A Brief Chat With Matt Phillips About Tanglewood (Interview)

As long time readers may know, I’m a big fan of learning from the older elements of game development history. So it was a little bit of a pleasure to have a brief chat with one of the creators of Tanglewood, Matt Phillips of Big Evil Corp, to get a glimpse of the kind of things you have to deal with when using a development kit from 1993, on a well known 16-bit system, to make a game in 2018.
TMW: As someone who grew up with older systems, it’s quite nice to see folks still making things for those older systems, what inspired you to go down that route?
The kid in me wouldn’t let it go – it’s something I’ve wanted to do since I was a 9 year old, proud Mega Drive owner. I also had access to a Commodore 64, so I was no stranger to the delights (and frustrations) of programming from an early age, and the dream never faded all the way through to adulthood.
TMW: There’s a lot that folks don’t really know about making games for older systems, so I’d like to start by indulging folks’ curiosity on creating a game for an older platform. Knowing that you were going to make Genesis cartridges, what sort of obstacles did you face, in the coding and hardware end?
The biggest problem we faced was that none of this old equipment works reliably any more. The devkit is from 1993, and parts fail on a regular basis. It’s quite frustrating when you’ve spent a few hours debugging a problem in the game, only to find out your code wasn’t at fault – it was another problem with the machine! When it works, it works BRILLIANTLY, though. I’ve yet to find a modern alternative that does such a good job.
Learning the language was a tough one, since resources for this kind of thing are few and far between these days. Further into development I started finding other 68000 programmers to talk to, and we struggled together to figure out some of the more intricate parts of the Mega Drive, and banded together to figure out optimisation issues.
TMW: Similarly, when building a game for an older system, there are limitations. What sort of things did you want to put in, but found wouldn’t really work?
The Mega Drive’s Achilles heel is its limited palette – it has 4 palettes of 16 colours, but three of those are reserved for transparency, so only 61 colours can be displayed on screen at any one time. Even worse, there are deeper rules about how those colours can be assigned to pixels, so we had to write a lot of tools to help arrange everything. Thankfully we found the right artists for the job, and they did most of the heavy lifting when it came to arranging colour usage.
Another issue is the slow CPU – although it certainly wasn’t at the time, the 68000 was a luxury compared to other consoles. There were a few things I had to cull in order for the game to run smoothly, the one that hurt the most was buoyancy on physics objects. Originally, Fuzzls could float on water, and would have been hilarious, but I had to rip it all out because it was only a gimmick and was very heavy on CPU usage.
TMW: Now, one of the hot button issues of the day is the games industry’s preservation (or lack thereof) … What would you, once the game’s reached the end of its sales life, like to do to preserve it for the future?
This is something I’ve thought a lot about, and I’d like to be the anti-corporation in all of this and release the game’s source on github on its 1 year anniversary – complete with raw assets. I can’t see sales coming in strong after a year, people would benefit more from studying – and maybe laughing at – the source code.
TMW: Well, thank you for talking to us, Matt, and, in conclusion, what sort of advice would you give to aspiring game devs of the future? 
Make games. Make a lot of games. Just keep making games. Small games, stupid games, experimental games, ambitious games, games on new platforms, games on obscure platforms, just keep doing it and you’ll end up with such a wide range of skills you’ll be able to walk into any studio. Don’t stick to one genre, engine, tool, or discipline, try it all out.
Tanglewood released on the 14th of August, and you can see my thoughts here.

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Touhou: Scarlet Curiosity (Review/Going Back)

Source: Cashmoneys
Price: £12.99
Where To Get It: Steam

The Touhou series has, even without counting fangames, gone a whole lot of places. Starting as a series of bullet-hell shooters on the PC-98, Team Shanghai Alice and collaborators have created Touhou fighting games and versus shooters, changing gameplay with many installments. With fangames, there’s visual novels, metroidvanias, megaman style platformers, RPGS, and, with Scarlet Curiosity, a collaboration between Ananke Spa and Team Shanghai Alice, there’s ARPGs. All set in a world where it sometimes seems that morning greetings consist of an all-out battle with apocalyptic magic between cute anime girls, some of whom are also Youkai or other folkloric nonhumans.

I mean… This might as well be called Touhou.JPG , for how emblematic this line of dialogue is.

Scarlet Curiosity is an odd beast, in many respects, trying to mix action RPG ideas with the bullet-hell gameplay of the Touhou series with… Honestly, mixed results. This is also technically a Going Back, because while this is the 2018 Steam release, the game was originally created in 2014, and officially localised by XSEED in 2016.

