LCDs of the 1980s Part IX: RetroFab-ulous!

Merry LChristmasD! Someone named Itizso put up a massive library of LCD games on Itch.io. And, it includes the ones everyone has been waiting for. For some reason. Let’s rip this band-aid off and review.. well, the whole thing. Hell, the guy worked hard. Someone ought to, because these aren’t merely ports. He also created enhanced versions that add color to them. All you have to do is press TAB, and they usually look great. It’s a nice touch. The games include controller support and ALL of them include the packaging and instruction books. In fact, he’s only adding games he can find complete packaging/instructions for, it would seem. For Part IX, I’m doing the non-Game & Watch titles. Part X is tomorrow, and I think it’ll have a Game & Watch title or two in it. Or all of them. Every single one. But, that’s tomorrow.

The addition of the authentic instruction books is just the bee’s knees. The effort here is awe-inspiring. I’m so delighted. Thank you to Aros Games & Stuff for pointing me towards this. And ruining my week.

If you enjoy this feature, how about donating your LCDs to him? Or, you can also provide him with high-resolution scans of instruction books/boxes so that he can add even more games and preserve them for generations untold. When you look at the Handheld Museum’s list of games, it’s staggering how many LCDs haven’t been preserved or converted online. This is my 9th LCD feature, and I’m closing in 200 games, and that barely skims the surface. The effort is certainly worth it. LCD Games of the 1980s is one of the most popular features at Indie Gamer Chick. The interest is out there. Another place I’ve been able to find games is Madrigal’s Simulators. And we’ve all seen Nintendo’s Game & Watch Gallery franchise, which has been popular enough to have multiple installments. LCD games are the junk food of video games, but hey, junk food is awesome!

Itizso is constantly adding even more games. He says at least one a week. Awesome. As of the time I type this, Zelda for Game & Watch is coming. Hell, he added Tetris Jr., an unreleased prototype of what would have been the final Game & Watch. Stay tuned for Part X, coming tomorrow, for more on that.

So, thanks to EVERYONE who has ever translated an LCD game digitally for giving me one of my most popular features. I want to thank my good friend Danny Lingman, who collects LCDs. He was more familiar with the original devices than I could ever hope to be. He took time out of his schedule to test for me to make extra sure that these played accurately to the originals. There were some minor appearance issues (especially with the cabinets) but gameplay is king and these were accurate. Thank you, future Dr. Danny! And, of course, thanks to Itizso, who worked his butt off and made this feature possible. I might not have loved every single game, but that’s not on Itizso. He didn’t design the games. What he did was an absolutely amazing job translating them for this format. Really, my only BIG complaint is that, as far as I can tell, you can’t map PAUSE to the controller, or even the keyboard. I could only pause with the mouse. Fingers crossed for a future update. I could remap buttons, and that’s what’s most important. Good job, Itizso! On with the reviews, and I included screenshots of the enhanced versions. I mean, he went to all the trouble of making them, so I might as well have!

REVIEWS

For those not familiar with my way of thinking of how retro games should be reviewed, I take NO historical context into account. I don’t care how important a game was to the industry, because that doesn’t make a game worth playing today. The test of time is the cruelest test of all, but every video game must face it. I might not be here if not for Pong’s success, but I wouldn’t want to play it today. Not when there’s better options. Therefore, when I review retro games, every game gets either a YES! or a NO!

YES! means the game is still fun and has actual gameplay value when played today and is worth seeking out.

NO! means the game didn’t age gracefully and is not worth seeking out, and certainly not worth spending money on.

AIRPORT PANIC!!
Bandai Double Panel Series (1982)
Gameplay Type: Cross-the-Road/Gallery Shooter
Listing at Handheld Museum

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Airport Panic is notable for two reasons. First off, it’s solar-powered, like pocket calculators of the era were. I’m kind of surprised more LCD games of the 1980s weren’t. You’d think Nintendo would be all over that. Second, it’s one of nine LCDs by Bandai that utilizes two LCD panels laid on top of each-other, which allows for two completely different scenes. If you played this on an actual LCD, it’d even have depth and simulate 3D. That’s lost in translation, and all that’s left is a cross-the-road game and one of the worst gallery shooters I’ve ever played. The first screen is a poor man’s Frogger where you avoid traffic and dynamite thrown by a hijacker as you shimmy from the lower-left corner to the upper-right corner. After you do this three times, you move to the inside of the plane, where shooting takes over. You and the hijacker fire the slowest bullets in video game history. It’s like shooting glaciers at each-other, but it’s so much worse than that. Between you and the bad guy are seated passengers who, seemingly at random, will stand-up and take the bullets, costing you points. Honestly, I think you should GET points for shooting them. First off, who would stand up in the middle of a gunfight? Clearly these people want to die. Second, even if they didn’t want to die, if you stand up while two people are shooting at each-other above where you’re seated, you’re officially too stupid to live. The cop should switch sides and agree that this is an airplane full of people in desperate need of culling. And you have to shoot the hijacker TEN TIMES. You only had to cross the road three times. The speedier Game 2 inches towards tolerable, but the passengers sink the game for me.
Verdict: NO!

ASTERIX: HUNT FOR BOARS!!
Ludotronic & Vtech – Sporty Time & Fun (1984)
Gameplay Type: Spinning-Plate – Catcher
Listing at Handheld Museum

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A three-channel spinning plate game that quickly becomes seemingly impossible. Obelix throws what I’m almost certain is toupées at you, and you just walk into their channel. The impossibility comes from when the game gains speed and he drops one on the left side and then the right side, or vice-versa. I know my reaction time isn’t what it used to be, but the reaction time it’s asking for is literally a fraction of a second. And the problem happens regardless of which mode you play. It just happens faster in the B mode. If you could wrap-around the other side of the screen, Asterix would be playable. And also bland and uninspired, but playable nonetheless. And to think, this is a necklace? It’d be deliberately putting a “KICK ME” sign on. Only, it would presumably be on your front, and that seems like a bad idea. I wish this was competent but bland, because then I could have called this Asterix: Hunt for the BORES! Hey, the low hanging fruit is often the most delicious.
Verdict: NO!

AUTO RACE!!
Mattel Electronics – LED Handheld (1976)
Gameplay Type: Cross-the-Road
Listing at the Handheld Museum

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Behold: HISTORY! The first ever fully electronic handheld video game. Well, the first one released commercially. Utilizing focus testing, Mattel created a variety of “blank” units that had what limited gameplay could be done using strips of LEDs, then asked those in the tests what sports the LED strips most resembled. A unit that played something vaguely resembling Football won out. Auto Racing came in second, but was chosen for the launch for unknown reasons. With Sears believing the primitive devices would flop, they only asked for a small initial order of Auto Racing and Football. Of course, these went on to sell so much that Mattel decided to create Mattel Electronics and enter the video game business. Auto Race has a whopping 512 bytes of programming code which took 18 months to finish. To put it in perspective, the photographs of that 512 byte game shown in the above slideshow each contain around 90,000 bytes of data. So, if you link 175 units of Auto Race together and perform space magic on them, you can display one picture of Auto Race! Does it play well? IT’S THE FIRST HANDHELD ELECTRONIC GAME! It ain’t gonna be awesome nearly fifty years later. The idea is you have to make your way to the top of the screen four times before the timer reaches 99. You get pushed down every time you collide with another dot. Reach the top four times and the timer stops. My best time was 67 seconds. It’s remarkable that I’ve played worse games, because this is as primitive as it gets.
Verdict: NO!

BARTMAN: AVENGER OF EVIL!!
Acclaim Entertainment (1991)
Gameplay Type: Cross-the-Road – Combat
Listing at Handheld Museum
Previously Featured in LCD Games II

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I put more time into Bartman this go-around, and I still didn’t enjoy it. You start at the top of the screen, where Nelson throws walnuts at you. You have to wait for three pieces of Bartman’s costume to appear next to him. When you get all three, the action automatically moves to the bottom of the screen, where Santa’s Little Helper occasionally hands you apples. You have to move up directly next to Nelson and hit him in the face with ten of them while jumping over the watermelons and apples he throws back at you. I’m pretty sure Bartman is genuinely random, since there were moments where Nelson threw both an apple and a watermelon. I’m not entirely sure the situation was survivable. On the other hand, one time I parked right next to Nelson on the top screen, and he never threw a walnut that would hit me. I just had to wait for the three items to spawn. It even took a while, but it was like the game was stuck in a “long throw” sequence. It’s as if there was no finesse programmed into Bartman, almost like it was rushed to the market to strike while the Simpsons iron was hot. It’s not like the show will still be on the air, making new episodes 32 years later or anything and someone will be reviewing games made to distract kids for 5 minutes at best.
Verdict: NO!

BASEBALL!!
ENGINE ROOM!!
VTech Explorer Series (1984)
Gameplay Type: Spinning Plate – Catcher
Previously Featured in LCD Games VII

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Sigh. Doing the entire RetroFab collection has drawbacks, as I don’t really have a lot to add to Baseball or Engine Room. These are as basic as games can get, and I’ve already f’n done them. Three channels of catching objects. Baseball throws curve balls, but it’s not like there’s complex animation to judge. There’s only three possible locations those balls can end up. In the B-Game, the curve balls can change at the last second, but it’s not hard to judge. Engine Room is slightly more complex than I gave credit to last time, as you can earn 50 bonus points in the B-Game by pressing RIGHT against the right wall when your friend shows up with a tray of food. There’s an actual risk/reward factor there, so it’s something. Otherwise, the hook of these LCDs was the built in compass and flashlight. Presumably, there’s some 45 year old out there who got lost in the woods and was saved because they kept their trusty Game & Watch knock-off on them at all times. THIS COULD HAVE ACTUALLY HAPPENED! It’s telling how bad VTech was at creating games that the best aspect of these releases was allowing users to see photons in the dark.
Verdict: NO! and NO!

BLOCK BUSTER!!
Milton Bradley Microvision (1979)
Gameplay Type: Brick Breaker
Microvision Listing at Wikipedia
Game Listing at Handheld Museum

Man, this feature is FULL of history. This is the very first handheld with interchangeable cartridges. Love the name, too.

I laughed my ass off reading about the creation of the Microvision. All the problems this thing encountered reads like a satire. The actual device had a small LCD screen but no microprocessor. Those are contained on the carts themselves, which also would have button overlays for the base unit’s 12-button keypad. They couldn’t get enough units of the microprocessors they intended to use, so they switched to a more primitive chip that required less batteries. Thus, some units have an empty battery chamber that’s supposed to be the “spare battery holder.” Not so funny is how badly these things break down. Because the LCD screens weren’t properly sealed, the liquid crystal is prone to leaking. They also didn’t build in any protection from static electricity, so even an amount of static so small a human wouldn’t feel it would be enough to short it out. The rubber membrane over the keypad would stretch and tear easily, as well. This thing was a disaster, folks. The sad thing is, it seemed like it had potential to make pretty decent (if primitive) games. Note that I didn’t say “it had decent but primitive games.” Just the potential.

One of the most common problems with LCD games is the lack of any sense of motion. Microvision has motion blur! I can’t stress enough how much I appreciate that.

Block Buster is a Breakout knock-off through and through. I was actually impressed that it included motion blurring, making it easier to get a feel for the speed and trajectory. Of course, movement accuracy is a big issue. I figured having the actual paddle controller that was built into the Microvision would make a difference, but according to a few reviewers (including this very comprehensive one.. golly, that Pinball game sounds awful) it wasn’t as precise as a game like this requires. What’s really interesting is you can volley the ball completely vertically by hitting the center of the paddle. Once you hit this shot, you can clear that entire stack of bricks by standing still. Logically, the paddle should always be an even number of segments, so that the ball is always ricocheting at an angle, which requires you to stay on your toes and move. There is a harder option that’s only two segments wide, but with it, accuracy is an even bigger issue. I’m sure this was cool to have in 1979.. before it started breaking, I mean.. but this was always fated to age badly. It’s worth playing for a minute or two as a historic curio, but in terms of gameplay, it’s just not fun.
Verdict: NO!

CATCH A COKE!!
Bandai Electronics (1983)
Gameplay Type: Spinning Plate – Catcher
Listing at Handheld Museum

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This is neat. Catch a Coke was not sold commercially. Instead, this was a prize for vendors who sold Coca-Cola products, with gameplay that copies previous Bandai games. It’s also one of the hardest LCDs of this type I’ve played. A monkey throws cans of delicious, refreshing Coca-Cola™ across four possible channels and you have to catch them. Instead of having a fixed number of misses, below you are a series of platforms that disappear when you suffer a miss. If a second miss happens over the now destroyed platform, the game ends. Even in the A-Mode, all my games ended in the 240 – 300 range, or roughly 24 – 30 catches. By that point, the monkey is throwing so many cans at once that I’m almost certain the game reaches the point where catching ALL of them is impossible. It’s not enough to reach the space the can is on before it hits the ground. You must actually get the can while it’s still where your hands are. Once it’s past that, it’s going to be a miss. Maybe the games were made deliberately short because, get this: some genius decided to market test installing a giant version of this exact game in Coca-Cola vending machines. You know, those machines where you put your money in and less than three seconds later, you get your soda? A person actually got paid to think that it would be a good idea to install a game that lasts longer than 3 seconds into such a machine, and they weren’t fired the moment they suggested it. It makes me wonder if there was more than one form of Coke in their boardroom.
Verdict: NO!

CAVEMAN!!
Tomy Electronics (1983)
Gameplay Type: Cross-the-Road – Combative
Listing at Handheld Museum

Is that blood? I think it’s blood! Is this the first video game with blood?

I’d heard of Caveman from a few of my readers, and they insisted it was among the best LCDs out there. Hell though, I’ve heard that about other LCDs and they didn’t live up to the hype. You can imagine my surprise that Caveman actually does. It’s one of the best of its breed, with deceptively complex gameplay. Playing as a caveman, you have to knock out a dinosaur by throwing an ax at its head. Then, while it’s loopy, you have to grab an egg from underneath its feet and bring it to a pedestal. BUT, you haven’t scored yet. That doesn’t happen until you bring another egg, at which point the previous egg is banked and scores 50 points. There’s actually a reason for the delay: a pterodactyl (called a “dragon” in the instruction manual) might swoop down and take the egg off the pedestal. The dragon won’t swoop down if you’re directly next to the egg, and you can also kill it for 10 points a pop. In the higher difficulty, you have to manually collect an ax every time you throw one, and there’s two dragons right from the start. In both modes, eventually, a volcano will start erupting rocks down on you.

