Videogame Review, Battleship for the Phillips CD-i

Videogame Review, Battleship for the Phillips CD-i

Gruesome, albeit violent and for mature audiences only.  Battleship is the classic hit-and-scratch game where you sink battleships over the ocean although the Phillips CD-i version takes it to a graphic, more visual level with intense stereo effects along with old black-and-white footage (perhaps from World War 2) so you can hit your enemy ships with gross ideas as well as sadistic philosophy.  Don’t mistaken the game for a children’s program.  This CD-i game is not for children at all!  I’ve almost wet my pants from the theater of war known as the ocean battle between ships upon mysterious locations under and around the sea towards brittle fire and missiles equipped by sailors who may eventually drown someday because of the general onslaught of violence among oceanic fleets; the sounds of war are as old as the hills despite the various changes in tune according to conflict and misinformation beyond the measure of common sense, so you’ll be getting into the red and white squares as indicated on your oceanic map which can’t locate a ship until it’s sunk completely down in the crystal blue pixels.  A battleship program like this one I just recommend for people who’d already started high school or taken a serious, albeit moral, history class: footage on the brink, sounds could kill your ears to the struggle of silence, reminding me of American Civil War reenactments where my family settled for picnics of fresh grapes and dumb cheese, yet Battleship does remark on violence through enough plausible representation to get at battleship wars between the whispering and gurgling waves, maybe around the Pacific or some other ocean.  Controls accentuate those visuals upon shaky grounds or aquatic lands by possible destinations as pressed into through buttons which only demand guided input and generous output.  Question marks shown on each screen make use of the Phillip CD-i’s intention of educating you on how gameplay works however mature individuals enter their input and output out of original gameplay, then, with hitting each question mark with a floating PC-arrow-like symbol, Battleship generally demands more patience in the sense of learning but not in the sense of fragmented downloads which impede on your precious moments; in fact, from hitting the far right action button instead of your first two action buttons behind it more towards the loose and accurate direction pad, you can skip animations although they’re not that lengthy even if you choose to watch them for destructive information.  At this point in my review, it’s important to tell readers why my wording sounds so grotesque and arrogant with some possible voices that can be used for reading my literature out loud- 1) it’s probably because you hate reading at times and thus your voice makes my review sound inappropriate, and 2) war, or the topic of war, can’t be expressed without arrogance because arrogance, like the behaviors exhibited by soldiers and marines in documentary-like footage on Battleship, is the footprint or resourceful psychology to what’s needed of deathly circumstances among real acts of war against enemies who, basically, can hurt your feelings just to see you squirm in the battlefields.  War isn’t friendly and that’s why Battleship, because it shows violence and destruction going on when alarms are sounding off the TV in scary effects and sailors are drowning or being rescued by enemies who will make them prisoners of war, can’t possibly be for anyone who hasn’t been to high school yet.  Saying here is profound and I’m expressing doubt as to what exact age this battleship program is meant for and I’d say… 16 years and up.  Most certainly you can work at a business with a permit at age 16 in California.  You won’t be drinking alcohol at 16 years of age, but at least you won’t be drunk enough to confuse the violence for happiness which becomes apparent from my friend and her former lover named Don (who happened to be a war veteran before he died but didn’t keep up with his militaristic personality and turned to the bottle to forget responsibility/harsh life).  Gameplay in Battleship is original since it’s a harsher, nastier shade of fiction compared to the Battleship board games and you can actually aggravate and feel from the war program until you’re shaken up into mild, mature humor if not downright disgust.  Like I’ve said: mature audiences only, not for the faint of heart.

Videogame Review, Venture for the Atari 2600

Videogame Review, Venture for the Atari 2600

Too difficult, too brave, and very suicidal.  I don’t like games of this nature because they ruin appetite to the point of disgust and you’re even handling enemies throughout the hallways in Venture less well, so between you and me, while Venture does have some maddening effects with my admiration for it, I really wish Coleco would’ve just made some other type of game for arcade privilege on the Atari VCS.  Bounds here and there are hard to see, monsters practically in ghostly shades, and what you’ve seen from Berserk on the Atari 2600 is ratified on Venture until there’s too much in a color, way so much of velocity from hallway creeps despite the fact your arrow-holding venturer tries running as if there’s glue to his feet.  Maybe Coleco wanted there to be drama in addition to privilege but there’s so much drama it practically washes out healthy barbarianism as well as fun upon general gameplay.  Desert Falcon for the Atari 2600 is relatively a complete game because of what it tries to present whereas Venture reels in some well-defined shapes in absence of true, arcade business; in fact, general gameplay here boils down to madness you hardly control and Venture acts as more like a program with eastern style of presentation in regards to vicious creatures or tooth-for-nail results.  Scratch that; it’s more like tooth-for-anvil.  Gamers who have done well in Venture ought to be congratulated since this Coleco game is more like a war-saw or something akin to monstrosity at its coarsest of video happenings, although (when push comes to shove or I’m strangled near the doorways) Atari 2600 should have better capabilities than what Coleco wants to show through this program.  Hardness of motion upon the rooms between me and other monsters needs its difficulty tuned down even on the best difficulty levels however we’re trying to put effort/speed into madness out of chaos.  Problem here is that there’s discord against chaos and it seems Coleco- on purpose- decided to visualize worse things than honest difficulty.  Mario Bros. on the Atari 5200 is way, way too easy, but Venture on the Atari 2600 makes me dizzy even when the orange, electric barriers in the diamond room look promising enough.  Still, I’m not going to feel like giving a mediocre rating for mediocre work let alone impossible work.  “Impossible difficulty”.  That’s why I think Venture resembles a hacked game more than an official program whatsoever.  Besides, along lines of defeat, even gross encounters and disruptive music, chaos seems so uneven: at times everything is too slow, at other times too fast, leaving me with no choice but to practically grind my way through all of the disordered programming to get anything done over weaponry and jewelry.  Don’t get me wrong; we have to appreciate the Atari 2600, otherwise the Atari Video Computer System, more than how we understand ourselves in reality, for things on Earth generally look extremely obvious in way too many places compared to what’s on the Atari 2600.  Certainly Venture provides us with symbols so that we can connect to the outer reaches of the universe through the subtlety of texture and video performance.  It doesn’t matter how “real” modern games look; if you didn’t see the pyramids, you didn’t see the pyramids.  Okay, can I go now?  This game is very embarrassing.  I don’t want to be made to feel like we’re just losers who have nothing to do on time for fun and entertainment except for vanity, corruption, and boring dynamics.  Quite simply Venture is absolutely glaring with inferiority and it’s felt by plenty of Atari gamers that Coleco churned out this piece of junk on purpose to portray their Colecovision video game system in better light.  Please don’t like junk; it’s bad enough when we spend money on horrible art during the holidays and Venture is just noise and confusion without rest or focus towards our Atari privilege.

