Indiepocalypse #20: Because I’m Bad, I’m Bad — Really, Really Bad (at Street Brawling)

Cover art by Teal Sather.

We’re back again with our monthly feature for @PIZZAPRANKS‘ Indiepocalypse, with a walk down Bad Street Brawler on NES! It’s a game which we’ve covered before here on the Bad Game Hall of Fame, but certainly still a title that I personally find fascinating and worthy of further examination. In our piece for Indiepocalypse, we cover a couple of the game’s unique mechanics and design decisions, which are perhaps worthy of  consideration / copycatting by modern day beat ’em up developers? Perhaps not, but that still won’t stop me from considering the contemporary possibilities!

I guess what I find most compelling about Bad Street Brawler is… how unapologetically Bad Street Brawler it all is? Beam were given the unenviable task of cleaning up their act after an edgelordy Speccy take on the game, and decided to sugarcoat it all to the point of tooth decay. If nothing else, there’s a lesson to be learned in being willing to pivot your design to something completely antithetical to what you once envisioned for it; in the event that a publisher might demand it, or if you should determine late into a game’s development that your original tone isn’t connecting as intended. One should never be afraid to play things on the sillier side, or to realize that going the route of “total farce” with your design can potentially serve as therapeutic. At the very least, Bad Street Brawler has managed to remain memorable for all these years on the back of its indulgence in goofiness — where a similar game with underwhelming mechanics and a lack of amusing aesthetic would likely wallow in obscurity. To that point: None of the previous iterations of Bad Street Brawler made much impact on the industry, or see mention too often in the history books. It’s the NES version that has stood the proverbial test of time, even if recollections of it seem to typically involve the words “bad” or “garbage.”

My personal highlight from this month’s games bundled in with the issue is Jeremy Couillard’s Fuzz Dungeon: A surreal bit of multi-genre mashup, with a striking aesthetic that immediately reminded me of Dario Alva’s work for 100 gecs. It also features a plot centered around a “sasquatch sex amulet,” which serves as a funny bit of coincidence with the sasquatch simulation game we just recently covered here on the site. In any case, this game definitely has me curious to check out more of Couillard’s works, and gets a strong recommend from me to those of you who don’t mind games on the wilder side. As always though, I’d generally recommend checking the entire lot of games included in the bundle, for a range of diverse games from the itch.io indie scene.

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Urban Yeti!

“Ahh, the Smell. The Unmistakable Musk of Another Yeti.”

“YETI MOBILE ALERT!!
There is an unknown yeti touching me. Dispatch the saucer immediately.”

Extraterrestrial art by @EmilyHammersley.

What do you get when you combine a mock cult, Dolemite, surfboarding, and multiple failed distribution deals? Why, a Game Boy Advance cartridge about cryptids, obviously!

As illogical as that concoction may sound – and for as disconnected as those elements might all feel from one another – it’s unlikely that any other recipe could have resulted in 2002’s release of Urban Yeti! Since hailed as one of the strangest entries in the GBA library, it is a game which delights in jumping between genres and generally defying standard categorization. Though I’ve often seen it described as similar to the classic style of Grand Theft Auto titles (1, 2, and so forth), this comparison falls apart past the shared top-down perspective and urban environments. It’s perhaps more accurately categorized as a minigame collection, tied together by treks across loosely-contained hub worlds? But these definitions can’t begin to account for what must’ve originally been even wilder design ambitions, which the game’s creators were surely forced to rein in and compromise.

To tell the story behind Urban Yeti!‘s development is to recount the convoluted history of its developer, Cave+Barn Studios: Born from the ashes of a former video production company turned software house [and record label], and doomed to flame out in comparative fashion. At the core of both short-lived labels was a mostly consistent collective of creatives; who seemed to reject the structure of the conventional video game, in favor of experimental multimedia and unfocused genre mash-ups. Urban Yeti! is perhaps the pinnacle of this disjointed design philosophy — even if only by default, considering the studios’ unfortunate penchant for cancelled releases. For as oddball as this yeti adventure may well be, you’ll soon find it downright tame compared to some of its creators’ other canned game concepts. Frankly, it’s probably something of a miracle that Urban Yeti! managed to see the light of day itself.

With all this in mind, this article will attempt three objectives: To document the history of Cave+Barn Studios (and their former incarnation RUNANDGUN!), to review the contents of the Urban Yeti! cartridge, and to determine once and for all if ‘Bigfoot’ is real or not. And while that last part sounds like it might be tough, let me assure you: It may well turn out to be the easiest task of the three, after all is said and done. So goes it here on the Bad Game Hall of Fame: Where it’s not just enough to describe why a game is considered “bad”; and where we must do excruciating research into the histories of parody religions, failed FMV games, noise rock records, ill-advised distribution deals, and so much more surrounding context.

“Now. Get ready to Yeti!”

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Interview: ‘Virtual Lab’ Developer, Megu-tan

“I Guess I’m Tentatively This Game’s Main Character.”

Today, I’m super excited to find myself interviewing the elusive ‘Megu-tan’ — the developer behind Virtual Boy’s Virtual Lab! Operating under the developer label ‘NACOTY,’ and having produced four games across publishers Hacker International and J-Wing; their time in the games industry was admittedly brief, owing to unimaginable stressors and a disillusionment with the business at large. But their software contributions are still worth recognition and respect, and their perspective on their work should no doubt be invaluable.

After penning and posting our article on the subject of Virtual Lab, Megumi was kind enough to reach out to us — to thank us for our work, and open the door to communicating with them over Twitter. After a friendly chat with one another, I posed the possibility of an interview to cover their history in games development, and offering them the opportunity to answer some of the questions the public at large has about them and their most noteworthy title. To my surprised delight, they agreed, and so we can now provide their insights into the games industry here for y’all to read!

