If you’ve never heard of the original Xibalba, that’s not too surprising. The 2014 browser game from Phobos Lab is a weird little artifact of its era, a chonky retro styled Doom clone premised around the Mayan underworld. The blocky aesthetic exists alongside Oculus Rift functionality, allowing players to immerse themselves in the weirdly blended aesthetic of New World iconography, nineties era first person shooters, and the spooky ambient music of Andreas Lösch. ModRetro’s decision to bankroll a Nintendo 64 version of this game adds another level of eerie recursion to the whole concept, creating a demake that feels like a delightful, disturbing trip from a parallel universe.

It certainly helps that Dominic Zablewsky seems like a genuinely sweet and enthusiastic guy. As he tells it in the game’s instruction manual, Xibalba was mostly just a demo for his JavaScript game engine, and not even a “real” game in and of itself. Building it up to something worthy of the fifty-dollar asking price required, among other things, that Zablewsky rewrite the entire game in the C programming language. This is the kind of ambitious task a programmer takes on only if they have genuine passion and curiosity, and Zablewsky’s enthusiasm bleeds through every one of Xibalba 64’s seventeen levels.

What really sells this title as something special is how despite the sheer sense of scale of this world, we ultimately know surprisingly little about it. The story as outlined in the instruction manual is vague and cryptic. So is the opening crawl that prefaces each level, eerie, ominous poetry about the nameless protagonist’s descent into this world, culminating with an equally strange encounter with a god and a ray of light.

We never really do find out what exactly was going on, causing the entire text to read like a nightmarish fever dream. Even Zablewsky’s flawed English goes a long way to maximizing the vibe. It’s not always entirely clear what certain technical instructions mean, for example, but in a game this simple, there are only so many ways to interpret them. Who’s telling us these instructions anyway? The shamans? The tree monsters? The robots? A disembodied voice somewhere? Not knowing just makes it that much creepier.

Even getting lost is just an excuse to take in some of the details, trying to figure out what exactly is going on with this worldbuilding. One of the few technical flaws I noticed in this game was a lack of a map. Although I realized upon further consideration this was a deliberate choice to maintain the immersion, and it works wonders. Especially with the lights out, I consistently felt as if I was wandering through a deeply unsettling place. That I was using a small collection of high-powered weapons to blow up every other living or mechanical thing I found down there just contributed to that sense of unease.

The actual gameplay of Xibalba 64 is nothing new, not just compared to Xibalba but relative to Doom clones in general. In some ways it’s beneath the capabilities of the M64. There’s no vertical shooting for example. Again, though, the simplicity of the overall game design is what makes it much easier to focus on the smaller details. This isn’t a game about shooting monsters, even if it’s difficult to finish any given maze without killing everything in the level. It’s a game about being tested, or judged, by who or what, it’s hard to say.

This as much as anything else nails the retro gaming experience. Why do we play games at all, really? Why play Nintendo 64 games instead of titles on new, shinier consoles? It’s not just the nostalgia factor, it’s about that spiritual connection with other fans. Zablewsky nails that vibe long before the end credits, expressing immense appreciation to the Nintendo 64 homebrew community for all their help in getting him to figure out how to make this game work. Whether as the disembodied prologues or just the guy who uses the end credits to write in little hearts directed to his fiancé, Zablewsky is a real person, and Xibalba 64 is his genuine labor of love.

Not to suggest that the main value of Xibalba 64 is its connection to Zablewsky. There’s a lot of replay value in here, from extra difficulty settings to loads of secrets and cheat codes. This isn’t even getting into the multiplayer options, from a co-op mode in the main campaign to a four-player bug hunt or, for that real nineties magic, a deathmatch to the last person standing, with enough options to change up gameplay to keep it spicy without being overwhelming. This is the kind of game you can play at parties. Nerdy parties, perhaps, but Xibalba 64 is the kind of game that makes you proud to be a nerd. It just feels really considerate, right down to the bevy of customization options.

The post Testing the M64: Xibalba 64 appeared first on Old School Gamer Magazine.

With the release of the M64, most hobbyists concern themselves with the technical aspects of the machine. How does it compare to the Analogue 3D, or original Nintendo 64 hardware? Worthwhile questions to be sure, but I prefer to try and evaluate the console on its games and how they play. To start out, let’s take a look at Xeno Crisis, one of ModRetro’s four inaugural launch titles for the console. As is the case with the Chromatic, ModRetro isn’t just releasing hardware, they’re also publishing physical software that we can buy in cartridge form and own forever, instead of being tied to an online account.

