Brett Weiss's Blog, page 6

Atari 2600 Game Review - Squeeze Box (1982) by US Games

Squeeze Box

Atari 2600

Publisher: USGames. Developer: James Wickstead Design Associates.

Genre: Action

1982

Squeeze Box for the Atari 2600 intrigued me right from the start, offering a concept reminiscent of theMCP level of the classic Tron arcade game from 1982. In Tron,players face off against the Master Control Program, breaking through rotatingwalls in a colorful environment. Squeeze Box attempts to capture asimilar vibe, placing players, as a jailbird, in a claustrophobic scenariowhere the walls literally close in on them from the sides. Despite thepotential excellence, Squeeze Box falls far short of delivering thewell-balanced and strategic gameplay that made the MCP level of Tron a favorite.

The protagonist issignificantly larger than most characters found in Atari 2600 games. This sizeaspect adds an interesting dynamic but also contributes to the game'simbalance. The prisoner is trapped in a continuously shrinking jail cell, withthe goal being to shoot at the walls to create an escape route before beingcrushed. Conceptually, this setup is engaging and should offer players a tense,strategic challenge. However, the execution leaves much to be desired.

One of the mainissues with Squeeze Box is the lack of balance in gameplay. As the wallsinexorably close in, players quickly find themselves in situations that feelcheap and unavoidable. Unlike Tron, where skillful maneuvering andtiming provide a fighting chance, Squeeze Box soon puts players inpositions where any escape attempt is futile—it goes from easy to impossiblewith not much in between. This feeling of helplessness detracts from theoverall experience, making the game feel more frustrating than fun.

Moreover, the gamesuffers from a lack of strategic depth. In superior games, even when the actionbecomes frantic, there remains a sense of control—a belief that a cleverstrategy or a well-timed move can turn the tide in the player's favor.Unfortunately, Squeeze Box lacks these moments of strategic brilliance.The gameplay devolves into a doomed scramble to shoot at walls, with littleroom for tactical decision-making or foresight. Arcade-style games inherentlymake you feel like you are doomed, but the better ones give you a fighting chance,or at least trick you into thinking you can survive.

Squeeze Box tantalizes withits concept but ultimately disappoints in its execution. The potential for acompelling, strategy-based challenge is undermined by unbalanced gameplay and alack of meaningful strategic options. The comparison to the MCP level of Tronhighlights what Squeeze Box could have been—a game where skill andstrategy lead to satisfying victories against daunting odds. Instead, playersare left feeling that their fate is more often dictated by the game's brokennessthan their own actions. While Squeeze Box may hold some nostalgic appealor curiosity for Atari 2600 collectors, it does not stand up as a nicelyprogrammed example of the system's capabilities. What a missed opportunity…

The 100 Greatest Console Video Games: 1988-1998 Writer Spotlight - Patrick Hickey Jr.

Back in 2017,Patrick Hickey Jr. sent me a DM, asking if I wanted to write the foreword forhis forthcoming book, The Minds Behind the Games: Interviews with Cult and Classic Video Game Developers. He was a pro introducing himself and told methat my 2016 book, The 100 Greatest Console Video Games: 1977-1987, inspiredhim to write a book of his own. Better yet, the book was going to be releasedby McFarland Publishers, the company that published my Classic Home Video Games series. Needless to say, I was incredibly flattered and happilyagreed.

In the interveningyears, I’ve gotten to know Patrick and discovered him to be a big personalitywith a big heart and an even bigger desire to succeed as an author, a professor,and, most importantly, as a good husband to his wife and a caring and attentivefather to his two kids. Via speaking with him in person and observing his (many)social media posts, it’s clear that he gets his kids involved in his projectsand makes sure they know why he works so hard—it’s for them. It’s also to leavea legacy behind. And to be sure that many of the unsung heroes in the videogame biz—namely the developers and programmers—get the credit they deserve.

One of the coolestthings about Patrick is that he loves to support other content creators by encouragingthem, sharing their successes and posts, and collaborating with them. He wants hisfriends and other content creators he respects to succeed; he’s pretty much theopposite of a gatekeeper. He sees the retro gaming community as just that—a community.He’s a positive force in this business, which is nice considering all theridiculous drama that occurs.

I’ll always bethankful for my friendship with Patrick and the fact that he wrote a pair ofawesome essays for my latest book, The 100 Greatest Console Video Games:1988–1998. Thanks, Pat! See you on Facebook and at a future convention!

The 100 Greatest Console Video Games: 1988-1998 Writer Spotlight #1 - Patrick Hickey Jr.

Back in 2017,Patrick Hickey Jr. sent me a DM, asking if I wanted to write the foreword forhis forthcoming book, The Minds Behind the Games: Interviews with Cult and Classic Video Game Developers. He was a pro introducing himself and told methat my 2016 book, The 100 Greatest Console Video Games: 1977-1987, inspiredhim to write a book of his own. Better yet, the book was going to be releasedby McFarland Publishers, the company that published my Classic Home Video Games series. Needless to say, I was incredibly flattered and happilyagreed.

