There’s a subgenre of game where you launch something and it travels a distance based partly on skill and partly on luck, and the further you manage to go the more resources you collect which you can then spend on upgrades that let you go farther and farther. Like Yetisports: Pingu Throw with a progression treadmill, and kind of a precursor to endless runners like Canabalt and its descendants.

I feel like there were a lot of these for a while, but people largely stopped making this kind of game. Maybe the mechanics were a bit too simple, or maybe endless runners were more appealing. But even the games that were made are now mostly lost to time. The problem is that their style of gameplay as well as the era in which they were popular meant they were mostly Flash games, which of course is now a dead platform, or early iOS games, which is an anti-preservation platform. (Or both.)

One of my favorites was Orbit, which came out exclusively as a PlayStation Mini. Like PlayStation Mobile, PlayStation Minis are a now-defunct platform of small digital-only games. These were aimed primarily at the PSP, but also often playable on the PS3 and later the Vita and PlayStation TV. I think the Minis might technically still be purchasable and downloadable if you have the right hardware, but some of them (including Orbit) are long-since delisted.

If you weren’t in the PlayStation ecosystem when Sony was pushing PlayStation Minis, it’s hard to even find evidence they ever existed. Try searching “PlayStation Mini” now and you’ll mostly just find results for the PlayStation Classic instead. So Orbit is even deader than the Flash or early mobile games of its ilk.

These games were pretty popular, but they effectively only existed for a few years and have been all-but wiped from history. Their remembered impact is so minor that I can’t even find an agreed-upon genre name for them (I call them “distance games”).

It’s a shame, because sometimes this sort of mindless progression is just what the doctor ordered, and I feel like it would still be right at home on mobile. Maybe they just don’t monetize as well as gacha bullshit.

I never owned an Xbox. But for several years I maintained a list of games I wanted to try if I ever got one. The list grew and shrank over time as new interesting games came and eventually got ported to other platforms, but for basically its entire lifetime the list’s top game was I MAED A GAM3 W1TH Z0MBIES 1N IT!!!1

Released in 2009, Z0MBIES was a quirky and bite-sized twin-stick shooter (at a time when I was very into those). The game was small and mechanically simple, but this was the start of the indie games boom and the game was downloadable for a single dollar. Plus it had a personality that catered to what was popular on the internet at the time, with an irreverent and self-referential soundtrack, references to other popular games, and of course a leetspeak title. It was one of the most successful indie console games of 2009, and though it wasn’t enough to persuade me to buy a Microsoft console when I already had Sony and Nintendo ones plus a gaming PC, I always wanted to try it and be part of the moment.

The game isn’t talked about much anymore, but I recently found out that in 2021, it was ported to Steam. This would make me happy on grounds of games preservation and art history regardless, not to mention the generosity of releasing the game for free–but I was also just really excited that I was finally going to be able to play this game. I could hardly believe it.

It’s been a long time since I’ve been into arcadey twin-stick shooters. My gaming in general has slowed down considerably and I’m particularly uninterested in chasing high scores. But I was so happy to install this game onto my Steam Deck and finally give it a whirl. For a few minutes there, it was 2009 again. A very different time in the life of the games industry, and in mine.

I still don’t plan to buy an Xbox. But I guess I can finally take this game off the list.

So, I’ve been reading the Star Trek comics set in the world of the reboot movies. They are surprisingly good.

The sixth volume makes references to the events of the then-recent Star Trek game set in the same world, which surprised me–most Trek comics exist in their own isolated continuities, since mainline Trek continuity is dense with decades of lore by this point. But the reboot movies started with a cleaner slate and thus can have a single continuity between comics, movies, and games (well, there was just the one game, but still). So that’s kind of cool.

But it’s also clearly cross-promotional. If you read the comics and they tease you with references to the game’s events, maybe you’ll get curious and go buy the game. It’s a little blatant, but, well, I enjoyed the comics so much that it actually worked on me. I decided to pick up the game, which I’d previously ignored due to its poor reviews.

