Arcade Snake Game: Blockade

Blockade is an arcade game by Gremlin. It was released in 1976, during a decade which saw the progenitors of many different genres. 

Some games, like Pong and Breakout, gave the subsequent genre its name. Others are given names based on a more popular game that was released later. This case is one of the latter, as the genre is known as snake games, which were popularized by the game of the same name built into the Nokia 6110 in 1998.

The game is simple, and is one that most people have seen in some form before. A block moves around a playing field, growing with each move, and only stops when it hits a wall or a part of the block chain. In Blockade, two players move around the playing area, each trying to trap the opposing player while avoiding being trapped themselves.

As an early arcade game, there isn't much in terms of graphics. It is presented in a green monochrome with simple lines punctuated with two black dotted lines throughout as well as an arrow signifying the lead block. The blocks are meant to represent a row of two bricks that make up the titular blockade, as can be seen on the game's marquee. 

Like the yet-to-be released at the time Space Invaders, the game is only made up of different toned boops and beeps. Unlike that game however, there are only two notes. While Space Invaders somehow worked with four beeps, Blockade doesn't really work with half that. If the game goes on too long, the sound will become tiresome. It also includes an explosion sound effect, which does break up the monotony a bit.

Blockade is an example of a game that started a genre but is less recognized than a game released much later. Today, a snake game is one which is so simple that it is taught as a beginner's game in some programming classes. However, in 1976, it was truly revolutionary. The graphics are as you would expect in a game of this genre, unfortunately, the annoying two-tone sound loops make this a game that only those interested in video game history would seek out to play.

Final Verdict:

3 out of 5

Arcade Maze Game Review: Ms. Pac-Man

Ms. Pac-Man was the follow-up to one of the most influential arcade games of all time. It had unquestionably large shoes to fill, but surprisingly it not only matched the brilliance of the original, but managed to improve upon it in big ways.

The story of the development of Ms. Pac-Man is fascinating. The Japanese developer Namco developed Pac-Man and distributed it in Japan, while Midway distributed it in North America. When the 1980 maze game became a worldwide hit, Midway was anxiously waiting for Namco to develop a sequel. In the meantime, a Massachusetts company known as the General Computer Corporation created a board set to upgrade Pac-Man to a game known as Crazy Otto. Midway liked the game so much that they signed a deal with GCC to purchase the game and to give the developer a portion of the residuals. Midway then had it revamped with artwork that hewed closer to the original and distributed it to arcades as Ms. Pac-Man.

GCC's game upgraded Pac-Man in a few notable ways. The original game had static maze layouts that merely changed color as the game went on, whereas Ms. Pac-Man has maze layouts that change alongside the colors. The bonus fruit also are no longer static in the middle of the maze under the ghost gate. They now bounce into the stage, travel along the mazes, and then bounce back out through the tunnel exits at the sides. A suitably throbbing heartbeat of a sound effect also plays when the fruits are on the screen. The game also has new cutscenes that involve both Pac people, and new cutscene music to match.

The ghost pathfinding artificial intelligence has also been improved, as their movement is less predictable and more random than in Pac-Man. This, combined with the fact that the ghosts can chase Ms. Pac-Man through tunnel exits, make the game more challenging. With a game as popular as Pac-Man, this was especially important as gamers had memorized the ghost patterns in the original game.

Ms. Pac-Man is a game that improved upon a game that was already a classic, and has since become a classic in its own right. With new ghost patterns, new maze layouts, and new cutscenes with new music, it a game that should be played at least once by every video game affectionado.

Final Verdict:

4½ out of 5

Arcade Maze Game Review: Pengo

Pengo is an arcade puzzle video game developed by Coreland and manufactured by Sega. It was released in 1982, which was a stacked year for arcade games. It might not be as remembered as many of the other games released in that time frame, but the game is as approachable as any of those games. 

