socrates63

TECH TIME
Saturday, November 11, 2023
 
  Hi and welcome to Lance’s Laboratory! This is the fourth entry of what will be my personal blog, sharing small slices of life with you from within my Lab. For those who are new to Atari I/O let me introduce myself. My name is Lance Ringquist, I’m from Minnesota, and I am the world's oldest surviving Atari dealer. You may have heard of me before as Video 61 Atari Sales which I have consistently operated since 1983 and I have been at it now for more than 40 years!
If you want to know why the Atari XEGS cartridges rattle, it’s because Atari used hot glue in at least three to four places within the cartridge to hold the PCB firmly in place and properly in the shell. When some of the hot glue comes loose, it floats around inside the cartridge, and that is the rattle you hear.
Here is a picture of an Atari XEGS ribbed super cart disassembled with the glue in place. In this example, you’ll see that one piece has came off that caused a rattle. The piece of glue is circled, and where it came from is circled also.
 

 

 
Now this brings up why Atari designed a ribbed shell for most of their Atari XEGS cartridge releases, and basically abandoned the handle on the back shells.
 

 

 
The handle on the back of the cartridge was really made for the Atari 65XE, and the 130XE. Both had the cartridge port on the back of the machine, just like Jack Tramiel’s Commodore 64, really intended for combining the cartridge port with other ports, to utilize external devices. This design choice was of course born for cheapness.
Then, no need for two separate ports, just one port. The cartridge handle was to give some sort of support for the cartridge not to sag from gravity, and also make the game easier to remove from the back of the machine. However, the problem with the handle cartridges is that they were not as easy to install, let alone extract in the Atari 400/800 cartridge well, and the 1200XL once installed, was not so easy to remove at all.
So, redesign time. The ribbed cartridge shell, with the ribbed design taken directly from Regan Cheng’s design for the Atari 5200 cartridge.
 

 
This ribbed Atari cartridge design solved all of those problems, and then some. The ribbed sides made the cartridge substantially easier to remove in the Atari 400/800s and 1200XL computers. Yet the ribbed cartridge was snug enough to help defy gravity in the Atari 65XE and 130XE computers. Not perfect, but good enough.
Keep in mind, this ribbed design also was cheaper in terms of the plastic cartridge shell and the printed circuit board that was inside. On the handle shells, the cart was held together with a screw, while the ribbed cartridge no longer needed a screw, as it was held together very firmly with clips on the side of the shell.
Plus, the handle cartridge board used four capacitors and four resistors, while the ribbed cartridge board used only three of each. With Atari ordering games 100,000 units at a time, saving one resistor and one capacitor per cartridge really added up, and Jack knew where to cut corners to save the additional cost of 100,000 resistors and capacitors.
Here are my Tower Toppler and Vanguard prototype cartridge boards. You see the Tower Toppler handle board is bigger, and has more support electronics, while the ribbed Vanguard board is smaller, and has less support electronics.
 

 
The ribbed Atari XEGS cartridges were all-around cheaper, and solved some problems. And really, the glue was not needed, but was a “just in case” sort of thing.
Now, you can take cheapness just so far. Once, Atari sent me a shipment of new Atari XEGS cartridges. I opened them to see if any changes had been made before I started to sell them, because with Jack, you just never knew what was coming next. When I opened them up and held them you could feel that the plastic was so soft, I could eventually crush the cartridge shell with my bare hand. I sent them back to Atari as unsellable.
That never happened again. 
 
Thanks for reading,
- Lance  
 
Please visit me online for more at www.atarisales.com

Hi and welcome to Lance’s Laboratory! This is the second entry of what will be my personal blog, sharing small slices of life with you from within my Lab.
For those of you who are just getting to know me for the first time, my name is Lance Ringquist, I’m from Minnesota, and for nearly 40 years I’ve been in the Atari business operating Video 61, one of the last surviving original retail Atari distributors. We started in the video business as a local chain of video rental stores serving the Twin Cities area with locations along U.S. Highway 61, the road that musician Bob Dylan referred to in the album and song Highway 61 Revisited. I also love classic "Drive-In" movies and spending time with my family and friends at my cabin up north.
For decades I’ve gotten to know you guys as my customers and friends, buying, selling and remanufacturing Atari systems, games, software, and computers, and developing my own line of Atari-compatible Video 61 games and controllers. I’m still in my Lab working away dreaming up new creations and shipping off new original Atari products, and I thought after all these years of being in the Atari community it was time to start sharing tidbits of Atari memories and Minnesota life with you here on my blog. To old friends and new, WELCOME!
This is my first BIG Blog post, and I wanted to talk about an interesting bit of Atari history that still applies today and can be helpful to homebrewers and independent developers like me:
To remain profitable if you don’t have the buying power that Atari did themselves you have to look at alternative ways of packing your products.
 