Here’s the dumb part: you can’t buy this game anymore. Not new, anyway. It came out in April of 2013 on PS3, Xbox 360, and Windows/Steam. In April of 2016 - just three years later - it was delisted from all platforms, presumably due to license expiration.

I don’t know much about licensing deals, but this really feels like a terrible model in which everybody loses. If I could have bought this on Steam, I would have, since I have a Steam Deck and no portable way to play a PS3/360 game. Instead, I bought a used physical PS3 copy and not a cent of that sale went to the developer, publisher, or IP owner. The cross-promoting comics convinced me to give Paramount money that Paramount actually refuses to take.

This is also a clear argument against digital-only distribution. If the game hadn’t been sold physically, it would now be almost impossible for me to play it at all… at least legally.

Thankfully, the game was sold physically, so I was able to grab it off eBay for ten bucks, and now I am excited to go play this terrible game.

Every once in a while, I like to pretend I’m going to catch up on Dragon Quest.

I played a lot of DQ 3 on the NES when I was a kid, but never really got into the other mainline games. Builders 1+2 made me wish I had a better grasp of their stories/worlds, and Heroes II made me want to better know their characters (especially from DQ 4).

These are widely-beloved culturally-significant games, and as such they’ve received a number of ports over the years. But when I look at the options for playing these games today, I’m flummoxed. I know I should no longer be surprised by basically any decision made by Square Enix, but their treatment of their notable back catalog really comes across like they hate money.

The first six mainline DQ titles all have relatively definitive ports… on mobile. (One can quibble over the graphics, but my understanding is that it’s not nearly as bad as the ports of classic Final Fantasy or Chrono Trigger, and unlike with those games, the DQ ports are otherwise generally considered the best versions of the games due to fixes and quality-of-life improvements.) None of these are available on PC. The only mainline DQ game on Steam is DQ XI. And for consoles - the first three of the ports were also ported to Nintendo Switch… but only those three.

I don’t understand this. Is the paying audience for classic JRPGs really bigger on mobile than PC or console? I find that hard to believe (especially because, like with all Square Enix games, they are quite highly priced for the mobile stores.) I know I don’t want to play a classic JRPG on a touchscreen, and I expect people who want to play old games to care more about preservation and prefer platforms that aren’t actively hostile to it.

And as the developer/publisher, once you’ve paid the overhead cost of getting the engine and translation in place and released the older, less-well-regarded games (3 is well-liked, but 1 and 2 are generally not as recommended as 4, 5, and 6), why not release the later games too?

Dragon Quest isn’t even the only series that Square Enix has treated this way. The first Star Ocean has a nice port on Switch and PS4… that is not available on PC. (At least this one isn’t mobile-only, I guess.) And the second Star Ocean, which uses the same engine and is already translated, has not received such a port and isn’t on any modern platform (at least in the US). Steam only has the fourth mainline Star Ocean game at this time (though thankfully the upcoming sixth game is supposed to come to it too).

I was so sure once the DQ 1-3 ports and SO 1 port came to Switch, they’d be followed by the next games and also make it to Steam, but it’s been quite a while now without so much as a whisper of that. Instead we’re getting… a new remake of DQ 3. What?

I don’t know what to do with all of this. I guess if I want to play DQ 1-3 my best bet is Switch. But 4 and 5 are the ones I’m most curious about and I don’t seem to have great (legal) options there, despite it really seeming like it wouldn’t be hard for Square Enix to provide them.

I feel like a lot of Nintendo’s choices make more sense if you don’t think of them as a video game company but rather a collectibles company that happens to make video games.

It’s hard for me not to scoff at Sony’s claims that they “aren’t hearing” that the PS5’s storage is too limited (even before Masahiro Sakurai complained about it). I’m pretty sure “not listening” is a more accurate phrase.

It’s rare I can install a game on my PS4 without deleting something else first, and game sizes are only getting larger. (And it only makes things worse that so many games, even if you buy them on disc, still install 20 GB or more onto the hard drive.) And while I do applaud the PS5’s level of backward compatibility, the fact that it can immediately play existing PS4 libraries (not to mention the PlayStation Plus Collection) means a lot of players already can’t fit their library onto their console.