This was also released by Tandy/Radio Shack.

It’s a lot to keep track of, but I’ll be damned if it isn’t one of the finest examples of LCD gameplay ever. It’s not one endless chain of walking back and forth. You have to make a move for the egg, or else it’ll hatch and you’ll miss your opportunity and have to wait for another egg to roll underneath the dinosaur. You don’t just instantly collect an egg when you touch it, either. You have to wait for it to start blinking, as if you’re handling it carefully. It’s kind of immersive! How many LCDs can claim that? It’s rare that any game from this era goes to so many lengths to have a sense of immersion about it. It’s unexpected, but in the case of Caveman, it’s also really fun. My one complaint is the A mode takes a while to ramp-up, while the B Mode is so challenging that scoring even a single egg feels like an accomplishment. The A mode, slow riser that it is, stands tall as one of the best of its breed in gaming history.
Verdict: YES!

DENNIS THE MENACE!!
Tiger Electronics (1993)
Gameplay Type: Dodger

Well, on the plus side, this has some nice line art.

Dennis the Menace is a typical Tiger Electronics snoozer. You have to ride a bike while dodging various obstacles, and after scoring over 1,000 points doing this, a timed sequence starts where you have to pick up a slingshot and an aspirin into Mr. Wilson’s mouth. I had to use my PS5 controller since I had trouble with the keyboard on this one. Not that it would have mattered. The bike sequence takes FOREVER, and at one point, I was literally reaching down to pick up the slingshot and it was like the game refused to register it until I took a hit. Weird. This might actually be broken. I did manage to get to the second stage, where the teeter-totters on the side of the road are replaced by Margaret chasing you down. Logically, wouldn’t “catching you” mean you crashed your bike into her? You get six lives, which is the most I’ve ever seen in a game like this, but the lives become moot when you get to shooting sections. Those run on a 30 second timer and are an automatic all-lives-lost game over if you fail them. Are you f’n kidding me? In the history of bad Tiger LCDs, this is one of them.
Verdict: NO!

DONKEY KONG!!
Coleco Mini-Arcade (1982)
Gameplay Type: Cross-the-Road
Listing at Handheld Museum
Previously Featured in LCD Games I

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The second ever LCD I reviewed, and the first one that actually made me feel sorry for children of the 1980s. This version of Donkey Kong is housed in a gorgeous arcade cabinet, and it came packaged in a box that proclaimed “PLAYS AND SOUNDS LIKE THE DONKEY KONG ARCADE GAME!” Well, that’s a lie. The closest this comes to being true is a few of the bleeps and bloops sound like the victory/death noises from the coin-op. But, the gameplay is closer to one of those bad Donkey Kong knock-offs. The gravest inauthentic gameplay element: the hammer does nothing except earn points, like the umbrella/handbag/hat in the coin-op. You can’t smash the barrels or the fireballs. While it does include the rivet stage, there were times I died on that level where I’m not entirely sure how it happened unless you die from jumping when a fireball is on the platform above you. Jumping at an angle is a pain in the ass to begin with, since you have to hit the direction and then jump a split second afterwards, but the timing never feels consistent. And since fireballs tend to camp along the ladders/rivets, I often ended up losing via timing-out. It’s not like I expected an LCD from 1982 to be a very close approximation to Donkey Kong, but this isn’t even in the ballpark. At least I never have to play it again, now. Watch, Nintendo will end up putting this in a Game & Watch Gallery. Oof.
Verdict: NO!

EXPLORERS OF SPACE!!
Elektronika (1989)
Gameplay Type: Spinning Plate
Previously Featured in LCD Games VII

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This cold war era clone of Nintendo’s famous Egg (which itself was reskinned as Mickey Mouse, or was it vice-versa?) is one I couldn’t make any progress on. When two missiles would fire close to the same time, as soon as I stopped one, the other would immediately cause a miss. I thought “well, maybe I’m misjudging which is the closest one.” But, when I went against my instincts, I just suffered a miss faster. This was one of the few times where I drafted my family to attempt to play the game while I watched. They had the same thing happen, where even quick reflexes couldn’t possibly stop a miss from happening. I don’t recall every USSR clone of Egg being impossible to play, but this one sure seems like it is.
Verdict: NO!

FROGGER!!
Coleco Mini-Arcade (1981)
Gameplay Type: Cross-the-Road
Listing at Handheld Museum
Previously Featured in LCD Games IV

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Frogger is in the upper-echelon of LCD games. For a brief window of time, I even considered it to be the best LCD. In the time since, a small handful of games have moved in front of it, but that doesn’t change the fact that Frogger is the safest bet. Having now played and reviewed the Atari 2600 ports in-depth, really, the LCD version doesn’t have that much less animation than the VCS version has. Hell, on the Atari consoles, movement is instantaneous, with NO animation between the spaces. It’s very LCD-like. The Frogger formula just plain lends itself perfectly to LCD games. Oh, it’s so not perfect though. It’s that second row of turtles that are the turd in the punch bowl. Without any animation, there’s no cue when they’ll submerge. All you have to go off of is that the turtles tend to dive at about the halfway point of the screen. It’s best to hug the right wall and wait to time a quick double hop across. Otherwise, this IS Frogger. It’s only missing a single channel of car traffic, but all five river channels are present. Whoa! Coleco’s Frogger is a bonafide, genuine, certified contender for the greatest LCD ever made.
Verdict: YES!

FROGGER!!
Nelsonic Game Watch (1983)
Gameplay Type: Cross-the-Road
Listing at Handheld Museum

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I’m now convinced that it’s impossible to screw-up Frogger. Well, unless you’re the Atari 5200. Apparently, as long as you don’t need to press a button to confirm your intent to press another button, Frogger is bulletproof as a concept. This version, built into a wristwatch, is the most stripped-down port of Frogger I’ve ever played in my entire life. The arcade game has four channels of car traffic and five channels of river. This version has only two channels of car traffic, two channels of river, and three glory holes (that’s what you call them, right?) instead of five. And yet, even truncated by over half, it still feels like Frogger. That is absolutely beyond belief. Hell, when the turtles submerge, they even blink first as a warning, a kindness the superior Coleco version doesn’t offer. It comes dangerously close to being too chopped-up. Five channels of action isn’t much, but at the same time, it lends the game an almost bonus round quality. A faster pace that works for it. Further proof that Frogger was made for LCDs.
Verdict: YES!

GARFIELD!!
Konami (1991)
Gameplay Type: Spinning-Plate
Listing at Handheld Museum
Previously Featured in LCD Games V

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I’d previously played Garfield last July, and I didn’t like it much. I’m flipping on that, as well. In Garfield, you have to dodge various debris being thrown at you and eat enough lasagna to power-up your super jump to leap up to Odie. The more progress you make, the more crap gets thrown at you. While it does become overwhelming, once I learned all the idiosyncrasies of the game, I found I really enjoyed it. Like the fact that you can jump the full length of the screen before landing made dodging so much easier. You can also quickly undo any damage you take by eating the various chicken pieces that Odie tosses down at you. Konami has proven to be one of the better makers of LCDs, having scored YES! verdicts with Blades of Steel and Double Dribble. Now, I find myself flipping on Garfield. It has nothing to do with the fact that, in addition to the typical Retrofab graphics, the extra EXTRA mile was taken by having a full 3D version that literally pops out of the screen. It was cool and unexpected, but it’s still the same gameplay and it has to survive on THOSE merits. And, I got it wrong. Garfield absolutely does.
Verdict: YES! **FLIP**

LAS VEGAS!!
Bandai Electronics (1981)
Gameplay Type: Spinning Plate – Catcher
Listing at Handheld Museum
Previously Featured in LCD Games VII

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Las Vegas is another game that’s more complicated than I previously gave it credit for, but not by much. There’s three channels that have various degenerate gamblers letting money slip right past them that you have to catch. It’s the most basic, boring of spinning plate games, but there actually is a teeny tiny twist. Every 1,000 points, you get to play a slot machine for more points. You even control when the reels stop. If you match three numbers, you score bonus points. Three 1s nets you 100 points. Three 3s score 200 points, and three 7s score a jackpot of 500 points. The instructions say you get to spin again if you get a jackpot, but I only matched 1s once and I got to spin again. Maybe it was because I was playing Game B when I did it. I don’t know. The idea of earning spins at the slot could have been good if it actually was tied to the three channels you’re juggling, but it’s totally separate from theirs. Right idea. Wrong implementation.
Verdict: NO!

MIND BOGGLER!!
Mattel Electronics (1978)
Gameplay Type: Logic Puzzle
Listing at Handheld Museum

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Mind Boggler is a variation of the classic code-breaking game Mastermind. The computer randomly generates a 3 to 5 digit code, and you have to try and decode what it is in as few attempts as possible. You enter a sequence of numbers (0 – 9) and the game will tell you how many are correct but in the wrong space (a hit), and how many are correct and in the right space (a sink), but you don’t know which numbers are which. This is one of the worst versions of Mastermind I’ve ever played, and one that feels incomplete. That speaker you see on it? It does NOTHING. There’s no noise or sound effects at all. I know that’s an odd complaint from someone who gets scorn for mostly playing games with the sound turned off, but I offer it as proof of the game’s unfinished and/or rushed nature. The most damning aspect of all is that the device doesn’t keep score of how many moves you need to win. YOU are expected to do that, manually. The original packaging even had a score pad for it. It could have just as easily displayed that in the hit/sink columns. I suppose that this technically accomplishes being Mastermind-like. As a reminder: in 1978, if you only owned the board game, you couldn’t play it by yourself. You could with Mind Boggler, but in the most dull and uninspired way possible.
Verdict: NO!

MISSILE ATTACK!!
Mattel Electronics (1977)
Reskinned as BATTLESTAR GALACTICA: SPACE ALERT!! (1977)
Gameplay Type: Shooting

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Compared to Missile Attack/Battlestar Galactica, Mattel’s Auto Race looks like Tears of the Kingdom. A very early three channel shooter with targets that move too fast for me. I know my reaction time isn’t what it used to be, but this is truly ridiculous. It’s made even more ridiculous by the scoring. The higher on the screen the LED strip representing your shot meets the LED strips representing incoming missile, the higher you score. But with missiles that come in this fast, with no area above the playfield or warning when or where a missile is coming in. Allegedly, there’s a pattern to the madness, but what does it matter? I’ve lined up shots and had the targets instead switch lanes. Other times, it fires two missiles at once. Folks, I’ve been doing these LCD reviews for a while now and this is the worst of these games I’ve ever played. I don’t know if it’s deliberate or not, but the Battlestar Galactica version is slower and more manageable. It doesn’t matter. When I die and go to hell, this is the game Satan is going to hand me, then he’s going to hover over me and tell me to git gud.
Verdict: NO!

PAC-MAN!!
Coleco Mini-Arcade (1981)
Gameplay Type: Maze Chase
Listing at Handheld Museum
Previously Featured in LCD Games IV

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When I first did Pac-Man, it controlled badly, and now I think it’s safe to say it’s not just me. Even the best possible translation of it still is just not responsive. I tried using a controller. I tried using a keyboard. I tried sacrificing a virgin to the god of video games. None of them worked particularly well. In the above slideshow is a pic where I highlighted the four problematic points. Each are openings in the maze where I wanted to change directions and it was a coin flip as to whether the game would let me or not. It wasn’t just me and my increasingly crappy reaction times, either. I tested on everyone in my family, and they weren’t able to consistently corner, either. Such a shame, because Coleco’s take on Pac-Man offers what I believe is the first-of-its-kind co-op Pac-Man. But the maze is badly designed and not optimized for the capabilities of the technology.
Verdict: NO!

PETER PAN & THE PIRATES!!
aka FOX’S PETER PAN & THE PIRATES!!

Tiger Electronics (1991)
Gameplay Type: Combative

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What the hell kind of game is this? I’m not being a smart ass here: this is like a baby’s toy where it’s actually harder to die than it is to defeat the whole game. I played this a couple times and I was like “am I missing something?” Here’s what you do: clank swords upwards. Then clank swords downward. Repeat this until the pirate falls into the water. If there’s a pirate hanging from a rope above you, you press the fly button, then clank when the sword is up (it’s never down when they hang from the ropes) until the pirate disappears. If you fall into the water, don’t worry. Even if the crocodile is right there, you don’t die. Just press fly quickly, or at your own leisure. Either/or.

As bad as this is, if it had Tim Curry’s voice sample, I’d have flipped my vote to a YES! Everything’s better with Tim Curry! I’ve watched the movie Congo fifty times when most people haven’t sat through it once. Why? Tim Curry.

Eventually, Captain Hook will appear. Clank up, clank down, rinse, repeat until he falls in the water. There’s four “levels” which require additional clanks in order to win, but they don’t do anything different. Look, sword clashing is awesome, but you can’t have that be the whole game, even on an LCD. You need that one finishing move to make it work. Yes, I’m advocating for a stabbing move in a children’s LCD based on a children’s cartoon inspired by a children’s storybook. I vaguely remember Peter Pan & The Pirates from Fox Family reruns, and while it didn’t interest me (besides Tim M. F.’ing Curry as the voice of Captain Hook) I’m almost certain it’s not a toddler’s show, but this is a toddler’s game. Actually, no. This isn’t a handheld game. It’s an electronic fidget spinner.
Verdict: NO!

THE SIMPSONS: BART SIMPSON’S CUPCAKE CRISIS!!
Acclaim Entertainment (1990)
Gameplay Type: Spinning-Plate – Juggler
Listing at Handheld Museum

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Huh. I really didn’t think I’d like any of the Simpsons LCDs, so you can imagine my surprise with this one. I’ve played a LOT of LCD games at this point, and I can’t think of any higher praise for one based on a licensed property than saying “this could have been a Nintendo Game & Watch.” Cupcake Crisis has that G&W vibe. Maggie throws cupcakes and Bart has to catch them. There’s a couple catches.. no pun intended. The first is he can only carry five cupcakes at a time. Marge pokes her head out the door to the left for you to bank the ones you’ve caught. The more cupcakes on the plate, the higher you score. As this happens, Homer will call for a couch gag. You must sit down before Lisa does, or you die. The faster you sit, the more points you score (400 points for sitting as soon as Homer does). Maggie will also throw her pacifier for bonus points. You get a free life and level up for scoring 10,000 points. I liked Cupcake Crisis, but it is a bit too easy, even the faster Game B. Really, as long as you’re not greedy, you could easily put up monster scores. It’ll just take a lot longer. But as a risk/reward type of juggler game, Cupcake Crisis is one of the best licensed LCDs I’ve played. Again, very Nintendo-like.
Verdict: YES!

