#MSX 1/2

[mingos-commodoreblog]

Clock Signal 2024-05-27 - A latency-hating emulator of: the Acorn Electron and Archimedes, Amstrad CPC, Apple II/II+/IIe and early Macintosh, Atari 2600 and ST, ColecoVision, Enterprise 64/128, Commodore Vic-20 and Amiga, MSX 1/2, Oric 1/Atmos, early PC compatibles, Sega Master System, Sinclair ZX80/81 and ZX Spectrum

[sharliexth]

i cant with these women falling for solid snake's absolutely nothing personality and nothing looks YOU CAN DO SO MUCH BETTER DIANE LISTEN TO YOUR BROTHER

[chncmt]

konami's pixel puzzle collection will make me do 3 picrosses of a specific game then finally make me ask what the fuck a nectaris is, only to find it's a pc engine game they got with the hudson soft buyout

[dizzyhslightlyvoided]

I'm still fascinated by all the wierdly-specific similarities between the Metal Gear and Devil May Cry franchises. (Spoilers for both!)

People have commented on the similarities between Nero in Devil May Cry 4 and Raiden in Metal Gear Solid 2, but the ridiculously-superficial similarities actually run much deeper than that (sort of)!

Each basically helped to invent or at least codify their respective a gameplay-genres (stylish action in the case of Devil May Cry, with air combos in particular having been inspired by a physics bug in Onimusha/stealth in the case of Metal Gear, due to the limitations of the MSX system resulting in limits to how many enemies could be onscreen at once)

The protagonist is not a baseline human (Dante, who's half human and half-demon/Solid Snake, a genetically engineered clone), and is the son of the biggest badass in the world (Sparda, a demon who decided to fight against demons on humanity's side 2000 years ago/Big Boss, who's just a really awesome soldier) via a baseline-human woman called Eva (Eva/EVA).

The father haunts the narrative in nearly every game (excluding the Metal Gear games in which Big Boss directly appears or is the playable character; in Devil May Cry, however, Sparda never appears except as a non-canon unlockable costume for Dante. yeah this one's somewhat weak, comparatively speaking)

The protagonist has an equal-and-opposite-but-cooler evil twin brother who is the same type of not-baseline-human, and whom you fight a bunch of times (Vergil/Liquid Snake). He gets killed off in the game in which he is introduced (Devil May Cry 1/Metal Gear Solid 1), and the next time we see his face is in a prequel (Devil May Cry 3/Metal Gear Solid 5).

One or more major characters is a clone of one of the parents, and was created by the villains (Trish is a clone of Eva created by the Demon Emperor Mundus/Solid Snake, Liquid Snake, and Solidus Snake are clones of Big Boss created by the secret conspiracy known as the Patriots)

The game with "3" in the title is a prequel with a subtitle (Devil May Cry 3: Dante's Awakening/Metal Gear Solid 3: Snake Eater).

The fourth game in the franchise as a whole (Devil May Cry 4/Metal Gear Solid 2) has the main series protagonist be playable for less than half of the game; the rest of the time, the player takes control of a whiny prettyboy newcomer who was initially hated by the fanbase (Nero/Raiden); contributing to this hatred was the presence and behavior of an equally-hated girlfriend (Kyrie/Rosemary).

Also in the fourth game, the series protagonist is initially presented as an antagonist from the perspective of the prettyboy, who gets sent after him (Nero witnesses Dante shooting the head priest of Fortuna in front of his entire congregation and is ordered to capture him/Raiden is sent to take out a terrorist group whose leader claims to be Solid Snake). The series protagonist dogs the prettyboy's footsteps to drop hints (Dante openly does so in a way that doesn't make sense unless he, like, knows that Nero is the protagonist, and also you fight him twice/Solid Snake takes the alias of a Navy SEAL named Lt.J.G. Iroquois Pliskin to work alongside Raiden), and the true villains of the story turn out to be the ones who sent the prettyboy after him in the first place (the Order of the Sword, secretly performing demonic experiments, which is why Dante shot Sanctus/FOXHOUND, secretly puppeted by the Patriots).