    

Photo Attribution: https://atariage.com/cart_page.php?SoftwareLabelID=577&ItemTypeID=CART

Video Attribution: https://youtu.be/Two45w911PM

Videogame Review, Barbie Super Model for the Sega Genesis

Videogame Review, Barbie Super Model for the Sega Genesis

Beautiful rush!  There’s a game like this one where Barbie the toy doll can show her stuff in the face of Aspen, along other lines with other places until you can rake up points upon those sweet bounds through her streets by privilege in fashion and discipline.  Okay, you can stop laughing now.  It must be funny for me to be as serious about this game as I am about Gears of War or something else for dispute, even fun, between going to my old rocking chair and television as headed for Barbie’s love in appeal if not her subtle giggle on what’s perhaps a talk show with a blue chair in so much fluff.  You dress Barbie here.  Thing is, you have to remember color combinations and shape combinations and I find myself getting lucky for remembering one kind of combinations and not the other.  Everything just happens quickly against practice rooms located at road-ends around places like New York, Hawaii, and (as said with high enthusiasm) Aspen.  We can try finding out what doesn’t work for her dressing wardrobe simply through on-screen implications and decorated hints, something to Barbie’s fashion I command on for my “new” Sega Genesis with all its built-in programs; Barbie Super Model basically overrides the built-in games on my “new” Sega Genesis and, although it was a packaged, brand new Barbie game left in its wrapper for about 25 years, everything seems to be looking swell and I find myself skating near a crystal blue beach where all the fun happens.  Fun is a problem for Barbie; she has to get to fashion shows and everybody around her is just trying to have fun, so she struts, bikes, rollerblades, and even drives (in a pristine sports car) along lines of eventual embarrassment, funny cues, and flat-out silly moves.  Barbie Super Model is just pure pleasure for the Sega Genesis if you’re willing to calculate the public’s odds near glorious movie theaters and deserted cameras she picks up near tipsy drivers.  No, not drunk, just tipsy.  Being tipsy a bit while driving is natural, for, through hairy flares and exotic-looking headgear and complicated nails and other such lipstick material, this blond doll is something of an extraordinaire on ice, a dream of fusion for taking glittery appearances, 90’s most certainly engineered within this Sega Genesis game only to leave me with better confidence over the colors and shapes I choose for living my life, not just Barbie’s life.  Schizophrenia haunts me from time to time despite the odds against me and so I return to children’s programs on occasion like Barbie Super Model to get a better hand at the very basics of foundation, clothing, and seemingly foreign material.  Please, stop laughing.  A boy like me needs to understand why ladies have problems with their diaries let alone dressing mayhem.  Over the battle fields Barbie goes, entering and returning on a whim through glee into happy, mad wit, just when special occasions close to Hollywood and elsewhere print up her privilege so she may assume love means so much by looks and dressing mechanics.  I’m afraid someone is going to laugh so much he or she will want to hurt me.  Haters… haters.  Just to get to the point, Barbie glows like a plastic exaggeration to which emotions among many a passerby curtail on her ambition for the better.  Let’s try having sympathy: is dressing so quickly before traveling around the world enough of a problem for the blonde date, the wild, crazy lady who wanders through the landscapes in search of truth and fun?  Fashion is bias though.  In fact, you’re expected to help Barbie copy exactly what others are doing; surely we have to find what works for her even if identity is really a funny copy for the privilege of sagging and dragging like a hot model on gossip.  I’m being figurative about this game’s implications since the beauty of the graphics and Barbie fashion in general leaves me with enough hands tied on my Genesis controller with involving gameplay and performance, but I’ll permit my readers to criticize me in private and be lovers in public.  Barbie is totally rad!

https://youtu.be/XiGqDTHLzwY

Photo Attribution: https://en.wikipedia.org/wiki/File:Barbie_Super_Model_Coverart.png