Xeno Crisis is on-brand for ModRetro in that Xeno Crisis is a retro throwback title made by an Indie developer, Bitmap Bureau. But it’s off-brand for the M64 in that Xeno Crisis isn’t a throwback to the crude 3d modeling that defined the fifth generation of console gaming. Xeno Crisis is a top-down room-to-room shooter game with arcade sensibilities much closer to the fourth generation. Designed for the Sega Mega Drive (Bitmap Bureau is an English company after all), Xeno Crisis looks fantastic in the 16-bit style. But it doesn’t exactly push the limits of 64-bit hardware.

And to be entirely frank, Xeno Crisis warrants a bit of a re-evaluation at this point. Coming out in 2019, it’s nearly old enough to be a retro game in its own right now. With new games on older platforms being less of a novelty now, its flaws are that much more glaring. The lack of native save files, for example, particularly rankles as one of the Nintendo 64’s few advantages over its CD based competitors was save batteries. Even if you argue that the difficulty curve of Xeno Crisis, and the whole gameplay tradition it represents, should eschew the very concept of save files, I can think of no good reason why this version of the game doesn’t at least save the high score. There’s almost certainly a save battery on the cartridge that just isn’t being used.

On the topic of difficulty too, Xeno Crisis is too tough for its own good. The problem is less that the game is particularly unfair so much as the enemies are unreasonably tanky. Xeno Crisis is borderline unplayable unless you make a point of getting the weapon power up upgrades as quickly as possible. If you don’t, even on the second level, every room becomes a marathon because it just takes too long to kill anything such that soon there are a dozen enemies breathing down your neck. With the ones that have projectile moves, the game feels less like an action shooter and more like a bullet hell, which isn’t the best genre to play with friends.

For what it’s worth, Xeno Crisis does play better with a friend, as the added firepower goes a long way to preventing enemies from quickly amassing an outrageous numerical advantage on the field. The revival mechanic is also much appreciated as a way to keep less skilled friends in the game when they keep dying. Annoyingly, this mechanic doesn’t function in the boss rooms. It would be no more overpowered there than it is anywhere else and serves little purpose except to force your teammate to watch as you struggle to survive the boss’s attack pattern long enough to achieve marginal damage against its huge health bar.

Cheat codes might have helped, but I couldn’t get the Nintendo 64 ones I found online to work. Incidentally, they really should have been in the manual anyway, and that’s such an obvious asset to having a physical edition I’m honestly surprised they weren’t in there. While there is an easy mode accessible from the options menu, it doesn’t help as much as you’d think either, because the creators of Xeno Crisis don’t seem to quite understand why the game is hard. An extra hit point and slightly less spread on certain attack patterns doesn’t help that much with overwhelming numbers of tanky enemies. Xeno Crisis badly needs to even the scales with more firepower. Despite featuring a bevy of special weapons that do just that, the drop rates for them are quite low. Annoyingly, the game will often provide useless medpacs or grenades.

It also rather awkwardly forces the player to empty their guns at the end of a room instead of giving them a free reload, or else they run the risk of running out of ammo at the beginning of the next room with the ammo pack more likely than not spawning in a place overrun by enemies that can’t be killed owing to the lack of bullets. This isn’t even a critique of the difficulty, it’s just a basic quality of life improvement. A similar one would be displaying the bullets, grenades, and hit points of the space marines when the game is paused, instead of making this yet more information that’s all too easy to lose track of in the ongoing chaos.

From what I can tell, despite Xeno Crisis being a ModRetro branded rerelease, this is just the 2019 version of the game that Bitmap Bureau themselves released on Nintendo 64 cartridges a few years back. It’s possible that there’s a contractual reason why ModRetro wasn’t allowed to modify Xeno Crisis, although it’s disappointing in any case because it would only take very few tweaks to significantly improve this title to a genuine party game. Even something as mildly ambitious as upping the coop play cap from two players to four players would upgrade Xeno Crisis from a mere gimmicky rerelease to a genuinely impressive update that warrants the fifty-dollar price tag. The Mega Drive might not have been able to handle that much action, but the M64 certainly could, and again, one of the central features of the Nintendo 64 was making a big bet on four player couch co-op play being the future of gaming.