Also also starting in the fourth game, a character has a magical right hand which came from the evil twin (Nero's demonic right arm, the Devil Bringer, manifested as a result of being Vergil's son/Revolver Ocelot got his hand cut off in MGS1 and Liquid's arm is grafted on in its place at some point between MGS1 and 2) and appears to be sort of possessed by him maybe (as a sort of Nelo Angelo-like ghost that Nero is able to manifest at will after getting his hands on Vergil's old sword/Liquid apparently keeps taking over Ocelot's mind).

In the next game where we see the prettyboy (Devil May Cry 5/Metal Gear Solid 4), he's a cyborg as a result of an encounter with the antagonist or antagonists (Nero's Devil Bringer gets cut off by the main villain and he gets it replaced with a series of mechanical arms called Devil Breakers/Raiden is turned into a full-conversion cyborg by the Patriots).

I admit that some of these are kind of a stretch, and like I should stress that these are wildly different games with the similarities being 1. very superficial and 2. happening in completely different ways; Metal Gear has a serious plot (well, mostly) which criticizes the military-industrial complex in a way that's undercut by Kojima's military fetishism, and Devil May Cry is about how wacky-awesome it is to be a cool dude with a sword the size of a surfboard who slices demons to bits and exclusively eats junk food. Also, all available evidence suggests that this is all a complete coincidence, which just adds to the weirdness of the similarity.

[pixelskylines]

MSX special (all 1986)

1- Yie Ar Kung-Fu II The Emperor Yie-Gah 2- Mugen Senshi Valis: The Fantasm Soldier 3- Monster's fair

[postsofbabel]

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[i-just-give-you-the-vidya-songs]

The song is the "An Enemy Approaches!" the battle theme from the game 'Madou Monogatari 1-2-3', a 1990 first person dungeon crawler RPG developed and published by Compile. Originally released on MSX and a year later in 1991 the PC-9801.

-Submission by @eway

[mangocoal01]

Ramblings I had on Metal Gear Rising and Metal Gear Solid's Differences in Gameplay & Storytelling Integration

Context: I wrote this all up while witnessing a conversation in a Discord server I'm in where two people are lamenting how Metal Gear Rising got panned and blamed it on fans of Metal Gear Solid for hating on it and that's why it'll never get a sequel. Or something to that degree. They never responded to this wall of text I made but I had fun writing it regardless just because it gave me a chance to reflect on my experience with the Metal Gear series. It's not very structured or cohesive but I just like talking about games I enjoy/enjoyed in the past that made me feel things (in a good way). Wall of Text commence: Gonna play a bit of devil's advocate as someone who enjoys the mainline Metal Gear games AND Metal Gear Rising while also sharing my own thoughts. Long messages and yapping ahead because I'm passionate.

TL;DR Alot of Metal Gear fans probably didn't enjoy the massive transition of gameplay-styles and the approach to MGRR's storytelling since it's pretty different from MGS1-4 in those aspects (and some others) esp. because of the legacy it was following up on.

Disclaimers: 

- I don't regularly interact with the Metal Gear fanbase in whatever form that may take like subreddits or speedrunning communities or whatnot. I just like Metal Gear in general and got into it around my later teenage years.

- I played MGS2, 3, 4, Peace Walker, Ground Zeroes, and Phantom Pain. I never got around to playing the entirety of Metal Gear 1 and 2 on the MSX OR Metal Gear Solid 1. I also haven't played any spin-offs like Metal Gear Ac!d or Portable Ops. 

- I don't regularly like interacting with haters or people complaining about games people enjoy anymore. It's just kind of tiring & repetitive for me at this point. So I don't see many of the interactions you're discussing but I can easily see it occurring. Still, discourse and hate in swaths of anonymous online non-faces is what I expect at this point so I try not to get caught up in complaining about other people's complaining, if I can catch myself beforehand. I don't like engaging with large groups or people not open to hearing out other arguments in good faith. I can enjoy engaging in discussion with an individual who actually wants to have a back-and-forth argument, not someone who wants me to be their pillow to scream in and tell me I'm wrong (often alongside some unflattering labels & name-calling), no matter what I say.

- I'd just like to say my piece here because I like adding wrinkles and contributing an additional perspective on the subject.