Random Video

Videogame Review, Keystone Kapers for the Atari 2600

Videogame Review, Keystone Kapers for the Atari 2600

Creepy, silly, and daring. Those few words are only some hint of praise located here along these studying lines between a prisoner of the cosmos and your little blue pet who calls himself a “cop” or whatever he would’ve said in Southwick’s by a flaring sunset/sunrise. Whereas the Atari 5200 version of Keystone Kapers is brilliantly abstract, the Atari 2600 version of the same program is brilliantly flat. How so? Because you can’t switch to other difficulties or have a really fast-paced joystick for the policeman’s line of duty towards sailing upon floors through feet if not disgruntled legs of uniform, plus there’s a crystal-clear ring after you arrest Harry Hooligan which indicates horror that’s so subtle you can almost imagine a fleeing prisoner in tears. Harry doesn’t look as healthy on the 2600 as he does on the 5200. Maybe we can see how Activision’s expression is: lean, clear-cut, but tough to beat, even during askance on difficulty variations you have to live through to see more trouble ahead. Atari 2600 didn’t originally have a fast-paced joystick so your stumbling around elevator spaces just shows how demonstration of exact mileage for this controller may leave hardcore gamers high over the sharp, clear, level floors in Southwick’s (probably a toy store due to harsh airplane toys and gravity-defying beachballs) and dry throughout the urban landscape of punishment and numbness. Like I’ve said, or implied with technological specifications written through my Apple’s keys, Keystone is very much horror along the 2600’s lines but there’s exactions upon completion for which heavy duty officers might roam their pink airs in ups and downs over the elevator belt of three tiny, colorful corridors. However we’ve been to Mars and back relates to this game because of Atari’s and Mattel’s pretension as far as galaxy launch is concerned. Still, we haven’t colonized on the moon. I guess people want to fake on spacial lists towards Moon, Mars, Jupiter, Mercury, Planet X, etc. Anyways Keystone Kapers… should we bite on the officer’s baton as much when he crashes into red blooms although ducking under them matters to the point of expertise? Jumpy behavior. What’s noticed here is that Atari 5200 packs more of a punch- swift analog, cheerful specks of light in its 5200 video presentation; on the second hand, Atari 2600 version only asks for patience and less sensitivity, for, through and through, digital control can be hard to press on compared to analog because of its nature: you often die for not pushing hard enough, yet analog is rather smooth and more buttery for the constant exchange of movements between Harry and Officer Kelly. “Miss Kelly! Your suit makes you look fat.” Okay, okay, perhaps I’m lingering on personality when the reader is as dumb as a box of rocks. Rocks are delicious, don’t eat them. Something is missing in the 2600 version and I guess it’s just the relative completeness of the story; besides, back then, once a company’d release a bulky cartridge for the marketing of video presentations gamers could control without input on program bugging and online updates, there was little such an economic bound can dispel over that basis of video presentation except start completely new somewhere else, which was what Activision did: 2600, Keystone, 5200, Keystone. Like other critics I may be pervious to explication until times up can burn the privilege to the point of roughhousing, joysticking action. Dumb luck is constantly on my mind while I explore the horizons inside Southwick’s and out from dire straits as well as common prejudice (a good man at the bad guy) since moments around the complicated toy store expel unfriendly carts despite things customers actually have. What? Didn’t you think a customer pushed a shopping cart at Kelly for his line of duty above the bits in execution? No, Kelly isn’t a girl. Wait, don’t touch that mouse or else I’ll have to send you to Harry for gameplay if you’re willing to dig into alluring secrets among airplanes when they kiss your face like avian gadgets. Kelly should speak up; I’m tired of this.

https://youtu.be/OG-zdTTD40c

Photo Attribution: https://en.wikipedia.org/wiki/File:Keystone_Kapers_cover.jpg

Song Review- "And I Remember Her" by Jim Croce

Music died a bit when Jim Croce passed on an airplane to the next concert.  Here, he's just singing a cliche, but it makes me dizzy and I prefer sharper seconds.  It's about a French lady or at least a lady in France.

https://youtu.be/yRsPJr2lCdQ

How to Find Gameboy Games

My Video Here: https://youtu.be/zJfm_XuNzmU

Videogame Review, Desert Falcon for the Atari 2600

Videogame Review, Desert Falcon for the Atari 2600

“Just in case you don’t understand, it ain’t easy being heaven-bound.

There must be some luck here, it ain’t easy being heaven-bound.

I got long will boat ripplin’ tide, it’s a no man’s land you see.

Deep in the seams of pride by dreams how they beat us within you and me.

Heaven-bound should stand and glare, put the blinders to your face.

There must be some luck here, it ain’t easy being heaven-bound.

I’m lost in the wild of roundabout schemes, it’s a no man’s land you see.

To be in the waves and sound the alarm and return to the arms of the sea.

Just in case you don’t understand, it ain’t easy being heaven-bound.

There must be some luck here, it ain’t easy being heaven-bound.

A bon vivant, how it is to be free, like a bird with a shored-up reach.

And the Earth gives all the treasures it holds and the oil spills over the beach.

Just in case you don’t understand, it ain’t easy being heaven-bound.

There must be some luck here, it ain’t easy being heaven-bound.

Every night you stay to play with the bandits to your east.

There must be some luck here, it ain’t easy being heaven-bound.”

-Gordon Lightfoot, “Heaven-bound” (1979)

When you consider Lightfoot’s poem within its secondary notions, Desert Falcon for the Atari 2600 most certainly seems to fit along with those poetic lines because of the game’s box’s image presenting us with part of the mystery-holding cartridge.  Desert Falcon like so many old games represents the chaos against possible discord as irritations within the program meld well with the crazy nature of Ancient hieros upon the pyramid shores where your flippant, kingly bird of the sky reigns to the vague spirits of enemy rows.  At times it seems you shoot darts toward the watchtowers only to receive hurried response by enemies of their square-like ammunition; otherwise, it’s death from the shadows lurking into nooks and crannies around the scrolling bend on your TV screen.  Everything in the shooting game is a surprise, another miracle as spread out despite the consequences overqualifying the “beach” (or desert) against exact numerations printed onto the TV screen with vivid, sharp points of input and output for your royal, green bird.  My Atari 2600 Jr.’s booted up among my program cartridges where flashes reflect between TV screen and dark, brown, wooden table.  Green is sending itself forth however you put the red firing button to use unless you warp by some mysterious incident where your ancient hieroglyphics spell out the unknown language of transcendence just to rest near a yawning kitty cat with a decorated turban, to shoot imaginary pellets unto the magical, mythical beast who despises your strange bird to the point of its exhaustion of tongue and terrible breath against animal reconstruction.  Being too early is the same as being too late, the objects don’t seem to really be there; it’s eternal, it’s transcendence, even after sands disappear in your imagination until rocking points become clear and almost impossible.  Controls are rather fantastic and I find myself acting on the shifting shadows wherever my giant bird of royalty hits the deserted pavements of time and space along Egypt’s regressing pass towards destruction.  Sense is hardly fixed for this game.  Disappearances only add to Atari’s tribute for old times within prosperity in the sense of onslaught against returning peace in a bonus round, pink amulets gathered since the harvest upon us may reek of secretive progress among enemies in forlorn of exaggeration.  Often we’re heading into chaos, often hints provide us with tokens for appreciation when simple measures of control play through those consequences between the varied wings, tremendous creatures on grounds so beat and rhythm combine almost to the point of malfunction, yet it’s arcade-like.  Desert Falcon comes close to failing.  It succeeds.  My screen blips with hiccups of single-line static from time to time when courses are transgressing on my privilege.  We have to love Desert Falcon for how it saves the opportunity in the hope gamers should cherish along defeated rows on TV, graphics as high as the desert breeze really showing what ought to in return of happiness, video form over ancient changes upon the stretching heavens of time.  This Atari 2600 game gives us what’s as close to eternal life on the TV screen as there ever can be unless I’m misspoken on important matters for modern gaming.  Maybe I’ll try more shooting games that have been made in recent years; it’s just I’m tired of waiting forever on any effect, there has to be hints out of time along the actual eternity before us.  A good cartridge like Desert Falcon deserves recognition for its storytelling, managed exhibit of refined visuals towards Egypt’s long-forgotten past.  Mystery?  Duh, that’s the point!       