Not acknowledging that storage is quite limited feels like denial of customer reality - the time and cost of having to download and re-download huge games because you can’t have them all on your drive at once, as well as the fact that the store will eventually be taken down preventing any future re-downloads. If that happened right now with my PS3, I’d mostly be okay - it’s got all the games I really care about installed right now. If it that happened right now with my PS4, I’d lose a lot.

(By comparison, on my 3DS, Wii, Wii U, and Switch, I have never once needed to delete a game to free up space.)

I think it’s plausible that given SSD costs, launching the PS5 with relatively low storage makes sense - but claiming that the feedback isn’t happening just makes Sony look out of touch.

There’s something deliciously ironic (if slightly tragic) about the fact that the Xbox Series S can play PS2 games when no PlayStation console since the first-gen PS3 has been able to do so.

It’s my new favorite piece of evidence that if you’re concerned about artistic and cultural preservation in media generally and games particularly, you basically can’t look to the rights holders. You have to look to the people commonly thought of as pirates.

After eleven years, FarmVille is shutting down at the end of 2020.

I never tried FarmVille. As I once discussed, I wasn’t exactly a fan of what it represented - games successfully hijacking prosocial behavior for profit. Now, though, it seems almost quaint. I mean, on the same day I saw this news, I also saw that EA is promoting FIFA lootboxes in a children’s magazine. Keeping in mind all the other controversies of the past decade, it’s hard not to feel bizarrely wistful about the gaming culture problems of yesteryear.

But here’s what really does bother me about FarmVille’s shutdown: the reason for it and the impact on games preservation. Per the announcement, this is happening because “Adobe will stop distributing and updating Flash Player for all web browsers, and Facebook will stop supporting Flash games on the platform completely after December 31st, 2020.”

Whatever your feelings about FarmVille as a game, it’s undeniably a significant part of gaming history. It peaked in 2010 at 83.76 million monthly active users (about seven times the peak World of Warcraft reached in the same year of 12 million subscribers). It would be difficult to overstate its legacy on the design of social and mobile games over the next decade (not to mention directly inspiring Ian Bogost’s infamous Cow Clicker).

There are many, many reasons to be nostalgic for Flash and sad for its passing. Few of them had as much impact as FarmVille.

Another entry for the list of modern sorrows: reading about a cool-sounding game and going to check it out, only to find that it was retired almost two years ago and is no longer playable.

So, while I love the Nintendo Switch, there is something about it that makes me sad: the death of pointer-based games on console and handheld.

In 2004, the Nintendo DS came out. At first, people didn’t know what to make of its touchscreen and stylus. It felt gimmicky. But then games like Trauma Center: Under the Knife, Elite Beat Agents, and The World Ends with You (to name just a few) showed us what you could do with it - things that you couldn’t do on any other game system. Then in 2006 came the Wii, showing that by using a Wiimote and sensor bar you could do the same things on a larger scale on your living room TV. Everyone talked about the Wii’s waggle, but the pointer was the real game-changer, as seen in games like Metroid Prime 3: Corruption (not to mention three more Trauma Center games). You could even play light gun games like Sin and Punishment: Star Successor or Resident Evil: The Umbrella Chronicles with no extra equipment!

In 2011 we got the 3DS, an improved DS that allowed for new experiments like Kid Icarus: Uprising and in 2012 the Wii U combined both the Wiimote/sensor pointer and the stylus/touchscreen pointer. Not only could the Wii U play its own pointer-based games and Wii pointer-based games, but through the Virtual Console it could play dozens of excellent DS games by using the TV as the top screen and the GamePad as the touchscreen.

But the Wii U failed, and the hybrid console Switch has replaced both the Wii U and the DS line. It technically has a touchscreen, but it’s easy to forget - most games don’t use it because it’s not accessible while the Switch is docked. The system doesn’t even come with a stylus.

