Saturday, July 25, 2020

Mr. Do! Run Run




4-bitplane sex appeal

Here is a game I consider a visual feast and a superb arcade conversion with utterly gorrrrrgeous gameplay. Yep, it's Mr Do! Run Run which was released in 1990 by Time Soldier dudes, Electrocoin. (actually, I liked that bizarre shooter).

In this top-down runaround, we play the part of a clown who dashes around the screen collecting fruit whilst trying to avoid various chasing nasties that get in our way. We're armed with one ball used to defend ourselves, and this can be replaced by picking up several smaller balls off the floor. Heavy logs have been precariously propped up. These require only one well-timed nudge to see them roll down squashing anything in their path. Just don't get caught in the way!

Let's see why I adore this game and its aesthetics so much. Yes, it's time for screenshots...



This is the campest title screen I've ever seen. It's absurd but very colourful.



The overhead display is superb for a clear view of the task ahead.



Check out those melon monsters! But look, I can see logs just waiting to be knocked.



Shockingly awesome conversion!

This gameplay is fairly similar to PacMan but Mr Do is also writing a line as he moves (think Qix). Use this to draw a box and turn the pills into fruits: repeat the process to flip them into oranges, lemons and eventually pineapples for extra points. Yes, it is based on Qix but the gameplay mechanics are excellent, providing a frantic adrenalin rush as you busily race around the screen. The level is completed once all the balls are collected or the baddies are dead.

Basically, this game is as old-school as it can get and, it works perfectly. In fact, it works so well with zany action that is as crafty to master as it is stunning to look at. Yes, I am shocked by how much I enjoyed this game but, what shocks me even more, is never playing it back in the day. What was I thinking? Where was I? How did I miss this game?

Okay, gaming dudes, let's see more Qix'y screenshots from the game...



Oh, I love the design of each level and how colours are used to enhance that.



Lots to do and many monsters to kill. This game is an action fest and I love it!



Another level of pixel beauty which honours the arcade game perfectly.



Aesthetics

I love the graphics. Stunning. These sweet pixels were created by Gary Felix who was responsible for Exolon and Future Sports. Ignoring the rather lame animated intro (sorry Gary), the title screen that follows demonstrates what to expect from this game. That means peculiar and freaky pixels - especially if you hate clowns? Meh, I don't see what all the fuss is about.

The in-game graphics score the most points because they are authentic to the arcade original using a rich, bold style with cutesy sprites. Lovers of Mr Do and PacMan are instantly going to feel at home in this queer world. In fact, it (almost) makes Rainbow Island look drab. Well, no it doesn't, but this game is just as glam.

Things aren't slowing down! The audio is amazing thanks to the creative efforts of Wally Beben. I'm often amazed at what the YM can produce but he knocked the ball out of the park with outstanding arcade-style sounds. His chip music truly does suit the gameplay and sounds ace. Check it out and click on the green arrow below...

The CryptO'pinion?

Mr Do! Run Run is a challenging game with the first level being an absolute butt-kicker!!! Stick with it. The joy I felt when reaching the second level was an ecstatic moment indeed. My advice: ignore the Qix elements and concentrate on the controls and then how to kill the monsters. Once comfortable, learn how to farm fruits and collect the bonuses.

One of the most overlooked arcade conversions for the Atari ST. Truly an exceptional arcade conversion!!


Saturday, July 18, 2020

Dave Rogers

Dave Rogers is one of my favourite musicians who I've enjoyed listening to over the decades. However, that's quite an odd statement when you consider his name is credited on only three Atari ST games (chip). Well, I don't care about quantity because I could never forget my first Atari ST Christmas when I booted up Zynaps and Rana Rama. What a magical moment in time it was hearing these tunes!!

So, with only three chiptunes under his belt, how could I possibly say that Dave Rogers holds this accolade? Easy, because quality reigns over quantity and I've never stopped enjoying his work for over 3 decades. So he must have done something right?

Okay, back when I was running with the Super Pack feature, I got the notion to contact Dave after reviewing the *legend* that is Zynaps - a fantastic and underrated shooter with a massive learning curve. Yep, it takes no prisoners but the rewards are great if you put the time into beating its cruel nature. Which is just what I did - check out my video (which features all Super Pack games).

Well, knock me sideways because Dave replied and kindly took the time to answer a few questions. It was interesting chatting with the guy I've admired for decades and, like me, he's a northern lad. Talk about win-win! My sincere thanks to Dave for taking the time to be interviewed and I'll try my best to forgive your Mac hatred ;-)


DAVE ROGERS - THE INTERVIEW


Tell us about yourself...

The first computer I wrote music for was the Amstrad, using the basic sound command in Locomotive Basic and later I used my own compilers and drivers. For Spectrum and Atari ST games, the music and sound were not written on the machines themselves but were written on the Amstrad and the data was ported across. So, for example, the ST version of Zynaps uses the same sound data as the Amstrad version with a different driver.

I worked entirely from home (I had no choice really, due to some health problems at the time). I never met any other programmers, or anyone in the software industry, apart from two local guys here in Liverpool - Colin Hogg, who later founded The Code Monkeys software house, and Paul Kenny, who worked with me on the Sega.