https://youtu.be/CPlZr3vKCL8

Photo Attribution: https://vignette.wikia.nocookie.net/egamia/images/1/1c/DesertFalcon.jpg/revision/latest?cb=20080923032703

Vikki Grimm's Body Inflation

Here's a body inflation story.  I've probably had this dream for years.

https://gameuniverso.deviantart.com/art/Magnifying-Her-Looks-736669198

Videogame Review, Berserk for the Atari 2600

Videogame Review, Berserk for the Atari 2600

Flaring with confidence on its variations of maze-like difficulties.  Different challenges from the video computer system will leave you with a small heart for robots who excel at odds only to even out in extinction through careless shapeshifting.  Really, lasers are great here.  My Atari 2600 joystick has such definitive movements in what it presents as a small, black device.  I’m talking the original joystick here.  Movements are often like keys I make to shift my trapped guy into random orbits beyond all measure of common sense.  Everything in Berserk speaks in special terms, special movements.  Evil Otto (which might be my metaphor as well) is nothing but a smiling face going after me while I’m so confused by all the robotic show of progress and denial of humanoid life.  Really I’m at odds with Berserk on the Atari 2600 and fulfilled with initial progress as well as relatively finished goals, to enter between holes and shoot at rectangular laser beams against the slopes of machines who prefer suicide on occasions.  Don’t get me wrong; I’m not promoting self-death theories, but art in Berserk is general and rather magnificent for what it implies, what it presents, even if video using the old RF screws is a little hairy in screen effects or sounds go off kilter from emergency room sound effects as indicated when you attempt shooting a wall from less than an inch, as magnificent and rolling on TV and with sheer progress along lines/rows of defeat.  Each maze is like a constant bug on which Atari’s craftsmanship, amplifications, and serious onslaught of information only beckon on a question in my universe: “Why did Atari split Berserk into different versions anywhere from Atari 2600 to the Arcade Department?”  When I’m attempting at Berserk I’m imagining the illegal peace, the unjustified manners from Evil Otto’s technological crew towards the past’s version of the future- in particular, the entire planet is a maze conundrum, designed by faceless pursuits upon the glowing pavements of fiction of a certain type, although, however Atari touches on Berserk now and whenever I’m ready at old gaming, perhaps the new Atari will create something for the masses with their upcoming console.  Atari has often had its dreams canceled because of the public’s hatred.  Yeah, it’s like that.  I’ll cover my ears the next time I hear a Star Wars fan complain too much and whine about new explanations from Lucas Arts, Atari fans may be the same irritating force depending on the occasion; besides, where have all the good times gone?  Immature criticism by Atari fans and Star Wars fans has ruined Earth let alone the genuine kindness older people may presume of the 50’s time.  Berserk here is a complete package on its future and relative goods of conflict, so there’s time, moments out of entertainment when boredom softens into interest, interest into action, and action into seemingly infinite problem-solving.  Other games exist for Atari guys!  Despite the sickening motions you may assume when confronting powerful robots and Evil Otto’s bouncing prestige, Berserk also lays out separate difficulties with my Atari 2600 Jr.’s handy switch to the top right of the black-and-silver, imperfect triangle console.  Yes, my words sound funny.  Too much has happened in my life for me to just ignore the possibilities of gaming as a relatively experienced gamer of questionable video game systems like the Dreamcast or the Atari box.  Atari, please make more games for me, I’ve been impressed by versions of Centipede given over the years and Berserk on my 2600 is icing on a cake as well as depth in material.  People can talk to themselves while playing games, feeling their voices coming out of their throats and lips, feeling the magic and odd virtue of self-communicating on a dire basis of future gaming as well as excellence of gaming and playing for fun, as Berserk provides that vibe of total darkness of which I game against supposed rooms with so much passion and secret enthusiasm I almost fail again before robots run up to me and give me the kiss of death.  You know what would be good for a new Berserk game on Xbox One or PS4?  How about moving walls, robots trapped in box offices, a frowning Evil Otto?  My Atari 2600 lets me imagine such stuff.