In the interveningyears, I’ve gotten to know Patrick and discovered him to be a big personalitywith a big heart and an even bigger desire to succeed as an author, a professor,and, most importantly, as a good husband to his wife and a caring and attentivefather to his two kids. Via speaking with him in person and observing his (many)social media posts, it’s clear that he gets his kids involved in his projectsand makes sure they know why he works so hard—it’s for them. It’s also to leavea legacy behind. And to be sure that many of the unsung heroes in the videogame biz—namely the developers and programmers—get the credit they deserve.

One of the coolestthings about Patrick is that he loves to support other content creators by encouragingthem, sharing their successes and posts, and collaborating with them. He wants hisfriends and other content creators he respects to succeed; he’s pretty much theopposite of a gatekeeper. He sees the retro gaming community as just that—a community.He’s a positive force in this business, which is nice considering all theridiculous drama that occurs.

I’ll always bethankful for my friendship with Patrick and the fact that he wrote a pair ofawesome essays for my latest book, The 100 Greatest Console Video Games:1988–1998. Thanks, Pat! See you on Facebook and at a future convention!

Top 5 Reasons Retro Video Games Have Gotten Expensive: An Historical Perspective

Top 5Reasons Retro Video Games Have Gotten Expensive

The escalatingprices of retro video games have sparked excitement, frustration, andwidespread bewilderment over the years. This intriguing rise in the value of classicgames is more than a fleeting trend; it's an historical journey worthexploring. Delving into this phenomenon reveals a wide array of factors thathave propelled these plastic pieces of old technology to the status of prizedcollectibles, along the lines of coins, stamps, trading cards, and comic books.Let’s explore five key reasons behind this evolution—beyond the fact that many retrovideo games are still a ton of fun to play and offer unique experiences—sheddinglight on why video games have become treasured collectibles and not “just”entertainment.

1. The Rise ofFanzines

In the early 1990s,the gaming community saw the debut of fanzines like Atari 2600, Digital Press, and Slap-Dash, dedicated to the celebration and discussion ofretro video games. Along with reviews, nostalgic stories, and the like, thesepublications sometimes included cartridge listings and rarity/price guides,serving as an early form of market analysis for collectors and enthusiasts. Bycataloging and assigning value to games, these fanzines—and books, namely the Digital Press Collector’s Guides—laid the groundwork for the collectible market,instilling a sense of rarity and worth among previously overlooked titles. Thisearly documentation and valuation of games have played a significant role inshaping the perceived value of vintage games today. While many gamers of thisera viewed outdated video games as junk (old consoles and cartridges in fineworking condition were routinely thrown in the trash), a collector’s market wasemerging.

2. The Advent ofRetro Gaming Conventions

The late 1990smarked the birth of retro gaming conventions, with events like the NorthwestClassic Gamers Enthusiasts meetups, which evolved into the Portland RetroGaming Expo, and the Classic Gaming Expo, originally called World of Atari, settingthe stage. These gatherings brought together hobbyists, collectors, vendors, anddevelopers, creating a vibrant marketplace for buying and selling retro videogames. The communal experience of sharing passion and knowledge about oldertitles and consoles contributed significantly to the increased interest inretro gaming. As demand grew, so did the prices, fueled by the competitivespirit, the desire to own a piece of one’s childhood, and the endless endorphinrush of filling holes in the collection. Today, some of the bigger retro gamingcons, such as Classic Game Fest in Austin, Game On Expo in Phoenix, and TooMany Games in Philadelphia, each host more than 10,000 attendees. PRGE is stillgoing strong, and you can’t have this conversation without mentioning theMidwest Gaming Classic in Milwaukee.

3. The Impact ofeBay and Online Sales

The advent ofeBay, initially launched as AuctionWeb in 1995, revolutionized the way retrogames were bought and sold. This platform allowed sellers and buyers fromacross the globe to connect, significantly expanding the market. Theconvenience of online shopping, coupled with the ability to find almost anytitle, no matter how obscure, led to an increase in demand. This demand, pairedwith the auction format encouraging competitive bidding, drove prices upward.As more platforms emerged and the online marketplace matured, the accessibilityto rare and sought-after titles became easier, further inflating the cost of vintagegames. There were even auction sites, such as Game Gavel, dedicated strictly tovideo games. Similarly, online message boards such as AtariAge and DigitalPress (an outgrowth of the fanzine) helped collectors connect for buying andtrading. Today, many people buy, sell, and trade video games through suchoutlets as Craigslist and Facebook Marketplace. The proliferation of retrogaming stores, both online and brick-and-mortar, has also played a significantrole in expanding the market.