SKY ATTACK!!
Tomytronics 3-D (1983)
Gameplay Type: Shooter
Listing at Handheld Museum
Tomytronic 3D Wikipedia Listing

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“The charm is lost” has never applied more than to the two Tomy-Tronics 3D games adapted for Retrofab. There’s actual historical significance to these things. In real life, you’d stick your head into this paleolithic Virtual Boy and the graphics of this boring, uninspired game would look three-dimensional. This was the first ever dedicated 3D video game device. Weeeeee. This is a basic shooter with zero stakes because there’s no penalty for missing enemies. Well, as long as you don’t get shot, and it’s not that hard to avoid getting shot. There’s a bonus round after 100 points that goes too fast. The best thing I can say about Sky Attack is that there’s actual OOMPH to shooting baddies. Instead of just disappearing from the screen, they actually drew in very satisfactory explosion art. That’s nice. I just wish it had been done for a better game. Sky Attack is as basic and boring as LCD gaming gets. Though, let it be said, the Retrofab enhanced graphics are really nicely done.
Verdict: NO!

STAR TREK PHASER STRIKE!!
Milton Bradley Microvision (1979)
Gameplay Type: Shooting Gallery
Listing at Handheld Museum

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Oh my god. OH MY GOD. Wow. I’m beginning to think they might have started production on this Microvision thing without having any ideas for quality, worthwhile games to make for it. In Phaser Strike, targets float by and you shoot them. You can shoot from the sides, if you so wish, but I never found that preferable to shooting straight from the center. This doesn’t even feel like a real game. It feels like a 1950S proof of concept for a video game. Tying the Star Trek license to THIS feels cynical and sleazy. You can make the targets smaller, and you can make them go faster, and you can adjust how many targets there are (though only one appears at a time) but this is primitive even by the standards of the era. Sessions of Phaser Strike last, oh, about 10 seconds. This is the absolute bottom of the barrel and I feel so sorry for Microvision owners that this was the type of game they had to play. Pocket calculators have roughly as much gameplay.
Verdict: NO!

TEENAGE MUTANT NINJA TURTLES!!
Konami (1989)
Gameplay Type: Cross the Road – Combative
Listing at Handheld Museum

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From the time I started doing these LCD reviews, two games came up more than any other. One is the Game & Watch version of Super Mario Bros. The other is this. Super Mario is coming tomorrow, and spoiler: it’s a NO! and Nintendo fans are weird for liking it. As for Ninja Turtles.. f’n really? This is the game that you insisted you knew was better than typical LCDs? It’s maybe more ambitious, but not by much. Like Bartman by Acclaim, this makes the mistake of trying to replicate the Nintendo Game & Watch feel on a single screen, leading to the action being too cramped. Granted, Konami had bigger screens and smaller sprites than Nintendo did, but not so much you can do two gameplay concepts on one screen. On the top half, you just jump over spiked balls while whacking at enemies to the left and right of you. Boring. But, after you score 100 points, you get to enter the LCD version of the damned dam stage from the NES Ninja Turtles. Kill me. What happens next depends on if you’re playing Game #1 or Games #2/#3. In Game #1, you just have to avoid one spinning trap and one electric beam, get a key, then avoid both things a second time on the return. Then you have to rescue April, and then you repeat it until.. no, wait, the game just ends.

Mode 2 and 3 is basically the same, only you have to make multiple laps to blow up the tube April is trapped in.

It’s funny that it was Super Mario and TMNT that my readers kept bringing up, because rotating sticks factor-in heavily for both games. It’s a classic game trope, but they sort of rely on the ability to see motion in order to work. Mario did the better job by having one stick that rotates four ways in a straight line. Turtles has a two-sided stick that rotates at an angle. Bad idea. There’s only three animation cells (made of six total segments). It’s just not enough, and the speed of rotation feels like a clock that has a broken seconds-hand. What a dumb idea for an LCD. I got to the point where I could beat Game 1 every time, but the one and only time I actually finished Game 2, it sort of felt like a fluke. And there’s a ten second underwater timer in Games 2 and 3. And the electric thing. And the timing for none of it makes logical sense. Maybe I suck at video games or something but I finished mode 2 exactly once and I’m not even sure how I did it. There has to be better Ninja Turtles LCDs than this. There’s several more, one of which is a basketball game. I’m going to guess it’s probably a re-themed version of Double Dribble’s LCD. If I’m right, the good news is at least one of these games will get a YES! Oh, not this one. I think this was horrible.
Verdict: NO!

THUNDERING TURBO!!
Tomytronic 3-D (1983)
Gameplay Type: Racing
Listing at Handheld Museum

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I admit that, following Sky Attack, my expectations for Thundering Turbo were just about as low as they’ve ever been for any game I’ve ever reviewed. You can imagine my complete shock when Thundering Turbo turned out more than halfway decent. I’ve been doing these LCD reviews for a while now, and this is the first time I actually felt motivated to show off a game to friends and family. I did that for one simple reason: because I couldn’t believe it. I was so surprised by how much I enjoyed this that I was convinced I was misjudging it based on my low expectations. So, just to be extra sure, I went back and played it a second time before hitting publish on this very feature. I didn’t get it wrong: this is really good for an LCD. There’s strategy, timing, patience, risk/reward factors, and even a genuine sense of movement and speed.

I searched high and low trying to find out how much these things cost in 1983 and eventually did find them via a Montgomery Ward Christmas catalog from 1983. The price? $29.99 (about $90 – $95 in today’s money).

Really, you can call this “Traffic Jam: The Game” and it works. Races last 100 seconds, and each lane has a specific speed for the enemy cars tied to it. The right lane is slow, the left lane is fast, and the center lane is somewhere between. You have to use this to open up a clearing for you to pass cars. You get three lives per race (it resets between each race) and I found myself actually caring about what my score was. Even without the 3D to lift it up, at least Thundering Turbo has an interesting scoring system. It’s one of the few LCDs where you lose points sometimes. The scoring system sees you get one point for every car you pass, but you LOSE a point if you get passed. This is also one of those rare times where I don’t feel bad for kids of the early 80s who got this from Santa Claus on Christmas morning. This is genuinely a very good game, and one that I sorta want to try in 3D. Even if I can’t imagine how uncomfortable it must be to play a video game built into a pair of cheap plastic binoculars.
Verdict: YES!

TOP GUN!!
Konami (1989)
Gameplay Type: Shooting Gallery
Listing at Handheld Museum

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Okay, so Ninja Turtles stunk, but Konami is still an elite LCD developer. Top Gun is close to being pretty dang good. A shooting gallery with a 3 x 3 grid of channels where you have to shoot down a variety of targets. The instructions mention waiting for targets to “blink” but I noticed no such thing. It only takes a couple games to clock the trajectories of the various targets. I was really enjoying it, but I was also confused. Even as I got good enough to the point that I wasn’t missing any targets in the open two stages, I noticed my health was ticking down. Okay, that’s weird. Well, it turns out your health will tick away regardless of perfect play anyway, rendering all the combat worthless until the final stretch of 30 seconds or so of the 90 second long stages. Mind you, that last stage is pretty fast and brutal. I’m not entirely sure why they made it like that. So are the ticks of health fuel or damage to the plane? Both? Whatever. As annoying as it was, I had fun. Imagine that: a child in 1989 who got a cheap Top Gun LCD was better off than a child in 1989 who got Top Gun for their NES. God, I love LCD games sometimes.
Verdict: YES!

TOUCH ME!!
Atari (1978)
Gameplay Type: Memory
Listing at Handheld Museum
Included in Atari 50

Simon looks very 70s. Say what you will about Touch Me’s handheld, but it looks much more modern.

I’m not so much into the memory test games, and really, Touch Me is as basic as it gets. The main “add one” mode has been done a million times. Follow a sequence of lights. One more light is added to the end of each sequence. There’s a two player game and a four player game. There’s even instructions for a three player game that you start by deliberately allowing the first “player” to fail. Okay, that’s funny that they spelled it out like that. The story behind this game is so much more fascinating, as Touch Me was originally a 1974 coin-op. Ralph Baer, inventor of the Magnavox Odyssey, had been involved in a few patent lawsuits against Atari. After Baer’s company sued Atari for patent infringement, Baer copied one of Nolan’s designs. Baer freely admitted this, a story I read in The Ultimate History of Video Games. Baer saw Touch Me at a trade show and thought it was a great idea, so he copied it. He made his own design as a game that started life under the title “Follow Me” but was ultimately named “Simon.”  Baer, who again, had been involved in litigation against Atari for taking their inventions, justified it by saying Nolan Bushnell and Atari didn’t have a patent. That’s kind of awful, isn’t it? Now, to Baer’s credit, he created a digital bugle for Simon, choosing the bugle because it’s one of the few instruments where its four main notes sound harmonious no matter what order they’re played in. As he noted, many people play Simon by ear. Mind you, Touch Me’s buttons make different noises too and can also be played blindfolded, by ear. Sigh, even the story of Touch Me isn’t that fun. It’s just depressing. It sure beats playing Touch Me or Simon, though.
Verdict: NO!

TRON!!
Tomy Electronics (1982)
Gameplay Type: Arcade
Listing at Handheld Museum

Light Cycle Stage.

When I previously did Tron in the very first LCD games, I admit, I didn’t play very far into it. Not only did I have trouble controlling it, but the game kept crashing. Even when it didn’t, I couldn’t beat the AI opponent at all. The RetroFab version is more stable, and nowhere near as brutally difficult. Actually, it goes the opposite direction: the light cycle portion might be too easy. In fact, I found that if I just drove around in the light cycle portion of the stage and kept away, eventually the game would blink, indicating the computer opponent had crashed into me off-screen. And then I found out that Tron isn’t just a clone of Snake. This game has LEVELS and other gameplay types.

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The second game is Discs of Tron. You and the computer opponent throw a disc back and forth. Each of you have four hit points. This took me a while to get the hang of because my instinct kept telling me the “catch point” where you intercept the disc is, you know, the spot where my character is physically standing. But, it’s not. It’s the spot in front of your guy. My brain refused to accept this and kept moving one extra space anticipating my guy was going to miss the disc, because logically he was going to. Eventually, I got the hang of this to the point that I could beat it every time, but it took a while. The final game is battling the MCP. You throw a disc to open up a hole, then you have to throw a second time and get the disc in the hole. Your “life” from the previous stage carries over to this level and acts as a timer. On the plus side, you only need one single disc to get in to win. Then, the game repeats. The Light Cycle and MCP stages are boring. They’d been better off focusing on making a better Discs of Tron game. I’m happy I redid Tron because it certainly was very ambitious for this era and it deserved better than what I gave it in the first LCD review. But, it’s still not fun.
Verdict: NO!

WILDFIRE!!
Parker Bros. (1979)
Gameplay Type: Pinball
Listing at Handheld Museum

There’s only 41 ball positions, which IS a lot for the era, but for pinball? Not so much.

This was a very bad idea. This is basically what Mattel did with their electronic games and LED lights, only attempting to do pinball. Pinball requires motion and physics and this has none of them. Just getting the logical timing of when to hit the ball is counter-intuitive, but then predicting where the ball will go is a nightmare. Really, it’s not even pinball. It’s a LED light-reflex tester when the ball is over one of the “flipper” sections. You can’t flip too fast or be wrong, either. Flip twice in one second and you get a tilt. The more times you hit a ball in one turn, the faster it goes. The timing does seem to matter in affecting which direction the “ball” flies off, but because there’s only one ball light per flipper light, it’s not like you can deliberately aim it. I was most impressed that there was something resembling a plunger and it does matter how long you hold it down before releasing. They tried SO HARD with this, and I feel awful that I hated playing it. And now I’m truly dreading how bad Nintendo’s Game & Watch Pinball will be.
Verdict: NO!

CONTINUE ON TO LCD GAMES X:
GAME & WATCH: THE DEFINITIVE REVIEW
IN-DEPTH REVIEWS FOR EVERY GAME & WATCH

Stay Frosty (Atari 2600 Indie Review)

Stay Frosty
Platform: Atari 2600
Developed by Spiceware
First Released in 2007
Cartridge Available at AtariAge

There’s no substitute for charm, and Stay Frosty is a charmer.

While I finish up work on my 2023 Christmas project, LCD Games of the 1980s IX and X, I wanted to get everyone into the Christmas spirit. Like an Atari indie where you play as Frosty the Snowman? And a pretty good one, too. The object of Stay Frosty is to use your body to melt all the fire. That would be a good idea if you’re made of asbestos. If you’re a snowman? Eh, it’s probably not the best idea, hombre. But, Frosty is a fall-on-the-grenade type of snowman (not literally.. I don’t think HIM falling on a grenade would save anyone), and over the course of 32 levels, you have to walk into the various little flames and shrink them until they’re all extinguished. As you do this, your body melts. But, you can restore yourself by walking into the sheets of ice on the playfield. It’s kind of an action-puzzle-platformer, and it’s a LOT of fun.

Do snowmen feel pain? If so, this game is Mortal Kombat levels of sadistic.

There’s a twist, of course. The sun comes out as you make progression, which further melts you AND the sheets of ice that you need to restore yourself to full health. I was worried early on that Stay Frosty would be too easy. Hah. The formula makes for an excellent think-on-your-feet type of puzzler. I should have hated this game since movement physics are similar to those of ice levels in any generic platform game, with slippin’ and slidin’ because everything is cold and frozen. But, it just works here. Everything you need to know about Stay Frosty is that movement physics didn’t bug me at all. Well, except one aspect. This:

Single-space gaps in platforms are the one monkey wrench in this otherwise fine-tuned entertainment machine. It shouldn’t be as hard as it is to just allow yourself to fall through a gap. Even heel-toeing it, sometimes I would skip right over the hole and end up on the other platform. Once it happened so many times I screamed in agony. This matters a great deal because in later levels, or if you want to play the game’s second quest which has the weather get hotter faster, you need to be able to reliably fall down the pit. Even after completing the first cycle of 32 stages, it wasn’t what I would call “reliable” so much as “hold your breath and pray to the baby Jesus that gravity holds up its end of the bargain.”