https://youtu.be/J0kWqjDUu7o

Book Review, Ilium by Dan Simmons

Book Review, Ilium by Dan Simmons

History isn’t mere entertainment.  Consequences are deep even if people get confused on wars against privilege and kindness.  Ilium is left with so many spelling errors on names relating to gods of the ancient past while showing off an extreme liberal agenda by Dan Simmons, who lived in Colorado upon atheist works published for the benefit of humiliating real-life individuals until irritations set in for our listening or status of dispute.  Of course, I don’t sympathize with religions too much.  Every created religion involves atheism.  Humans speak on terms for right and wrong using different words across the globe only to show bias on religion and atheism, but it’s all atheism.  Religion only speaks through bias.  Since we tap into different words when attempt is made to express morality and personal feelings, Dan Simmons can be understandable although he seems to make excessive puns on religion and atheism; jokes are presented through his keys despite the fact biological occurrences should be improved on with true morals rather than bias.  For instance, a devilish brute is compared to Sandy Koufax as the SNLA channel on TV in my lifetime represents that baseball player for the Los Angeles Dodgers and informs me of the blue-and-white pitcher’s extravagance of kind-hearted athleticism.  Dan compares a barbarian to a baseball player.  Not only does Simmons misrepresent sports but he also denies morality by confusing differences and similarities between Earth’s athletes, as well as past, present, and future on all matters of spirituality, charisma, and reality.  Deceit is common among individuals like Dan Simmons whenever jokes and poetry are combined with history no matter how gross senses in their minds are but, really, I’ve stopped laughing beyond pg. 20.  Stories as they are here are useless, vain, and despicable.  We’re not exactly talking about Santa Claus jokes; we’re talking about careless history in the making on Dan’s part for anything in reference to liberty, truth, and sensual accuracy of humor on the boredom front.  Yes, yes, he reads Hazlitt… maybe with enough staring at those pages Simmons imagines that freedom can actually exist on insults and hurt, or, perhaps if he reads more carefully, he’ll realize atheism in religions is a culprit which can lead to extinction of the human races and I don’t dawdle over corpses upon their filthy airs of destruction; in fact, I believe a healthy scholar would avoid having pleasure on miserable topics and bad kidding only disrupts the flow of imagination for worse.  There’s no happiness in death unless you’re a criminal.  Laws and rules are given for our sakes of good character rather than apathy as Dan presents within random tales as obscured and messy however readers approach his historical lies.  For God’s sake, even Odysseus’ name is often spelled wrong!  Horrible mistakes exist throughout Ilium.  Take this example on pg. 314 for my one example.  “She turned and led them further east down the steet.”  Steet?  What’s a steet?  A whole lot of academic mumbo-jumbo flips around the pages and I can’t make heads or tails out of this complicated book.  Simmons fails to appreciate his education.  It’s not like I can just warp into his areas of scholastic incompetence through some kind of time machine to endure years and years of struggle within his real, living means.  More explanations are needed!  Honestly Ilium has been my weekly source of much-needed hatred, for, on my mark I get set and go to read this promising hardback just to later get slapped in the face from Dan’s stupidity of casual performance.  This book reminds me of a bad story I wrote.  Geesh!  At least I wrote it with disinterested independence and plausible doubts.  

http://top-science-fiction-novels.com/76-illium-dan-simmons/

Poem- "Bad Sounds"

“Bad Sounds”

It’s age of spice when green may change through bush

Closer to our moon across from rhyme,

Between moments of dispute along whoosh

After ghost for spades weakens a lady’s mime.

Videogame Review, Galaga for the Xbox One (Arcade Game Series)

Photo Attribution: https://en.wikipedia.org/wiki/File:Galaga_flyer.jpg

Videogame Review, Galaga for the Xbox One (Arcade Game Series)

Healthy assortments of animals in the galaxy where your ship is.  Aliens look like bugs here and tend to swirl in formations across from your fixed position where left turns and right angles are possible for great achievements of Xbox Trophies, suggestive hints, and full-on gameplay of game-shooting madness.  Don’t think this is the most mad game, though.  You’re pretty lucky to come across the game without an excessive fever for the arcades.  Let’s see here.  As said there’s swirls of formation across the ship’s part of the galaxy where even aliens may resemble bugs.  Bugs is a good notion because we get irritated with bugs; we want to wipe them clean, leave them dead, burn their viruses, even if ground lands under their wings go for broke on laser-shooting madness although a fly-swatter would’ve been nice.  Despite the fact that Xbox One costs a lot of money for the games, you’ll run into games like Galaga that cost merely a few bucks each, kind of like poker cards you may see at the market where a child cries for a Hershey’s chocolate bar.  Adults from time to time get spoiled too.  Reviewers on the internet at times (including myself) act as though video games are too easy to get, that they’re so possible for any budget.  If you ask me, I think KyoshiLoneheart on Metacritic needs a time out- Galaga is a game with enough depth and good control; nothing is stiff, everything flows nicely, thumbstick works as much as a loose arcade joystick and Xbox One’s directional pad clicks with precision and audible clicks.  No excuse for stinking at this game!  Truth does hurt from time to time since people often don’t start actually thinking straight until a whole lot of lies have first been told.  Nathan (my brother) in my family is also someone with poor appetite on video games: he goes to play once in a while, only being accurate from mimicking newspapers, yet there’s noise and confusion and his mind and time-space of dispute.  It should be illegal for someone to be a critic unless he or she had already been thinking accurately for years and years.  We don’t want lies and deceit from critics let alone anybody in the whole God damn universe.  Objectives of criticism need to be verified through correct morality before we approach Galaga to express interest on futuristic graphics and ammunition.  For one thing, have gamers realized that they need to see the eternal things to life in order to express glee or appropriate emotions?  God can be possible, sin can be possible, blessings can be possible.  Atheists lie about those three meanings by using different words to describe those very meanings.  Galaga ought to be considered a problem for gods, an issue for visual principles, to go in-between virtue and vice on pretensions despite any and all inventions of habit within the human races, so aliens from stars to planets should display whatever emotion conveyed from our lifestyles, our love and hate, few other things besides elements built up on Galaga’s infrastructure over floating scorpions and funny green ships.  Quite a lot must have been happening in the Galaga universe on which gamers/players tell friends made of courage what prosperity prepares for us on demonstrative action.  How about a Galaga movie?  Why not a Galaxian movie?  Besides, the Xbox One improves the Galaga experience by giving us options on control with its mobile, black device designed of separate buttons and functions.  Controllers for Atari consoles and older Nintendo consoles shall be approved upon their fixed controls because often on those machines we’re getting fashion as well as directions without analog or turns without just any digital interface; in other words, the NES controller doesn’t have a thumbstick depending on the occasion, and an Atari joystick “fails” in the sense of lacking a direction pad on varying occasions.  But it’s not really “failure”, as KyoshiLoneheart would like us to believe, unless it’s a sketch in question rather than art for special experience.  At least KyoshiLoneheart does touch on the idea that old games don’t always hold up well for modern times; for one thing, we would’ve gotten classics in art throughout video game history which were never any good and basically just served as sketch.  Galaga is art though, not sketch.  Enemies are well defined in the game and the arcade game’s hints on control apply for any future game possible to come here after, for, with Galaga’s input and output of excellence against boredom, audiences around Earth should enjoy this program.  Criticism of art is only useful if it prevents pain as opposed to bringing pain, except when pain is felt by the guilty people for their notions.  Gulty people really at times feel what their mistakes are, just like the aliens you see on your TV screen while Xbox One is running like a glowing madhouse.  Funhouse?  Yes, and madhouse.  Let’s try having random occurrences disrupt our insults in criticism for this moment.  Galaga is fun, sweet, intriguing, glowing upon madness and galactic victory and shame as the going gets tough and Xbox One not only demonstrates spider-web menus on comfort but also displays heat through definitions which reach into the starry bounds of Galaxian’s sequel and crazy privilege of revision.  Try not being one of those bad thinkers who says too many games are bad; instead, try reviewing characteristics in depth without having an obvious statement on preference, something to which even critics of the New York Times can get into trouble for abusing notions on public demand.  Public isn’t always right, but aren’t individuals even more random in thoughts?  Oscar Wilde can chew on that!  Galaga appeals not only by shining visuals and involved gameplay.  Entertainment goes along for the ride of spiritual discovery which at times is only possible through abstractions and fiction.  Even gods seem possible occasionally through desires built upon storytelling for which humans by magnitude simply expand horizons on with visual principles, literary notifications, and enthusiastic passion.  Whoever has created Galaga truly know where principles lie over defeat and general conquering of space, in art and in reality, to which a good joke or a fancy hint can bring faith to its knees of dispute and galactic existence.  Lots of pictures are possible from this review.  Just know that Galaga has its history as well as eternal, never-failing appeal on which madness resumes upon the far-reaching light kindled against accurate lasers in spite of 80’s fashion and personal identity of sport.  It’s a sport, it’s a plane, it’s tremendous feat between enemies at their defeat of boredom and spacial list of movements with difficulty as increased as a human’s satisfaction, cliches, and vague notions of wakey-wakey time.    