In any case, the general idea is that Remilia Scarlet, ancient and powerful vampire in the body of a young girl, is bored. Considering that she is, canonically, one of the more dangerous residents of Gensoukyo, this is already a recipe for disaster, but add in a Tengu tabloid monster hunt, and the fact that something largely destroys the Scarlet Devil Manor, and… Well, you have all the elements ready for shenanigans to occur.

Takes a while to get going, though, to the point that, at first, I wondered whether this really was a Touhou game, bullet helling and all. Fairies were unaggressive, giant centipedes a case of slashing while circling… This, combined with the game having some large and sprawling maps, and a lack of visual feedback beyond numbers and hit sounds, disguised the fact that, in fact, I was struggling to get through levels. Come the second stage boss, and this lack of feedback revealed itself, as I died again, and again, and again, before finally respecting their patterns. It took until the fourth boss for me to stop thinking that the jump button in the game felt like an unfair advantage (Allowing the skilled… IE – Not me… To dodge most early game bullet patterns entirely.

So… Large, sprawling maps (Each taking about twenty minutes to get through), combined with main level enemies that, like a Touhou shooter, don’t get terribly challenging until a little later on, combined with a lack of visual feedback for hits (and the fact that, like many bullet hell games, many bullet types can be nullified with an attack) doesn’t exactly paint the prettiest picture. In fact, it paints a somewhat clunky one.

I will never take away, however, how spell card effects like this one look… Awesome.

But there is good here. The models are well put together for the most part, the game does get flashy the further in you get, and the stages, while large and sprawling, are definitely not without their interesting features. Loading and saving is separate for the two main characters, Remilia Scarlet and Sakuya Izayoi, which is a nice touch. Five slots each is generous, and I appreciate this. Similarly, in addition to each character getting different types of Weapons, Accessories, and Armour, following the usual ARPG rule of “Bigger numbers, always bigger numbers” , they also get to switch out their specials and skill cards for different types as they level up, leading to a fair amount of variety that I appreciate. Heck, there’s even some difference to their basic styles, with Sakuya being a tight, melee focused character, whose jump attack is just that: An attack in the air, and Remilia being a more loose, more aggressive character, who has a hard to master, but very satisfying ground dive as her aerial attack. Despite some light value issues making the lighter enemies hard to see well at times, the game visually works, and musically… Well, the Touhou games have always been known for good music, and Scarlet Curiosity is no exception.

In the end, Scarlet Curiosity is an interesting addition to the series, but an acquired taste that is not without its flaws. Longtime Touhou players may find it slow to start, while folks new to the series may well find it frustrating, but I can definitely respect the experimentation with genre mixing going on here.

Alas, pink on translucent grey is, as a colourblindness accessibility sidenote, not a good pick.

The Mad Welshman feels, apart from the whole “Being a dude” thing, that he would fit in well in Gensoukyo. I mean, Death Rays, Death Ray Spell Cards… What’s the real difference?

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Going Back – Death Coming

Source: Supporter Gift
Price: £4.99
Where To Get It: Steam

So here we are, looking at a game where the main character, after having died, is employed by death to… Use various items around the levels to crush, burn, boil, freeze, and, generally speaking, make a lot of pixel people very, very dead. Death Coming is a good dictionary definition of “Guilty Pleasure”, considering its subject matter.

Yup. Pushing tourists into toxic goop by means of plant is one of those “Guilty Pleasure” things.

But y’know what? It’s fun, and I’m somehow shocked I missed this one back in November of last year. Ah well, let’s take a look now.

As noted, the basic gameplay idea is very simple: You have a town, and a certain number of items around town are imbued with the power of death. What this amounts to is that, when clicked for the first time, they (mostly) show you roughly what they’re going to kill, and, the second time around, they activate (With some later additions like guards who stop things going awry, and more complex, multipart death traps.) Aided with this knowledge, two goals are in sight: Kill a certain number of people (Who Death informs you have lived past their time), and kill three specific people in each level, because they, apparently, are both past their time and linked, in some fashion, to your own death.

Aesthetically, the game’s isometric, pixel artwork and ominous tunes give a good backdrop to this strategy game of mass murder, with a whole host of animations that only gets bigger as the varieties of death get stranger and stranger. Here, the manhole cover is opened, and there’s just a frame of suspension, before the fall into darkness, a meaty crunch, and an FPS style announcer deeply intoning “MEGAKILL.” This is not a game trying to step around its subject matter.

Some folks, apparently, need to die more than others. At least some of these can be related to the level’s narrative.