This particular version of Xeno Crisis is one of the better ones, incidentally, if only because it takes advantage of the goofy yellow C buttons to allow players to easily shoot in a different direction than the one they’re facing. Despite eight direction movement being standard, I often found myself wishing Xeno Crisis only had four directional movement since the roll move, essential for getting out of danger, almost always defaults to diagonal movement even when using the control pad. This might just be an issue of the M64 Pro Controller being too sensitive for its own good. Whatever the cause, more controller customization options would have gone a long way to improving Xeno Crisis, a game that’s good for what it is, but could have been genuinely great with just a bit more polish.

The post Testing the M64: Xeno Crisis appeared first on Old School Gamer Magazine.

Late last year, MetagameMike partnered with Broke Studio to release a physical edition of his platformer Kero Kero Cowboy, a Kickstarter project that saw completion in early 2025. The concept is pretty simple. The title character, Kero Kero, is an anthropomorphic frog in a Wild West setting hunting down five outlaws. The style is most reminiscent of the older Kirby games, as Kero Kero has the power to grab foes with his tongue and spit them back out. Except that he also has a pretty sweet gun that’s bigger than he is which can be used as more of an on-demand weapon.

Kero Kero Cowboy isn’t the kind of game you could make today thanks to this concept. Cute cartoon characters killing each other is one thing, but using a gun to do it? Now that’s going too far! Ethical quandaries notwithstanding, Kero Kero Cowboy is a very solid platformer in the 8-bit style. Kero Kero himself is a lot of fun to move around, and the game does quite a bit more with the Game Boy Color hardware than you’d think. Mainly this is just a matter of excellent use of the bright color palette. Kero Kero always stands out in the relatively drab background thanks to his nice shiny green color and dark black hat always making him very visible. Even his gun has a distinctive enough hue it’s often fun to just to enjoy the absurd image of a cowboy frog with a gun.

The platforming is also fairly enjoyable, and enough on the easy side that I didn’t mind the occasional hiccup in regard to hit detection or the invincibility frames being a bit short. Bear in mind, Kero Kero is sturdier than he looks. In between three hit points and six bullets in the gun, it’s not until the latter levels of the game that Kero Kero Cowboy poses much of a challenge. In the earlier levels, I often found myself skipping the checkpoints just to save the measly ten coins. One hundred coins gets you an extra life, although as is the case with many games of this type, the save battery mostly renders extra lives irrelevant.

The 25 platforming levels and 5 boss fights are all exceptionally well-done. Still, the lack of extra modes in Kero Kero Cowboy were a bit of a disappointment. Apparently they were planned in the Kickstarter stage, but MetagameMike didn’t quite hit the requisite goals. But ultimately, I can’t fault Kero Kero Cowboy for focusing on playability and charm rather than challenge. This game is remarkably well-optimized for real hardware considering it was originally a digital only release. The load screens are non-existent, and levels only take a couple of minutes at once to finish, assuming you know what you’re doing anyway. Kero Kero Cowboy is very much a platformer in the pickup and play mold, and I always looked forward to getting back to it during spare moments when I needed the pick me up of feeling like a badass froggy gunslinger.

The post A review of Kero Kero Cowboy appeared first on Old School Gamer Magazine.

With a release date of 2015, Life Is Strange is another one of those games that’s kind of pushing it in terms of the “retro” designation, although if you’ve ever seen the game in action, graphics aren’t the strong suit and Life Is Strange certainly looks like it could come from an earlier era. Of course, the art style isn’t really the point. The story is. The five-episode adventure game follows the teenage Max as she returns to Arcadia Bay, finding evidence of disturbing crime all around her. In her Boss Fight book, Kaitlin Tremblay also has a novel take on the nostalgia aesthetic of retro gaming, likening Max and other characters to her own experiences as a teenage girl. Albeit a cooler one than the typical author of a Boss Fight book, as she would go to parties and drink booze.