I like MGRR but I can easily see why it would rub some people the wrong way esp. if they were deeply invested in the mainline Metal Gear games' storylines.  The jump from stealth-action hybrid to high-octane character action combat can be jarring for many and holds different gameplay appeals in their pacing, APM, spectacle, & tone. Many people would've been used to the series being a stealth-action hybrid game for many years and would likely be in their mid to late 20s by the timing MGRR came out if they hopped on MGS1/MGS2 in their early teens, if we're being generous about how early they got into the series. Change and adaptation for new things gets harder & inconvenient for alot of people esp. as they get older and their brains get less malleable like impressionable, fast-learning kids/teens' are.

Not to mention, while Metal Gear as a franchise has always delved into some over-the-top goofy AF anime shit and melodramatic storytelling (it's part of why many love it), Rising definitely amps it up to 11 in at least the action sequences' intensity (which I like btw, don't get me wrong) & how it executes the story it wants to tell. The tone is in-line with the past games but it's a lot more intense and wild about it; plus, arguably, it's even more cartoony than the even hammiest moments of the MGS entries. Whether this is an improvement, just fine and make no difference, or downright irritating for some is dependent on the individual person, their tastes, and why they enjoyed the older games' storytelling. No accounting for taste. But either way, something was different and it didn't click with everyone the same way, for better or worse.

This also ties in with the story direction and the gameplay of MGRR, and how it goes about resolving the dissonance between the hyper-violent action & the series' common anti-war & killing and the action-heavy gameplay that often calls for it. MGS1 (not including the Twin Snakes Gamecube remake) didn't have a tranquilizer gun so you couldn't exactly do a no-kill run of that game but you could for the sequels afterwards. But even then, a large part of the story was about questioning & often condemning the violent killing of others and even taking a sadistic joy in it. The game's story was simultaneously talking about both Snake and the player (OooOoooOOooOOoH....meta commentary!). But anyway, even when the player/the main character kills even the most generic enemies, the game's framing, storytelling, and gameplay options make a point to emphasize there's a cost to killing, an inhumanity to it, a sort of dark stain on your record as the player, along with the character. You're often encouraged not to fight to begin with in modes like European Extreme difficulty, where it just says "Game Over" the moment you're detected, for example. Not to mention, the games often rewarded you for not killing the guards or non-essential NPCs, a lot of in-game tactics, rankings, item rewards, etc. tied into such things.

Anyway, I'm getting a bit off-topic from Metal Gear Rising Revengeance but I wanted to re-establish a bit of groundwork on the general tone & messaging of the franchise. In short, the Metal Gear franchise's story has always been rooted in anti-war sentiment & that killing is generally not a good thing you should do willy-nilly or be very proud about. I don't believe most people will find that reading highly disagreeable. And to its credit, MGRR also strongly attempts to adhere to this idea in its storytelling. However, the big thing that rubs some people the wrong way about it, is how it goes about addressing the dissonance between what is conveyed in the story and what is conveyed in the actual gameplay design. And believe me, a lot of people are deeply invested in the story of Metal Gear, esp. the Metal Gear Solid titles.

MGRR Story Context: Raiden repeatedly, in his dialogue in the first half of the game at least, makes a general point that he only kills because he has to in order to save innocent lives, stop bad guys, and all that. It's not something he's doing for fun or for its own pleasurable sake. His simplistic justification and viewpoint on his own violence is challenged by Sam when the latter essentially shows Raiden that the mercs he has been killing are also people too with reasonable motives, loving families, and very human struggles. Desperado, the source of villains and mooks in this story, essentially exploits poor & vulnerable people, esp. veterans, to be their "human shields", as Raiden snaps back at Monsoon later. Eventually, Raiden chooses to deal with this inner conflict by giving into his dormant sadistic joy of killing which seems to get him out of the brief depressive funk he was in after realizing he was killing soldiers who maybe weren't complete scumbags by fair choice. And for the rest of the game, he gets a power-up form out of it and he continues his mission to save child brains and stop the next big war.

ANYWAY, how does this work in tandem with the gameplay of Rising? And how does Metal Gear Rising's answer compare to how Metal Gear Solid games address the weight of killing? Well, to state the obvious, the game very much rewards and even encourages, to a degree, wanton violence & killing with the Zandatsu healing mechanic, the over-the-top QTE animations, the ranking system, Blade Mode finishers kinda prompting the player to just ham with the slicing & dicing for the final blow on many bosses, etc. 