I like how it progresses, and I also like how there’s a very real sense, as the game goes on, that Death is maybe not playing ball, and that maaaaybe we’ve been duped. THE POLICE ARE HERE, as angels descend from the heavens to try and stop your murderous shenanigans. Wait, if the people really are past their time to live, then why… Ohhhhh…

The game does a fairly good job of adding to its replayability, with each area having a new wrinkle, unique feature, or extra step in difficulty (such as the introduction of changes due to different weather conditions. Dagnabbit, I missed my 3 minute window to use a manhole!) , and this leads me to the two niggles I have with this game: That it’s somewhat short (Delightful, but short), and that it has a single save system.

Otherwise, Death Coming is an interesting take on hidden object puzzle gameplay, with a solid focus around its theme, some black comedy, and good replayability. Worth a look.

Every level adding something new, some new wrinkle. Today’s wrinkle? Weather, part the second!

The Mad Welshman doesn’t have a lot more to say. The game kind of speaks for itself.

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Source: Supporter Gift
Price: £6.99
Where To Get It: Steam

At first, I was, I’ll admit, a little confused over being asked to review TAROTICA VOO DOO, even as an advocate of old games, and the joy (and pain) of programming for older systems as a good thing to do. It’s not the friendliest of games. It’s not the easiest of games. It definitely has its flaws, and, even as someone who likes a lo-fi aesthetic, 2-bit “hand drawn” (read: Pixel doodles) wasn’t immediately endearing to me.

One of our three family members, completely ignoring us because dinner’s not on the table… Ohhhh, I hope a pla- ah wait, that’s exactly what I hope to prevent!

Tarotica Voo Doo is a somewhat surreal “Escape Room” game, in which you solve puzzles (Some of which spread over the entire house, like the Salamanders who light up rooms), in order to break into a family’s home, cook them dinner as an apology, and get them out of the house, all before a plane crashes into it. It’s also a game coded for the MSX. Not the MSX 2, or 3, or Turbo. The MSX, played via the official MSX emulator. So… A game coded for a 1980s platform, in 2018. Normally, very much my jam.

And, in terms of the technical wizardry behind it, it very much is. If you want some idea of the kind of crap people had to pull to code games for the MSX, the PDF attached to the game (hand written by the developer in both English and Japanese versions) is worth the price of the game alone, and explains the 2-bit aesthetic (It was the only way to get as many frames of animation as the game has.)

This poor dog’s only crime is that it’s holding the front door shut (somehow.) The zombies, skeletons, salamanders, and the like inside, on the other hand…

As to the game? Well, it mostly comes out middling. I like, for example, how four frames of animation are used to good effect in puzzles and combat alike, with the latter a sort of rhythm deal where you have to time pulling fully back (for defending) and forward (for attacking) carefully, with the only pressure being that failure means restarting the (short) fight. I like how smoothly the developer has papered over the cracks of a slow Video RAM, meaning that the experience doesn’t jerk or stutter, even in the short, equally 2-bit cutscenes. I like how its control scheme (arrow keys to move, space to start interacting with a highlighted object, up and down to interact with it, space again to leave that interaction) is simple, and similarly smooth. I’m not so fond, however, of some of the more house-spanning puzzles, like going back between various rooms and the basement, in order to release the salamanders that provide light for the torches… Or block them off. A few fights (such as with one of the aforementioned salamanders) are just a tadge counter-intuitive, and, as mentioned, despite liking lo-fi aesthetics, Tarotica Voo Doo’s didn’t really grab me.

Nonetheless, it’s not a bad couple of hours, even if it didn’t quite grab me, and, with the attached “CHRONICLES OF TAROTICA VOO DOO”, detailing how the program was built up, it’s an alright, actually retro game with a post-mortem dissection of how it was put together that’s well worth a look for 8-bit programming enthusiasts, or even folks who just want an idea of why pushing the limits of an older machine was hard as hell.

This puzzle’s explanation is one thing, practice another. Thankfully, with only four frames per statue, it’s easy enough to work out.

The Mad Welshman is heartened by the fact that, even today, people struggle with assembler. It puts his own struggles in perspective.

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Going Back – Dungeon Manager Zombie Vital 1 and 2

Ahhh, the dungeon management genre, how I love it so. Defeating those righteous do-gooders with the promise of treasure, and maybe even a fellow dungeon owner that doesn’t agree with my platform of Mine, Mine, Mine. Which makes Dungeon Manager ZV 1 and 2 somewhat interesting, as the two games take very different approaches to, effectively, the same subject.

One problem for a reviewer is that it can sometimes be hard to get timing down. For example, there *was* a King Slime, and a powerful one, in that middle square. There isn’t now. And soon, those red dots will reach my boss. Dammit.