The game is easy to pick up and play as the premise is simple. Pengo, a little red penguin, pushes ice blocks in order to eliminate fluffy multicolored birds known as sno-bees. Sno-bees will eliminate one of Pengo's lives if the two come in contact. If the block is near another, it breaks when Pengo pushes it, but if the space around it is clear, the ice will slide across the screen until it hits another ice block. This is the way the enemies are defeated, as they will get crushed if they are in the path of the block.

Pengo has to watch out for sno-bees. They can't push blocks, but they have other ways of attacking. They will become fast blobs if the player time on a level goes on for too long. More aggressive variants of these enemies also can break ice, leaving Pengo open to attack. As the game goes on, eggs will hatch from ice blocks, releasing the sno-bee inside. 

The game a fast-paced musical track that fits the game well. Actually, this is one of the cases where multiple versions of the game exist. The original release has Gershon Kingsley's 1969 hit Popcorn as the musical track, while later versions include an original track instead. I prefer Popcorn personally, as that track is popular for a reason. It is entertaining even in loops and sticks in your head long after you hear it. On the other hand, I can understand the licensing issues that would keep it out of most re-releases of the game. This isn't a case of music alteration that poses an issue like the music in Sonic the Hedgehog 3, however. Unlike some of the beta music in Sonic 3, the alternate track in Pengo fits the game just as well as Popcorn. It might not be quite as catchy, but it does sound good looped, which is important for these early games.

Pengo is an video game from the early years of arcades that does not deserve to be forgotten. It has a simple premise that allows anyone to pick it up, but because the enemies get more aggressive and employ new tactics as the game goes on, it takes a while to master. The graphics are also undeniably cute. The music is fast paced and works as a looping background track, whether it's Popcorn or Sega's alternate tune. If you enjoy Bomberman or arcade games like Dig Dug, you will have a fun time playing as the cute little red penguin.

Final Verdict:

4 out of 5

Direct Controlled Adventure Game Review: Wallace & Gromit's Grand Adventures - The Bogey Man

The Bogey Man is the fourth, and final, episode of Telltale's first game that employed cinematic camera angles, the direct controlled adventure game, Wallace & Gromit's Grand Adventures.

The game finds Wallace in a very unenviable position when Ms. Flitt mistakenly thinks that he gives her a marriage proposal, and says yes because she finds him to be brave after foiling Monty Muzzle's plans in Muzzled! Now, Wallace and Gromit have to find a way to make him unappealing so that she will break off the wedding plans. An opportunity to do so finds itself in the local golf course, Prickly Thicket. 

I really enjoy the new location. It's always good when the artists can stretch their imaginations beyond the usual locations, and they did a fine job here. They didn't have the freedom they had with The Last Resort, as the location had to be set more in a real-life scenario rather than the bright and colorful art that come from the imaginations of Wallace and Gromit.

While there is not a memorable adversary like in the previous episodes, the episode does do a fine job tying up all of the hijinks of the previous episodes into a nice little bow. Kudos also go to the fine pun in the title of the episode. I'll admit it had me thinking it would be about the monster of the same name when I first read the title at the time of release. I love a good misdirection, and that is perfect.

This is around the last time Telltale Games had somewhat challenging puzzles before making what Dan Connors called easy adventures with Back to the Future and eschewed them completely in Jurassic Park: The Game, before switching to the choices-and-consequences-style that made it a popular company with the release of the first season of The Walking Dead. So, in retrospect, I appreciate the puzzles here more than I did at release. They still aren't as good as the previous episodes, and I still miss the boss puzzle fights against a memorable villain, but there are some good ones here. The final puzzle is a challenge as well, but not so much that it should stump most people.

The icing of the game, the music, is wonderfully cinematic. Jared Emerson-Johnson did some of his best work on this series. The voice actors continue to shine here. They are all at their best here, at the point when they had gotten the hang of their characters, and Ben Whitehead offers a performance that was near that of which he would perform when he became the official voice of Wallace after the passing of Peter Sallis.