https://youtu.be/bExuSt5DNEM

Poem- "Odd Moment"

Odd Moment

I have a drink of old, fine wine.

My cheeks sting just as much.

Dad lays it along the line.

The phone tells me such and such.

Shirt is almost blue and plain as your time.

Where to go I’ll search an answer at my rhyme.

Rome, Juliet, where did you go?

I’ve almost let butter flow.

Another time is another rhyme.

I’ve got more places to go.

History’s at its rhyme.

Girls leave the boys to show.

So I’m gone in the wind at grasp.

You let me arrive at my cusp.

We’re onto matters as such laughter.

Ears of ours fill with glee.

Too much happens on a whim.

There’s stars and stripes as much to him.

I’ll go and search an answer.

Way so much burns for my sea.

Let’s go and search a request.

My shirt’s as on as best.

History’s at its rhyme.

Girls leave the boys to show.

https://www.poemhunter.com/poem/odd-moment/

Song Review, "Magic Minstrel Show" by Gordon Lightfoot

Gordon Lightfoot, “Magic Minstrel Show”  (a poem turned into an unreleased song, 1983)

“Maybe I try too hard sometimes, it’s a magic life I live.

Maybe I fly too high sometimes, maybe I’ve too much to give.

But for now my darling to the highway I must go.

Tonight I’ll paint life’s picture in my magic minstrel show.

Maybe someday I can relate to all the things that we hold dear.

You know I can hardly wait, come and whisper in my ear.

And so my darling to myself I shall be true.

Painting life’s pictures as all magic minstrels do.

Will you go for one last stand- yes I will, yes I will.

Will you give me one last hand- yes I will, yes I will.

Will you keep on going strong- yes I will, yes I will.

Going strong the whole night long- yes I will, yes I will.

Now and forever to ourselves we shall be true.

Painting life’s pictures as all magic minstrels do.

Maybe someday I can make you see, when I’ve left no stone unturned.

Any day I may be set free when my lesson has been learned.

And so my darling to the highway I must go.

Tonight I’ll paint life’s pictures in my magic minstrel show.

Even though I’m crying to myself I shall be true.

Painting life’s pictures as all magic minstrels do.”

Poetry nowadays is rather picturesque in terms of fashion and visual appeal and Lightfoot’s song here, while the YouTube video is horribly broken, determines a song creator’s life to be something magic, something invisible to see on which strength and tears ought to break down walls against the sad audience being spoken to.  It’s a feeling not quite like logic.  Eternal magic goes along with the enchanting power of love even if it means lessons and tests have to be geared up on literary purposes.  

Videogame Review, Pac-Man for the Nintendo Wii (Nintendo Entertainment System/NES)

Photo Attribution: https://en.wikipedia.org/wiki/File:Pac_flyer.png

Videogame Review, Pac-Man for the Nintendo Wii (Nintendo Entertainment System/NES)