 

 
Having been in the Atari business for decades and running Video 61 as an independent company for nearly 40 years, I began selling Atari products in my video store when Warner still ran Atari. Once Atari got back on their feet during the Tramiel era, I became an officially authorized Atari distributor and service provider. In that time I’ve seen things in the World of Atari that you couldn’t begin to imagine. I’ve had good conversations with Jack Tramiel, I’ve had inside information on the development of games and products which Atari never released, I’ve talked with other 3rd party publishers, I’ve seen absolutely insane things happen in the world of Atari - I’ve even received death threats over this stuff. I’ve survived it all and lived to tell the story.
All through Atari’s history, smaller 3rd party game publishers came up with alternative methods for packing their products. Did you know it was common at the time for many 3rd Party Atari developers to release game cartridges, floppies, and other accessories in simple “budget” packaging such as clear inexpensive clamshell cases and plastic baggies? Some publishers even just shrink-wrapped the floppy disk and documents! (Examples are shown below, and in my Atari I/O photo gallery). Unique, alternative packaging kept costs low for the buyer, while keeping the games profitable enough for the small developers to stay in business and continue publishing Atari games and software.
 

 
The way to get the costs down is to make things in quantity. It's the same idea as shopping at Sam's Club or Costco: the more you buy the less it cost per item. Retail boxes, glossy cartridge labels and colorful instruction manuals cost much less per game when you’re manufacturing 100,000 of them at a time, as Jack Tramiel's Atari did. BUT - when you’re making 10 to 20 games at a time as an independent developer, glossy packaging drives the price up significantly. The developer pays more and you pay more. This is one reason why you see the new Atari charging upwards of $99 per Atari XP 2600 cartridge, and why many new homebrew and independently released cartridges cost so much to buy while the developer makes such little profit on their work.
When Atari was still in business, during the Tramiel era, Atari would regularly provide me with inside information and Atari’s sales history. Beginning in 1985, Atari would fax me their sales history numbers for video game hardware and software and continued to do so until around 1990. These faxes were HUGE. I still have them after all these years, although the faxes are now yellowed and almost impossible to read.
 
 

"Like Jack Tramiel, independent Atari game developers and homebrewers have to weigh costs and pricing, and understand that some games sell well, some so so, and some hardly at all."
- Lance
 
 
The sales figures provided in the fax covered the product lines for Atari 2600, Atari 7800, Atari XEGS, and I think the Atari Lynx. For each Atari game, I was able to clearly see how many were manufactured and how many were sold. This gave me a big picture understanding of what things looked like at Atari, and just how big of a slice of the video game market Atari still had going into the 1990s. 
People have no idea just how big a piece of the video game industry Atari still had in the late 1980s, in the midst of Nintendo dominating the market and Sega making moves. It was still a big slice of the pie, and certainly enough to make money. Between the Atari 2600, Atari 7800, Atari XE and everything else, Atari often had a bigger chuck of the video game market than Sega did with the Sega Master System.
 
Jack Tramiel discussing "Business is War" at Commodore and Atari
 
What I learned from the insider info on Atari sales figures, and through my conversations with Jack Tramiel, was that Atari had a very lean business model that “spread risk” over many games, and to publish a game with a fancy box, slick labels and docs, Atari had to order 100,000 units of a game to get good enough pricing to make a profit on a title.
But there was a problem. Not all titles sold well! Jack Tramiel wanted to get pricing down low enough for each game, so that in case one game did not sell very well, the risk would be spread around different games, so that the successful games would more than make up for any financial loss from games that did not sell.
Like Jack Tramiel, independent Atari game developers and homebrewers (both then and now) have to weigh costs and pricing, and understand that some games sell well, some so so, and some hardly at all. So you need to spread the risks out to make a profit. Do you grasp that concept? Your winners cover your losses.
 