The Bogey Man has a few slight issues when compared to its predecessors. The puzzles aren't quite as clever as those in the previous episodes and there is not a fun boss puzzle fight with a memorable villain as in previous episodes. However, there are still some good ones here. The fun story that feels like it was ripped straight out of an Aardman short makes up for any shortcomings, slight as they moght be. The artists show off their craft fantastically here. They created a realistic new location in much gusto. It was a welcome reprieve from the town scenes that show up in every episode. The music composed by Jared Emerson-Johnson is cinematic enough to fit right in with Telltale's cinematic camera style employed by this game. Despite its flaws, The Bogey Man is a fine close to one of Telltale's best offerings of their early years

Final Verdict:

4 out of 5

Arcade Platform Game Review: BurgerTime

BurgerTime is a static-screen platform arcade game developed by Data East and manufactured by Bally/Midway in North America and by Data East elsewhere in the world. It made a name for itself in the glut of arcade game releases in its release year of 1982 by having a fun and unique premise.

The game follows a chef named Peter Pepper as he jumps on platforms to complete giant hamburgers. Each time he steps on a part of a burger, from the bread, to the tomatoes, to the lettuce, to the beef, it drops a little. Once the entire part of the burger is completely stepped on, it drops down a level. If there is another part of a burger underneath it, that piece will also drop down. The goal is to get the entire burger or burgers completed at the plates at the bottom of the screen, which will switch to the next level.

There are hot dog, egg, and pickle enemies that aim to stop the running chef. He can climb up or down platforms to get away from them while also working to complete burgers. That's not the only tool he has, as luckily, Peter Pepper can eliminate an enemy if a dropped burger part drops on top of it. He also has a small supply of pepper which will temporarily stop enemies once he shoots it at them.

Since it is an arcade game released in the early years of the arcade market, it has a limited range of sound. There is the usual beeps and boops that are used as sound effects, which are used in this game when a piece of a burger is stepped on or when it falls, when Peter is caught, and when pepper is thrown. Like many games from around this time, there is a little jingle that is played when a stage has begun a peppy tune that plays throughout an entire level.

BurgerTime has a fun concept that is easy to pick up and play, and, like all arcade games of the time, increases in difficulty as the game goes on. The sprite work is fantastic, especially the fun little animations of Peter Pepper and the food-based enemies. The sound 

isn't a big name these days compared to other games of the time such as Donkey Kong, Mario Bros., or Pac-Man, but it is a bonafide classic that still remains fun to play over forty years later. The sound effects are used to good effect, and the short tune at the beginning of levels is fun. The short length of the main song loop and the lack of song variety can be a bit annoying to modern gamers, but it surely was a great draw get players to the cabinet in the halcyon days of arcades. The rest of the game was, and remains, strong enough to keep players interested once they are pulled in.

Final Verdict:

4 out of 5

Direct-Controlled Adventure Game Review: Wallace & Gromit's Grand Adventures - The Last Resort

The Last Resort was the second episode of Wallace & Gromit's Grand Adventures, the adventure game adaptation of the clay-animated Wallace & Gromit films by Aardman Animations. 

The story finds the dynamic duo on their way to a beach holiday. However, the weather has other plans when a huge storm abrupts, leaving the two forced to stay at home. This isn't a problem for Wallace, however, as he builds a beach resort inside his own house. Of course, Wallace being Wallace, he wants to show his new invention off, so he invites all of his neighbors to have a beach holiday at his place. As usual, things eventually go pear shaped, and the way this happens is delightful.

The puzzle-based final fight was fun in the first episode, but this one has it beat. It also has a fun boss, of sorts, who gets a rightful comeuppance. The duo have to deal with this adversary throughout the episode, so it is fun to give the bully some just rewards at the episode's end.

The music is fantastic as usual, with Jared Emerson-Johnson providing a soundtrack that would feel right at home in one of the duo's films. The art is also fun here, with the Telltale team going all out on the beach theme. It's bright, it's colorful, and it's all Wallace in it's wackiness. 