In this interview, Megumi is gracious enough to fill in some of the mysteries of their identity, as well as to fill in the blanks of what they got up to in their years since working as a developer. Of course, we also asked them for as many stories and explanations as they were able to provide for the games they worked on, as well as the companies who they operated under. We hope here to answer some of the long-unanswered questions regarding the enigmatic Virtual Lab, and to share the story of a kind-hearted developer who is long overdue the admiration they deserve.

A word of warning: There will be accounts of some traumatic experiences in this interview. I will include warning tags indicating where said excerpts appear. I made absolutely sure with Megumi that they were okay with these stories being shared publicly in this article, and it is her wish that they are ultimately included. She one day hopes to share more of her story with the world, and we are hopeful that she will be able to tell said stories on her own terms.

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Virtual Lab

“Make Sure You Control Me Well, Okay?”

“Just leave that to Lisa! After all, it’s about time for her lessons to get out.”
Creepy-crawly composition by @bemmpo.

It’s been a minute since we originally looked at the Virtual Boy here on this website! And when we first did, I came to something of an anti-climactic conclusion: I just couldn’t bring myself to hate the poor thing. Gimmicky though it may be, and in spite of a paltry library consisting of just 22 games; I hesitate to write it off entirely, though I know that I probably should. It helps that most of those 22 games are totally serviceable, all things considered — landing primarily between “inoffensive” and “genuinely neat.” But I suppose that makes the small handful of stinkers for it smell that much more foul, so to speak. And if you’re the sort looking to paint a particularly unflattering picture of the failed console (in shades of red and black, I imagine), today’s game represents what is likely the most hideous subject possible for your art study.

Enter Virtual Lab: Among the last titles on the Virtual Boy to be released in Japan, before Nintendo pulled their ill-fated device out of the market. Its very creation served as a last-minute effort by a small-time publisher — an appeal to owners of the dying console, in order to provide them with some dubious value proposition in expanding their small collections for the system. Ultimately, its true role to serve would be as the rarest cartridge for the doomed hardware, and as what is widely regarded to be the worst release for it. Funnily enough, the other game I’d rate as being its closest competitor is 3D Tetris; where Virtual Lab’s puzzle game design obviously owes a debt of gratitude to the original Alexey Pajitnov creation, and where 3D Tetris similarly demonstrates a lack of understanding for the most basic components of block-stacking games.

Most folk inclined to cover the Virtual Boy’s history are simply content to write off Virtual Lab as unfinished, borderline unplayable, and unworthy of any other further comment. But here on the Bad Game Hall of Fame, we take our studies very seriously. What this scientific paper sets out to demonstrate are the known circumstances of Virtual Lab’s development, to describe the depths of its gameplay, and to measure its ultimate impact on the planet (or at the very least, the games industry). I hypothesize that this experiment will result in some mild headaches for me, as well as time lost that I will not be able to reclaim. But those are just the sort of risks you have to be prepared to take in the name of science, I say! So, set your eyes roughly two inches away from your screen – adjusting your IPD dial and focus bar as necessary – and prepare yourself for this dissection of a failed Virtual Boy puzzler.

UPDATE (8/30/21): Since posting the original version of this article, we were privileged enough to conduct an interview with no less than Megu-tan herself — the developer of the game in question! As such, there are details and guesses made in this article that she was able to correct, and which the article has been partially rewritten in order to reflect. Still, it is very much worth reading the interview for additional context on Virtual Lab‘s development, as well as insights into the fascinating life of its developer.

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Indiepocalypse #19: Oh My Gods. And Also: Generals

Cover art by @designbyboo

We’re back again with our monthly feature for @PIZZAPRANKS‘ Indiepocalypse, with a glimpse at the historical first-person shooting of Gods and Generals! While the format doesn’t necessarily entail my covering the full breadth of the game’s many, many follies; it does give me an excuse to highlight some of its most ill-advised mechanics, and to wax poetic on the potential wasted. Specifically: With regards to the American Civil War setting, and to its “unique” handling of single-shot muskets.

First things first, the American Civil War setting: More games in general should be leveraging it — now more than ever. There are themes aplenty to be mined, unique perspectives to place players in, and war stories waiting to be told. Now, I’m going to add the condition here that the Southern Confederacy should obviously be vilified for all their rottenness and evil, or at the very least show any sympathetic soldiers to be grievously misled. Gods and Generals gets that bit wrong; by failing to offer anything in the way of commentary or contextualization for your turns as a Confederate character, or seeming to reward you experience points for mowing down scores of fleeing and surrendering Union soldiers. Ideally, I reckon a modern indie take on a Civil War game would either center around the historic “brother against brother” slogan, exploring the deterioration of family around opposing beliefs and politics; or the perspective of African American soldiers enlisted in the Union forces, for whom the work of war was made the toughest, and the ultimate stakes could not be higher.

Games from the bundle I feel compelled to highlight this month include Jeremy W. Kaufmann’s When There Is No More Snow: A ZZT-styled visual novel, with rich ANSI visuals and lots of neat branching paths. I’ve still got to work my way through a handful of the remaining endings, as a matter of fact, and I’m using this bit of text as a reminder to myself to do so. Also included is Dani Soria’s ASMR: A coming out story contained with a simulation of an ASMR video. Some of the sounds and mouth fixation (including some minor dental trauma) stuff might be a little tough for some to stomach, but I found the whole experience to be a neat little bit of experimental visual story-telling. It takes a grand total of roughly 5 minutes to play through, and I highly recommend doing so. Of course, I’m also compelled to recommend the entire lot of games included in the bundle, for an always diverse slice of the itch.io indie scene.

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