Moving platforms are tricky too, which these are. But hell, it’s a platformer. The whole point is the trickiness.

The gap issue is my only major complaint, and it’s not even THAT major. It’s a medium-sized complaint. A whine, really. Otherwise, Stay Frosty is really good, and not just for what the Atari is capable of doing. I mean this is a clever game that actually offers satisfying platforming shenanigans while also featuring some deceptively deep puzzle design. You don’t have to actually grab every sheet of ice. The focus is only the fireballs. You have to plan for the rate of melt and how many ice sheets you should hop over to save for later, and how much they’ll be melted by time you need them, and how much body you’ll need left to defeat each fireball. And while you’re doing all that, you actually have to hit your jumps. And it’s FUN and it’s fresh. In a just world, this would be a holiday classic you pull out during the Christmas season between watching Rudolph the Red Nosed Reindeer and the Frosty cartoon. It’s wonderful. There’s even a sequel that adds a lot more nuance. But hey, I have to save that for next year when I’m crunching for content right before my big Christmas special feature.
Verdict: YES!
Stay Frosty is Chick-Approved and Ranked on the Indie Gamer Chick Leaderboard

Willow (Arcade Review)

Willow
Platform: Arcade
First Released June, 1989
Directed by Yoshiki Okamoto
Developed by Capcom
NEVER BEEN RE-RELEASED

It looks like it’s going to be so fun. You know what else does? Slot machines. Blackjack tables.

Capcom is credited with keeping arcades alive with Street Fighter 2. Fair enough. But, didn’t they also kind of help usher in the demise of arcades by making games so hard that it’s almost farcical in how money grubbing they are? And it’s not like it’s just the ones you’d expect, like Ghosts n’ Goblins or Gun.Smoke. I just played through Willow, their 1989 coin-op based on the 1988 movie. It’s a highly critically acclaimed game. I have a question, though: did they actually play it past the first two levels? Because after the first two levels, it gives up any sense of fairness or balance or gamesmanship and just becomes a straight-up shakedown for quarters. Capcom had a tendency to do this with their coin-ops, but few are as brazen about it as Willow is. This isn’t a video game. It’s a robber baron.

I preferred using Madmartigan to Willow, even though Willow fires projectiles.

Now mind you, this absurd hardness was after I tinkered with the settings. I dropped the difficulty to the lowest possible. I raised my vitality to the highest possible. I turned on continues. This should NOT have been that hard. I’m fine with a challenge, but there are several sections of Willow where I’m absolutely convinced that there’s no humanly way to get past them without taking at least some damage. This is done so that you have to spend your gold on health upgrades. Yea, this is the rare arcade game that has shops and RPG-like upgrades. At this point, I’ll note that Willow’s levels run on one of the fastest timers in gaming, and that timer doesn’t stop inside the shops. Shops that have eleven items that you need to read the descriptions of. Even cheating, I only had two seconds left when I beat the first boss. It’s not like I was wasting time exploring the level, either. There’s no bones about it: Willow is a greedy game that wants you to keep putting in quarters and will go to shameless lengths to force it.

Buzzer beater.

It’s best to think of Willow as a close cousin of Ghosts ‘n Goblins, only with two characters to play as instead of one. In level one and three you play as Willow. In levels two and four, you play as Madmartigan. Players can choose who they want in level five, while level six has sections for both characters. To Willow’s credit, every major set-piece from the film is here, including a scene deleted from the final film that sees Willow on a rowboat getting attacked by a giant fish. So that’s neat. Plus, the play control is tight and responsive, and the attacks are satisfying enough. Willow fires magic projectiles while Madmartigan uses his sword, and both attacks can be upgraded in the shop several times. The combat would be sweet if enemies weren’t so spongy from level three until close to the end-game. You absolutely HAVE to spend your gold on weapon upgrades or you’ll time-out just from the combat alone.

Speaking of timing-out, one of the main ways Willow screws players is by having bosses and mini-bosses hover well out of range of your weapons. It’s not a one-off thing, either. Even the last boss does it. Few arcade games use the timer to squeeze players for lunch money quite like Willow, and it’s not better for it. It’s agonizing to watch them linger and linger and linger, unable to do a thing about it. This dragon here isn’t even the level’s boss. This is basically how the stage starts, and it’s hugely spongy and it will take its sweet time.. well, actually it’s YOUR time.. before it opens itself up for counterattack.

Again, it’s baffling that this got critical acclaim, but if you look at the Wikipedia page for it, it’s one of the most revered arcade games of the year I was born. I wish I played the game those critics played. The one *I* played had cheap shots galore, a short timer and spongy enemies up the wazoo. The third level saw me pump one of the first enemies with so many full-strength magic blasts that I questioned whether it was even possible to kill it. And that enemy was heaving grenades at me that had splash damage that covered nearly a third of the screen. It did die eventually, but as soon as it did, another took its place. Without exaggeration, there were bosses that I took down easier than many of the so-called “basic” enemies. Later in the game, even when I had upgraded the sword as much as possible up to that point, these enemies pushed spiked walls into me while other enemies ran in from behind, all of which took several hits to kill. It wasn’t even pretending to be a game by that point.

The spiked wall guys AND the guys behind you respawn quite a bit too. I imagine if you played this in front of a real Willow cabinet, it would have a boxing glove punching players in the face while telling them “stop hitting yourself.”

Was it fun, at least? Well, no. Satisfying as the combat is, it’s too basic to overcome the unfair design. Maybe the first two levels were fine, but this is a six level game. Even when you’ve fully upgraded your weapons and the sponge goes away, the levels are still tailored towards cheap shots and quarter shakedowns. The final level’s Madmartigan section really goes overboard by having the level be a “maze.” It’s actually not a maze. It’s a blind random chance of selecting which door is the correct path. Not just once, either. It does it with two doors, then three, then four. Pick right, with no clues to help you (I bought a hint in the shop and it didn’t help at all. It just told me this would happen, and nothing more) and you move on. Pick wrong and you go backwards. How far backwards? It depends on the door. Some will send you all the way back to the beginning of the level. By this point, I had long since quit trying to beat the game on its terms. It wasn’t playing fair, and so I didn’t either. Good thing, because each time, I literally opened every wrong door available before I chose right. I even tried to play the meta game of figuring out which one the developers would have chosen. I guess I chose poorly. Wait, wrong George Lucas movie.

I literally LOLed that the final boss’s final attack is an invincible possessed barbecue running around and shooting six projectiles at a time while you wait for her to lower herself enough that you can barely reach her with your attack. You do have a tornado spell that can reach her IF you time the meter right, but the BBQ is designed to make sure you can’t actually get a shot off without taking damage. It’s such a stupid thing, but by this point in Willow, I expected stupid. I realize the evil barbecue is from the movie, but really? You’re finishing on that? Then, queen just floats away and the end credits begin immediately.

There’s a lot of quality licensed games that haven’t been re-released since they first came out that I weep for, and even though I hated it, I still weep for Willow’s status as a lost game. Now that the Disney+ show didn’t do so well, I’m guessing this is low on anyone’s priority for a modern re-release. Apparently the NES game is better, and one of these days, I’ll get around to reviewing it. As for the coin-op, it’s just not fun. And that’s a damn shame because I think the level design is well done and, again, they got all the action set pieces from the movie. They’re not just in the game, but as accurate to the film as a 2D platformer is capable of being. That’s admirable. This is one of the closest-to-the-film licensed games of its era. And, like the film it’s based on it: it’s kind of a disaster. The best thing I can say about it, besides having nice sprite work and a really good soundtrack, is that it has a couple okay boss fights. It’s just too bad you have to play Willow to get to them.
Verdict: NO!

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Q*bert (1982 Arcade) and Faster Harder More Challenging Q*bert (Unreleased Arcade) Review

Q*bert
Enhanced as Faster Harder More Challenging Q*bert
Platform: Arcade
Developed by Gottlieb/Mylstar
First Released in 1982
Included in Q*bert Rebooted (2014)
Faster Harder More Challenging Q*bert Never Officially Released

The story of Q*bert’s development is every bit as fascinating as the game itself. Like how it was originally going to be a shooting game called Snots & Boogers. Later, after shooting gave way to strategy, it nearly carried the disastrous name “@!#?@!” which would have been literally impossible to spread via word of mouth. I’m curious to learn a lot more, which is why I just ordered Creating Q*bert and Other Classic Games by the man himself: Warren Davis. $13.99 on Amazon. It’s what I’m treating myself to for Christmas.

Well, I promised this review when I did Krull and Three Stooges, and with 2023 almost up, there’s no time like the present. Q*bert is an icon of gaming. One of those characters that’s reached the zenith of recognition. Yet Sony, the owners of the franchise, really haven’t done a whole lot with him. Mostly, they just license him to appear in movies. Q*bert had a cameo in Wreck-it-Ralph and a prominent role in Pixels. As terrible as that film was, it was still more dignified than the 1980s cartoon that was set in the 1950s where Q*bert was a greaser. I’m sure that’s what children who wanted a Q*bert cartoon were clamoring for: Q*bert meets Happy Days. However, next year marks ten years since Sony really did anything with the adorable little orange thing. Q*bert Rebooted released in 2014 to scathing reviews, with most critics citing the bad controls. They said the same thing about the Q*bert game I had for Dreamcast. The weird thing about the franchise is it’s famous for difficult controls, but I’ve really never struggled with them when I’ve played the arcade game. Actually, Q*bert is maybe the arcade game I was most wrong about. I haven’t always been a fan. But, I have to admit, it grew on me.

The end of my best game ever. 117K. I was proud. As for the iconic swearing, it happened when sound designer David Thiel got stymied by how the synthesized voices needed to be programmed. Each syllable had to be arranged manually, which is harder than it sounds. In Ultimate History of Video Games, Thiel notes that “Bonus Points” sounded like “Bogus Points.” He became frustrated and inserted several random speech banks together, and the end result sounded like alien swear words that something somewhere would exclaim in anger, and they went with it. So, in a sense, Q*bert’s swearing is actually gaming’s greatest rage quit!

When I reviewed the Atari 2600 and 5200 versions in Atari 50: The Games They Couldn’t Include – Part Two, I gave the 2600 version a YES! despite the fact that it’s missing a couple key baddies. It gets off to a slow start, but once you reach the levels where the cubes change colors every time you jump on them, I enjoyed it a lot more. The coin-op, on the other hand, becomes overwhelming, especially when a little green imp appears that undoes all your progress. I thought it went too far (heh, I had no idea what “too far” was, it turns out). And for that reason, I initially disliked Q*bert. I have no problem admitting when I’m wrong, and I got arcade Q*bert wrong. More specifically, I had the wrong mindset. I was thinking strictly of both the puzzle and level-clearing aspects and not the high-score chasing side of the equation. That was my mistake and I take it back. Once I focused primarily on challenging my own best scores, I had jolly good time playing Q*bert. Warren Davis.. which I keep typing as “Warwick Davis” because my brain is STOOPID.. created something special here. So did Jeff Lee, the artist who designed the character itself and the stack of cubes he hops across.

The last few cubes are a pain in the ass. Learning the timing for when to use the discs is pretty much everything. Actually, one of the things that helped me was that I started to anticipate when the game was “due” for another one of the jackasses that undoes your progress. A strategy that was foiled by the unreleased harder version of Q*bert.

But, a funny thing happened when I adjusted my attitude. Once I was in the right mindset and treated Q*bert purely as a white-knuckle, score-driven avoider, I actually got further than I ever have before. A lot further, actually, and I could maintain this consistently between games. You get points for every successful hop you make that changes the color of a block. Levels are divided into four stages, and by the third and fourth levels, you’re dealing with blocks that can change back to their original colors. This was previously as good as I could do because of the creatures called “Slick” and “Sam” who revert cubes back to previous colors. This time around, once I got to that point, I took a defensive approach. I was still mindful of the goal of each level, but with my focus more on survival, I came to better appreciate the thrilling close calls. Seriously, the chase element here is every bit as intense as the best Pac-Man games. I loves me some Pac-Man (read my Jr. Pac-Man review) but this offers even more close calls, actually.

The discs of Q*bert are pretty satisfying to use. Actually, I admire the restraint shown. It must have been mighty tempting to have the “turn-the-tables” aspect of Q*bert involve directly attacking the enemies. It’s what was trendy at the time. But, Q*bert is one of the more comical game characters of the era, and getting the baddies to fling themselves off the pyramid has a Wile E. Coyote vibe to it. The arcade cabinets even had an authentic pinball knocker to complete the effect. This was produced by pinball stalwart Gottlieb. They had plenty.

I always got angry around this point in Q*bert. Not this time. I finally said “screw completing the stage! This is too much!” and started trying to scratch out enough distance between me and the baddies. Then, it happened. After about a minute of hopping around, just hanging on for dear life, through sheer osmosis, a path to victory revealed itself. About six or seven hops later, I had won. Wait.. what? The first time it happened, it felt like a fluke. But then it kept happening level after level. As it turns out, the best offense in Q*bert is a good defense. Don’t get me wrong: it wasn’t COMPLETELY mindless avoidance, but I also stopped getting angry if I had to leave the area I was “patrolling” for lack of a better term. It was rewarding, because the chases were always exciting. This is especially true as you get deeper into the game, since the speed increases for baddies and you. I liked how the faster gameplay felt so much I longed for a dip switch option to make it permanent. I wish it happened sooner in the game. The one remaining annoyance I have with Q*bert is that I wish there was some kind of warning when new balls/eggs/blobs/whatever are about to drop onto the playfield. Maybe a Looney Tunes-like bomb-dropping noise, a countdown, or shadows. With enough playtime, you eventually learn to anticipate it, but it’s never totally intuitive. Well, at least at the skill level I’m at.

A bit redundant of a title. It’d be like calling me slower, shorter, more lower to the floor Cathy.

Personally, I think the challenge for Q*bert is spot-on, but creator Warren Davis didn’t, and hence we get Q*bert: Sadistic Pants Wetting Nightmare Edition. Actually, it’s “Faster Harder More Challenging” and despite being fully finished and even route-tested, Gottlieb Mylstar’s new overlords at Coca-Cola opted against releasing it. I thought about postponing this review until my copy of Davis’ book arrives to find out the full story, which apparently also involves 7-Eleven and maybe Mello Yello. Actually, no, I guess the Mello Yello Q*bert was a different thing, but hold on, wait.. why Mello Yello? Coca-Cola has owned Minute Maid since 1960. Why not Minute Maid Q*bert? You know, something that actually makes sense? Or maybe they didn’t want consumers to imagine the orange juice they were drinking was actually the blood and bile and various other bodily fluids collected from juicing a member of Q*bert’s species.