As a result, an entire interaction style is lost to console games. To port any of these games to Switch would require completely reworking them for a very different experience. Sony and Microsoft never adopted these interaction methods on a large scale - Xbox had its own Kinect experiment, and PlayStation Move was never a major player. The only place you can find reasonable pointer-based games now is on PC via mouse, which is not quite the same.

I’ve written before about how the convergence of gaming platforms will mean more homogeneity of game experiences. This is why that makes me sad. There were some great games on DS, Wii, 3DS, and Wii U that are now unlikely to receive any real follow-up and will be increasingly difficult to find and experience as their native hardware ages out, and which can’t even be preserved via ports without losing a lot of what made them special.

PlayStation wants to move its established community from PS4 to PS5 quickly. Here’s PlayStation CEO Jim Ryan, as quoted by gamesindustry.biz:

These are gamers who are networked and sticky and engaged and passionate about PlayStation to an extent that we’ve not seen in previous generations. As we move towards the next-generation in 2020, one of our tasks – probably our main task – is to take that community and transition it from PlayStation 4 to PlayStation 5, and at a scale and pace that we’ve never delivered on before.

He goes on to talk about how impressive the PS5 is, and how easy it is to develop for, and how great its games will be, as well as how PlayStation itself is improving its internal organization. But I was really hoping he’d talk a bit about how the transition will be made appealing to the existing community. To me, the obvious thing is to make the PS5 not be a hard break from the existing PS4 ecosystem.

When the PS4 came out, I was very disappointed to learn it wouldn’t have any backward compatibility. I’m sure this saved money during development, and of course it meant that old games could be sold to us again as “classics” or via PlayStation Now or whatever, but it still seemed like a mistake. It meant that the PS4 wasn’t just an upgrade to the PS3, the way the PS3 had (originally) been to the PS2 and the way the PS2 had been to the PS1. For the first time, a new PlayStation console came with an entire separate ecosystem. Its value wasn’t enhanced by your existing investment in games and the community. It wouldn’t replace your existing console. It was more analogous to buying a Nintendo or Xbox console to supplement your existing console. And in that case, suddenly it’s a lot less obvious that you shouldn’t just buy one of those instead.

It was a while before I bought a PS4, and longer before I was confident I’d been correct to do so (and my PS3 is still hooked up next to it). If the PS5 wants me to be more confident that I should move over to it quickly, it should at least play every PS4 game, disc and download alike. Similar compatibility for games for older PlayStation consoles would be even better, and while I personally don’t do much online play, cross-play with gamers on at least PS4 seems like it would help too. There are rumors (supported by a patent) that the PS5 will in fact be backward-compatible (though perhaps not for the unusually-architected PS3) but it’s unclear yet whether this is true and whether it would mean we could reuse our old discs and downloads. Guess we’ll still just have to wait and see.

So. Like. I’ve never played Fortnite. I’m not really their target market. And if I had any doubt of that, the events of the past few days confirmed it.

Because if I did play Fortnite…
If it was how I blew off steam and connected with my friends…
If I’d spent money on in-game currency and gear…
If I were a streamer who relied on the game to make content, and in turn provided free marketing for it…

I would be pissed that they took the game down for multiple days as a marketing stunt.

And it would not exactly instill me with confidence that this was an ecosystem in which I should invest time, money, or effort, and certainly not one I should rely on being around and available.

To me, it feels weird that games aren’t subject to the ravages of time but real life is; apparently to Randall Munroe it’s the other way around.

If you want to go back to an old game world and see simulated change and decay, you can always revisit a neglected Animal Crossing town.

For real decay, check out multiplayer servers for old online games. It’s like a memento mori for games with kludged-in online/multiplayer requirements.

We are now in an era where entire game platforms (including re-downloads of things you’ve bought) can just vanish. http://community.us.playstation.com/t5/PlayStation-Mobile-Support/INFO-Update-on-PlayStation-Mobile-PSM/td-p/45023971

The Internet Archive is amazing. Here’s the first videogame I remember playing, right in your browser: https://archive.org/details/atari_2600_frogs_and_flies_-_frogs_n_flies_1982_m_network_david_rolfe_-_intv_mt56