What hardware was used?

This is quite the list: ZX81 and extras, Amstrad CPC 464, Amstrad disc drive, Dragon32, Spectrum 48k, Spectrum +3, Atari ST, Atari monochrome monitor, Atari disc drive, Sega Megadrive, Gameboy, custom electronics to interface the latter two, PC. I have never owned or used a Commodore 64.

The music compilers, editors and sound drivers for the Amstrad and Spectrum were my own. The driver for the ST was a line-by-line conversion of the Spectrum driver, done by a programmer at Hewson because I was new to the Atari ST and the 68000 (I never found out who did the conversion). The first time I used MIDI was with Cubase on the ST. I very much enjoyed using that setup. The Atari monochrome monitor was very clear, and that early version of Cubase was very simple and intuitive, unlike the cluttered mess that it has evolved into today.





Hang on, did I hear you say MIDI?

I used that Atari setup for doing the Megadrive and Gameboy music (Universal Soldier, Centipede, etc). Everything was written on the Atari ST and tracks were auditioned using sounds from a Korg DW8000 keyboard and a Roland D110 rack module put through a home-made mixer. Then the MIDI stream was converted to data for the Megadrive or Gameboy. Voicings for the Sega's FM sound chip and the Gameboy's sound chip were also done on the ST, using editors and drivers designed by Colin Hogg and myself.


Living the rockstar lifestyle, eh?

Almost everything was composed on guitar, a Gibson SG, but not through an amp. I just played it in a very quiet living room, usually in the small hours of the night when I could think clearly. As the music gradually took shape on the guitar I typed in the notes and durations in the form of plain text into my compiler program.

One note at a time. On a 1 to 10 scale of tediousness, it was an 11.

In your interview with Jason C. Brooke, he describes what sounds like a similar method: giving each note a text label, like "c3" to mean C at the third octave. I think many of us came up with similar methods.





Who inspired you back then?

I can find something to like in almost all genres of music, and from all eras, but particular favourites include XTC, Genesis, Police, It Bites, and Nik Kershaw. I'm always looking around for new stuff, and I'm constantly amazed by the brilliant musicians that can be found on YouTube if you look a bit outside of the mainstream.

However, the music that I always go back to, time and again, is by Tony Banks, both within Genesis and his solo work. Such epic, elegant tracks as Afterglow, Burning Rope, Mad Man Moon. Coincidentally, one of Banks' lesser-known tracks, "Charm", appears to be a nod towards early chip music, including the distinctive sound of fast trills. "Tony Banks - The Fugitive - Charm" https://www.youtube.com/watch?v=fGS9xzyp9go

Trills were often used by chip musicians to try and compensate for the severe limitation of having only 3 channels to play with. So if, for example, you had a melody line on channel 1 and wanted to accompany it with a 4 note chord, say Cm7, you could trill between C and G on channel 2, and between Eb and Bb on channel 3. It wasn't a proper chord of course, but by trilling rapidly, at say 25 Hz, it gave a reasonable impression of one.

The only musician I worked with was a friend, Paul Kenny, on the Sega titles. But maybe cross-platform conversions could be thought of as "working with" other musicians? In Ranarama for example, Steve Turner had written an excellent melody line for the Spectrum version of the game, so when I did the ST conversion I followed his melody closely, added an intro, added bass and harmonies, then made a completely new section to lengthen it.


Why only three Atari ST chiptunes?

Well, the ST work only started towards the end of my stint with Hewson. Before that, it was all Spectrum and Amstrad, and after that, it was Sega and Gameboy. So my time writing for the ST was pretty short. Another reason is that I tried to aim for originality. Anything that sounded too much like existing music was thrown away.

Also, there are three tunes that were never used. One of them was my first attempt at the title music for Stormlord, which Raffaele Cecco didn't like, so I had to write another. And I'm glad because the first one was awful!





Looking back...

I'm quite happy with maybe about 70% of my work. Some of it has aged well with me, some has not. I'm still fond of Zynaps. However, a slight annoyance is that some YouTube videos contain glitches and spurious sounds. In this recording, for example, there's a horrible high pitched screech from 1:52 that wasn't in the original. The clean version for comparison can be found at https://www.youtube.com/watch?v=RkMe4vH7Zug


What's Dave Rogers doing these days?

I've never stopped writing music, but hardly any has been published, just these few on Soundcloud.

I'm currently using a PC (I hate MACs, sorry) running Cubase SX. I know that is out of date, but I'm comfortable with it. The software synths I'm using are similarly outdated, favourites being the Wavestation, Edirol Orchestra and some FM emulators. Inputs are from a Casio MG-510 Midi guitar, and occasionally an Edirol keyboard.

I think it's amazing that there is still so much interest in old computers and the games. Although maybe it's not all that surprising really, because they were a part of people's lives as they were growing up, and those sort of memories do tend to stick around. Anyway, I loved being involved in it, and contributing in some small way to the memories, and I really do appreciate the kind reviews and comments I've received over the years.

Cheers,
Dave Rogers, July 2020, Liverpool

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