🤔

And now that’s all I’m going to be able to think about. Eww. Yea, going with Mello Yello was a good call.

It turns out, I had that ROM too. It’s the exact same game as Q*bert, only it contains 45 mg of caffeine per serving.

Actually, Davis himself released the ROM of FHMC Q*bert to the public in 1996, thus preserving it forever. Now THAT is a guy who gets it. Class act. And I’m really happy he did, because Faster Harder More Challenging Q*bert is not simply “hard mode” for Q*bert. I mean, it kind of is, but there’s a lot of changes. The discs now move up and down the sides of the stack of cubes, with a little warning graphic of when the move is about to happen. AND, despite being the hard mode, the discs will reappear after you use them. It’s not an endless supply, and I actually wish there was a counter that showed how many discs were left, but I appreciated it nonetheless. It’s literally the only kindness the game offers. This is one of the most difficult and downright cruel games ever. You know what? THIS should have been the one with a gibberish swear bubble for a name! It’d been fitting.

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Each round in FHMC is built around how the levels work in normal Q*bert. In other words, round 1 is always just permanently changing the colors to the target color. Round 2 is always triple colors with the third color being permanent. Round 3 has colors change back when you hop on them a second time. Finally, round 4 is always triple color with the second and third colors swapping back and forth. I got my wish to have the game speed up faster. But, I made that wish on a monkey’s paw, because the Faster Harder Etc. Q*bert utterly spams the screen with enemies fairly quickly. And while you have more discs, the snakes are a LOT more savvy to them this go around and are harder to lure into jumping off the stack. These twists alone would have been hard enough, but Faster, More Intense Q*bert is just getting warmed up. Remember the green things that undid your progress? Well, they still do that, only they also lock the squares from being changed. How do you unlock them? You have to lure the snake into jumping on them! WHAT? That’s.. that’s sick. You alright, Q*bert?

The blocks with patterns on them are locked. So, go ahead! Get the snake to jump off the stack now! See where that gets you!

And finally, the game introduces Q*Bertha, a love-sick purple member of Q*bert’s species who chases him around the board and undoes your work. Unlike the green things from the original build of Q*bert, this thing lingers on the board, chases you, and has to be killed using the discs. And now I understand why the discs respawn. I reckon the game would become impossible after a certain point without that. It was also around this point I started to comprehend how this didn’t get the best reception in route testing. Without exaggeration, I struggled to clear level 1 – 3. It took me hours of playing to make it to level 3 to even encounter Q*Bertha for the first time. I ultimately made it twice to Level 4 – 2 and I’m convinced that stage has to be impossible to beat without getting an incredibly lucky break. Actually, you’ll need more than one lucky break, since it sort of feels like both games I made it that far, the roads that led to 4 – 2 had many moments of just dumb luck working out for me. Or moments where I’d hopped around the same stack of cubes so long that I just killed myself because it would clear the screen of enemies and allow me to finally get the final few cubes without interruption. I think that pretty much says it all about Faster Harder More Challenging Q*bert: that ending your life is a legitimate strategy. This game is EVIL!

It looks so innocent. This is Satan in digital form.

Still, I’m all about historical curios, and Faster Harder More Challenging Q*bert, frustrating and seemingly impossible as it is, is still a whole lot of fun. I don’t think it would be worth buying as its own release, but every time Q*bert is re-released, they really ought to bundle this with it. As for the original game, I’m not too proud to admit when I’m wrong. Q*bert actually is one of the greatest of all-time. I’m a big fan of close calls in chase games, and Q*bert offers up more than most golden age arcade games do. It also offers players enough flexibility to come up with their own strategies, which I put the highest premium on. It’s such a shame that the franchise hasn’t survived the test of time. At the start of this review, I called Q*bert an icon of gaming, and I stand by that. But, in terms of general pop culture, it feels more like an oddity of the 80s, instead of an icon of it, doesn’t it? It deserves so much better. Sony really shouldn’t be so stingy with it. They might own Q*bert in the legal sense, but it really belongs to gamers everywhere, and it deserves better than what it has gotten in the past forty years.
Verdict: YES! and YES!

Hell, I didn’t even mention the bonus stage that happens when you beat level 2 in FHMC. You score points for every solid blue block. Oh and the green things have to touch the blocks, so you can’t just intercept them all. Oh and they rain non-stop during it. I got eight once. I was happy to have gotten eight. Even the bonus stage is a kick in the ass. And now that the review is over, I’m going to go cry. Holy crap, how is this even a thing that exists? EVIL!

Virtual Boy Wario Land (Review)

Virtual Boy Wario Land
Platform: Virtual Boy. I mean, duh. It’s in the name!
First Released November 27, 1995
Directed by Hiroji Kiyotake and Hirofumi Matsuoka
Developed by Nintendo

NEVER BEEN RE-RELEASED*
Listing on Mario Wiki

*Coming in 2026 to Switch Online Expansion Pack in 2025. Requires special accessory for 3D effect. No clue if people can opt out of that or not and just play the games.

This one was a lot harder to get action-based screenshots than you would think thanks to how Wario’s tackle/charge move looks.

When I first ran through Virtual Boy’s library back in 2020, two games stood out to me as being pretty dang good. Then I replayed Mario Clash earlier this year and I realized it wasn’t anywhere near as good as I originally pegged it to be. I still ultimately gave it a YES!, but barely so, and I’ve been dreading replaying Virtual Boy Wario Land ever since. It was the other unambiguously good Virtual Boy game, but maybe I’d set my expectations for Virtual Boy so low that it messed with my initial perception. Thankfully, now that I’ve finished my second play session with it, I don’t have to stare blankly at the screen and ask myself if I had a good time or not. It’s really good. And painful to play, but hey, if you’re going to fry your eyeballs out of their sockets, do it with sprites this beautifully done. Shame about it being on Virtual Boy, where it’s fated to linger in obscurity, unloved, until the end of time. (Update: Or not!)

Wario once had a game animated by the same people who did Ghost in the Shell, so it might be audacious for me to say this, but I’m saying it anyway: this has the best sprite work in Wario Land history. Some of the best in Nintendo history, in fact. It’s a solid decade ahead of its time. Very cartoon-like.

At only ten stages and four boss fights, it’s a short game. I’ve never needed more than two hours to finish it. While the levels are sprawling, only a couple I would consider to be “maze-like.” Each of the ten stages has a key and a hidden treasure somewhere in it. In this second play-through, I only one time made it to the exit of the stage without holding the key. Nine of ten times, I just happened upon it through the normal progression of the game. The hidden treasures were a little more difficult. VB Wario Land has six possible endings, the two best of which require you to find all ten of the treasures. Four times I had to do extra exploring to find them. It works, though. Above all else, Wario Land as a franchise needs to feel like a treasure hunt. VB Wario Land pulls it flawlessly. You actually do have to explore, and my only complaint is that there’s only two things to find in every stage. I think perhaps they should have required more than one key to finish a level. I strongly suspect that was planned at some point, but then someone said “do we really want our players to keep their eyeballs on this thing longer than we have to?”

My proof is that there’s more rooms that have this pattern, but they have 1ups instead of treasure. It makes no sense to make a big deal of extra lives since extra lives are plentiful and the game is absurdly easy. No, I think they had more ambitious plans that had to be dropped because of the platform’s ability to broil your retinas.

Of course, a well done treasure hunt doesn’t mean anything if the levels are boring to explore. That’s certainly not the case here. VB Wario Land has some of the best 2D levels Nintendo has ever built. With the exception of the first level, which has no personality or theme to speak of, VB Wario Land has excellent set pieces. Sure, they’re mostly the typical cliches of forests, deserts, waterfalls, etc. But they all feel fresh here. Breathtaking backgrounds and even mundane pathways are drawn with attention to detail. They have this otherworldly quality to them that few 2D platformers achieve quite like VB Wario Land does. It also helps that the enemies all have authentic personalities. Wario is a mischievous character, and this is one of the few times where every aspect of the game feels like it belongs to him, and him alone. It’s so well done.

Go figure that an all-red platform would have some of the best underwater sections in platforming history.

The big twist in this Wario Land is the ability to transfer from the foreground to the background. This is usually done with springs that launch you back and forth. Other times, you’ll access one or the other via doors or pipes. There’s even extended sections that take place entirely in the background. While it’s fun and it works, it’s also one of the reasons the game is so easy. There’s rarely anything in the background that can hurt you. I also feel the mechanic was underutilized. Early in the game, the backgrounds are mostly used as bonus areas where coins or hearts are found. Later, shifting between the foregrounds and backgrounds is more incorporated into the maze-like layouts of the level, and the game truly finds its footing as one of the all-timers. It just takes a while to get there. The springing between the foreground and background is also incorporated into two of the four boss fights, both of which are among the highlights of the game.

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Virtual Boy Wario Land’s weakness is that it’s probably the easiest platforming game Nintendo ever made. I’ve played this three times now. Once on Halloween in 2020, and twice this session, including the “harder” second quest, and I’ve still never lost a single life playing VB Wario Land. Enemies are mostly toothless. In this session, even while playing the second quest, I never took damage from a single basic enemy. In the second quest, I did get hit by the spiky balls that are laying everywhere and I damaged myself on the first mini-boss when I was too slow to attack it, but otherwise, not one single basic enemy ever hurt me. And it’s not because I have mad skills or anything like that. Most baddies don’t hurt you when you touch them, even if you’re not attacking. They just bounce off you. It’s so awkward. I’ve made jokes before about the silliness of the video game logic that enemies are lethal to the touch no matter what they’re doing, but Virtual Boy Wario Land is a glimpse into what gaming would be like if that weren’t the case. There’s also no pits to fall into. The Wario Land that followed this removed the ability to lose a life altogether. I can’t help but wonder if that was discussed for this one, too?

Before each boss, you have to fight these tiny robotic mini-bosses by avoiding their attacks and waiting for them to fly up in the air and crash down on you, which exposes a button. They each only take two hits to kill. In the second quest, you have to hop before they crash, because they only expose the button for a split second. It was the first time (and the only time, come to think of it) that VB Wario Land was anything resembling challenging.

As if the enemy designs weren’t weak enough, VB Wario Land has absolutely no balance when it comes to power-ups. Frankly, they went overboard. The standard Wario bull-charge would have been satisfying enough. It’s one of my all-time favorite game attacks. You can also just jump on enemies, which will knock them out and allow them to be carried, but they’re a bit unwieldy. The charge/tackle move, however, is always delightful. The fact that your butt causes earthquakes that disable every enemy on screen is insanely overpowered and shouldn’t have been included, but it’s Wario. I guess it’s okay! Hell, had they kept it at that, it’s likely the game would have been a contender for Nintendo’s best platformer ever. But, they didn’t. There’s a dragon helmet that breathes fire, though its range is limited to a few spaces in front of you. Some of the blocks can only be broken by fire, and sometimes you need fire to find the special treasure (I’m almost certain you never need it to find the key). It destroys most enemies and has unlimited ammo and would be overpowered by itself. There’s also an eagle helmet that lets you dash in the air and fly for a short distance, which can get you over large gaps. It’s fun to use. So far, that sounds pretty normal, right?

They might as well roll the credits once you have this.

The problem is the dragon and eagle helmets stack to form a winged dragon that can both fly and fire projectiles the full length of the screen. It’s very useful for exploring, since the projectiles it shoots pierces all blocks (though it does stop with enemies), allowing you to clear out entire rooms worth of blocks in a second or two. But, it also allows you to instantly vaporize nearly every basic enemy as soon as you get them within sight. After getting the winged dragon helmet, I almost ran the table on VB Wario Land. The next time I took damage, it was while attempting to score the final hit against the final boss of the game. Once you have it, assuming you actually take your time to measure every jump, the only remaining challenges will be the bosses, since they can’t be damaged by your attack. There’s no particularly difficult jumps, either. Your own recklessness is all that stands in front of you and the end credits. The play control won’t screw you over, either. VB Wario Land handles like a dream. A surreal, all-red, eye-bleeding dream.

Even on the second quest, enemies pose little to no threat. This thing is one of the few that are immune to your projectiles, but it’s not like it’s hard to kill. Really, the second quest could be called Wario’s Adventures in Spiky Ball Land because it’s basically all spiky balls, all the time.

The second quest really isn’t harder so much as it’s just more annoying. The treasures and keys were in the same locations as they were before. Enemies were still nothing more than cannon-fodder. The bosses and even mini-bosses did attack faster and had smaller windows for vulnerability, but otherwise, it was the same game. Only now, there were tons of spiky balls laying around, so many that you literally have to crawl through many sections. Some were even placed in a way where it made getting some coins impossible. Was it harder? Obviously not, since the second time I beat Virtual Boy Wario Land almost exactly thirty minutes faster than my previous session. And the second time around, I skipped the after-level extra lives bonus round (which I don’t think counts towards time anyway). I didn’t need it and still finished with 20 lives. That’s owed largely to the unbalanced power-ups. If Nintendo were to remake VB Wario Land, adding more levels would be a given, but actually, the biggest change I’d recommend making is removing the winged dragon helmet. It’s just too overpowered. Besides, it’s nowhere near as satisfying as the bull charge is (in my head canon, Wario is cousins with Bald Bull).

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I get the impression VB Wario Land is meant for a much younger, less experienced audience. I’m not sure I’ve ever played a 2D platformer that’s better suited to introduce young children to 2D exploration-based platforming than Virtual Boy Wario Land. Nintendo should fully colorize it, restore its original name (Wario Cruise) and give it a modern release. They won’t, but they ought to. I’m not sure re-releasing this in the state it’s in would be the wisest move. I wanted to test this on my nieces and nephew. They were excited, too! But, I decided to cancel the plan because my eyes were hurting after playing it. I’m not making a joke here, either. I’ve been rubbing them and squinting a lot ever since I finished, and I’m not going to put them through that. The same thing happened to me when I played Mario Clash earlier this year. What the hell was Nintendo thinking when they made Virtual Boy? I wasn’t even playing on a real one and my eyes are killing me. Don’t tell me the designers at Nintendo didn’t experience the same thing during its development. There’s no way they didn’t. But, despite legitimate eye soreness, I can honestly say what hurts worse is that VB Wario Land is unlikely to ever see the light of day again. Even though it lacks difficulty, the joy of exploring the levels and finding the treasures is undeniable. Maybe it’s not the absolute best “lost” Nintendo game, but it certainly doesn’t deserve to forever wallow in obscurity. As far as their hidden gems go, it shines among the brightest. Maybe that’s why my eyes are so sore right now.
Verdict: YES!