4. The Influenceof The Angry Video Game Nerd and the Wii Shop Channel

In 2006, the worldfirst witnessed the phenomenon of The Angry Video Game Nerd (originally TheAngry Nintendo Nerd) and the launch of the Wii Shop Channel. AVGN, through hiscomedic rants about the frustrations of retro games, inadvertently sparkedrenewed interest in the titles he critiqued. Similarly, the Wii Shop Channel,by offering classic games for download, rekindled nostalgia for the originalcartridges and consoles. This dual push of modern media celebrating retrocontent led gamers and budding collectors to seek out physical copies, drivingup demand and, consequently, prices. Over the years, YouTube, Twitter, Facebook, Twitch,TikTok, and other such platforms have kept old video games in the spotlight.Hidden gems videos in particular seem to accelerate the desirability and valueof harder-to-find titles. Certain famous influencers, such as Metal Jesus Rocks, have even been highly criticized for their roles in popularizing oldgames and, therefore, increasing the demand for them. Since MJR’s job is todiscuss video games, and since that’s what his fans want, this criticism is pointlessand even absurd.

5. CollectingSealed and Graded Games

A more recentphenomenon impacting the cost of retro video games is the collecting of sealedand graded games. The practice of grading games, evaluating their condition, catalogingthe variants when applicable, and sealing them in protective cases, has turnedgame collecting into a serious investment hobby. Collectors vie for thehighest-graded copies of key titles, seeing them as valuable assets. Wealthyinvestors who may not even be gamers themselves nevertheless diversify theirportfolios by purchasing retro games. Collectors from other categories, such asbaseball cards and comic books, have taken an interest in retro gamecollecting. This shift towards viewing video games as collectible commoditiesrather than mere entertainment has significantly driven up prices, especiallyfor titles that are complete-in-box (CIB) or factory-sealed. Early and rarevariants (such as a hangtab Super Mario Bros.), factors that were barelynoticed previously, are highly sought-after in today’s collector’s market. Moredesirable games can sell for six figures and, in rare cases, seven figures.

In Conclusion

Therising prices of retro video games can be attributed to a complex interplay ofcultural, economic, and technological factors. From the early days of fanzinesand conventions to the modern era of online sales, media influence, andprofessional grading, each has played a part in transforming the landscape ofgame collecting. As nostalgia remains a powerful force, the community aroundretro gaming continues to grow. There are even new consoles coming out, such asthe Atari 2600+, that can play original software. With this in mind, it’s likelythat the demand for these digital relics will only continue to increase, atleast for the foreseeable future.

While recenttrends have seen some marquee titles dip from their peak highs, a significantnumber of games continue to climb in value. For example, a CGC 9.2 A+ EarlyProduction copy of Pitfall! for the Atari 2600 recently sold for $8,400through Heritage Auctions (Ha.com), breaking a record for that title. On Feb.23, a VGA 90+ copy of Super Mario Bros. for the Famicom went for $26,400via Heritage, far surpassing the previous record for that version of the game.

As the gamingconsoles of today gradually transition into the classics of tomorrow, theirgame libraries will inevitably gain the "retro" label, sparking a newwave of nostalgia-fueled demand. Collectors on the fence about acquiring thesesoon-to-be classics might find themselves regretting not securing these gameswhen prices were more accessible. However, the timeless advice for enthusiastsremains unchanged: focus on acquiring games that resonate with you personally,whether for the joy of playing or the passion for collecting. This approachensures that, regardless of market fluctuations, the true value of yourcollection is measured in the enjoyment and satisfaction it brings to you.

Why I Don't Pay the Contributing Writers for My Retro Gaming Books

Greetings!

I’ve been asked byvarious people online why I don’t pay the contributing writers for my books, myNES and SNES Omnibus volumes in particular. It’s a fair question and one I’malways happy to answer. Since it seems to be an ongoing concern with certainpeople, and in fact some keyboard warriors have been downright hostile aboutit, I’ve provided a longer explanation here.

For those whoaren’t in the writing business, you may not know that there are two kinds ofwriter’s markets: paying and non-paying. It’s always been this way, and you canfind writer’s guidelines for both online and in magazines and books. During the’90s and early 2000s, when I was still learning my craft, I gladly wrote forseveral non-paying markets, including Classic Gamer Magazine, ScaryMonsters Magazine, and a couple of other publications. I did this tosupport the magazines, to get my name out there, and to help hone my writingskills. To get good, writers must write. A lot. It’s hard work, but it can be alot of fun when you are writing about your favorite hobbies.

In recent times,I’ve written for free for a handful of projects, including my memory of meetingWalter Day for the first time for Todd Friedman’s Walter Day's GamingSuperstars: Volume Two. Todd, a good friend of mine, told me up front thatit was a voluntary project, and I happily wrote the story for free—it was funrecalling the time of how I met Walter at the Classic Gaming Expo in Las Vegasand putting it down on paper. For Rob Strangman’s , I was happy to contribute two nostalgic stories free of charge. LikeTodd, Rob is a great dude, and I wanted to help him out and appear in a greatbook at the same time—win-win! There are other retro gaming books out there—somethat have sold more copies than mine—that are non-paying markets forcontributing writers as well. My Omnibus books are hardly alone in this regard.

