Anyone old enough to have played with an original Nintendo NES knows the problem: You plug in the cartridge, turn on the system, and get a blank screen and the power light blinks at you. The schoolyard fix is to take out the cartridge, blow into it, then put it back into the system. Then, with a little luck, you can play your game. The trouble is, that’s just a short-term fix. In the long run, it makes the problem worse and eventually the system can’t play games at all. The solution is to clean them. Here’s a process for cleaning NES games.
RBI Baseball was the first hugely popular baseball game to appear on the Nintendo NES. It featured real baseball teams who’d done well in 1986 and 1987 with actual player names, so kids could replay the 1986 and 1987 postseasons. It also featured two All-Star teams. The National League All Star team included a mystery man: Pedrique, a shortstop. His real life counterpart was Al Pedrique, who briefly played shortstop for the Pittsburgh Pirates.
Today, if people remember Al Pedrique, it’s probably for his appearance in RBI Baseball.
If you misplaced the AC adapter/power supply that came with your Nintendo NES, or it broke, you may need a replacement Nintendo NES AC adapter. Fortunately, you have a number of options.
Most devices are super picky about electricity. Don’t use random AC adapters as a general practice. What I’m about to say applies to the original Nintendo NES console, and the original NES only. I have general advice on replacing AC adapters that applies to other devices.
What is retro gaming? The specifics depend on your age, but it generally means playing vintage (retro) video or computer games today. The part people argue about is what constitutes retro.
There isn’t a lot of agreement or consensus about that, and I have some ideas why.
The Atari 2600 CPU was a nondescript MOS 6507 chip. Neither Intel nor Motorola had a CPU chip in the early 1970s that could meet Atari’s price point. MOS Technology didn’t have one either, but they asked Atari what they could afford. Then they made one.
The 6507 is so nondescript, some of them don’t even have the number “6507” anywhere on them.
I’m reading a book called Trade-Off, by former USA Today technology columnist Kevin Maney. It’s primarily a marketing book.
Maney argues that all products are a balance of fidelity and convenience, and highly favor one or the other. He additionally argues that failed products fail because they attempted to achieve both, or failed to focus on either one.
An example of a convenient product is an economy car. They’re inexpensive to buy and inexpensive to keep fueled up, but don’t have much glitz and you probably won’t fall in love with it. A high-end sports car or luxury car is a lot less practical, but you’re a lot more likely to fall in love with it, and gain prestige by driving around town in it. Read more
After my disappointing experience with an inexpensive–perhaps I should just say cheap— X-Kim USB gamepad, I decided to give the GT Max Playstation-USB converter a try. This inexpensive (under $5) adapter lets you use Playstation and Playstation 2 (PS2) controllers with a PC.
I’m just interested in being able to use it with emulators for older systems, so I can’t comment on its suitability for using Playstation dance pads with PC games, or using inexpensive PS2 controllers with PS3s. Other users report some degree of success for that.
I’m happy to report that I can now play five or six levels of Jumpman or 9 innings of Baseball Stars without my hands hurting.
I think the last time I saw a halfway original idea for a game was around 1992. Everything I’ve seen since then has just been a re-hash of something old, with incrementally better graphics to make it prettier to look at, better AI to make the game harder to beat, and perhaps a new setting.
So I don’t play a lot of games. And when I do, I’d rather play an old game for an old system, which of convenience’s sake usually means running an emulator. But video games on a keyboard–even a really good keyboard–isn’t much fun, so I bought myself a cheap USB game controller.
Rob O’Hara offers an interesting perspective on piracy.
I agree with him. 20 years ago, copyrighted material offered presence. It was something special.
Computer software was mostly sold in specialty stores. And if you wanted something, the store might or might not have it. There was a bit of a hunt involved. I still have fond memories of going to Dolgin’s, Babbage’s, and other long-gone stores to buy Commodore software. Sure, I pirated some stuff (who didn’t?) but mostly confined myself to out-of-print stuff that you couldn’t otherwise get.
Believe it or not, I took pride in having a shelf of paid-for software.
Music was the same way. Back then, the average record store had a comparable selection to your local Target. If you decided you liked Joy Division or Sisters of Mercy, you had a long road ahead of you to collect all their stuff. Acquiring material that was far off the Top 40 path took time and effort, not just money.
Today it doesn’t matter what you want, you can probably find it in 30 minutes online. Legally, or, in most cases, illegally. Like a friend asked me about 10 years ago when broadband connections became attainable and this stuff started to change, “How can data be rare?”
The solution some people give is touring. That works for musicians, but not so well for everyone else. Book signings aren’t very profitable for most authors. There’s no close equivalent at all for software. Charging for service works for application software, but not at all for games.
The solution is to find other ways to make a living.
The loss? Culture, frankly. Music gets reduced to the lowest common denominator. Record labels can’t (or won’t) take a chance on promising young bands whose first few records don’t sell. Had U2 come on the scene in 1999 instead of 1979, it never would have made it. The Joshua Tree was a huge seller, but who’s ever heard of Boy and October? By today’s standards for first and second albums, they were flops.
The result is we see a lot more acts like Justin Timberlake, who can make a lot of money fast. If they fade from view, it doesn’t matter, because the record companies can always manufacture a replacement. Which leaves little reason to take a chance on someone who does things differently and takes a few years to really burst onto the scene. The environment doesn’t really favor the development of someone like Talking Heads, the Moody Blues, or much of anything else that deviates from the norm today. Or U2, for that matter, who may sound mainstream today, but they sure didn’t in 1980.
I see other arenas suffering too. Name me an innovative video game. There’s been very little innovation since Wolfenstein 3D came into being in 1992. Virtually everything since is just a variation on that same theme: Shoot everything that moves in a 3D environment. Yawn. That wasn’t even very innovative–it’s just that it happened in 3D. There were plenty of shoot-everything-that-moves games out there in the mid/late 1980s for the Nintendo NES. Wolfenstein itself was a remake of a 2D shooter from the early 80s for 8-bit computers called Castle Wolfenstein.
Creative people who want to have a house and a car and a few things to put in it find other ways to make a living. Like writing or doing graphic design for Pizza Today or another trade magazine. It’s steady work. It’s not glamorous and won’t make you famous, but it pays the bills. And it’s niche enough that it’s unlikely to be pirated.
Someone may find a way to make things work in this new reality. Odds are it won’t be someone in Washington. And it probably won’t happen tomorrow. Which is a shame.