 
So for Atari to be profitable with the XEGS, which used very good packaging in the iconic “blue tile” boxes, and to cover the cost of materials and the cartridge itself, Atari put out around 30-35 new titles for the XE. That meant to get good pricing, spread risk, and make a profit, Atari had to order over 3 million+ units of video game cartridges for the XEGS.
Take for example Necromancer, a video game for the Atari XEGS. Atari manufactured a standard order of 100,000 units of Necromancer, and ended up with around 50,000 units left because the game didn’t sell very well. On the other hand, Atari XE games like Crystal Castles, Airball and others were almost completely sold out.
The idea was to spread risk - to create different games for different genres. Don’t put all of your eggs in one basket, instead spread them around! If you create too much of the same thing - the same world, the same ideas, the same game - it may sell out or it may flop. Infinite diversity in games leads to infinite success.
This is one reason why you see some independent developers and homebrewers struggling. Some of them focus all of their time and attention,  years even, developing a single game, a passion project. Often it will come in an expensive box with glossy label and colorful instructions, all put together by hand. Other developers work on multiple games at once, and work hard to keep manufacturing costs down, and passing those savings on to both the customer and to themselves.
 

 

 
Say what you will about Jack Tramiel, but he understood this simple concept. Atari would release a few games at a time, each in a batch of 100,000, and the successful games would cover any shortfall of the less successful games. Atari would order 100,000 games at a time - enough to keep the manufacturing cost low on slick docs, a nice box with that beautiful Atari XE blue box artwork, and a glossy label, which was something the Atari 7800 didn’t always benefit from. If the game sold well, another order of 100,000 games could be manufactured, should Atari believe there was enough excitement about the game to sell out a second batch.
A similar story was unfolding at Activision in the late 1980s. After the video game crash Activision was a much different company than it had been during the Atari 2600 boom, when Activision saw incredible success with games like Pitfall! and River Raid. Yet they survived the crash and lived to fight another day. Now Microsoft is buying them. By the time Jack Tramiel was running Atari, Activision (and their sister company Absolute) was a much leaner operation. I used to speak with the Activision guys often, and developed a pretty clear understanding of their sales history numbers for Atari systems, and how they ran their business.
 

 
Activision was smaller, and did their ordering 10,000 games at a time. To make a good enough profit, Activision and Absolute needed to sell all 10,000 units to justify a reorder of the game. The first order of 10,000 games sold would break even, and Activision/Absolute would recoup all of their money put into the development and manufacturing of the game. Then, if the game was successful, Activision would order another 10,000 units and suddenly that game would become pretty profitable! However, they told me that only one of their Atari games was able to surpass 10,000 units, which was Title Match Pro Wrestling, and that was a reason why they pulled out of the Atari market. Yet Jack Tramiel was able to sell out quite a few of their video game titles at 100,000. Even with games at the end like Alien Brigade for the Atari 7800, they were able to sell all 100,000 out, and this was with Jack not only not supporting the system properly, but competing against himself with the Atari XE.
There was a reason why so many 3rd party Atari developers released games in alternative “budget” packaging like clamshells, zip lock baggies, and even just shrink wrapped the disk and docs without a box. Because if you cannot attain the high number of sales per unit as Atari still could, you could not get the price per cartridge down low enough to be profitable. This meant finding creative ways to cut back on packaging, and just about every 3rd party company did just that. Broderbund, Adventure International, Epyx, Sierra Online, Datasoft, S.S.I., as well as many others sold games with limited “budget” packaging.
Those 3rd parties made up sales volume with budget packaging, cartridge labels and instructions, because they did not have the customer base Atari still did at that point.
 

 
The new Atari charges a lot for their line of limited run "Atari XP" games for the 2600, many of them are priced at $99. I’m betting its because they use fancy boxes, instructions and "labels". But they do not have the same Atari market that Jack had in the 1980s-1990s, thus much smaller sales volumes and the inability to order a large enough quantity to bring the price down. The Atari XP program harkens back to APX: The Atari Program Exchange and is meant as a gift to the Atari community, and not focused solely on being a profitable, but it's not likely that Atari wants to lose money either.
So when it comes to passion projects like the “Atari XP” games, the new Atari has to cover their costs and hope for a profit. To do this they have to charge a lot more for their games due to much smaller sales volumes. That’s a pretty big risk for the new Atari, and a pretty big expense that gets passed onto you, the customer.
In the 1990s, some classic video game collectors called me a liar for pointing this out, and insisted that game companies like S.S.I., Epyx, Sierra Online, Datasoft, and many other well known (and not so well known) companies never offered their games in clamshells, zip lock baggies, and other forms of budget packaging to be able to offer their software at prices people could afford.
In this blog post you will see lots of pictures I recently took of my own inventory, showing  just that: actual software releases from said companies and more, in alternative budget packaging. I’ve never received an apology from those who were so quick to berate me and call me a liar for being so kind as to explain the truth. Today is their chance.
- Lance  
 
SEE MORE PHOTOS IN MY PHOTO ALBUM:
 
 

Revolutionary.
This word is tossed around a lot when it comes to NES games. Indeed, a lot of NES games were groundbreaking titles unlike anything else people had seen on the Atari 2600, Colecovision, or any other system prior to 1985. Super Mario Brothers was revolutionary because it offered a game with a size unlike 99% of the previous generation's games. Zelda was revolutionary because it had a massive open world with secrets to explore in every nook in cranny, offering an adventure so vast that it had a battery installed in the game to save one's progress across multiple sessions without the need of a password. But what if we took both these games and mixed them together? We perhaps get the most influential game Nintendo has ever published on the NES. This is Metroid.