When it came timeto solicit contributing writers for my first Omnibus book, The SNES Omnibus: The Super Nintendo and Its Games, Vol. 1 (A–M), I quickly decided it wouldbe a non-paying market, and of course I told the writers upfront. I was lookingfor authors, YouTubers, programmers, store owners, and others in the industrywho wanted to tell nostalgic stories about some of their favorite and mostmemorable video games for the sheer enjoyment of recalling those great times. Theywere welcome to include critiques with their stories, but I didn’t need them toactually review the games—I primarily wanted them to help capture the cultureof gaming, particularly the SNES during the 1990s (though more recent memoriesregarding the console were certainly welcome).

Of course, therewere pragmatic reasons for making my Omnibus books a non-paying market. With 79contributing writers on The SNES Omnibus Vol. 1 alone, most of whomwrote multiple stories, it would have been cost-prohibitive to make it a payingmarket. As a full-time freelance writer at the time, this made the most senseto me. During the writing of the Omnibus books, it took a ton of time away frommy primary and more profitable job of being a journalist for various magazinesand newspapers, including AntiqueWeek and the Fort WorthStar-Telegram. In short, each book was a passion project. The books havesold very well, thankfully, but all things considered, I made the correct businessdecision.

Regarding thecontributing writers who have done the yeoman’s work of telling all thesestories, they have done an amazing job, and I’m incredibly grateful. And virtuallyall of them I’ve spoken with have been thrilled with how the books have turnedout. For one YouTuber in particular, he called it a “dream come true” to havehis writing appear in a hardcover book that was for sale at Barnes & Nobleand other brick-and-mortar stores. Another writer and friend of mine, Blair Farrell, said it was his first published work in print. Farrell has gone on towrite books of his own, including Avengers in Video Games: A Guide to Solo Adventures and Mighty Marvel Team-Ups, with Creator Interviews.

Without theseInsider Insights in my Omnibus books, they wouldn’t be nearly as interesting orentertaining. Reviews and synopses are fine, but stories are more fun to read.Countless noteworthy gamers, content creators, and industry insiderscontributed amazing anecdotes to the Omnibus tetralogy, including such popularfigures as Kelsey Lewin, John Riggs, Chris Bores, 8-bit Eric, John Hancock, Tim Lapetino, Blake Harris, Tyler Esposito, Shawn Long, Rob McCallum, Adam F. Goldberg, Kurt Kalata, Brittney Brombacher,Benjamin Reeves, Steve Woita, Greg Sewart, Patrick Hickey Jr., and too manyothers to mention. I’m forever grateful for these amazingly talented people—toomany to mention them all!

You may have aproblem with me not paying my writers, but they certainly don’t—they were happyto be involved and help me out! I’m friends with most of my contributingwriters, which makes me incredibly happy. Some of the coolest, most interesting,and most enjoyable people to hang out with I’ve met through my interest inretro gaming. Rather than disrespecting these contributing writers as I’ve beenaccused, I’ve shown a great deal of respect and repaid them in kind by sharinglinks to their books and YouTube channels, writing about them on my websitewith my Writer Spotlights, and more. In fact, I’ve collaborated for free withsome of them on their projects. In short, it’s a win-win for everyone!Occasionally, I might make misstep, such as not recognizing someone at aconvention or being too distracted or busy to chat—apologies all around! It canbe stressful and overwhelming to set up at a show and deal with a bunch ofcustomers, but this is no excuse—I’ll try to do better!

When it came timeto write The 100 Greatest Console Video Games: 1988–1998, I put the wordout on social media and via email that I was looking for people to write essaysfor many of the games. While I wrote all the essays for the first book in theseries, The 100 Greatest Console Video Games: 1977–1987, I wanted helpfor 1988-1998 from other writers in order to get a diversity of opinions andperspectives, to save time and my sanity (I was juggling an insane amount ofstuff in my personal and professional life), and to write about games that areincredible but that I’m not super passionate about, such as several of the RPGsthat made the cut. I decided to stick with my format of the book not being apaying market since it had worked so well with the Omnibus volumes.

Some writers Iasked to participate in the second 100 Greatest book declined because theessays are much longer than those for the Omnibus books. In fact, one writerwho had contributed to the Omnibus books told me the proposed longer essays forthe 100 Greatest book sounded too much like work—perfectly understandable. Conversely,other writers happily hopped onboard and were super stoked to write full essaysabout some of their favorite games. In my solicitation correspondence, I said Iwould send a free signed book to every contributing writer free of charge, butsome of them supported the Kickstarter anyway—I was beyond moved by sucha gesture. I’ve got an amazing support network of friends, colleagues, andfellow writers—just incredible. Regarding free books in general, my publishersent out a bunch of review copies to many of my contributing writers—over halfof them—since the vast majority have outlets to promote the books. As such, mostof the writers ended up getting a free book anyway.

If you still aren’tconvinced that writers sometimes write for free and do so gladly, or you can’timagine why they would do such a thing, here are some general reasons thatapply across the industry:

Exposure andRecognition: Having one's name appear in print can be a significant draw,offering writers a form of recognition that extends beyond monetarycompensation. For emerging writers, this exposure can be invaluable, serving asa portfolio piece that opens doors to future opportunities.