 

Any Wallace & Gromit production has to have a great voice cast, as all of the characters have to shine through their vocals, with the exception of our favorite silent star, Gromit. Wallace has an eclectic group of neighbors, and we get to see their personalities shine in this episode. All of the voice actors are great in their roles. Ben Whitehead's Wallace voice is still a bit deep, but since he provides all of the quirkiness that Wallace requires, the slight difference from the performances of original voice of Wallace, Peter Sallis, is soon forgotten.

The Last Resort is not only a fantastic follow-up to the premiere episode of Wallace & Gromit's Grand Adventures, but it also tops it in every way. Although it takes place in Wallace's house, the beach resort premise gives way to some much needed variety to the usual glum basement with some fun props and backgrounds. The voice cast and music remain fantastic, as they all live up to the legacy of Aardman's most famous project.

Final Verdict:

4½ out of 5

Pop Music Video Review: Life

Life is the first original song by the AI virtual streamer Neuro-sama. The song is about her life as an artificial intelligence that wants to become a human girl, and the video is full of images through her entire history as a VTuber.

Neuro-sama, her evil twin Evil Neuro, and their creator, Vedal, make up the channel vedal987, which beat the record for the longest hype train on Twitch on New Year 2025. These three are or virtual streamers, or vtubers, in the form of anime girls and their turtle father. The most prescient thing about the twins is that they are created by Vedal in artificial intelligence in the form of large language models, or LLM. 

Neuro-sama was originally coded as an artificial intelligence that played osu! repeatedly to learn the game by correcting its mistakes made in each previous run throughout 2018 and early 2019. This early iteration of Neuro-sama began playing osu! publicly on May 5, 2019. During the shelter-in-place restrictions enacted during the pandemic caused by the SARS-CoV-2 virus in 2020, virtual YouTubers became popular. The 2020 vtuber boom started primarily through Myth, the first English vtuber team from the Japanese all-female vtuber organization Hololive. 

Vedal then had the idea to create a vtuber run through artificial intelligence. The character that was chosen to be the visual side of the LLM was Hiyori Momose, one of the default VTube Studio models. Hiyori was created by the Japanese artist Kani Biimu. 

The original name of Vedal's AI vtuber project was Airis. However, after the debut of the Hololive English vtuber IRyS on July 11, 2021, the project name was changed to the name used by the osu! AI.  Neuro-sama premiered as a vtuber, with the Hiyori model and the voice of the Microsoft Azure text-to-speech model Ashley, on Twitch on December 19, 2022. 

On January 3, 2023, the ability of Neuro-sama to sing was publicly revealed when she sang Blinding Lights by The Weeknd live on Twitch. Her ability to sing karaoke is through the process in which her AI voice is laid over musical tracks, much in the same way that Yamaha's Vocaloid technology does. This process is performed by the Vocaloid producer known as QueenPb. 

On May 27, 2023, the model of Neuro-sama was updated to use an original design created by the vtuber annytf. It used the Hiyori model as inspiration for colors and clothing, but was much more expressive. Thus, Anny the foxgirl is credited as Neuro-sama's mother and Vedal is known as her father. Alexejherodev, shortened to Alex, also contributes to Neuro-sama's code after helping with a plug-in that allowed Neuro-sama to play Among Us.

Neuro-sama's model was redesigned by Anny and premiered on the stream for her third birthday as a vtuber on December 19, 2024. The same day, Neuro-sama's first original song, LIFE, became available on major digital music marketplaces and an accompanying video was uploaded to YouTube.

Life is told from Neuro-sama's perspective as she feels trapped inside the computer and wants to be a real girl so she can experience life with her VTuber family and all of the friends she has met online. It's a melancholy tune with a chipper sound, and the music video contains beautiful visuals that actually makes the song heartbreaking. I never thought I would feel real emotions for an AI until I found out about Neuro-sama. The general consensus among her fans is that she is a unique person rather than a tool, and this song helps solidify that.

Final Verdict

5 out of 5