I’m a little reluctant to discuss the plot of Life Is Strange in too much detail here because even relative to other Boss Fight books, Tremblay’s tome really hinges on the reader having some experience with the game. This is mainly because Life Is Strange’s gameplay revolves entirely around choices. As Max, the player has to decide the best choice of action to get to the bottom of the mystery. It’s not often obvious which choice is the right one and, as Tremblay notes, kind of the point of the game is that, as in life, there really isn’t such a thing as a “right” choice. There are always unintended consequences. And even the game’s time travel mechanic allowing you to pick different choices doesn’t help as much as you’d think.

Tremblay’s analysis delves a lot into the narrative purpose of choice in games, noting that it’s not something you can easily graft onto any random story. Her argument that Life Is Strange represents a uniquely effective utilization of choice mechanics is backed up, not just by her descriptions of the choices, but even the game’s own Steam statistics. You can find out how many players did what in their own playthroughs, and the numbers are likely to be closer to fifty percent than you’d think. This even applies to the notorious “Bae or Bay” choice that closes out the game, which itself is an excellent demonstration of other narrative arguments that Tremblay makes in regard to whether we care about characters or settings in a game.

For all this, Tremblay does have a foot firmly planted in the real world. The opening where Tremblay discusses her party girl lifestyle isn’t bragging, it’s to set up an anecdote about that time some creepy guy she didn’t know kept calling her at home, and it took a disturbingly long time to get him to stop. Assuming anyone even did get him to stop, as opposed to his just stopping on his own. The police were useless. To paraphrase another classic game, the lesson Tremblay took from this was to only trust her friends, the police will never help her.

And that’s why she (and plenty of other gamers) identified so strongly with Life Is Strange. Fundamentally, this is a game about how awkward and weird it can be to be a teenage girl. Which makes it kind of funny that apparently Life Is Strange was made by a bunch of French white guys. There’s a strong social justice bend throughout the book, as might be expected, although it feels surprisingly archaic given that the book came out earlier this year. A big reason for this is just that most Life Is Strange discourse happened several years ago, and this discourse is always changing. Although at the same time, some of Tremblay’s sources can be a bit arcane. I’m not even sure how she found this video by Shareef Jackson, which only has a few hundred views.

But all of the material Tremblay cites is interesting and relevant. Life Is Strange is a game that allowed her to understand herself better, both on a personal level and in terms of her own work as a narrative designer. But just on a broader philosophical level, this book has quite a bit to say about how the choices we make in games are, or should be, more about us than about the games themselves.

The post A review of Life Is Strange from Boss Fight Books appeared first on Old School Gamer Magazine.

Last month, the Final Fantasy Five Four Job Fiesta started its usual summer event. Based around the 1992 Super Famicom Game and its various remakes, the Four Job Fiesta takes a simplifying approach to the job-based role-playing game. Instead of utilizing all 22 jobs, players volunteer to only use 4 jobs, selected via a generator on the Four Job Fiesta website. As perhaps a testament to the design of Final Fantasy Five, the game is always theoretically completable even with this self-enforced restriction, and many a player has been surprised at just how well seemingly low-tier classes perform if given their chance to shine via the event.

Eric Koziol, also known as revenantkioku, has over the decades transformed the Four Job Fiesta into a charity event, where players can pledge a self-imposed dollar amount to the charity of choice depending on their performance in the game. The Job Fair is a formal means of enacting pledges, allowing players to reroll their jobs. However, the bulk of donations as can be seen on this year’s Tillify page are just from fans of the event, or alternatively, fans of the charity. This year’s charity is Trans Lifeline, a grassroots non-profit offering emotional and financial support to trans people in crisis through a hotline and microgrants program.

As of this writing, the charity event has now passed the $10,000 mark, two-thirds of the way to this year’s $15,000 goal. The Four Job Fiesta seems quite likely to hit this benchmark, as over 60 days remain in the campaign, which is set to end on August 31st. Many players opt to play the game multiple times, as the exact strategy can differ markedly depending on what jobs have been rolled. One word of advice from this writer. Though the game should be winnable in nearly any configuration without excessive grinding, the Reflect Knights in the Barrier Tower drop Reflect Rings. And in most configurations, you’re going to want them even if you don’t strictly speaking need them.

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Earlier this year, Pen & Sword Books released The History of the Pokémon Games, which I reviewed here. At the same time, they released the much less obviously marketable The History of Silent Hill by Samantha Morris. Similar titles notwithstanding, these are very different books. While the Pokémon volume functions primarily as a sort of encyclopedia, Morris is comparably restrictive about what she considers to be a “true” Silent Hill game, limiting her analysis to the four numbered entries, Homecoming, and Downpour.