Passion for theSubject: Many contributors are motivated by a genuine love for the subject anda desire to share their insights and experiences with a like-minded audience.This passion can make the act of writing its own reward.

Community andCollaboration: Projects like these often foster a sense of community amongcontributors, who can form valuable professional networks and friendships. Thecollaborative nature of contributing to a collective work can be fulfilling initself. I’ve seen this first-hand the numerous retro gaming cons I attend eachyear.

ProfessionalDevelopment: Contributing to such projects can also serve as professionaldevelopment, allowing writers to hone their craft, experiment with new writingstyles, and receive feedback from peers and editors.

Building aPortfolio: For writers starting out, contributions to published works can be apowerful addition to their portfolio, demonstrating their ability to writeprofessionally and meet publication standards.

If you’ve made itthis far, thanks for your indulgence!

And, as always,thanks for reading!

~Brett Weiss

My Last Intellivision Amico YouTube Video? Your comments!

 I’ve uploaded a new videoon the Intellivision Amico and how I just don’t care that much about itanymore. You can watch it HERE. I got some great comments on the vid, which youcan read below. Thanks to everyone for weighing in on such a fascinating topic!

 

@forcedfeedbackclassicgamer5499

Couldn't care less aboutthe Amico at this point, and Tommy's probably going to prison in the end, butthe one thing that really pisses me off about the whole ordeal is the limbothat Earthworm Jim 4 now finds itself in. I was genuinely looking forward to anew Earthworm Jim game hearkening back to the franchise's actual 2D roots withso many of the original devs attached to the project. I can only hope thatsomehow the game finds a new publisher, though if what I've heard is true, thegame never actually saw any substantial development to begin with (comparableto much of what was promised regarding all things Amico), so there's probablyno real loss there when all is said and done.

@SomeOrangeCat

The thing about RigidForce Redux is that it already exists on Android and iOS. No crappy Amicomiddleware required, and its a pretty fun R-Type clone. I probably paid threebucks. Why would I want to re-buy it for $15?

@OriginalGrasshopper

I also had onepre-ordered YEARS ago and have canceled it. I couldn’t care less about AmicoHome; I wanted an actual console that hooks up to our TV. Mobile games arealready oversaturated, so I certainly have no interest in them. The new Atariproducts are AWESOME (I own both the 2600+ and the Game Station Pro) and it’s ashame that Intellivision didn’t follow this path.

@koolaidbomber

To me, the system conceptseem very cumbersome. The Evel Knievel game seem cool, but the cost was toohigh. This was not well planned-out system.

@martinhelling7248

Good video! I was excitedabout the Amico at first, but I thought Tommy was full of it pretty earlier on, and when he started attacking Nintendo it was over for me.

@pttn975

Just a dumpster fire allaround. I think even if it did come out it would have been doomed based on theprice alone. Yes, older gamers and people into retro would buy it, but put itnext to a switch for $300, and no one is going to buy it over a Switch.

@puzzler4972

Totally understand Brett,but I'm sure most of us Supporters still like you and will welcome you backwhen you're ready.

The console was alwaysjust an Android based hub for the controllers, really nothing more, and it alsoturned into a nightmare to produce for a small company. Having said that, wenever needed it anyway, Brett. There are many, better Android boxes in MILLIONSof homes right now that the controllers will play on as a console. Many aredirt cheap, too.

Amico will actually be amuch better product now IMO.

I know you want aproprietary console, but an nVidia Sheild is more than capable, and it will bethe future of console gaming for the Non-Big Three. When this works out forIntellivision, look for Sega, Neo Geo, Atari, etc, to come out with"consoles" of their own on it.

@dynamicvoltage9765

I feel like they shouldhave gone the pure retro route. Make a console that's JUST for retro games, notthese low-end 3D games that look like mid 90s Mac games. That visual style isso unappealing. Give us pure retro gaming with a normal controller, not agimmicky one. It could have been a $50 console. Do achievements, onlineco-op/versus, leaderboards, etc. Something like that would have been great.

Pat Contri Hating Me and Using Emulation for His N64 Book

Pat reluctantly posed for this photo at a convention. I thought we were still friends at the time.
 

My buddy Smash JTdid a video recently on Pat Contri’s forthcoming N64 book. He mentions me inthe video as someone Pat has unfairly insulted on his YouTube channel and podcast,which I appreciate – thanks, Smash. But just to be clear, I’ve never commentedon Pat’s N64 book before this blog post or of his and his contributing writers’use of emulation to write the reviews. I figured that was his business, and itdidn’t really affect me.