Tangent: Yes, I'm aware of the wooden sword that you can use to potentially non-lethally defeat human enemies with but it's an optional unlockable weapon and even then, its use is not actively encouraged by the game's enemy/level design or mechanics within the actual battles themselves outside of a post-fight ranking bonus that congrats you for not killing people; it's kind of like the post-endgame ranking screens of the MGS games in that factor, at least. But regardless, I don't think most people would say playing the game using the low-damage wooden sword was the most fun way to play MGRR, let alone the most encouraged.

To oversimplify my main point here, there's an odd contrast between the story's "killing is cruel and bad" and the gameplay's self-indulgent "KILLING IS FUCKING AWESOME AND BADASS" (to oversimplify things) that probably rubs some people the wrong way esp. in the context of previous entries in the franchise's history. And there's more flattering interpretations of this dynamic that can put this juxtaposition in a more positive light, I'm sure, but it's usually not the kind of thing people bring up or explain in-depth. Most arguments just boil down to, "Ugh, the game is so hypocritical and confused on what it wants to be" followed by someone countering, "I DON'T CARE HE THREW A METAL GEAR!!!! YOU JUST CAN'T PULL THE STICK OUT OF YOUR ASS!" And then cue the name-calling, lack of media literacy accusations, and insults to each others' pretentiousness and/or simple-mindedness. Plus, sprinkle in some "Who cares about story, we skip the cutscenes on the second playthrough anyway"-sentiments and  "Metal Gear's story was never good to begin with and you're dumb for liking it"-type arguments ad-nauseam for years.

My personal thoughts on the matter is that MGGRR's story works well enough for me and I enjoy it, even if I personally feel Raiden's story should've ended with MGS4 (and the series in general tbh). A hopeful ending and cathartic resolution after so much strife & struggle for our characters. But I also understand companies like money and finished products so I understand why Konami & Kojima Productions hired Platinum Games & gave them more creative freedom to make it a sequel post-MGS4 instead of working a story within the confines of a prequel that takes place between 2 and 4. 

Also, I like the gameplay too. How it handles QTE animations, music, timing of said music tracks, fast-paced gameplay, is still some of the coolest shit I've seen in games. Plus, I know the mixed-messaging is weird but, I enjoy the game as a whole, regardless. I am kind of just used to videogame-storytelling compromises at this point so it rarely bothers me too much, even in the most egregious cases for many, e.g. "You utterly dominate the enemy in gameplay but you lose in the cutscene"-scenario. I just shrug my shoulders and think, "That's mildly eyebrow-raising but those are the kind of idiosyncrasies one should expect in the average game." I'm used to it and have accepted it.

[puyopreservation]

Recently got my hands on physical copies of Madou Monogatari 1-2-3 (MSX2) and A.R.S., I've been looking for ways to play my physical copies directly without buying a MSX Console. I do have a USB Floppy Disc reader. Any suggestions?

I couldn't help you with that, I'm afraid.

[evilanddangerious]

While I'm here and I have Metal Gear on the brain, did Kojima make MGS1&2 assuming people had played Metal Gear 1&2 on the MSX? Because I, only playing these games for the first time last year, played approximately 5 minutes of MG1&2 before becoming wildly frustrated and moving onto MGS.

And I honestly just wonder how accessible the first two games were, considering the era and the fact that the next games were on console. Yet there's so much lore you miss out on, references to characters you would otherwise not know.

Idk, I know Kojima's been wildin' from day one, I just wonder how many people were getting the entirety of the story back in the day.

[mingos-commodoreblog]

CLK Release 2024-05-05

A latency-hating emulator of: the Acorn Electron and Archimedes, Amstrad CPC, Apple II/II+/IIe and early Macintosh, Atari 2600 and ST, ColecoVision, Enterprise 64/128, Commodore Vic-20 and Amiga, MSX 1/2, Oric 1/Atmos, early PC compatibles, Sega Master System, Sinclair ZX80/81 and ZX Spectrum.

[eway]

Madou Monogatari and early Puyo have an inconsistent timeline. Like as in there isn't one.

I'm a comic book fan, I'm used to essentially needing to string canon together myself.

