A Better Alternative to the NES Classic Edition

In the final entry in what has turned to cover way too much blog space, I am giving my reasons why I cannot recommend the NES Classic Edition (CE).  The CE has a lot going for it, an attractive price, a cute look, the official throwback factor, 30 classic games, a good replica controller.  But it has a few downsides.

The first is obvious, the cables are way too short.  They are only 2.5' long.  An original NES controller is over 6' long.  If you want to play with the CE while sitting on the couch, you will need either a long HDMI cable or controller cable extenders.  A 25' HDMI cable will run you about $15 on Monoprice, but the controller extensions coming out for the CE run $10 each.  If you want to play a two player game, that is another $10.  Ultimately, the problem can be fixed, but the fixes will turn a $60 device into a $90 device.

The second is equally obvious, the console is not upgradeable.  When you finish playing those 30 games, what then?  It will be back to the Virtual Console.  Want to play Mega Man 3, Castlevania 3, Startropics 2, Ninja Gaiden 2, Contra or Tecmo Super Bowl?  You may have to wait for something like the CE 2.0 Edition.  Given that Nintendo included virtually all its first party classics in the existing CE, the game lineup in the CE 2.0 would prove interesting to say the least.

Godzilla - International Obsession

When Toho first began offering their Godzilla films for release for U.S. markets, it would supply a  copy of a Japanese print.  The U.S. distributor would then make whatever edits and additions it deemed appropriate, dub the film into English and release it.  Typically the print would be sent to the U.S distributor without text credits, leaving the inclusion of credits to the local distributor.  

However, by the mid 1960s Godzilla and other Toho films were increasingly offered in two versions, a textless version suitable for alteration and an International version which could be put into theaters or on TV immediately.  International versions could be sold to other English-speaking countries or non-English speaking countries where it would be easier to dub the film into the local language by translating English instead of Japanese.

An International version of a Godzilla film is characterized by several features.  First, the Japanese credits are translated into English.  The typeface used will invariably be white.  Second, the film will be distributed uncut from its Japanese version.  Third, the film will be dubbed into English in Tokyo (until 1972) or Hong Kong (1972-2004).  International versions were deemed appropriate for the TV and home video markets, but more quality-conscious distributors like American International Pictures, New World Pictures and Sony Pictures decided to commission new dubs for the films they released theatrically. 

Reasons for Owning a Gravis Ultrasound - Sound Quality Comparisons

It is an unfortunate fact of PC retro gaming that the Gravis Ultrasound cards are very expensive to buy off the second-hand market and the auction sites.  You may ask why should I want one, my Sound Blaster and my Roland does the trick for me.

For most games, you would be correct, the GUS is not especially impressive.  Some games, like anything using the DOOM engine, mix all the digital audio in software and then send the result to the sound card.  This eliminates one of the most important advantages of the GUS, mixing multiple streams in hardware at reasonable bit-sizes and frequencies.  In this instance, the GUS is no better than a Sound Blaster 16.  In benchmarks, it is actually worse than a SB16.

But for other games, the GUS can have a distinct advantage.  In these games, all audio, music, speech and sound effects, is digitally generated and mixed.  The Sound Blasters must mix this audio in software, but the GUS mixes it in hardware.  The result is always a higher quality sound from the GUS than an SB, even if the SB is a Pro, 16 or AWE model.

Video Potpourri II

Sometimes, one needs to discuss related subjects that do not by themselves warrant a full blog entry.  Hence the video potpourri series, in which I can talk about aspects of display technology.

I.  Composite Artifact Color Emulation

Composite artifact color emulation has been around for a long time.  Unfortunately, in many cases it just isn't very good at trying to replicate the look of a composite monitor.  Simple schemes just assign a color arbitrarily to a group of two or four monochrome pixels.  Mainline SVN DOSBox tries to simulate CGA composite color as if it were a VGA mode.  The colors are reasonably accurate to the real IBM CGA cards, but the text color fringing is rather blocky.  There are custom builds that use filtering and 16-bit color to give a more subtle impression of the composite color, but it still looks much, much cleaner than the real image.  You can obtain a custom build with better composite color emulation here : http://www.vogons.org/viewtopic.php?f=41&t=12319&start=660#p501453

Restoring the Fluid Look to Analog Video

As we all know theatrical sound film releases are typically projected at 24 or 25 frames per second.  Film is a progressive medium where each film frame captures an image at a discrete point in time.  However, film must be developed before it can be exhibited and must handled by experienced technicians, making it a costly medium in which to produce artistic works.  To reduce flicker, a shutter in the camera would open or close twice for each frame.