The Three Stooges (Arcade Review)

The Three Stooges
aka The Three Stooges in Brides is Brides
Platform: Arcade
Developed by Mylstar Electronics
First Released in 1984
NEVER BEEN RE-RELEASED

Subtitled “Brides is Brides” which made me think it was based on a specific short. It’s not.

So, this happened. There’s a Three Stooges coin-op from 1984. Yes, really. I wanted to find the story on how exactly this came about, but as far as I can tell, nobody has really talked about the history behind it. I think I can fill in the blanks myself, though. Three Stooges was developed and published by Mylstar Electronics, the company who did the Krull arcade game that I already reviewed, who you might better know as the linear continuation of pinball juggernaut Gottlieb. Gottlieb’s smash hit arcade release was Q*Bert, which I promise I’m going to get around to doing very soon (UPDATE: my review of it is up!). Gottlieb had been owned by Columbia Pictures since 1976, but in 1983 Coca-Cola purchased Columbia Pictures. Coca-Cola’s first act seems to have been renaming Gottlieb “Mylstar” to move away from pinball and fully onto arcade video games, which were trendy at the time. And Columbia Pictures just so happened to be the studio who produced all those Three Stooges films. So, my working theory is someone very out of touch at Coca-Cola saw that they owned both a video game company AND the Three Stooges IP and said “kids these days love them newfangled electronic games. And if I know anything about pop culture, and hell, I must know a lot because I now work for a company that owns a movie studio and that’s how it works, there’s nothing children love more than the Three Stooges! It’s what MY kids watched when they were children, which was forty years ago!” This ended about as well as you would expect. I don’t know when in 1984 Three Stooges came out, but I do know that Coca Cola closed Mylstar in September in 1984, barely a f’n year after changing their name. What a farce.

On a real arcade machine, there’s three joysticks: left is Larry, center is Moe, and right is Curly. On the PC I use to capture media for these reviews, I could only be Larry (except when I plugged in a second controller). Nobody wants to be Larry. Larry is the Zeppo of the group. However, in the game, he’s clearly the best character. Look at those eyes. Those cold, dead eyes. Those are the eyes of a man not to be trifled with.

This particular game is unrelated to the more famous PC/NES game by Cinemaware. The coin-op game is a lot more like the Atari arcade classic Food Fight, only with a lot more to do. The object is to collect three keys in every stage. The keys are hidden behind various furniture and other assorted fixtures. You have to grab a hammer and then just walk into the objects to demolish them, revealing either loot (dollar bags/stars/award statuettes) that scores points or the keys. Once you grab all three keys, an exit will open up. As you do this, you have to avoid “villains”, cops, and prissy old ladies who can also grab the hammer and smack you on the head. If you run into someone holding a hammer OR a police officer catches you, you lose a life. There’s also a dog and a waiter walking around that aren’t worth any points and just seem to be there for the sake of chaos.

After two stages, you have these levels where singers belt tunes and their music notes damage you. Annoyingly, the last one’s notes linger too long. I almost always lost a life on it. On these stages, you can ONLY use pies, which are quite hard to aim.

You can defend yourself with a slap if you’re Larry or Curly or an eye-gouge if you’re Moe. This stuns enemies and fellow stooges, allowing you to pass by them. If you have the hammer in your hand, you actually drop it quite a ways from you in order to use the defensive smack. However, you can walk into the “villains” with the hammer, giving them one of those cartoonish lumps on their head. This permanently knocks out NPCs for the rest of the level, so it seems like it should be your primary strategy, right? Well, the game has collision issues up the wazoo that I need to talk about. There’s also tables that have a limited supply of pies sitting on them that you can pick-up and throw to stun enemies, but again, every other character on the screen can do the same to you. I also found the pies INCREDIBLY hard to aim since they’re off-center from where your sprite is. They weren’t worth the effort or the comedic effect at all, since all they do is briefly disable baddies (I think the dog’s purpose is to lick the pie off their faces). If you’re playing with anything less than three players, the other stooges will wander around, and they’re enemies now. They’ll chase you down, get in your way, and even cost you lives. I’m not feeling the brotherly love, fellas. On the other hand, NPC stooges can also destroy the fixtures and reveal the keys as well. They can’t collect the keys, but it becomes a viable strategy to dodge baddies and let the NPCs do the smashing for you.

I appreciate that they went to the effort of having different objectives in some stages. In these ones, you not only have to get the keys but you also have to rescue one of your sweethearts from a cell. The problem is, on this level, the cops typically would get to them about one second after I grabbed the final key. If this happens, you have to keep replaying it over and over until you finally do rescue her. Being a dummy, it took me a while to remember to grab the key closest to her cell last.

To be frank, I kind of figured that the Three Stooges would be a terrible game. Just the fact that literally not one person on my timeline had ever seen a Three Stooges cabinet in the wilds of 1980s arcades was ominous enough. But, what was even more alarming was that many were shocked it even existed at all. This coin-op has NO presence in gaming’s collective memory. A complete non-entity. So, you can imagine my surprise that whether Three Stooges is a bad game or not isn’t cut and dry. The sound effects really carry the day here. The digital voice samples don’t sound anything at all like the actors, but a small handful of quips are here AND they come in three different pitches to differentiate the stooges. “Wise guy, eh?” Here. “Cheese it! It’s the cops!” Here. Wait, that’s a Three Stooges quote? I figure it was a gangster film thing, but it’s here. “Yuk Yuk” is here too, though it’s so sad. It sounds like a duck with laryngitis, and I’m not even exaggerating. There’s also various satisfying snaps and slaps that season the violence. Violence that feels comically authentic to the franchise. Don’t get me wrong: it’s not exactly Street Fighter 2 levels of OOMPHful, but it’s nice to just haul off and slap the crap out of someone. Honestly, for a 1984 game, this does a remarkable job of staging a believable Three Stooges short film-like gaming experience.

There’s even an ending of sorts. Given that each cycle of levels feels identical to the one before it, that’s really not a very big deal.

Unfortunately, collision detection is inconsistent. When I had the hammer and tried walking into anyone, I usually had to shimmy back and forth to register that permanent knock-out hit. If the NPCs also had a hammer, forget it. I legged it. It’s not the worst collision I’ve seen, but lining up strikes was harder than it should be. And that’s not even the biggest problem. It’s too easy to get caught-up in the scenery. This is one of those games where if you clip into something, be it the walls or one of the fixtures, the computer doesn’t know what to do so it sort of pushes you backwards. But, you’re still moving towards it, and it causes the sprite to stutter-walk. Do you know what I’m talking about? That thing? It does that thing. Movement in general lacks smoothness to it. If this had Robotron or even Food Fight like gracefulness, I don’t think I would have even had to think about Three Stooges getting a YES! or a NO! I’m shocked at this phase in the review, I’m still debating it. If only it had something to put it over the top. Yes, if only.

This was my best non-cheating single player game. It was one complete cycle, at which point the game found its teeth and I barely lasted past the first stage.

Well, guess what? Three Stooges does manage to make it into the end zone. What makes it truly unique is how multiplayer completely changes the gameplay. When you play with more than one player, each key is assigned to a specific stooge (in two player mode, there’s a wildcard key either can pick up). You can all smash the furniture (if you find a hammer) to your heart’s content, but only Larry can get the silver key, while Moe collects the blue one and Curly the green one. THIS is so much more interesting. Three Stooges almost becomes an entirely different experience, and one that works WONDERFULLY! Friendly fire is on and all times, so you can play cooperatively or play cutthroat. I’m stunned to report that this was one of the funnest multiplayer experiences I’ve had in 2023.

Holy crap. I didn’t see this one coming. I’m stunned.

First I played with the usual gang of idiots: Dad and Angela. Dad, goody-good he is, earnestly tried to collect keys while Angela and I resumed our sibling rivalry from Vs. Balloon Fight, “accidentally” killing each-other until it became crystal clear to all observers we were most certainly committing fratricide on purpose. All the while our father was yelling at us to stop being chowder heads and get our keys, ultimately giving up with the words that will live in Vice Family lore for generations untold. His exact quote: “alright, f*ck it! I’m killing you both!” And he did. About thirty minutes into our session, my nieces and nephew came over to the house, saw us playing, and they wanted in. Hell, my mother and even my crotchety old AJ wanted in. We took turns dropping in and out, and while there is a sharp learning curve for younger children (or non-gaming old farts like AJ), we had such a great time. I want to say Three Stooges isn’t a great game, but I’ll be damned if this wasn’t one of my favorite games I’ve played in 2023. I figured it would be cynical and soulless and awful. It’s none of those. Honestly, it could use more polish, but it has an intangible charm and makes for a one-of-a-kind multiplayer experience you absolutely don’t want to miss. Who owns the rights to this game now? Is it Sony? Holy crap, I think it’s Sony! Hey Sony, re-release Three Stooges! I’m telling you, you’re leaving tens of dollars on the table.
Verdict: YES!

Duke Nukem’s Big Shot Pinball: (Pinball M Table Review)

Duke Nukem’s Big Shot Pinball
Platform: Pinball M
Set: Death Save Bundle ($19.99)
Individual Price: $5.49
Designed by Grego “Rockger” Ezsias
Originally Released November 30, 2023
❄️🔥POLARIZING TABLE🔥❄️

Insert any Duke Nukem quip HERE. I’ll do it: “I’m an equal opportunity ass kicker.” Now just repeat that every time the ball touches something.

Right off the bat, I need to inform you, my beloved reader, that none of the Vice Family are Duke Nukem fans. That doesn’t mean we’re against the franchise. It just doesn’t interest us. Taking it further, Oscar and Angela have no experience at all with the games (Dad might have played 3D at some point but only briefly). Having been squirted into the world in 1989, I was born at the wrong time to really care about the IP. So, we all deferred to Dash, our resident Duke Nukem fanboy. He both enjoyed the pinball layout Grego Ezsias and the team at Zen Studios created AND he also believes that Duke Nukem’s Big Shot Pinball canonically fits alongside the rest of the franchise. In other words, he could believe that this was an official release by Duke’s creators. Jordi, also familiar with Duke Nukem, agreed. From the theme integration to the call outs to the modes: this could be a legitimate stand-alone Duke Nukem release and it’s unlikely any fan of the series wouldn’t believe it. It’s a fitting tribute to Duke Nukem 3D and if you’re a big fan, what’s here should be authentic enough that you’ll feel at home. So, I’m just going to focus on the pinball stuff.

Unique among Zen’s pins is that Duke Nukem has no traditional driver. The Cinema shot is low-yielding as its own thing and has a mini-mode attached, but we were mostly using it as a dumper to safely gain control of wild balls. Lighting the D-A-M-N letters off the right ramp and shooting the toilet scoop starts modes, but you’re given so much freedom to explore the layout that it never really feels as if you’re being queued into the modes. Odd.

With the exception of Dash, the main issue we all took with Duke was the ball return. Whenever the ball transfers from the bumpers to the main playfield, it goes through a hidden habitrail before exiting out underneath the DAMN ramp. And it returns at an angle where the ball sort of lobbed carelessly. It’s so off-putting. It’s treating a pinball return the same way a slob wads up trash like hamburger wrappers and casually throws them in the general vicinity of a garbage can, unbothered by whether or not they actually go in the can. It never comes out at the same speed or trajectory, and since the ball inevitably hits the slingshot, the probability that any returned ball could become unplayable is higher than any made shot should be. The fact that the design specifically drops the ball into the highly lethal left slingshot is incredibly frustrating. There was no rational or logical benefit from any design perspective for having it do this besides punishing players for wanting to play the table in the first place. Hey, if Zen wants pins to be less fun than they can be, I suppose that’s their god given right, even if I don’t get it.

One of the three main modes (Kick Ass and Chew Bubble Gum) is a glorified video mode that pays homage to the Duke Nukem franchise. Aliens will pop-up in one of four stations, and you have to use the flippers to aim and the action button to fire three shots into each. In the main mode, you have to kill twenty aliens (8 in the first phase, 12 in the other). Not only does it take forever, but none of the Vices EVER failed at it. Not once. In fact, all three of us quickly reached the point where we didn’t even take damage. I should note that Oscar, normally the member of The Pinball Chick Team who whines about video modes, actually enjoyed Bubble Gum the most. Taking it further, he declared that this is what solidified his GREAT rating. Whatever floats your boat, Pops. But again, it’s a video mode that takes 60 total shots to finish. SIXTY. Holy crap. What is wrong with Zen’s new crop of designers? Did they not get enough attention as children? Did the cool kids dunk their heads in toilets and this is revenge?

The sad thing about the sloven ball return is that Duke Nukem would be a difficult enough table without it. Killer slingshots that spoon-feed the brutal outlanes are just the start of it. Duke Nukem is a brick-layer with high risk angles and cardboard targets that crowd the drain. Now granted: if any video game franchise’s theme lends itself to a design that feels like it’s trolling players, it’s Duke Nukem. But we put more time into this pin than any pin we’ve ever reviewed, and we still couldn’t really make any progress. Even after 50 combined hours and multiple world records set by the three of us, the amount of things we didn’t experience with Duke Nukem is staggering. As of this writing, I’m the arcade mode World Champion and we have three other first place standings on challenge leaderboards, but we were never able to complete all three modes in a single game. In fact, none of us defeated the second boss. We never opened Ready For Action multiball. My father and I never once earned a single extra ball (Angela earned two EBs over the course of 100 or so games). FIFTY HOURS. WORLD RECORDS. How is it even possible we didn’t come halfway to finishing the three main modes in a single game? Well, it’s because even if you clock the difficult angles and drill the shots into muscle memory, eventually the ball return WILL kill you. You can only get lucky so many times. When you reduce your table to dumb luck, it becomes impossible to finish or even come close. Duke is a table where random chance will ALWAYS supersede skill.