So I figured I would share my Madou Puyo timeline headcanon with you!

First, we need to talk about Lilith. Who is Lilith? This is Lilith

Now what do we know about her from the games? Nothing. Aside from the fact she helps guard the Seraphim Orb. Everything about Lilith aside from that, including her name, comes from non canon novels called The True Madou Monogatari or Shin Madou Monogatari.

I don't like these books. Especially how they treat stuff from my religion. So things like Lilith being a Goddess and creating the world I do not consider canon. However there are three things the books establish about her that I do consider canon:

Her name

The fact she was married to The Dark Prince and the two loved each other very much

The fact that before any of the games, she was killed (I don't specify how or why because I don't take the how or why from the books)

With that out of the way, we can start our timeline!

Also, there will be no times listed. Like no, this many years listed. I do not care about that. Heck, I'm one of the few people that LIKES that the Pokémon anime has time passage yet characters inexplicably do not age. I love that you can just...do that with fiction. So this is more an order of events than a timeline but I'm still gonna call it a timeline!

Anyway, next up is Arle's story from Madou Monogatari: ARS.

Now, Madou Monogatari 123. Each port of these games have different plot elements. The PC98 and Mega Drive versions of Madou 1 can't both be canon, for example. So next in the timeline is Madou Monogatari 1 for the GameGear, Rulue's story in Madou Monogatari: ARS, Schezo’s story in Madou Monogatari: ARS, Madou Monogatari 2 for the PC98, Madou Monogatari 3 for the MSX, Madou Monogatari: Michikusa Ibun, Puyo Puyo, and Madou Monogatari for the Sega Saturn

Now let's go to the end of the timeline quickly

At the end, is Madou Monogatari: Chaotic Final Exam, Puyo Puyo Sun, and Puyo Puyo~n. After Puyo Puyo~n, Arle and Carbuncle end up in Primp, Arle's hair is turned orange and Carbuncle gets bigger

Now uh...there was a reason I skipped to the end... because in between Puyo Puyo and Madou Monogatari: Chaotic Final Exam...

Yeah since Secret Of Elysium was never released in Japan I don't count it as canon. And yeah, I don't have an order for the rest of the games.

And without further adu, here is my Madou Monogatari/Puyo Puyo timeline!

(Yes I made edits to the text and now it doesn’t exactly line up with the text. Sue me)

[dimalink]

Free Linear Space – bugs and space ships

You are flying in cosmos space. Cosmos - it is space. Space. Environment. But, it is not like planet Earth. So, light lines are flying near you. You can suggest, that you go with a big speed. Light lines. They are flying near you with a big speed. And black empty cosmos. It is space.

Fantastic game. With retro style. As MSX computers, or 8 bit or MS Dos, NES console. Something like this - idea here. It is vertical shooter. You fly and shoot with laser. You have a laser beam. Which you can turn on and it works for some time. Laser beam is going though space until the end of the screen.  And, by the way, enemies can do same things too. They, also, have a laser beams.

There is a screen with player select. So, here 15 types of players. For example, rocket. Or, more often – some kind of bugs! Bugs in space! Main geometry figure here – circle. Everything is drawn with circles, mainly. Or circle – it is main central figure.

Enemies too, or alien ships. Circle form. Or some bugs in space. Bugs are flying in space. Ufo sausages are flying in space. Well, I think, it is, already, a common way to think. And, you know, about a bugs that can fly in space. Well, to this idea you, also, can go. Shooter game about space ships and bugs. Bugs they are, also, space.

Enemies has a different behavior. They can fly though the screen. Or fly to some point and to stop there. This is, already, like in game Galaga or Galaxian. Enemies they stay at one place. Somewhere, at the top of the screen. So, here you can have same kind. And, as in casual shooter - enemies are flying across the screen. And, of course, - they shoot – also, with a laser beam. Beam takes some point of life. It will not destroy you at once! Your beam, also, cannot destroy enemy at once.

Word levels I change with word stages. As in NES games, for example. For example, stage 1-1. Which is here you see, when you start a game. Before level starts, it is will be such a label, straight in space about 2 seconds. Stage 1-1. That, also, gives some memories about game console NES. And games, that were there.