Dungeon Manager Zombie Vital Edition (to use its full name) hit the Western world in October 2015 (It had originally been developed in 2004), and… Well, it’s a game where the options expand as you play, but you’d be forgiven, for playing the game for an hour or two, to think that there was little beyond building rooms, watching heroes come in, and then they go and do whatever the heck they want, occasionally dying, occasionally leaving, and always, always aiming for the final treasure in your dungeon and the death of your boss monsters. If the last treasure in the dungeon goes, whoops, you’ve lost.

Thing is, there’s actually a lot more that can be done than the first, near-surface level game implies, and here comes both the draw and the problem of DMZV in general: Because it isn’t terribly clear at times, you’ll make mistakes on your first run, mistakes you won’t always be able to correct, and won’t always be made clear as mistakes until hours later, when the Big Boys of herodom come and play. Although there are multiple saves, that’s a lot of either work or faffing around that’s going down the drain.

This is a very un-optimal first level. Although, to be fair, those two slimes are the only two to have survived past heroes achieving level 3 to date.

Equally, there is an optimal play considering you always have a 3×3 grid to play with on each floor, and any room connects with every other adjacent room: One long path filled with your heavier monsters, nastier traps, and the like… And one, very short path, filled only with monsters beneath the notice of the groups you encounter, leading straight to your final boss. And you have to make it clear the difference in difficulty from the first room, as groups only judge where to go by adjacent rooms. The more heroes you kill, the more you let some vital few escape to tell the tale (having been satisfied by murdering some of yours, or defeating your traps… All the better to lure bigger, better heroes in), the more you can do. At first, it’s only traps, capped at the dungeon level you’re in, and some simple monsters. But once those monsters level up, you can merge them, making new, nastier monsters. You can change the elements of floors, giving advantage to certain types. You find Dragon Eggs. And, of course, treasures can change things up too.

Unfortunately for DMZV1, there is somewhat of a flaw: Very quickly, certain monsters are outpaced, so it becomes tougher to level them up so you can get them to be able to meld with other monsters. Also, time will proceed unless you’re holding down the CTRL key or have set it to Freeze, so keeping track of everything, even on slow, can become a slog. As such, while DMZV1 is interesting, it’s also a deeply, deeply unfriendly game.

Ah, how right you are, random Dungeon Invader. [finishes another review, sits back with a smile]

DMZV2, on the other hand, changes the formula. It’s still, at its heart, a tower defense game, but now it has puzzle elements, sprites and tiles, and a friendlier interface. The general idea is still the same: Monsters, it seems, are getting a lot of stick, and the Lord of Dungeons is beseeched to create a dungeon so deadly, so alluring, that it will bring even the king of the land to it, to be murdered horrribly as vengeance for all those cute slimes being murdered. Dungeon features are unlocked in a main campaign mode consisting of, well, puzzles. How do we stop the adventurers from taking the objective in the time allotted to us? With fireballs, traps, and a succubus who is not terribly good at hand to hand, but can summon zombies (Remember, the ZV stands for Zombie Vital!), and shoot rather nasty magic, so long as the ghostly power of heroes who were satisfied until we killed them horribly lasts out (Obviously, we get that ghostly power by satisfying their needs, then murdering them horribly before they can leave. Priorities, folks, priorities!)

It is, so far, my favourite of the series, because, although the unlocking of features to use in the Create A Dungeon mode is through the campaign, that extension of DMZV1 and Resurrection’s “You get more things to play with the more you play”, it has selectable difficulty (indeed, Easy is mandatory the first time), the ability to go back, and the sound and visuals are less straining on a nice long game. It’s also, to my mind, the most characterful of the three, with at least some heroes introducing themselves, the sprites having their own character, and, sometimes, the black humour in levels. One of the early easy levels has you doing… Well, exactly nothing. The dungeon’s set up pretty much perfectly, and it harms your ability to murder folks to interfere with a trap setup that catapults heroes in laps round the dungeon until they die from impact damage.

And it’s not about you adventurers either, that go round and around and arou-

Finally, to my knowledge, this is the only game in the series with an expansion, released earlier this year. A fairly cheap one, too, with extra puzzle dungeons, 10 extra items, and second sets of transformations of monsters into better, nastier forms for, around £3. In fact, both of the first games and the expansion comes to just over £13 for all three in a bundle. It’s pretty reasonable, although DMZV1 and the newly released (and separately reviewed) Resurrection both involve making mistakes that you may not notice for an hour or two. Try them out if you like to see interesting experiments with dungeon management games.

Dungeon Manager Zombie Vital 1 is available on Steam here, and DMZV2 here. Both pages have a link to the bundle.

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