The radioactive symbol’s spin disc is the highlight of the table, in my opinion. It’s a clever idea. Balls that land in the black zones will be fed to VUK and count towards a random award. Balls that land in the yellow zones will instead be released into the bumper area of the table. Good idea. I sure wish it didn’t require six spins on the right zones to do anything.

The Vice Family is probably Zen Studios’ best case scenario for players. A family that shares a love of the sport and competes with each-other, all three of whom are capable of challenging for world records. We’re far removed from the best players, but we ain’t slouches. If we couldn’t do these things, who exactly are these tables designed for? Zen’s original tables these days rely on mind-numbing grinding combined with made shots still having the potential to kill you because the ball return is done in a way where it might be unplayable. Presumably their design team thinks this is the key to engagement, since mobile games are about mindless grinding and random odds. But, like.. it’s pinball, gang. I know I sound like a broken record, but your best sellers are adaptations of old Williams/Bally pins that might be hard (nobody can accuse Indiana Jones, Twilight Zone, or Addams Family of being too easy) but they don’t require players to practically earn a bachelor’s degree in that table just to experience everything.

After completing each mode, you have to charge up the left spinner and then shoot the toilet scoop to activate “boss fights” which feature cardboard targets, the big one of which takes roughly fifty billion hits to kill, give or take. It’s actually over a dozen hits combined for the minions and big boss. While it does have a ball save attached to it, the ball save is going to come out under the damned DAMN ramp, again reducing your survival to random chance. If Duke Nukem has a feature that COULD have been fun, you can bet your sweet ass the designer made it require so many hits that it becomes a joyless slog. You can also shoot the toilet scoop to use a gun, but this feature is incredibly confusing and frankly underwhelming. The targets are there, but we’re encouraged to shoot elsewhere? Huh?

I originally had Duke Nukem as GOOD, agreeing with everyone else that Duke has a fun, downright frisky layout with nice ramp placement, a unique and memorable skillshot, and genuinely thrilling side-targets. It’s a damn fine layout, besides the way the ball return is handled. It even incorporates zone-style design by having the bumpers being completely segregated from the rest of the table. Even more striking is that Duke Nukem doesn’t feel like it’s aping Williams or Stern. It’s the rare Zen original pin that feels genuinely original. Even though the flow is left-side heavy, it avoids having the feel of a table that’s been cut in half, like A Samurai’s Vengeance suffered from. And Oscar would disown me if I didn’t single-out the fine-tuned scoring balance, which my daddio was positively swooning over. It’s so precisely balanced that it would have made the late, great Lyman Sheats proud. Don’t take my rating to imply any lack of talent. They DO have talent. So much that the problems Zen has with forced grinding and dickhead ball returns are much more frustrating than they should be. If they had no clue what they were doing, it’d be excusable. They’re so good at making pins that the faults are inexcusable.

Yet another continuing problem with Zen’s originals is that they include mini-fields with gaps so wide you could drive a steamship through them. Seriously, it’s remarkable how they’ve gotten into these company-wide bad habits. Grindy modes. Harbor-sized flipper gaps. By the way, Zen, a drain pin doesn’t help when the physics of the mini-table make the ball feel limp. Duke being accused of having limp balls seems like the type of thing that would make him fly into a rage, but I’ll take my chances.

Saying that I know Zen is capable of better than this is an understatement. Duke Nukem’s Big Shot Pinball has a layout so awesome that it should have been a cinch for a GREAT rating from me, and really, MASTERPIECE should have been in play. It has everything I like in a layout. It’s telling that none of us even considered MASTERPIECE. That was ruled out really early. I don’t know why anyone would make such a great creation and then destroy it by discouraging table exploration like Duke does. The multiball modes seem fun. I wish I could justify going for them, but activating them takes so many hits and requires you hold your breath and hope the ball return doesn’t screw you over that it’s not worth attempting. Grind. Grind. Grind. Why on Earth do you want people to have to shoot targets so many times to accomplish ANYTHING? I don’t get it. Imagine you were golfing and you sank a long putt, but instead of that being a good thing by itself, you then had to spin a wheel where there’s a 20% chance the hole would fire the ball into the closest water hazard and force you to start over. That’s how Zen’s original tables have been lately, and I’m sick of it.

Duke Nukem is left-side dominant. In 50+ hours of playing, to the best of my knowledge, none of us got the random award from hitting the targets behind the spinner 100 times. Yes, ONE HUNDRED HITS. The bumpers were equally bad. They’re laid out in a way where the ball just goes dead and rolls lifelessly to the lethal ball return hole under the DAMN ramp. Zen, seriously, it would be so easy to salvage this. Sure, the ball return is busted and you can’t fix that, but just cut the requirements for modes and hits the bosses need by at least half. Don’t want ANYONE to finish this shit? One or two players in the entire world see the wizard modes on any given Zen original, and you think that’s a good thing? Because it seems to me average or casual players would consider it so far out of reach that it’s not even worth exploring. How likely do you think they are to recommend your pinball games to other people? Probably not very likely.

I’m done rewarding these grindy tables with positive reviews. Enough with modes requiring so many shots to finish that it’s practically sarcastic. Enough with requiring an entire lifetime of devotion just to see everything a table has to offer. Do you want to unlock one of the multiballs? Well you have to shoot the spinners a couple dozen or so times AND light the C-O-O-L targets and.. oh you already drained out? Too bad. Want a random reward? Well you have to shoot the toilet scoop ten times (without starting any other modes) and then shoot the.. oh, you already drained out? Too bad. Want to start “I’m the Cure” mini mode? Well you have to shoot the black colors on the spin disk 6 times then hope the wall randomly wiggles enough to get 60 hits on the NEST targets to light the.. oh you already drained out? Too bad. Enough is enough. Look at the leaderboards. Those scores are pretty low. Clearly you didn’t want anyone unlocking much, so hey, you didn’t unlock a positive score from me. I’m rating it BAD.

As of this writing, this is the highest score ever recorded for Arcade mode, one of two primary play modes. The previous high was Angela, using an entirely different strategy. That’s reassuring. The best thing I can say about Duke Nukem is it offers enough flexibility that multiple different strategies are viable. Angela chose to charge-up the two-ball multiball and just repeat it over and over. Of course, the score Angela put up that I beat required an absurd amount of grinding that, by her own admission, was the least fun way to play. “Hey, I’m the world champion though so HAH.” She’s going to wake up to find that’s not even the case anymore, as I literally just put this up before publication.

Again, I’m the lone hold-out here. Everyone else, despite their frustration with the same stuff I’m whining about, had fun. A really good theme, excellent layout, satisfying shots, and fine-tuned balance really do make Duke stand out in a crowded field. I just had one of my best games. I was hitting my shots. I couldn’t miss, really. I set a new world record. But all three balls drained from the ball return hitting the left slingshot, which sent the ball into the right slingshot, which sent the ball directly down the left outlane. It wasn’t just three times, either. IT WAS FIVE TIMES. Twice I had protected the left out lane with a kickback. It didn’t matter, because eventually you have to give up skill and simply cross your fingers. When I did, the result was predictable: ball return, left slingshot, right slingshot, left outlane, dead ball. I’m done. Five outlanes in one game where I couldn’t have shot better. Duke Nukem pinball doesn’t want to be fun. It wants to be a troll. One of the best layouts Zen has ever done and the final product is more obsessed with being a prick than it is being fun. Zen, if you want your original pins to require a marathon of shots to make anything happen, that’s your prerogative, and I’ll never understand it. This isn’t pinball. It’s a war of attrition. Originally I had this as BAD but I’ve had no fun at all playing this. If that isn’t ground for THE PITS, what’s the point of having a pit to throw tables into?
Cathy: THE PITS (1/5)
Angela: GOOD (3/5)
Oscar: GREAT (4/5)
Jordi: GOOD (3/5)
Dash: GREAT (4/5)
Sasha: GOOD (3/5)

Eyes (1982 Arcade Game Review)

Eyes
Platform: Arcade
Developed by Digitrex Techstar
Published by Rock-Ola (US) Zaccaria (Europe)
First Released in 1982
NEVER BEEN RE-RELEASED

You can practically feel the cynicism during the planning session. “Pac-Man is popular. What’s Pac-Man? A mouth! Well, what else is on a face that we can turn into our popular game?” “A NOSE!” “A nose, Greg? Goddamn, a f*cking nose? You’re fired! Anyone else?” “Uh.. eyes?” “EYES! Make a game where an eye eats things!” “Eyes don’t eat. They see.” “THEN MAKE A GAME WHERE EYES SEE THINGS! JEEZ LOUISE DO I HAVE TO SPELL IT OUT FOR YOU?”

Eyes holds a minor significance in my life as the first ever game I remember playing on MAME. The name stuck out to me. Some companies went all out with catchy names that grabbed your attention. Q*Bert. Zaxxon. Even Centipede, which is actually a real thing, still pops on a game list. This has none of that. EYES. It’s practically like saying “yep. Just ‘Eyes!’ Deal with it!” In a sense, it stood out by not standing out. Published by Rock-Ola, the famous jukebox manufacturer that’s still around to this day (they turn a century old in 2027) and developed by Digitrex Techstar, I initially pegged Eyes as a soulless Pac-Man coattail rider. But, I was wrong. Actually, it’s not even really a maze chase. I mean, it wants to be one, I think, but actually It’s a run-of-the-mill tank game, and not a very good one.

I’m the eye at the bottom of the screen.

Eyes features eight screens but really only one single maze where you have to fire projectiles from your eye to both kill enemies and also collect.. or possibly destroy, it’s not clear.. the things in the mazes. Like Pac-Man, the object is to collect all the objects. You’re not just being chased, as the other eyes shoot at you. Your projectiles are unlimited and travel the full length of the screen but disappear if they hit something. Likewise, the enemies can and will shoot the full length of the screen as well. Once you clear the 8th stage, that level seems to repeat forever. There’s undoubtedly something here that makes you want to enjoy it even if it does feel like it’s trying a little too hard to be 80s arcade quirky. The problem is, it’s just not fun.

The fact that you can fire more than one projectile at a time seemed nice until I realized what the developers must have: the game would be impossible after a certain point without it.

The biggest issue is that the “maze” just isn’t that interesting, seemingly tailored for neither excising chasing nor exciting tank combat. Once enemies become more aggressive and fire on you faster, you have no choice but to play conservatively and squeeze out distance between you and the baddies, usually one row at a time. By the sixth level, gameplay in Eyes is reduced down to bobbing back and forth like you’re doing the hokey pokey, waiting for enemies to peak around the corner and tagging them in the split second they’re exposed, before they’ll turn the corner and shoot you. Ironically for a game called EYES, enemies don’t blink when they respawn, and they will fire immediately upon spawning. Each enemy spawns in a specific location and always respawns there a second or two after you shoot them, but since they all look the same, the main challenge becomes keeping track of which is which and where they’ll respawn. Does that sound fun? Cuz it ain’t.

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The one remarkable thing about Eyes is that, despite using the same maze with the same target locations and the same enemy starting points, it doesn’t feel like it’s only one maze. That’s probably because the scaling is so badly handled. The first four levels or so are too easy, while level five is the only one that has a nice balance to it. From the sixth level onward, it’s all wiggling back and forth, all the time. Since your projectiles and enemy projectiles don’t cancel each-other out, you’re left with no choice but to camp and wait. The enemies realize this too because eventually they’ll just sit on the other side of a wall YOU’RE parking on and wait as well. I suppose in that sense, Eyes is one of the first cover-based shooters in gaming history. But it’s dull and the scoring balance isn’t very rewarding and there’s just no tension to it. It’s a slog. One of those games lost to history because it wasn’t all that good in the first place. Certainly nowhere near the worst arcaders. God, no. Actually, I think there’s potential here, but Eyes can’t decide if it’s trying to be a thrilling maze chase or an intense tank combat game. Maybe you can do both, but not this way.
Verdict: NO!
I avoided using the following cliches: if looks could kill, the eyes have it, the eyes are windows to the soul, eye-eye captain, and so-forth. You’re welcome.

Colored Effects (Indie Review)

Colored Effects
Platforms: Nintendo Switch, Steam
Developed by TacSou
Published by Flynn’s Arcade

The graphics are nice, clean, and distinctive. TacSou never put the trees in locations that would be distracting. It’s a game that allows you to process everything quickly with no visual loudness.

I’ve had a bitch of a time trying to write this review for Colored Effects, an indie puzzler where you have to dip your character in superpower-granting paints in order to solve logic puzzles. I’ve not been struggling because Colored Effects is bad or boring or anything scandalous like that. Actually, it’s really good. I can’t stress enough how good the controls are. Colored Effects has accurate, intuitive movement physics, effortless jumping physics, and some of the best box-shoving mechanics I’ve seen (with one tiny but annoying exception, see the next caption). Seriously, I hope developer TacSou wrote down the recipe for this (I assume video games are made with recipes) because the controls are gosh darned perfect.

This is the one and only exception to the controls/movement being flawless. Here, a box I wanted to fall through a trapdoor when I activated a lever didn’t fall, instead defiantly balancing on a single pixel. Take that, Newton!

The color concept works great, and it’s largely because of those intuitive controls. You can only be one color at a time, and each color has unique special abilities. Green allows you to clone yourself and claim a carbon tax credit. Yellow gives you a dash move and grants you immunity from Green Lantern’s ring. Turning red lets you throw fireballs and gives you dictatorial authority over all other Power Rangers (unless it’s the Alien Rangers or Time Force squad, where you’re relegated to field command). Purple allows you to warp just far enough to pass through nearby walls and also will make televangelists speculate as to whether you’re supposed to be “the gay one” or not. Dipping yourself in blue gives you a double jump and also assures you’re a shoe-in to win California’s electoral votes. There’s almost no learning curve to any of the superpowers and their limitations. The clones of yourself are lifeless blocks that vanish if you leave the bubble surrounding them. The warping ability is the neatest, because when you’re choosing the direction to warp, the game doesn’t pause, so you can be hovering mid-air. Yes, this is worked into the level design, too! These are really basic platforming/puzzling tropes, but they’re used so cleverly.

There’s a few technical annoyances. There’s checkpoint billboards you can use. See the box with the little character below the two switches on the left of the picture? That’s it, and it’s 100% optional to activate. They’re much appreciated, but they also come with a monkey’s paw-like glitchy drawback. Sometimes I’d activate them only to realize I’d made the wrong move, so I’d pause the game and restart the whole level from scratch. Then I’d go about puzzling, realize I’d made another mistake and hit the quick restart button, which should start the whole level over, right? Only, it wouldn’t. The game would revert back to the previous checkpoint I’d already deliberately erased, which meant I had to pause the game and click the restart level option again. That happened constantly and it was so annoying.