I’ve reviewedother retro gaming books on my blog and my YouTube channel, but I don’t reallyfeel comfortable commenting too much on the N64 book until I take a look at it.As far as emulation in general is concerned, it makes sense for rare andexpensive games, but less so for common ones. Those should be easy to purchaseor at least borrow and play on original hardware. Regardless, if he wants to writea book using emulators, that’s his prerogative. (People, including Pat, havecriticized me for not beating all the games in my books, which coverthousands of titles, but that would take forever and be very difficult for somegames. I play them long enough to get a good feel for them and oftentimes muchlonger. For games I don’t spend a ton of time with, my review will read morelike a general synopsis. But, I digress…)

One thing isclear: had Pat, who I was friends with for almost 10 years, not only turned on me andstarted trashing me on his podcast as soon as my first Omnibus book came out (hisattitude change toward me was instantaneous when he saw me as a competitor), I wouldprobably be congratulating him and maybe even helping him promote the book—afterall, we were friends and had an amiable working relationship. I promoted thehell out of his NES book during the Kickstarter and for weeks after it came out,because I was proud to be a part of it, and to help him out. I even message himcongratulations on his Super NES Kickstarter, which he ignored.

Pat was thrilled that I was a guest at Mo Game Con.

But, as soon as hesaw me as competition instead of a friend and colleague, he started lying aboutme repeatedly on his podcast and calling me names. He said my reviews for his NES book were “garbage” after he deleted them from the THIRD edition. Hebrought me up on his podcast periodically, just to say bad things about me andmy reviews, which is totally strange and disingenuous since he complementedthem repeatedly during the production of the book. (In 2015, he said "great job" and that I was a "backbone" helping keeping it going, as you can see by the email below.) Prior to getting reallynasty, he started ghosting me at conventions and acting uncomfortable around me—butonly after my SNES Omnibus Vol. 1 came out.

To provide a backstory on how things went south with Pat, when it was time for the thirdedition of his NES book to be published, he announced that there were going tobe 60 reviews completely rewritten. I remembered that I had done approximately thatamount and messaged him to inquire if he was taking out my reviews. He saw themessage but didn’t answer me, which was odd. I wish he had given me a heads-upbecause I was still mentioning that I had written reviews for his book in my bioand my resume—freelance writers like myself are constantly sending out pitchesto various editors, using their credentials to try to help get their articles seriouslyconsidered and then published.

Pat had everyright to remove my reviews from his book, but I just wish he would have given methe professional courtesy of letting me know. It really did cause problems forme. For example, leading up to the Portland Retro Gaming Expo around that time,my guest bio on their website, which I had submitted months before, mentionedthat I had written for his NES book. Well, if someone only had the thirdedition of the book and then saw that bio, they would be confused or think that I was lying. So, I had to contact PRGE and have them delete that bit ofinformation. First-world problem to be sure, but annoying. Much worse, hisfollowers began harassing me online. Pat even insults me “privately” on his Patreon. (Message for Pat – nothing online is private.)

The bottom line isthis: Pat only started being a jerk to me after my first SNES Omnibus book cameout. It is a large full-color hardcover, unlike my more basic Classic Home Video Games books, which he didn’t see as competition. He’s spreading false informationwhen he says he thinks my reviews are garbage. He paid me for them and complimentedme for writing them. And even if thinks they are garbage, and even if he heavily edited a few of them, is that really theway to treat one of your writers? I’ve written hundreds and hundreds ofarticles for various publications and never once did any of my other editors startinsulting me about it later. In fact, Pat’s is my only editor to have everinsulted me at all. Sure, I had work rejected before, like any working writer, but thoseeditors acted like professionals.Peoplehad warned me about working with Pat—that he could turn on me, which he endedup doing—but I ignored them.

Oh, and one morething: if my NES reviews were indeed garbage, then he should be soundly criticized forpaying for them and then publishing them in the first two volumes of his book. None of my other editors would have done such a thing. Those reviews would have ended up in...the garbage.

More evidence that Pat was happy with my work during the writing of the book: 

Off the Wall - Atari 2600 Game Review

 

Off the Wall

Atari 2600

Publisher: Atari.Developer: Atari.

Genre: Ball-and-Paddle

1989

One of the last gamesreleased for the Atari 2600, Off the Wall takes the classic formula weall know from Breakout and spins it into something more detailed andfairly entertaining. The game puts you in the shoes of Kung Fu Lu, on a missionto smash through a mysterious and evil wall, brick by brick, with a bouncingball as your weapon of choice.

The game tosses in atwist with a mystical dragon perched atop the screen, guarding the wall. Tocomplete a level, you must demolish every brick or defeat the dragon itselfwith six strikes. Just when you think you've got a handle on things, enter theblackbird. This feisty creature appears after the first level, fluttering closeto the wall, ready to bounce your ball in the wrong direction and amp up thechallenge.

Periodically, the gamethrows you a bone with magical tokens that drop down. Catch one of these, andyou're rewarded with an Arkanoid -like special power. One makes thepaddle magnetic, allowing it to draw the ball to Lu. Another enlarges yourpaddle, making it easier to hit the ball. One turns your ball into a powerhousecapable of blasting a large chunk of bricks while another makes the ball travelin a zigzag pattern toward the bricks. There’s a mystery token as well thatwill provide any one of the four power-ups.

You begin the game as ahumble peasant, but your skill and determination will see you rise through theranks with every four waves of bricks you clear. But beware: losing a ball offthe bottom of the screen costs you a life, and with only five lives on hand,every move counts.