Metroid was unlike anything else when it came out in 1986 for the Famicom Disk System. It barely had any precedent at all on home consoles at that point. The game had no score at all. It didn't even have levels (even Zelda had those to an extent). No, Metroid was truly a world you could explore to your heart's content. It seemed like there were secrets hidden everywhere, like there was no end to the game at all. Nowadays, the map of Metroid seems tiny, but back then it seemed to be a massive, sprawling, never-ending adventure.
You start Metroid in the middle of a place called Brinstar. You control the little orange-and-red "space robot". He can jump shoot up, left, and right. He can't duck, he can't shoot down, he can't jump on enemies or shoot farther than a few feet from himself. In other words, you seem very limited and outmatched at this point in the game. Enemies are too close to the ground to be shot. You only start with thirty health and die in just a few hits. This is intentional.
You head right, as anyone in 1986 or 1987 coming off of Super Mario Brothers would. Enemies crawl around the ground and swoop down at the space robot (maybe he's named Metroid?). You find out that shooting the blue hatches opens them and allows you to go into the next room. You keep heading right until...

What's this? You're officially stuck. Remember, "Metroid" as we're calling him now can't crawl or duck, and the passage is too short to walk under. You TRY to duck under this passage, but pressing the down arrow doesn't seem to do anything at all. This means, at this point, there's absolutely no way to clear it. Out of desperation, you move left and realize that unlike Super Mario before it, Metroid allows you to go left. And if you keep going left, past the point in the game you started at, you'll find this:

The game pauses for a moment as a jingle plays. This is the Morph Ball, sometimes called the Morphing Ball or Maru-Mari. The game doesn't show you what this strange ball-shaped item does with a text box or anything. It doesn't even tell you what the name of it is. But after collecting it, you'll soon find out that the passage you entered this place with is too high up for Metroid to jump to. The passage below you is too small to walk under either. So you try to duck again by pressing down on the D-Pad again, and this time something happens. That strange sphere seems to allow you to turn into a ball once collected! Now you can roll under the passage and get out of the area you got the item in. You immediately remember the narrow passage from earlier and start running right again, and this time, you're able to clear it. Then, Metroid truly starts.
After this experience, you find out that Metroid is no Super Mario Brothers. This is a game you're going to have to pay more attention to. A game where you're going to have to spend countless hours looking for secrets that help you progress further in the game. You'll find obstacle after obstacle; blocks you can't break because you can't shoot down, red hatches impervious to your beam, areas too high to jump too, etc. Eventually, you'll find items like the Bombs, which are in Morph Ball mode and can be used to break blocks below you, Missiles that take out enemies quicker and let you open those red doors, and High-Jump Boots that let you jump higher than before. The Metroidvania genre is born.
Let's back up a bit. What are you supposed to do in this game? Basically, there's a group of space pirates on the planet Zebes who are using and breeding life-sucking, jellyfish-like creatures called Metroids (yeah, you're not actually named Metroid, like how Link isn't named Zelda) to try to take over the galaxy. The galactic police have sent the bounty hunter Samus Aran (that's Metroid's real name) to defeat the space pirates alone. The brain behind the operation (pun intended) is the "mechanical life-vein" Mother Brain, who is basically a cybernetic supercomputer with extensive databases and networks throughout the planet. Her two main henchmen are the "mini-bosses" Kraid and Ridley, who live in their own lairs below Brinstar and Norfair respectively. While exploring the early parts of the game, you'll most likely come across a room with two statues and an inescapable pool of lava should you fall in. This is the road to Tourian, Mother Brain and the Metroids' hideout and the final area of the game. You'll need to come back to this place once you kill Kraid and Ridley. Then, once you shoot their now-flashing statues, a bridge will be built leading to the final stretch of the game. But first, you'll need to find them, which is easier said than done.
Now is a good time to mention that the original Metroid on Famicom and NES didn't have a built in map. The game has five main areas to explore: Brinstar, a hub that connects most of the places together and is also the area you start out in, the firey Norfair, Kraid's and Ridley's lairs, and Tourian. That's quite a bit to keep in mind while playing, and in 1986 and 87, there was no Google to look for maps on. Your best bet was to draw out your own as you went along, or get Nintendo Power once that became a thing. That wouldn't be much of a problem if the game was easy to navigate on your own. Metroid requires you to take random shots in the dark until something works. For example, you may need to bomb a completely random floor tile in a random room that looks just like the hundreds of other floor tiles you've seen in the game to access a route to a boss's lair, or shoot out a random ceiling to access a crucial item. That's bad on its own, but Metroid also likes to blatantly copy/paste rooms over and over again. In Kraid's lair, for example, there are over a HALF-DOZEN rooms in the first shaft of the game that start out IDENTICALLY! This makes the game very frustrating to navigate around blindly, and coupling that with tougher enemies that hit harder in the later areas means that you'll end up dying a lot without making much progress.
And that leads to another thing: dying. Dying in Metroid is brutal. Throughout the game, you can find energy tanks that increase your max health by 100 HP. Despite that, however, every time you die Metroid will start you off at the beginning of the area you died in with only 30 HP, the same amount you started with when you first arrived on Zebes. That means that you'll have to spend dozens of minutes of your time shooting enemies and grinding the health refills they occasionally drop. Each health pickup restores 5 HP, and the drop rates are very, very low. You'll likely spend your time standing in one spot next to an enemy spawner holding down the B button to shoot until you collect enough health to continue on exploring. There are no other ways to recharge your energy or missiles. This happens every single time you die, and you don't stand a snowball's chance in Norfair surviving unless you grind for health. The energy tanks do refill your health to the max, but there are only a few of them in the game and once you run out of them, you'll have to grind. This is EASILY the worst part about this game. Metroid is brutal, with hard-hitting enemies, instant death pits, and cheap deaths aplenty (you can even get killed during room transitions). This sucks the fun right out of the game for many people. I've gotten to the point where I almost never die in a playthrough, but even if you load up your game via a password you STILL start with 30 health and have to grind. This isn't fun. It's just padding.