And the puzzles are fun little test chambers that mostly accomplish what I call “The Big Overwhelm.” That’s my term for levels so big and vast and multifaceted that the first time you see the layout, you think “there’s no way I’ll ever make sense of it.” Which is awesome, by the way. The Big Overwhelm is the secret sauce that makes classic puzzlers Portal and Baba is You work. I dare say no logic puzzler can be great without it. Not every level of Colored Effects pulls it off. In general, any puzzle game can usually be sussed out by figuring out what the final move of a level is and reverse-engineering it from there. Well, quite a few stages in Colored Effects suffer from “First Move Syndrome” where a puzzle is too easy because the first move is so obvious that the rest of the design logic instantly reveals itself. Even late in the game this happens. Scaling is super hard to do in a puzzler. You can add extra steps or red herrings till the cows come home, but it’s just so hard to gauge what is going to throw someone off. Scratching your head is an entirely personal experience, and unless a developer is able to use something along the lines of focus testing to reorder levels based on average completion times, you’re going to end up with a difficulty curve that looks like the recordings of a seismograph. It’s kind of inevitable.

This was really the only boss I enjoyed fighting because it was the only one that felt like a PUZZLE in this PUZZLE GAME that ended when you solved the PUZZLE instead of having to redo certain steps because it’s a boss and bosses are supposed to have “hit points.” This boss requires you to actually stop and think. Good stuff.

TacSou’s concept was you’d earn new colors by fighting bosses. Solid idea if the boss battles are true to the rest of the game. But, only the one I pictured above accomplishes that, while the rest don’t feel right for this game at all. And the pacing is truly strange. Colored Effects has 40 levels. Which levels have the bosses? 2, 6, 10, 14, and 40. Yes, really! You go from three levels and a boss fight to a twenty-five level gap between them. And I’m not complaining, by the way, because the levels are fun and the bosses, well, aren’t. The final boss has roughly fifty-thousand goddamned different phases (but who’s counting?) and goes on FOREVER because each color has its own segment, and it never feels puzzley. Not for a single second. Mind you, there are no enemies in the puzzle stages, yet you have to fight airplanes shooting bullet hell-ish projectiles at you to finish the game, and it’s so out of place. None of the bosses are bad in the traditional sense. It’s only by virtue of how wrong they are for Colored Effects that they’re unwelcome speed bumps, with that one exception above. And that one exception is why I can’t overlook this, because TacSou proved they COULD make bosses that combined genuine logic puzzle goodness with traditional game bosses. The rest are so cookie cutter they feel like any generic platformer’s bosses. Shame, because this is NOT a generic game!

In the first few levels, you have to collect gems that open gates to the room exit. Then, Colored Effects adds a twist. Some of the levels require you to reach the exit once with each color available, at which point you come out the starting door and have to do it again as a different color. Once you’ve gone through the door in a color, it’s checked off, but you can’t go through the exit as that color again. It works and it’s unique, but these also tended to be the puzzles that were easiest because either the first move or the last move you’d make became too obvious. Oh, and if you’re curious what color blind mode looks like, here it is.

80% of the bosses being lame aside, Colored Effects is a very good puzzler. I really don’t have too many notes on the puzzle logic itself, because movement and the box shoving physics are so accurate that you don’t even stress them. There’s no pixel-perfect jumping required. I can only think of one single level where I felt the timing of activating switches and special moves at the correct moments was so precise that novice gamers might struggle with performing it even if they figure out the solution. No, this is actually nearly perfect as far as this genre goes because the movement/timing is so fine tuned that it really becomes your wits versus the puzzle design, and the controller isn’t a factor at all. And they’re really good puzzles too. You don’t have to be a brain surgeon to enjoy Colored Effects. In many ways, it’s the ideal Nintendo Switch puzzler. The toughest part of Colored Effects for me was writing this review, really. What can I say? It’s hard to write about a game that does so little wrong.
Verdict: YES!
Colored Effects is Chick-Approved and ranked on the Indie Gamer Chick Leaderboard.
$3.99 (Normally $4.99) were dipped in brown paint and rolled in bread crumbs in the making of this review.
A Review Copy of Colored Effects was supplied by Flynn’s Arcade. Upon release, a copy of it was purchased by a member of the Vice Family. Two, in fact! I bought my nephew one, too. Hopefully he can put down Fortnite long enough to try it.

Mario & Wario (Super Famicom Review)

Mario & Wario
Platform: Super Famicom
First Released August 27, 1993
Directed by Satoshi Tajiri

Developed by Game Freak
Published by Nintendo
Exclusively Uses SNES Mouse
NEVER BEEN RE-RELEASED
Listing at Mario Wiki

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Now that Devil World finally got a US release, the question is “what is the biggest Nintendo-published game to never get a US release?” Obviously most Nintendo fans would say “Mother 3.” But, I’m going to disagree. The thing is, that’s not really among the A-lister Nintendo franchises. Not like, say, Mario. And there is a Mario game that never came out in the United States. Not just any Mario game, either. It’s a one-of-a-kind Mario game from the creator of Pokemon. AND it utilizes the SNES Mouse. It’s called Mario & Wario, and it never saw the light of day outside of Japan. It has been referenced a few times, especially in the Smash Bros. series, but otherwise, it’s a non-entity in Nintendo’s library. It’s also likely to never be re-released again. Well, assuming Nintendo doesn’t do some kind of NES-Mini type of plug-and-play with the SNES Mouse for Mario Paint. Which, jeez, that sounds like a license to print money to me. If they did that, maybe they would include Mario & Wario with it. It’s not like there’s a need for Nintendo to create an English translation. All the text and even the logo for Mario & Wario are in English. Even though the game’s code includes a Japanese logo. The theory is that Nintendo accidentally manufactured and shipped the version meant for America to Japan. See kids, even the big boys make mistakes.

For this play session, I used Mario exclusively. I strongly advise anyone playing this to do the same thing. The princess is far too slow, eliminating what little excitement Mario & Wario has, and Yoshi is impossibly fast. It’s not like this is a typical mouse cursor you’re using. Especially for the smaller blocks, I had difficulty lining up Wanda to work her magic. I should also note that I have tremors these days, and by that, I mean my hands shake. I don’t have giant mutant worms attacking me. Almost every death I suffered was the result of clicking errors on my part, but your mileage may vary how much that factors in.

Mario & Wario is sort of like a more fast-paced, proactive, action-based version of Lemmings. Wario swoops over Mario at the start of every world and drops some form of a bucket on his head. You take control of his guardian fairy/glorified cursor, Wanda, who has to clear a path for Mario to reach Luigi. If you tap Mario directly, he changes directions, but otherwise all the interaction is with the stages themselves. There’s a wide variety of blocks that you have to click. Some of them stay on the screen until you click them again. Some are already on the screen and clicking them permanently removes them. Some run on a short timer before vanishing. Others work like switches and clicking one removes all of that variety while activating another color of blocks. There’s also tons of ladders that Mario will always take if he steps on them. Finally, there’s a small handful of enemies, some of which you can kill by clicking, while others you have to work around while making sure Mario avoids them.

These bats, for example, can be clicked four times when they’re perched or once individually when they take flight.

The actual “puzzle design” of Mario & Wario takes quite a while to find its footing. At the start of every level, you’re allowed to scroll around and get a lay of the land. It seems like most of the levels are straight-forward, with the path Mario needs to take already laid out, and you simply act as a caregiver. Assuming the level is maze-like, victory usually comes down to determining what is the final ladder and/or spring you need to use to reach Luigi and reverse-engineering from there. It takes a LONG time for the game to reach the point where I’d consider it to be genuinely challenging. You can play any of the game’s first eight worlds in any order you want, which is an ominous sign for the lack of difficulty scaling. There’s ten levels per world, and once you clear the first eighty levels, you have to play through two more worlds to finish the game.

I found it amusing that the bucket falls off Mario’s head when he falls. Really, Wanda could shove him out of the way at this point and the level would be solved. While I’m on the subject, Wanda’s magic wand can make blocks appear and disappear and can defeat enemies. Why doesn’t she just make the bucket disappear?

It’s not until the ninth and tenth world that truly meaty puzzles come into play, though some of those levels are annoying. There’s stages that have a glue-like substance that you slowly walk through, and you have to click the blocks to turn them over. They’re smaller blocks, and the small blocks in general are the hardest to do, so I hated those. I also wasn’t a fan of the levels where you just slap Mario back and forth like he’s in some kind of frat initiation as you wait for the obstacle to move out of the way. Mario & Wario mostly isn’t a puzzle game in the Baba is You sense. It’s not even really Lemmings-like, even though everyone lazily uses that comparison, myself included. It’s just the easiest comparison. In the entire 80 levels before the final two worlds, maybe a half-dozen stages required me to stop for even a moment and think about what moves I’d need to make. Maybe. It would have required more if I actually went for the four stars in every stage, but those only grant you an extra life. I didn’t need that many lives even when I made multiple clicking errors. It wasn’t until world seven that I died twice on any level, and I never died more than twice before world nine. I also never timed-out once over the entire 100 stages, though I had a couple close calls.

Given the locations of the stars, I get the impression that, at one point in development, they were essential towards beating the stage. The “puzzle” elements of Mario & Wario are more often than not designed around THEIR placement. The typical path to victory is too much of a cinch. If you factor in the stars, suddenly the game seems more elegantly planned. But, they’re just for 1ups. The game doesn’t even track how many stars you collect in each stage after the fact. A modern game would allow you to replay every level and go for perfect scores. On the off-off-off chance Mario & Wario is ever remade, I’m sure the game would be like that, where it charts how many stars you collect each level.

I wouldn’t go so far as to call Mario & Wario a dull concept, because I did enjoy the game enough to play it from start to finish. It’s just not a thrilling experience. Especially early levels. World 1 is so bare bones it doesn’t even feature the stars at all. The opening stages of each new world are glorified tutorials that introduce whatever new element that world introduces. There’s cannons that you can click to change their direction, but you can also click their projectiles to eliminate them. Or perhaps there’s indestructible spiky balls that you have to dodge. But, once you have your path laid out, it’s rare that you have to stress obstacles that might interfere with that. Genuine excitement doesn’t really show up until you’re over eighty levels in. EIGHTY! Holy crap. That’s a lot of slogging through okay-but-mundane levels while waiting to get to the really good stuff.

This specific sequence here was the one that gave me the most problems. To beat it, you have to time when the spiked balls are inside the timed block. BUT, you also have to keep Mario close enough to the edge that he starts to fall before the block vanishes and releases the spiked ball you trap. Mario doesn’t just fall off ledges instantly. Players are given a tiny grace period where he hangs over the edge before falling. Without this grace period, Mario & Wario would be next to impossible.

Mario & Wario isn’t the most brainy of puzzle games. It’s more about staying calm and thinking on your feet. You can’t make any moves outside of the present screen you’re on, but for the most part, they didn’t incorporate that into the puzzle design. Only two or three levels are dependent on you making a move that won’t factor in until later in the level. The most notable one is level 8-10. On it, you start the stage next to a ladder. Below you are two fireballs, and if you don’t close them in immediately, you won’t be able to beat the stage after you spend quite a bit of time making your way to the exit. That’s really the only stage where victory is determined the moment you start the level. On one hand, that means there are no GOTCHAs in the game. On the other hand, there’s no real challenge, either. It’s the least bold possible design they could have done for a game like this.

And really, once you click these two squares, the rest of the level is a lay-up.

Had I played Mario & Wario outside of an emulator, I don’t think I would have liked it as much. There’s no save files, so the entire game must be beaten all at once. I wasn’t limited to beating in a single sitting thanks to save states. Even then, I almost stopped playing when I realized I’d have to redo all the early world that I already played once in 2020. They’re too easy, and the novelty of playing a lost Mario game had long run its course for me. Thankfully, I didn’t play deep last time. The promise of unseen levels was enough to get me to put the time into Mario & Wario. This go around, I beat the whole game. I’d say a little over half the levels are, while not exciting, certainly compelling enough that Mario & Wario holds up slightly more than it would have just as a historic curio.

The last twenty levels are genuinely hard. I wish there had been more stages like this, because I had such a fun time figuring them out. I also started losing lives, but by this point I had built-up close to thirty of them, so there wasn’t any tension.

You would think Nintendo would have done something with Mario & Wario by now. It has one of the finest pedigrees in gaming, and Nintendo has a touchscreen console that would work perfect with this type of gameplay. They’re remaking Mario vs. Donkey Kong, but a Mario & Wario remake would make even more sense, wouldn’t it? It has that tantalizing “forbidden fruit” aura about it. An unreleased-in-America game that utilizes unconventional controls and has gameplay unlike anything else in the entire franchise. Oh, and it was almost even weirder. Mario & Wario was originally conceived as a Super Scope game. Yes, really! The stumbling bucket-headed gameplay was still there, along with creating a path for Mario to reach Luigi, but you’d also fire nets at the screen to capture enemies.

Despite the name of the game, there’s no direct encounter with Wario except during bonus levels, where you click-mash Wario for bonus coins. There’s no final boss battle. The game just ends after 100 stages. By that point, you should be more than ready to be done with it. A little bit of Mario & Wario goes a long way. It must have been MADDENING to play this without saving.

The only reason Game Freak moved away from making this a light gun game was because TVs were getting bigger and the Super Scope was losing its universal compatibility. Frankly, it’s a miracle Mario & Wario exists at all, as it seems like it came close to being cancelled altogether, instead of just cancelled globally. It’s not clear why this never came out in the United States. It got previews in magazines like Nintendo Power and the SNES Mouse was in more homes than the Super Scope, which got four or five exclusive games. Maybe it was because Mario and Wario barely matter in a game called Mario & Wario. Or maybe because they felt American fans associated Mario with action games, and Mario & Wario is a mild-at-best puzzler. A fun one, but certainly not a great one. Mario & Wario is just alright. Even though it has gameplay merit, really, the curio factor is the main reason anyone would want to play this in 2023. Yet, the formula this created seems like it has potential to live-on. Will the SNES game ever be re-released? Probably not. Will Mario & Wario be remade as a touchscreen game? I wouldn’t bet against it.
Verdict: YES!
Check out my review of Mario Clash for the Virtual Boy!