This Pac-Man is like chess on slow and powerful dynamics.  Tunnels around the world here are rather short and Pac-Man moves sort of as a cookie hitting a jar into split paths.  Some of those mixed paths form T’s against Pac-Man’s time in enclosed spaces although teleportation works possibly by guess instead of absolute logic, so I’m going between paths whether corners are formed and ready to bring me to power or we’re left with abstractions of love upon TV.  Don’t easily believe in love; it’s cliche.  Chances are Pac-Man and Ms. Pac-Man know about these ghosts who barge in on their lunch even when their junior is cast to the side of all important matter yet I’m willing to believe metaphors given on the NES’s video presentation being reviewed along this statement.  Controls are a problem, positive and negative, for which, though you get at ghosts and chomp delicious fruit with flapping yellow gums, the old directional pad even back then went through revisions and shortplay testing to ensure Nintendo’s passion for glory didn’t go away on a dime.  Nintendo Wii usually comes with remotes that have directional “pads” as opposed to the Nintendo Switch’s now-futuristic directional “buttons”.  What’s the difference between pads and buttons?  Difference can be that you surf on the pads with your thumb to make sense of a pad whereas buttons are individually pressed without the surfing, hence Pac-Man on the Wii can be said to rely more on the pad as opposed to specific directions.  Just like directional pads on the Sega Master and Xbox One, you “surf”- there’s your thumb on the directional pad, sitting there like flesh in a sore bone, to hit directions through that pad as opposed to very separated buttons while you’re coming to grips with the vague controls on Pac-Man, thus everything leads to occasional mistakes on the turning and steering of your little yellow mouth on the screen, as ghosts themselves seem to stumble like you do but more often and by significant impacts/pixelated collisions on those arriving and shuffling ghost people.  So how did gamers on the Nintendo Wii endure such controls for a game like Pac-Man when feel, touch, and function are vague to the point of constant collapse-and-rise on your pizza-shaped mutant, do we go along or hit the sack, get towards glowing mazes upon sheer ground of mistaken victory, defeat, and privilege?  Quite simple: they’ve played the game.  Gaming actually occurred.  Holding on the Wii’s directional pad was like gripping a rope, lifting an anchor, absorbing the flow of sensual information at our fingertips despite all the odds against us while we yet complete Pac-Man’s tragedy of going on a diet while being chased by wide-eyed villains across from his eventual and grave disappearance.  Baseball players know that control is only figurative.  However we address Pac-Man on its 8-bit excellence depends on NES’s expansion on its horizons on the Wii as opposed to merely the Wii since this Wii download includes a program originally from NES called Pac-Man- ghosts seem to linger around the bend against Pac-Man’s rushlike exposure, seep into background akin to sharp nozzles at their knot, floating and thus exceeding on odds they’re mazing of into Pac-Man’s dispute of bitten particles, plain dots and orange zest, although NES may proceed on itself through more than only divisions to escape from on arcade surprise.  Yes, I’ve played with many of NES’s controllers, including the exercise pad for Track & Field I got from Gamestop years ago for $2.99 (game not included) during an excellent point in my personal history of looking at fish in the neighboring pet shop to Gamestop.  NES serves as privilege in the works and so does the Nintendo Wii because more controllers may inform us better on what makes Pac-Man the arcade beast of excellence in terms of graphics which go hand in hand with directional pad control most of the time except for novice errors like not using your thumb properly or thinking your direction buttons are stamps of some kind.  If you can flow and surf with NES’s directions, go along.  Pac-Man insists on excellence in a funny lie- that you can eat fruit with your ghost- until either Wii or NES (Nintendo Entertainment System), whatever console you chose, beckons on a question: “What do you want on your pizza; otherwise, what do you want on your Pac-Man?”  

https://youtu.be/Cd04z7mtoJw

Videogame Review, Mario Bros. from the Arcade (Nintendo Switch, “Arcade Archives”)

Videogame Review, Mario Bros. from the Arcade (Nintendo Switch, “Arcade Archives”)

Odd excellence at the crabs I hit twice.  Usually I forget I’ve jumped against a crab once and later I end up jumping twice and making that critter guy get up again out of singular unison of collapse and rise.  Okay, maybe there’s a lot of odd excellence throughout the arcade Mario game since koopas are pretty good at soaring downward with changing shell colors.  Controls here can be considered more firm and definitive on Mario’s stops although it gets hard to soar in the air a certain way while coming down onto the glowing sewer lines, or am I in a sewer?  I once had a dream where I could enter the Mario Bros.’ doors at a pizza restaurant and come out with a slime cannon, then celebrate Mario movies with hooked and demonstrative friends.  So Mario Bros. has most certainly had an influence on me- in particular, or of particular, difficulty is eased at the first few progressing levels until any and all progression from Mario and his buggy enemies turns out chaotic and truly hypnotizing with attraction that’s bittersweet yet lovely on plumbing initiative.  At times my originality lies within the relatively new vocabulary used over video games meeting with demise and abstract prejudice as indicated in various definitions or presentations of focused conflict, yet such judgement on Mario Bros.’ strange greatness only beckons on a question: “What do you want on your pizza?”  Here’s another question: what does Mario want on HIS pizza?  Pizza can be an idea for another Mario game.  Artists from Nintendo headquarters can be silly because of abilities on gaming reaching into the cornerstone of humankind’s history on drama, privilege, and fictional storytelling.  Think about it.  Fiction can make humans believe there’s a God, or gods, or visual principles, all of which contribute to both our success and downfall at once as any such disasters in Mario’s plumbing methods, kicking and headbutting while he ensures goals are met on coins to ring on his blue-and-red limbs, outflow upon enemy rows towards heated fireballs disappearing at times through Mario’s forced hat; in fact, Mario looks rather young here, with slighter bulges and lighter hair, as tubes squeeze out noisy money and determinable, alien flies.  Discord?  Maybe.  At least discord is conflicted from the chaos and chaos isn’t conflicted from the discord.  Something gross is really coming out of the story.  Movies ought to be confused by these visuals in performances on Mario’s crew and bucket list of hazards.  However I’m going to pull the lever in approval of this arcade program depends on values I know to be true- creepy turtles, angry crabs, naive flies, the disappearing pows, a bonus on quick earning and so much more.  Mario Bros. on the Nintendo Switch is more on the hardcore difficulty, not the easy way.  Around the time practical bugs had just then preceded the real bugs I’ve seen the world of fireballs and chaotic trouble as the arcade game becomes slightly disagreeable but readily made into 80’s nostalgia and mild quarters towards Mario’s running life against despicable bounds.  What?  I’m a critic.  What do you expect?  The Atari 5200 actually had been released with Mario Bros. of its own and, if you can achieve victory on that level with the actual joystick for 8-bit-like gaming, you’ll notice it’s a lot easier than the arcade version.  Over 200,000 points was gained on that Atari 5200 game before I grew bored and died on purpose.  This is the Atari 5200 game I speak of now and yet I’m comparing that Mario Bros. to the arcade Mario Bros. in mere earnest since I’ve known pressing difficulties not only upon my mind but also my body and privilege, to hold the Nintendo Switch like some dying ember after turtles have kicked me in the butt a couple of times, odd glances on their googling eyes, shaking but not stirring, for, on my mark I get set and go towards arcade performance on tough buttons to which directions seem authentic but time-absorbing.  Time-absorbing is natural.  Mario may make noise under his shoes when turtles aren’t polite to stare like hypocrites of the forest, so whenever I’m between chaos and accomplishment, a bright glare from my TV just indicates Nintendo’s passion for glory and guaranteed returns on playing the game for us.    