Throughout your journey, you'll find many more items to help you reach places you couldn't before. I've already mentioned the Missiles, Energy Tanks, High-Jump Boots, and Bombs, but there are much more than just that. Alongside Samus's peashooter he gets at the beginning of the game, he gets three more basic guns. The Long Beam is the only beam in the game that stacks on top of others in the game. This simply allows Samus's bullets to travel across the entire length of the screen instead of disappearing a few feet from his face. The other two beams, the Ice Beam and the Wave Beam, can't be used with each other. The ice beam will temporarily freeze enemies and allow Samus to use them as platforms, though they require twice as many shots to kill. The Wave Beam can travel through solid objects and travels in a sine wave pattern, finally allowing Samus to shoot the ground-based enemies shorter than him. Sadly though, the Wave Beam is somewhat pointless in the game as the toughest enemies in the game, the eponymous Metroids, can only be disposed of once frozen and shot with five missiles. Speaking of missiles, they are completely separate from the beam weapons. Missiles, unlike the beams, have limited ammo. You can increase your maximum amount of missiles you can carry by collecting more missile tanks scattered about the world, each one bumping the limit up by five. These missiles become quite important when it comes to the bosses and the final area of the game. You simply press the select button to toggle between the beams and missiles, and that's as advanced as inventory management gets in this game.
You also have items like that Varia Suit and Screw Attack. These are completely optional and good bonuses for those who were able to find them. The Screw Attack charges your running jump with electricity, allowing Samus to instantly kill almost anything just by jumping into it. The Varia Suit (which can be seen in the second picture) is a pink palette swap of Samus that simply doubles his defense. The suit will become much more utilized in later games, but here it simply acts as a defense boost.
Let's talk about those mini-bosses, Mother Brain's henchmen Kraid and Ridley. Technically, you're supposed to fight Kraid first, but the game is so open-ended and nonlinear that you can fight them in any order without the game stopping you. Kraid's lair is incredibly hard to navigate. The enemies do a ton of damage and the layout of the place is so confusing that it's nearly impossible to find Kraid without a map. It's so BS that you even find a fake version of the boss. Who does that? EVENTUALLY, you will find the real Kraid, though. He's easily the harder of the two. He'll shoot spikes out of his stomach and through his toenails at you without mercy. The best plan of attack here is to freeze the center spike in place, drop into Morph Ball mode, and spam bombs that'll hopefully blow up in his face. Hopefully you'll have enough energy to damage-boost your way through the fight and have Kraid die before you do. When he dies, you'll get 75 more missiles and begin the worst section in the game.
There is a tower in the chasm that leads to Kraid's boss room made completely of breakable blocks. This tower is no wider than one block and goes up for several screens. You have to shoot a hole in the block tower, shoot the blocks above you, and keep jumping until the blocks respawn below your feet. This requires precise timing and persistence, as if the blocks respawn ON TOP OF you, you'll take damage and be knocked back, falling off the impossibly high tower and having to start all over again. This is outright terrible game design. I have the timing down now that I've played the game for years, but initially this seemed completely impossible. This has absolutely no reason to be in the game other than to pad the length and frustrate players. You're better off committing suicide back at Kraid's room and respawning back at the beginning of his lair.

