mode summons up some of the finest Engrish you will ever see. I won’t spoil it for you here. But it’s absolutely legendary. In fact, it’s such a wonderful example of Engrish that it’s almost impossible to believe that it wasn’t done deliberately.

Anyway, the game is a 4-player co-operative game where players can pick one of four characters—Fighter, Ninja, Amazon or Mage—to play as in order to protect the princess from the hordes of “!@#?ING GOBLINS” who want to re-kidnap her. This is achieved on a NES-style static screen. Players run around frantically beating the crap out of all and sundry by hammering the A button or pressing B to use each character’s unique skill. Players can also build barricades around the princess and even push her out of harm’s way. Scoring hot combos causes the princess to throw “LOVE POINT” at you, which doubles as currency and experience points. Between levels, “LOVE POINT” can be spent on powering up characters, or during levels they can be spent to build or upgrade barricades.

It becomes very hectic very quickly. And with multiple players, it’s a hell of a lot of fun. It’s an incredibly simple game—and pretty short, too—but it is unashamedly fun. And the Engrish continues throughout the game. The skill descriptions for each new level are hilarious. For example, the fighter’s top skill (a spinning melee attack) is described as “MORE MORE MORE MORE MORE MORE TORNADE!” (with previous levels being “TORNADE!”, “MORE TORNADE!”, “MORE MORE MORE TORNADE!” and… you get the idea.)

It’s a stupid yet fun game in an unashamedly retro style, yet it’s unmistakably a next-gen take on a retro title. There’s no way a NES would be able to handle the hundreds of sprites on screen that this game throws at you without breaking a sweat.

It would make a great XBLA title with online play and leaderboards. Sadly, its immense Japaneseness is sure to see it eternally relegated to the backwater of the Xbox Marketplace that is XBIG. Still, I’ve done my little bit to raise exposure to it now. So gather three friends together, fire up this game for a very reasonable 240 points and Have A Fun!!

Old Shit

Hey all! Thanks for stopping by. I realise it’s been a while since my last post, but these things happen. Sometimes real life takes over with a veritable shitstorm of stupid things happening, and this was one of those times. This is not the place, nor is it the time to talk about these things, but suffice to say that blogging hasn’t been at the forefront of my mind just recently.

Still, I plan to change that now and get back into the habit, and what better way to get back into things than with a good old-fashioned retro games post? You’re absolutely right, there is no better way!

Okay. So my old Xbox 360 semi-died on me recently, with the DVD drive pretty much giving up the ghost and on several occasions failing to register that there was even a disc in the drive. This, of course, is a problem for a fundamentally DVD-based system – and also, the Xbox was acting as our primary DVD player in the house, too, thanks to its fancy-pants upscaling shenanigans.

So eventually after a bit of umming and ahhing we (yes, we) decided to purchase a new one. I picked up the new Premium, or Pro, or whatever they’re calling it now, with the 60GB hard drive, which will be nice. That 20GB drive on the old one filled up surprisingly quickly. However, I do wish Microsoft had had the decency to include a transfer cable in the box. You can get one for free by sending off a form to them (through the post… no online request option, how quaint… and inconvenient) but mine hasn’t arrived yet, so I’m using my new 360 with my old hard drive at present. FAIL.

The point, though.

Game were doing a couple of bundles with the 60GB model. One was with Call of Duty 4, a game which I know is fabulously good and marvellous and the best thing ever but I really have very little interest in whatsoever. What did interest me, however, was the Sega Mega Drive Ultimate Collection (or Sega Genesis Fuckfest as Tolkoto of the Exploding Barrel Podcast memorably dubbed it), which was the other game on offer. The irony of the fact I spent nearly £200 on a console only to get a bunch of Mega Drive games with it was not lost on me. You know what else plays Mega Drive games and costs approximately a tenth of an Xbox 360? A Mega Drive!

That’s not entirely fair, of course, because the 360 version of the Mega Drive collection comes with a veritable plethora of 16-bit entertainment including all the expected things (Sonic 1, 2, 3, Sonic and Knuckles followed by various Sonic spinoffs as the blue spiny dude’s credibility slowly began to wane, like a slow descent into alcoholism and drug abuse) plus some things that I personally am very glad to see in there but many others likely won’t give a damn about (Phantasy Star 1, 2, 3, 4 and Shining Force, Shining Force II and Shining in the Darkness) and some other things besides. Purchasing (let alone locating) all these Mega Drive games would take time and money, whereas there’s apparently over 40 titles to play with in this collection. I say “apparently” as they seem remarkably reluctant to list all the titles in too many places. Perhaps this means there’s some pleasant surprises tucked away somewhere.

What struck me having played a few of these is that many of these games are still fundamentally excellent games. Sonic in particular still plays very well, although it’s easy to forget with the rose-tinted spectacles quite how frustrating it was at times. It’s also interesting to play a properly optimised version of these games finally. I’ve spent my whole life thinking that one of Sonic 2’s great new features was the fact it ran at approximately twice the speed of the original Sonic. Not true. The PAL version of Sonic 2 ran at roughly twice the speed of the original PAL version of Sonic. In fact, this collection has taught me that Sonic 1 is actually quite fast and the original PAL port was one of the shoddiest 60-50Hz hack jobs of all time.

There’s also some pleasant curios on the collection, too. I never knew the Mega Drive played host to a Roguelike, for example, but it did, in the form of Fatal Labyrinth (which is one of those examples of Japanese titling where two random, vaguely related words are thrown together) – an absolutely shameless remake of Rogue with 16-bit sprite graphics and smooth scrolling. It doesn’t have much in the way of depth (as the original Rogue didn’t – it wasn’t until later titles like Moria and Angband that they became the behemoths they are today) but it includes a lot of the elements that make Rogue fun – the fact you don’t know what anything does until you take a risk and use it being the main one. Chug back a potion and you might suddenly be stronger. Conversely, you might suddenly go blind. It’s as brutal as Rogue and, despite its simplicity, it’s actually fun and addictive.

There’s a whole batch of unlockable extras too, with the usual video interviews that you get with this kind of package, but also a selection of Master System and arcade titles too. All in all, it’s a great package that I will certainly enjoy delving into on a regular basis. Plenty of interesting Achievements to go for too – they’re not just of the “Complete Sonic” variety, there’s a little bit of creativity there, too. The Achievements are also used to unlock the additional content, too, so that actually gives you some incentive to go for them, too.

Anyway. More soon. I have plenty of things I want to talk about over the next few days, not least of which include Persona 4 along with City of Heroes and its new expansion, the Mission Architect.

See you soon.