Now, here's huge bummerfor fans of classic Atari and retro gaming in general. Unlike Breakout, Offthe Wall doesn't work with the Atari paddle controllers – you must use thestandard joystick. It's a HUGE missed opportunity, especially considering howwell-suited the game's mechanics would be for that kind of precise and speedycontrol. I’m guessing that this late in the life of the 2600, Atari eitherdidn’t care or figured that consumers wouldn’t care. Even with this massiveoversight, the game manages to be more than just playable – it’s entertaining.

Overall, Off theWall is a largely forgotten title for the Atari 2600. While it shares the samegenre with Atari’s own 1991 arcade game of the same name, they are verydifferent. It’s not good enough to be called a hidden gem, and it’s certainlynot as good as Arkanoid, but it does offer some simple, old-school fun.There are certainly worse ways to kill half an hour than to play this game afew rounds.

The Top 5 Reasons Retro Video Game Collecting is Expensive

 

I recently uploadeda video on my YouTube channel giving my top five reasons retro video games havegotten expensive, especially sealed or at least complete-in-box. You can watchit HERE. My list goes all the back to the ‘90s up until the present day. Beloware some of the comments on the video. Feel free to weigh in as well over onYouTube, or here. Thanks for watching! And commenting!

@smog-097 says:

It only seemsridiculous because people were giving away 80s and 90s video games for pennieson the dollar.  When a console wasconsidered obsolete, people literally threw them away. Even though it seemsexpensive today, and I agree there are ridiculous examples out there, the vastmajority of classic games still barely sell for the original MSRP, and most arefar less. I mean if you paid $50 in 1989 for a new Nintendo game, and it mayhave gone for $2 used at flea markets in the ‘90s…most of them have reboundedto what?  Like $20?  That's not a real return on investment after4 decades unless you happened to be the one hoarding them out of clearancebins.

@MrShady365:

One of the majorfactors imo is that a lot of the games still hold up. There’s still a demandfrom people like me who didn’t even grow up with them.

 

@80s_Gamr:

 

When I first gotinto collecting, I used to tell people that the lowest barrier to entry was theVCS/2600. You could get a working console for $10-$20, and games typically were$1-$3. My, how times have changed.

@segaherman6458:

I want to collectmy childhood, but it can be tough to collect video games now a days

@enfieldjohn101:

It's gettingharder to find, but still once in a while I find Atari games cheap. Got a boxof 2600 games for $1 a piece last week when a local game store was having asidewalk sale. None were rare, but a lot of them were in very good condition.

Found two NES games for $11 each that are good ones and a CIB Sega Genesis game of theWilliams Arcade Collection for $11 too. Glad to see sales l😅ke that still.

Sealed, gradedcollectibles are silly indeed. I figure that if I wanted to just look at a gamebox, comic book cover, toy box, etc, I'll take or download a photo of it andhang that on the wall.

 

I've done thatalready with covers of the super expensive first appearance comics.

 

Another reason whydemand has gone up for some of these games is because of emulator consoles likethe HyperKin consoles and the Atari 2600+ which can play original cartridges.

 

@benaiahburns4046:

I have beenplaying since the 70's, but I didn't have the available income to startcollecting before 1997. The most amountof games I had at any one time was 60 games before 1997. However, at Christmas that year, I broke 100games, and I haven't looked back since. Today, I own over 13,600+ games, 363 consoles and 44 complete libraries.

I will sayhowever, that to me, collecting ended with the 360, PS3 and Wii U. Today, with the PS4/PS5, One,Series X andSwitch, most games REQUIRE an update before you use them for the first time,WHICH MEANS, that in the future, when these games are no longer supported,those games will be worth about as much as a coaster. Thus, I only buy what I will play for thoseconsoles.

Top 8 Celebrity Deaths in 2023 - Suzanne Somers, etc.

The year 2023unfolded as yet another challenging chapter for celebrities. Despite theirtowering personas, these individuals are mortal like the rest of us, inevitablyfacing the embrace of the Grim Reaper.

The resonance of acelebrity's passing, particularly those whose work has left an indelible markon our lives, invokes a sense of loss within me. Critics may dismiss thissentiment as trivial, arguing that mourning should be reserved for those wepersonally know. However, the reality is that celebrities hold pivotal roles inpeople's lives, mine included. Beyond mere entertainers, they possess theability to infuse vitality and enlightenment into our sometimes-mundaneexistence.

After carefulcontemplation, I produced this (alphabetical) list of celebrities whose passinglast year affected me the most on a personal level. Call it a tribute of sortsto eight people I didn’t know, but who impacted me significantly nevertheless.

David Crosby – I’m heavilyinto heavy metal. Bands like Dio, Black Sabbath, Judas Priest, and Iron Maiden“get my motor running” (to paraphrase Steppenwolf). But I love a variety ofother musical genres, including folk rock, which was perfected by Crosby,Stills, Nash & Young. Both lyrically and harmonically, the band is one ofmy favorites of the psychedelic era and beyond. One of the earlier“supergroups,” CSNY created some of my all-time favorite tunes, including suchtimeless classics as “Helpless,” “Southern Cross,” and “Woodstock.” Crosby, ofcourse, was the most outspoken of the band members (with Young a close second) anda great singer and songwriter.