Prior to the advent of television, celluloid film was the only commercial means to display visual moving images.  However, the introduction of wholly-electronic television broadcast and receiver systems meant a massive change.  TV broadcast cameras were able to achieve acceptable image quality by broadcasting images in an interlaced format.  A broadcast camera and a TV tube display images in a set number of lines, and the electron scanning beam inside the tube scans or displays each line sequentially, then returns and draws the next line.  (Think of a typewriter.)  When it gets to the bottom of the tube, it returns to the top of the tube and draws the next set of lines.

In order to allow the electron beam sufficient time to draw all the lines, interlacing was used.  In an interlaced format, "frames" become "fields". A field only captures the odd or the even lines of the TV camera lens.  After all the odd lines in the first field are captured, then all the even lines of the second field are captured.  In the NTSC countries, 59.94 color fields (formerly 60 fields for B&W NTSC) are captured each second.  In PAL and SECAM countries, 50 fields are captured each second.  When this is broadcast to a TV screen, the fields are displayed as they are captured.  The high number of displayed fields avoids flicker on the TV screen.

Nintendo Mini Mania Redux - The Classic Mini Family Computer

Nintendo has released another retro-themed surprise.  Back in July, Nintendo announced the NES Classic Edition/NES Mini, an emulation box containing 30 classic NES games.  Here is the original trailer for it :  https://www.youtube.com/watch?v=qAGVilt3Rls  I discussed it here :

http://nerdlypleasures.blogspot.com/2016/07/nes-classic-editionnes-mini-nintendos.html

Yesterday, Nintendo announced a Famicom version for the Japanese market.  Like the NES Mini, the "Classic Mini Family Computer" is a miniature replica of a Famicom with a power and a reset button.  It also has 30 games and will cost 5,980 Yen, which is close to the NES Mini's $59.99 price.  It is going to be released on the same day as the NES Mini, November 11, 2016.  While the official trailer is in Japanese, the visuals are self-explanatory :

Older Sci-Fi Shows in the HD Era

So, you want some of your classic sci-fi shows on Blu-ray?  How do they do that you may ask?  Well, in many cases it depends on when and where the show was created.

In the 1950s through the mid 1980s, U.S. science fiction TV was shot entirely on film.  Classic shows like The Twilight Zone, The Outer Limits, Star Trek, Night Gallery, Kolchak: the Night Stalker, The Six Million Dollar Man, Wonder Woman, Battlestar Galactica, The Incredible Hulk, Buck Rogers and V: The Series all had the Hollywood look.  Effects were done on film, practical where necessary, optical as required.

Then in 1986, Star Trek: The Next Generation started its seven year run.  This series initiated a revolution in special effects.  While live action was still caught on film, wholly special effects scenes depicting the Enterprise and the various ships and worlds it encounters would often be generated on video with the use of computer graphics imagery (CGI).  CGI would often make its way into the live action as well.  Unfortunately, these images would be constructed in standard definition.  This method of production continued for almost two decades, every Star Trek series (except the last season of Enterprise), Babylon 5, Farscape, Firefly, The X-Files, Hercules and Xena used this method.

Accessible Good Famicom Games

The Famicom had over 1,000 games released for it during its lifetime.  Hundreds of those games were never released outside of Japan, and there were only a few releases of Japanese games exclusively in Europe.  Of course, many, many of those games that never officially made it out of Japan are terrible, as were many games that did make it overseas.  In this post I am going to list many good Famicom cartridge games that were not released for the North American NES console.  Not all the games identified below are classics, but all have their virtues.  Famicom Disk System games have already been mostly covered elsewhere :

http://nerdlypleasures.blogspot.com/2016/04/worth-loading-times-famicom-disk-system.html

The first list is of games that are English-friendly.  These games do not use a lot of Japanese text and what text there is is not essential to completing the game.  Most of these games have translation patches as well.  Many tend to be simpler games, namely shooters and platformers :