Fantastic shooter, bugs, UFO sausages. Lasers. Sci fi and good and kind animals. Vertical shooter. So, these are main ideas for game. And, still some abstraction is here. Some here it is ufo sausages, so, here space ships. And here at the same time – bug or caterpillar. So, this is a kind of game!

At the left - player interface. Current stage, your energy. 100 percent, for example. And enemy laser takes some amount of your energy, if it aims at you. And state of your laser. It works active for some time. Next it goes to recharge. And,  it is, ready, again! Laser ready! You can press space button and again to make your laser beam active! Sci fi theme!

You can move here for all the screen. In terms of vertical segment of space. And, almost, until the most top. Well, you cannot reach top point of the screen. Anyway, enemies are goes from that side. And in any other cases, arrows left, right, up, down – they are in use here. You can to move active way for most of the cosmos space.

 As a main part of the game – it was idea of to create something more dynamical. But, I am, as always, I make everything slow. And, even, when I try to do dynamical movement. Well, it is not so dynamical. It is more dynamical, than I do not try to do dynamical. Close to this. So, this means, that a game with mad dynamics still ahead. Maybe. And, also, vertical shmup. And here it is as it is already. Some certain speed of moves. Reaction to the situation.

It is programmed with programming language Free Basic with program environment VIM. I like this things a lot! But this is already another theme. About how it is all made.

Going back to the theme of game. It is such idea. Vertical shooter. About bugs. Ufo, Msx, MS Dos, Nes, fantastic. Galaga, Galaxian. Sometime ago, long time ago, I wanted to make it my standard theme. And to do such a shooters. Series of vertical shooters. With different dynamics. With different theme. It was a start for this game. And practice of programming with different Basic dialects. And I like a lot to program with VIM. In a such special program for programmers. All of these were in mix, in the end, and it is such a game for now.

As usual, it is here 16 colors and 320 x 200 game screen. Background for interface is dark blue. And space - is black. And reddish color for enemies, and your player - greenish color. And decorative elements - white color. So, this is makes this space. With a program code. I am a big fan of drawing with lines and with geometry figures. Basic, gives this feature. Basic is very good about this way to draw.

Free Linear Space – vertical flight in space. Though the light years. Forward! Direction is forward! As I can to say! As elements of fantastic, science fiction, as element of joke, some fun, good and kind animals in space! AAA! Good and kind animals are, already, at the point of space! So, Ufo sausages it is good to give some place for them! A little!

Free Linear Space – it is abstraction of data. Abstraction of idea itself – of the vertical shooters. It is linear space. With movement in one direction. Well, let with maneuvers in different sides in terms of the screen. Main idea – it is always forward. And space. You are going in it forward. And some events – for example, enemies to appear. You shoot, they move, you move, they shoot. Everything with real time!

So, programming language Free Basic and program editor VIM gives this vision!

Basic Pascal version 1.17 "BLOCK" – most newest version. In this version there are 4 new games! Platform Ball, Cabin Pilot, Free Blocker, Free Bee. And even more retro games! It is a pack of retro games with modern versions of Basic and Pascal.

It is now in development new version Basic Pascal pack games. This game will be included in a new version.

Basic Pascal: http://www.dimalink.tv-games.ru/packs/basicpascal/index_eng.html Website: http://www.dimalink.tv-games.ru/home_eng.html Itchio: https://dimalink.itch.io/basic-pascal

[not-well-not-wholesomely]

rare retroarch 3ds L: it's built in msx cores don't work with metal gear 1 and 2. i was able to get them working with fMSX3DS tho :)

[archoneddzs15]

Sega Mega Drive - Super Daisenryaku

Title: Super Daisenryaku / スーパー大戦略

Developer/Publisher: Sega / SystemSoft

Release date: 29 April 1989

Catalogue No.: G-4501

Genre: War Simulation

Originally a big hit from SystemSoft on Japanese home computers, Sega bought the rights to make this wonderful Mega Drive port. It was also released on the PC Engine CD thanks to Micro Cabin, and there were computer versions too for the NEC PC-8801mkII SR, MSX 2 and FM Towns. This does not fully implement TMSS, just like the Osomatsu-kun game I also own for it, meaning it will only work on early Model 1 Mega Drive consoles.

[postsofbabel]

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