Navigating through Norfair will eventually lead you to Ridley's lair. His lair is a lot more straightforward and less labyrinthine than Kraid's, but the enemies are even more aggressive and dangerous to make up for it. Once you find Ridley, he's super easy. Simply freeze his fireballs midair (he won't shoot more until they unfreeze) and pump him full of missiles. Then he just dies and you get 75 more missiles. Yeah, if you couldn't tell, these first two bosses are terrible. This is one of the most broken boss fights in any game I've ever seen. I don't think I've died to this guy a single time before. But that's okay. The game more than makes up for it in just a few minutes.
Before we get to that though, I want to tell you all about what this game means to me.
One of my first games ever was Super Metroid, and it immediately became my favorite game. I was only four or five years old (I can't remember if it was 2010 or late 2009) when I started playing it with my dad (he did most of the playing anyways), and that experience really influenced my gaming tastes for the future. We did get stuck a few times, though, and used YouTube walkthroughs to help us. Sometimes the tab would be open and I would click around YouTube and watch the videos that they played. I couldn't really read at the time and just clicked the videos based on the thumbnails. Thankfully I didn't find any naughty things I shouldn't have been watching, thank God. What I did find was a different Metroid game. This game looked AWESOME to me back when I was little. It looked like Super Metroid, but the graphics weren't as good. I really wanted to play it. I assumed, based on the inferior graphics, that it was an older game, but I thought at the time it was the original Metroid. I now know it was actually Metroid 2 played on a Game Boy Player. So my dad, bless his soul, persuaded his brother to give me his old NES and went to the now-long-defunct Star Video and bought a used copy of Metroid for me. This was back in the day when you could buy expensive NES games like Metroid and Castlevania for like five dollars, which is what he paid for those two games. Only one problem though: the NES didn't work. At all. It was in the shop being repaired for what seemed like an eternity, and I spent much of my time laying on the sunroom floor, staring at that silver Metroid cartridge, waiting for the day to play it.
When the NES finally was fixed, I eagerly popped in the game once my dad set the system up, and... I got this. I was completely wrong; the Metroid I wanted was actually the SECOND game, not the first! I was only disappointed for a second though. I really liked this game. I was terrible at it but I played it a lot. Though I still really wanted to play Metroid II, but it would be five years before I would have the chance to.
My dad started up a caramel business in 2013 for reasons I don't want to get into here. He leased out a building that used to be a diner called The Villa to use the commercial kitchen in to make the caramel and sell it at farmers markets. Nothing was sold out of the building, so my sister and I had the entire front of it to ourselves. The front of The Villa was a piece of garbage, though the kitchen was perfectly fine. Every spring there would be a giant puddle of water in the middle of the place, and during the winter there would be no heating or anything. There were also no bathrooms. My parents didn't trust us kids home alone yet, so we had to stay there for hours at a time while my dad and his business partner Jon (same Jon as Atari Jon) made stuff. Our only entertainment was a couple of my sister's Barbies, the NES, and like seven games. One of which was Metroid. I remember playing that game quite a bit there and I have fond memories of repeatedly starting new games and telling myself I was going to beat it this time, only to get stuck in Kraid's lair and quit every single time. Still, it's a fond memory.
I eventually got good enough at this game and beat it, though I gave in and used a map. I think I was 11 when I did this on the 3DS Virtual Console. Nowadays I can beat the game effortlessly with a map and well enough without one. I have had a map of this game and its direct sequel hanging on my wall for years now. I do love this game, though I will admit it has not stood the test of time.
Anyways, let's see what Samus is doing.
As you leave Norfair and make your way back to the statue room, you realize how powerful Samus has become. Rooms that you once struggled with now are cakewalks. As you climb the same vertical shaft you did at the start of the game to get to Tourian, you feel really good about how far you've come. As soon as you shoot the statues and build the bridge, though, that feeling of power turns into one of pure dread and helplessness.