https://youtu.be/JHlUEJXaxfY

Photo Attribution: https://en.wikipedia.org/wiki/File:Mariobrothers.png

Videogame Review, Super Mario Bros. Deluxe for the Nintendo Gameboy Color (Nintendo 3DS)

Videogame Review, Super Mario Bros. Deluxe for the Nintendo Gameboy Color (Nintendo 3DS)

Nintendo Life was in love with this broken game.  They feel there’s no such thing as a perfect game and as so back then they reviewed Super Mario Bros. Deluxe to give a positive rating on features although gameplay itself was a complete disaster towards those features.  It was like saying that features are good even if the gameplay sucks.  How is that possible?  Camera angles in this game are very broken and at times I’m just reaching into spaces as blind as a bat.  Scratch that… as blind as a Zubat.  I like Zubats.  We can’t be going along with games just because of their features, for, without nice gameplay, the features won’t hold up.  Even when I collect red coins in various mini-games I’m still blind as a bat (er, Zubat) and it’s just lucky shots by mysterious collision detection anybody is still alive around those voids or overhanging stamps of color.  Mario does look bigger here.  I guess he gained weight.  All right Mario!  No more spaghetti for you!  Gamers don’t care how poorly you fit into the screen on a Gameboy Color; you need to go on a diet… an Italian diet!  Besides that, the Gameboy Color has its shadowy graphics because of the lack of back-lit screens; shadows are fine for the Gameboy Color and I’ve beaten Super Mario Bros. Deluxe by that mode because I was more confident on being blind (blind as a Zubat).  Please, don’t crack up now.  So after I got the download of this Mario game on my Nintendo 2DS as such a portable was maintained only for further pursuit of typical downloads on older consoles from the Virtual application, indicated on my front screens from bashful information on Nintendo’s part and technological ways of expression if not just merely Gameboy Color gameplay, such Gameboy Color gameplay available on the 2DS for dimes and nickels and not just pennies (whew; I’m not paying $30 for this junk), expectation lingered on the horizons I was expanding upon only to come to terms with big video environments on the Mario program, so big I begin seeing phantasms around me from the colorful eyesore.  Anything Super Mario Bros. expressed on the Nintendo Entertainment System (NES) has been absolutely destroyed by the Gameboy Color’s massive interpretation of it along the lines of casual defeat, dismissive action, and common drudgery.  Nintendo Life was right in saying that the gameplay failed, but they inflated their pompous rating with the simple opinion on available features which would’ve only worked on functional input and output of SMBD’s video presentation.  At least it’s video presentation on which there’s some degree of control.  I only say games are good if there’s perfect gameplay; anything imperfect is kicked into the dustbin along with SMBD (Super Mario Bros. Deluxe) and Pong and Arcade Classics on the Sega Genesis; so, between good games and bad games, there has to be such things as perfection or else we’ll be undecided rather than firmly excited.  Just watch the movie Tremors and you’ll know what I mean.  Players on the Nintendo 3DS have rated this game highly despite the flaws of mysterious gaps and random deaths.  You know what that means?  Such people are actually liking the game for being unreliable.  It’s like liking Nintendo for being unreliable and so the ratings for SMBD on Nintendo’s Shop Channel are false values.  Trust me, Nintendo.  Two plus two does NOT always equal four.  Values have to combine with accuracy.  Videogame companies ought to make use of the method of clipping games into bigger sizes whenever game environments are too small.  For instance, take Berserk on the Atari 5200 as an example: there’s too much darkness, lasers which are too small, heroes and villains which are pathetic and laughable, and everything is microscopic.  Should Nintendo be interested in knowing what the OPPOSITE of Super Mario Bros. Deluxe can be, there’s Berserk on the Atari 5200 for dire consideration.  2 extremes can be made here- 1) SMBD makes everything too big and too magnified, and 2) Berserk on the Atari 5200 has everything in its gameplay very microscopic and poorly significant.  Which one should the audience receive for their video game collections?  I say “none”.  Failures in gaming shall inform us more on what’s possible and impossible upon us towards bittersweet universes of video games as well as disgruntled publics.  Super Mario Bros. Deluxe is interesting to me as a video game historian although an edited, superficial and deep Mario game should’ve been considered for the Nintendo 64.  Can you imagine if Nintendo released an ultimate Mario game in 2D on the Nintendo 64?  Perhaps Paper Mario fills that favoritism.  Maybe fears about possibilities make them seem impossibilities and vice versa.  Really, Super Mario Bros. should’ve been given a more faithful treatment in 1999 as well as an honorable improvement on Mario technology.  Better play Super Mario 64! 

  https://youtu.be/7ria7O9Wmjo

Photo Attribution: https://en.wikipedia.org/wiki/File:Super_Mario_Bros._Deluxe_GBC_cartridge.jpg

NOTE: Wikipedia is not the only encyclopedia on the internet.  Therefore, this image may be use here.  Besides that if I were to use a similar photo to this one from Ebay or a game collector site or whatever, Wikipedia gives a false warning on copyright.