It’s been rather crazy over here, what with making my novel sound more fantasy-ish by revising every “I don’t know” into “I know not,” reading 50 pages into Brandon Sanderson’s Mistborn to finally have my kindle tell me I’m 2% finished with it, and tweaking my resume to describe my duties as a CPR instructor as “Bring people back from the dead, as necessary.” Since my list of readers is already shorter than the guest registry at Disneyland: North Korea, I’ll have to do some MAME Roulette’s to avoid spacing out my posts.
Not to be confused with Little Karnak, which I presume is a commercial district of suburban Los Angeles that specializes in auto insurance agents, Big Karnak is a colorful delight of a story about a solemn, grim and stone-faced pharaoh who declares war on the gods of Egypt after Backtrack boss
Ancient Egypt after a bird-man swoops up his girlfriend like a ravenous sea gull descending on an abandoned chicken nugget. This hack-and-slash adventure turned out to be surprisingly good, much in the way that my bagel this morning was surprisingly good for not being reduced to a hunk of carbon by the toaster or fossilized from sitting in the fridge for three years. Granted, it’s a pretty low bar when the standard for greatness is, “didn’t screw it up,” but apparently that’s enough to get you elected president these days. Big Karnak is one of those games where the skin becomes the selling point. There are hundreds of games that simulate the experience of walking from left to right amongst a social environment of those who feel you ought to be walking right to left, but this is the only one that lets you fight beetles the size of Volkswagens. It’s kind of like how if you want to watch a movie about a horrible, undead evil returning from the grave to slaughter the living and hook up with his old flame, now reincarnated as a beautiful western girl, you may occasionally shove a stake in Dracula and watch The Mummy instead.
Oh great! A space shooter! (And yes, I know that it isn’t set in space, but what else would you call the genre?) As long as we’re on the subject of games that move in one direction, here’s one where the bad guys always live in the north. Granted, this held true for 1941, as the U.S. took Japan from southern islands. Similar conflict occurred in Korea, Vietnam, and I’m pretty sure there’s hostile feelings between the Dakotas. Ancient China had a similar issue with Mongolia, but they opted for a wall, which makes for a far less successful video game. Still, before we Americans start feeling holier than Canada, we may want to reconsider the strategy of sending one lone fighter into enemy territory. Notice how the planes you don’t shoot down don’t seem to come back? Chances are you’re leaving behind you a trail of corpses, bombed out cities, and earth scorched so bad that even dust storms won’t grow there. I get it! You’re not trying to take down the enemy air force! You’re trying to fight your way in because they won’t grant you a visa! Which reminds me, I have to send some documents to New Zealand immigration…
Chopper 1, getting to the game, is hard. I get it. Build a game that gives you about 5 seconds worth of play time for one quarter, and your game earns about $180 an hour. That way, if being completely inept at the game doesn’t spiral you into a quandary of self-doubt, you can ignite a lifelong depression by realizing that an 8-bit computer built in 1988 can make more money in an hour than you can in a week. Bonus points for it’s guilt inspiring game over message, “If you quit now, it’ll cause more bloodshed,” a tactic that’ll earn respect from animal shelter ads, war propaganda, and Catholic and Jewish moms worldwide.
Elevators. Gotta get me some of that action. The problem with developing a game that would primarily appeal to four-year-olds who like pushing buttons is that chances are they’ll be just as happy in a real elevator. You play as a man who has lost his car in the parking garage of a 30-story building and decides that not only would the best place to look be the roof, but that the easiest access comes via zip line from some nearby-yet-unseen Spider-man web access point. On the way down, you shoot murderous Blues Brothers who try to kill you. If you get tired of elevator action, feel free to have an illicit affair with the building’s escalators along the way, before hopping back into an orgy of elevators apparently built for the Winchester House.
The wikipedia page says you’re a spy trying to collect secret documents and drive away in your escape car. That clears up a few things for me—namely, the objective for the game. I always wondered what would happen if I got to the bottom. Unfortunately, I didn’t want to know badly enough to play that far.
I swear my Retro Pie likes to mess with me, because it gave me another space shooter. This one actually takes place in space and pits the Starship Enterprise against an evil gumdrop monster, the apparent love child of McDonald’s Grimace and Groucho Marx. While the first level appears nothing more than a Space Invaders clone, subsequent levels evolve, fighting with different weapons, attack patterns, and strategies, marking the last time in video game history that such thought was put into a cloned game to make it fun to play. Apparently, Gorf was supposed to be a tie in with Star Trek, the Motion Picture, until the developers read the film’s script and decided it wouldn’t work as a game concept. And thus passed the last bit of integrity concerning licensed games.
When I said that Gorf was the last time anyone made a cloned game innovative and fun, I lied. Here, you play as a lady bug trying to wreak havoc on someone’s garden. The game plays like Pac Man, but parts of the maze wall serve as doors that rotate when you walk through them. As a way to keep pests out of your garden, the idea needs work, but changing the layout of the maze puts an element of strategy in avoiding enemies.