 This is Tourian, the final area of the game.That green thing is a Metroid, this game's namesake. These are the toughest enemies in the game by far. They dart towards Samus with unparalleled speed and latch on to him, rapidly sucking his energy away. The only way to escape is to lay down bombs and hope the Metroid loses its grip. To kill one, Samus must freeze one with the Ice Beam and shoot it with missiles five times. Metroids are always generous enough to drop loads of missiles and energy when they die. And you'll need every bit of them you can get for the final battle.

This is the final battle. Before this, Samus must shoot down several "Zebetite" barriers that can only be destroyed by missiles, which is a pain in itself. The fight against Mother Brain, though, stands alongside the block tower as the most frustrating part of the game. You'll need all the energy you can get to stand a chance here. The floor is lava and the platforms are small. Cheerio-like Rinkas and acid turrets are shooting at you as you try to pump Mother Brain full of missiles. These nearly-unavoidable attacks will send Samus into the lava, which is very hard to get out of. And remember, if you die here, it's back to the start of Tourian with only thirty health. Eventually though, you'll blow up Mother Brain, who will set off a self-destruct sequence that'll blow Tourian to smithereens. The last room of the game involves Samus climbing to the top of a large shaft on tiny platforms while a timer ticks away. If you make it to the top of the elevator and have beat the game fast enough, you'll see one of the most shocking moments in video game history:

 
SAMUS IS A GIRL?!?!
This came as a shock to many back in the day. You almost never saw a woman in the leading role of a game before. In most games at the time, women were the damsels in distress meant to be saved by a male character, like Princess Peach or Zelda. They were almost never badass, awesome space bounty hunters. The game's manual even keeps this a secret by referring to Samus using only male pronouns, which is why I used them in this blog up to this point. This game was incredibly progressive at the time, not just for influence but for women's representation in games. And though the whole goal of "beating the game faster so more suit comes off" isn't GREAT by today's standards, I suppose you have got to walk before you can run.
So that's the end of Metroid. Has it aged well?
NO.
This game is frustrating in almost every way possible. I might like it, but I would never, NEVER recommend this game to someone playing the series for the first time. To the right kind of person, though, I'd recommend this game with a map. For most, though, Metroid is nothing more than a historical curiosity for those who just want to see where the series started.

In 2004, however, Metroid recieved a full, ground-up remake for the GBA: Metroid Zero Mission. I won't be going into too much detail with this game (I might cover it more in the future), but I will say that it does improve almost everything from the original. The map is incredibly faithful to the original game, but slightly different, though that has the unfortunate side effect of making the game incredibly short. There are now save rooms and places to recharge your health and ammo. The secrets are more well-hidden and the levels better designed. The bosses are actually bosses this time, and there's more of them. Items and abilities from Samus's later adventures are here too. It even has a special surprise twist at the end. This game is pretty good and completely replaces the original, even going as far as including the original game as an unlockable when you beat the game on any difficulty.
Zero Mission, unlike the original game, is a GREAT place to start with the 2D Metroid series. A little too great. You see, I actually don't care much for this game because I feel that it thinks I'm stupid. Metroid Zero Mission, to ME at least, seems like "Baby's First Metroid". Unless I'm trying to collect everything, I don't think this game is much better than "good". I seem to be the only person to think that, though, so please don't listen to me and play it.
And that wraps up Metroid and its remake. These games are good, don't get me wrong, but as far as the 2D Metroid series goes, every other game in the series beats them to a pulp. I still pull out Metroid every few months and have a blast with it, and Zero Mission has been growing on me more and more the past few months since I got a repro cart for my GBA. All the 2D Metroids are great games, but these two are slightly less great than the rest, at least to me. This shows us, though, that there is a lot more to look forward to in the series. And that's coming very soon.
Next week: Metroid's flaws are ironed out in my favorite Game Boy game, and Samus starts two new eras of 2D Metroid twenty-six years apart.
 
I hope you are enjoying Month of Metroid so far. This took me a long time to write! Hopefully you guys like this and consider trying out the Metroid series. It's not my favorite series ever without a reason.