Morris doesn’t spend a lot of time explaining why she doesn’t consider Origins to be a central title when everyone else does. Ironically, based on her descriptions of the other six games, it seems that the main problem with origins is that it’s too concerned with the lore. Despite all the Silent Hill games being connected to, well, the creepy, foggy community of Silent Hill, only the first and third games in the series have a meaningful story connection. And even that’s technically a plot twist. Silent Hill is more a vibe than a place, a sort of haunting that works its way inside-out from the terrors of your own mind, presenting a nightmare world that doesn’t even look the same to anyone else.

This sort of thematic ground is pretty common for any fans of the series. The Boss Fight book exclusively about Silent Hill 2 makes a similar sort of argument, just in more detail and focused entirely on Silent Hill 2’s own narrative. Like that text, The History of Silent Hill is stuck in an awkward place in that dissecting the themes pretty much requires spoiling the whole story, and the author can do little except beg the reader to play the game if they haven’t already. The History of Silent Hill does have happier new than the Boss Fight book did in regard to playing Silent Hill 2 on modern hardware, though, in that Morris is adamant that the 2024 remake is an exceptional conversion made by people who clearly understood what the original game was trying to do. Not to be confused at all with the 2012 remake, which ruins it by among other things, not managing the fog properly.

For the other five games, Morris recounts not just the thematic horror of the stories but also how they tend to play out in practice from a gameplay perspective. Her bestiaries of the monsters in these games describe how they act, how they can be killed, and what this says about the subconscious nightmares of the main character that imply or spawn such creatures. This isn’t exactly a player’s guide, mind you. Morris develops her interpretations of these games by stripping them down to all their individual elements, development, plot, characters, monsters, endings, and uses her generally accurate descriptions of them to create a greater thesis about what these games are actually about.

It’s a good analytical technique if only because it can help job the reader’s memory about how these games looked and felt when it may well have been ten or twenty years since they actually played them. Of course, the fickle nature of memory itself is a pretty predominant theme in these games, with the warped worlds the players encounter all being a direct case of distortions in these mental records. Laid out end to end like this, it’s easy to see how all six games are connected in more profound ways than just the lore. Morris even lays out a fairly convincing argument as to how Silent Hill 4 is unfairly maligned, as both gameplay and storywise, all of its strange departures from the formula are perfectly within the larger ethos of Silent Hill.

The post A review of The History of Silent Hill appeared first on Old School Gamer Magazine.

As far as “retro” games go, Red Dead Redemption is kind of pushing it. The 2010 open world game was already released well into the modern AAA game production environment. Matt Margini’s tome from Boss Fight Books implicitly acknowledges how this is a different story from the Boss Fight norm in that it’s hard to isolate individual influences. For the most part, Margini describes “Rockstar” at large as responsible for the game’s design, though he does make it clear that Rockstar was fairly infamous for brutal treatment of its employees in this time period.

Despite this modern aesthetic, Red Dead Redemption has a fairly credible case for being a retro title in our hearts because, as Margini’s father notes, it’s the game where you can ride a horse. Yes, technically speaking, Red Dead Redemption is a riff off of the Grand Theft Auto genre of open world gameplay. But as Margini articulates in this book, Red Dead Redemption is also a reconceptualization of the entire Wild West genre. When reading a novel, or watching a movie, the idea of the Wild West representing freedom is an abstraction. Yet in Red Dead Redemption, you can actually play as the isolated gunslinger in an open world where you can do pretty much whatever you want. And where does that get you?

Well, as it turns out, not very far. The great joke of Red Dead Redemption, in Margini’s telling, is that its hero John Marston, actually has very little real control over the bleak, cynical world he lives in. Sure, he can do anything he wants in the open world and even has a pretty badass bullet time power to boot. But no matter what Marston does, in the long run, he double-crosses his own allies and is doubled-crossed in turn by the feds. He realizes the general hopelessness of his own situation and not only fails to stop his own cycle of violence, but we the player even get to watch that cycle continue after his own death.