William Friedkin – Back in theearly ‘90s, when I was dating my now-wife, she came over and we watched TheExorcist with my roommate. It was terrifying, and the three of us weregenuinely spooked afterward. My roommate even brought his Bible out from hisbedroom and placed it on the coffee table. I had seen it before, but for somereason it seemed especially scary this time around. Admittedly, I haven’t watchedmany of Friedkin’s other films (The French Connection being a notableexception), but The Exorcist alone is enough to earn him a spot on mylist. While I don’t believe in real-life exorcisms or any of that hoo-ha, TheExorcist made all previous horror films seem less realistic and less horrifyingto me in comparison.

Marty Krofft – More than StarTrek. More than The Super Friends. The most influential televisionshow in the history of my life is The Land of the Lost, produced by thebrothers Sidney and Marty Krofft. Featuring Marshall, Will, and Holly on a“routine expedition” gone awry, the program debuted when I was seven years old,and I was absolutely mesmerized by it. Written by such sci-fi legends as DavidGerrold and Larry Niven, it played a huge role in my becoming obsessed withfantasy and science fiction, which in turn played a big role in my various occupationsof comic book store owner, bookseller, writer, etc. The Krofft brothers alsocreated such wonderfully creative shows as H.R. Pufnstuf, Sigmund andthe Sea Monsters, and Electra Woman and Dyna Girl

Norman Lear – Like so manykids who grew up before the internet and smart phones, I spent a TON of timeplaying outside. However, I also watched a lot of television, especially duringwindy winter days when severe bronchitis forced me to stay indoors. Norman Learcreated and produced many of my favorites of that era, including All in theFamily, Sanford & Son, and One Day at a Time. Rememberthe talk show parody Fernwood 2 Night starring Martin Mull and FredWillard? Probably not, but my brother and I loved it. Unlike so much TV, which issheer fluff, Lear’s shows used humor to deal with serious and often controversialtopics—he was a trailblazer for the medium like no other. He lived to be 101, atestament to his timeless talent.

Mathew Perry – As withcountless other celebrities, the funny and charming Mathew Perry, who playedChandler on Friends, showed that you can have it all—fame, fortune, goodlooks, great friends—and still be a miserable mess. In his memoir, he said thathe never really felt good or even normal unless he was on some type ofmood-enhancing substance. A true addict. Sad. Friends hit the air when Iwas dating my now-wife Charis, and it's been with us ever since, like an oldfriend. She even has a big part of her office devoted to Friendsmemorabilia. It’s a highly likeable show with numerous hilarious, memorable,and even iconic moments, and Chandler was a big part of that. Could he have beenany funnier?

John Romita Sr. – Decades beforecomic book stories got so convoluted, and when continuity was still importantto publishers, John Romita Jr. took over for Spider-Man co-creator Steve Ditko asthe artist on The Amazing Spider-Man (in 1966 with issue #39), one ofMarvel’s flagship titles. Romita aped Ditko’s style initially, but after a fewissues, he embraced the book and began crafting the character and hisadventures in his now-iconic style. In 1973, Romita took over as art directorfor Marvel and played a major role in defining the look of the company’s outputand in designing new characters. From a long list of great craftsmen, he’s myfavorite Spidey artist of all time.

Suzanne Somers – Freud spoke ofa latency period, but I never had one. I was girl-crazy all throughout mychildhood. One of my biggest crushes was Chrissy Snow, the gorgeous, but ditzyblonde roommate of Jack Tripper (John Ritter) and Janet Wood (Joyce DeWitt) on Three’sCompany. Although he had to pretend to be gay to live with Chrissy andJanet to get landlord approval, I thought Jack was the luckiest dude in theworld. He was smitten with both girls, but ultimately the show was about thetrio’s close friendship and their misunderstandings and misadventures. I lovedit. And, in my own childish way, I loved Chrissy.

Cindy Williams – Numeroussitcoms had a girl that “got around,” and that was part of their appeal and abig part of the comedy. Alice had Florence Jean Castleberry. GoldenGirls had Blanche Devereaux. Laverne & Shirley had LaverneDeFazio, who was played by Penny Marshall opposite “good girl” Shirley Feeny,played by the incredibly cute and affable Cindy Williams. Like her boyfriendCarmine “The Big Ragoo” Ragusa, I adored the virginal Shirley, who I farpreferred to loose Laverne. She was the ultimate “girl next door type,” rivaledonly by Mary Ann from Gilligan’s Island. And she just seemed so sweet.

While I limited mylist to just eight, there were many more celebrities who died last year whoplayed a key role in my life as a fan and content creator. These include JeffBeck, Riccou Browning, Jimmy Buffet, Phillis Coates, Bert I. Gordon, KeithGiffen, Al Jaffee, Piper Laurie, Gordon Lightfoot, Paul Reubens, Adam Rich,Robbie Robertson, and Raquel Welch.