Recently, I have been thinking of my favorite games on the Atari VCS and coming to the realization that I have some pretty unpopular tastes. Pac-Man, the "worst video game ever", in my number two spot? Donkey Kong closely behind at number three? Artillery Duel in the top-ten? Video Chess near the top of my most-wanted list? These are some pretty unpopular, if not downright hated games. What's more, some of the 2600's most beloved games, like Yars' Revenge, Adventure, and Pitfall!, aren't near the top of my list. Not that I dislike these games; quite the contrary. I just have some that I prefer more.
This also got me thinking of Flag Capture. Ever since the Wii2600 days, I have really liked this game. I'm very fortunate to have people in my life, particularly my dad, who will sit down and play Atari with me. My dad and I like to play video games together sometimes. With some experimentation, I have found that it is most fun to play the older, simpler games together, like 2600 through Super NES. I've also found that it's more fun to play games with direct competition rather than co-op. This game was always a fun one to play on the Wii or Atari Anthology on XBOX.
Strangely, I've found that this is one of the more hated games on the system. It's not as famous as Pac-Man or ET are as Flag Capture (released by Sears as simply Capture) didn't sell too well. I never understood the hate for this one.
This is also one of the less common games for the system. Not terribly rare, but I've never found one in the wild. And believe me, I've tried. This one was very elusive. I've found XONOX Double Enders in the wild at my regular used-game store. I saw a JVC X'Eye, a Sega Nomad, and a CIB Jaguar there, too. Motor Psycho, sure! Tengen Tetris, you betcha! But no Flag Capture. I simply couldn't find it in the 2600 rack, and I looked every time. Thankfully, Flag Capture isn't terribly sought-after and still goes for pretty cheap; about the same price as your average 2600 game.
So where did I get my copy of Flag Capture after all? I never did find it at that store, despite their large 2600 collection. Instead, Atari.io's very own @socrates63 kindly sent it to me. Young was kind enough to send me something from our recent Retro Junk Box, which I was unable to participate in. What I didn't know at the time is that he was going to send SOMETHINGS, plural. Flag Capture was a big surprise for me. Thanks, Young!

Flag Capture was released in 1978 for the Atari VCS and contains 10 "Video Games". Developed by Jim Huether, Flag Capture was initially designed as an adaptation of Stratego. If you're unfamiliar with Stratego, it's a board game that involves teams of two players traversing across the board attempting to capture the opponent's flag piece. Each of the pieces is assigned a number, one through ten, and the design of the pieces shields what it is from the opponent. If two pieces touch each other, the piece with the lower number is discarded. Along with the numbered pieces are spies, which are the only pieces that can kill the number ten pieces, bombs, which will blow up anyone who comes in contact with it (except 3), and the flag. On each turn, you can move one piece one space (except for twos which behave like rooks in chess) in any cardinal direction. Think of Stratego like Chess with a pecking order and end goal. I'm not very good at the game, but I enjoy it quite a bit.

Due to the limitations of the VCS and the 2k ROM cartridges of the time, Huether couldn't make a straight port of the game to the lowly 2600. Instead, he took the core element of the game, finding the flag, and ran with it. What we're left with is Flag Capture, which plays like a mix of Stratego and Minesweeper.

Flag capture is certainly a unique experience on the 2600. For most of the variations, two players go around the 7x9 grid of squares searching for the flag before the other. Each player can press the button while on a square to search underneath it. Several clues aid the player towards the whereabouts of the hidden flag. One could find arrows pointing in the general direction of the flag, numbers indicating how many spaces away the flag is from the player, and devious bombs that send the player back to their corner of origin. The goal of most two-player variations is to find the flag fifteen times before the opponent. Especially in the first variation, games between players can get pretty hectic and fun.
The variations are where the game really shines. The default mode has both players freely moving around the grid simultaneously. This mode challenges players to not only think faster and smarter than their opponents, but also use their reflexes to get to the right block before the other. If you'd prefer something a bit slower-paced, there is also a mode in which both players take turns moving around and checking spaces, a bit like a board game. There are also modes in which both players solve their own individual flag puzzles and compete to see who can get the flag in the least amount of space-checks, as well as variations where the flag will move after every space checked.
If you're going solo, Flag Capture has you covered to an extent. The last few variations are one-player time trial modes. You must find the flag as many times as you can within 75 seconds. This game mode is fine, though it's missing a little something without another player. Still, Flag Capture has a much better for a single player than many other 1970's games on the VCS. I'd rather play Flag Capture by myself than Combat or Outlaw.
Flag Capture, while not a must-have for the system, is a worthwhile pickup if you can find it. Especially if you have another person willing to play Atari 2600 with you, Flag Capture is a spectacular time. I'd say that Flag Capture is one of the better 2600 games of the 1970's.