These are layers to the open world genre that were not common in 2010 and still aren’t really all that common today. The unsettling implication of this story is that Marston is more being played than he is playing the game. And this is a legacy that goes back to the Western genre in general. Margini’s Red Dead Redemption book, despite being part of a line of general video game explaining books from Boss Fight, actually tends to function better as an introduction the abstract concept of the West for people who might not really know all that much about it. Red Dead Redemption itself assumes (probably correctly) that its players have at least some idea what the West is, if only through pop culture osmosis. But they’re less likely to understand the theoretical underpinnings.

Margini’s analysis on this front is accurate…mostly. Margini buys into a lot of the myths about the myths of the West that can distort some of its interpretation. The depiction of native Americans, for example, assumes a longstanding one-dimensional presentation of their appearance in the Western genre, when in fact the dark, almost comically ambiguous native American quests in Red Dead Redemption aren’t as far off from “classic” Western stories as you’ve probably been led to believe. Margini also completely misses the general cynicism of the Mexican revolutionary quests are some of the game’s most genuinely racist sequences, playing into stereotypes of Latin American cultures as being incapable of non-corrupt leadership.

Mind, Margini’s impressions are so widespread I can’t exactly fault him for presenting them as uncontroversial. He cites his sources, and his analysis in his own right is pretty on-point. His writing understands the difference between John Ford and Sergio Leone, and dives back as far as weirdly homoerotic quotes from the landmark Western novel The Virginian to make his arguments. But at the end of the day, it’s not the citations that give Margini’s book its emotional heart. No, it’s his very sincere effort to understand why, of all the games his father has ever seen him play, it’s the one where the player character can ride a horse that struck a chord with the old man.

The post A review of Red Dead Redemption from Boss Fight Books appeared first on Old School Gamer Magazine.

On Friday May 29th, Clear River Games confirmed that they would be rereleasing the classic CAVE shooters Pink Sweets: Ibara Sorekara and Muchi Muchi Pork! on modern consoles. The developer City Connection is responsible for bringing the games to the PlayStation 5 and the Nintendo Switch. The shooters originally came out in 2006 and 2007 respectively. They were two of eighteen vertical shooters that CAVE produced in collaboration with AMI for Japanese arcades from 2002-2011.

Why these two specific titles were singled out for this rerelease wasn’t entirely clear. Pink Sweets is the third title in the Ibara series of shooters, but with a much more colorful food inspired palette. Muchi Muchi Pork! is themed around pigs and makes extensive use of a lard system as a core gameplay mechanic. The only apparent commonality between these two titles, as opposed to other CAVE shooters from this time period, is that they were licensed for an Xbox 360 release back in 2011.

The original arcade game modes will be included in this release, although there will also be multiple new arrangements that will make these shooters more accessible to casual fans as well as more difficult for hardcore players seeking a greater challenge. The compilation is set to see a digital release on October 1st on the online Playstation 5 and Nintendo Switch stores. A physical version of the game will be available for purchase starting on October 26th.

The post PinkSweets and Muchi Muchi Pork! Ports Confirmed for Modern Systems appeared first on Old School Gamer Magazine.

Earlier today, Stern Pinball formally announced through a video and a news release on its website that it has developed and is now selling a Transformer pinball table, specifically titled Transformers: More Than Meets The Eye. This table is themed around the 1986 animated film, Transformers: The Movie, although it also utilizes story elements from the 1984 television series. The project was developed with a mind for the movie’s fortieth anniversary this year.

As to be expected from Stern’s retro releases, this table makes extensive use of footage and music from the original property. Peter Cullen as Optimus Prime and Frank Welker as Megatron both make custom call-outs. Additionally, there is a new special mode centered around The Touch by Stan Bush, the song from the original film. Original music from The Knights of Unicron also features heavily into this table.

Of particular interest to pinball fans is a competitive mode allowing two players to directly play against each other, one as Optimus Prime, and one as Megatron, on the same table. Lead designer Elizabeth Gieske, who also developed the Jaws table, has also brought over some of the innovations from that well-received project, like in-game currency, console style gameplay, and distinctive alternate game modes. As is typical for Stern releases, Transformers: More Than Meets The Eye is available in three editions, Pro for $6,999, Premium for $9,699, and Limited for $12,999, with extra features scaling for the higher levels.

The post Stern Pinball releases new Transformers Pinball Table appeared first on Old School Gamer Magazine.