Sunday, March 17, 2024

Celebrating 25 Years+ As a Freelance Writer

I’ve always wanted to be a writer. At least as far back as I can remember. And last year, I celebrated 25 years of being a professional in my chosen field.

My interest in books, reading, writing, and the like goes back to when I was a little kid and would read anything we had lying around the house, whether it was the children’s books in my room—Billy Goat’s Gruff, Flat Stanley, and Charlotte’s Web immediately come to mind—to the more grownup stuff in the living room, including a pair of encyclopedia sets: a standard edition and one based on science. And I absolutely LOVED the Guinness Book of World Records; I would pour over that thing for hours, marveling at all the freaks, geeks, and amazing feats. I still remember the name of the world’s tallest man—Robert Wadlow!

My mom, who introduced me to writers like Tom Tryon and Mary Higgins Clark, would take me to used bookstores, where I bouight as many Peanuts paperbacks as I could afford, as well as comic books. We also went to thrift stores. I distinctly remember buying a stack of Mad magazines at Thrift Town for 10-cents each—a bargain even back then.

Mom let me order three items per month from the Scholastic Book Club. I always selected Dynamite Magazine—a pop culture treasure trove of fun celebrity profiles, cartoons, puzzles, etc.—and two books, usually a non-fiction title like Ripley’s Believe it or Not or Strange But True Tales and a novel. This is how I discovered the greatness of H.G. Wells. War of the Worlds is the first “grownup” novel I remember reading. Later, I got into Stephen King, Richard Matheson, Rod Serling, Dean Koontz, Ray Bradbury, Clive Barker, and too many others to count.

In short, I was a veracious reader from a young age, which played a big role in my opening a pair of comic book stores with my brother-in-law during the early ‘90s and later working at Waldenbooks. During my stint at Waldenbooks, which was a lot of fun—I got to hang out with Charlton Heston, Richard Simmons, Waylon Jennings, and other celebrities during autographings—I tried writing fiction, which was met with limited success. I had a few short stories published in small press magazines, I got a hand-written letter of rejection from The New Yorker asking me to submit more stories, and I was a quarter-finalist in the L. Ron Hubbard Writer’s of the Future Contest. This was an interesting and fun time of creativity, but it hardly paid the bills. (I’ve since collected these stories in a book called The Arcade and Other Strange Tales.)

In 1997, my aforementioned brother-in-law emailed me a want-ad from a company looking for people to write about video games for such vintage consoles as the Atari 2600, ColecoVision, and Commodore 64, as well as for what were then newer systems like the PlayStation and Nintendo 64. This began my association with the All Media Guide, the company behind the All Music Guide and the late, lamented All Game Guide, which was an amazing website dedicated to describing, reviewing, and cataloging every video game ever published for every console, handheld, and computer in the history of forever. I was dumbfounded that I actually got paid real money to write about old (and new) video games.

Oh, did I not mention that I’m into video games? I’ve been gaming since 1975 when I discovered Pong and Midway’s Gun Fight at the local bowling alley, and I’ve been collecting since way before retro gaming was considered cool. During the 1990s, you could find tons of older games for pennies on the dollar at garage sales, thrift stores, flea markets, and discount bins at various retail stores. Working for the All Game Guide kicked my collecting bug into overdrive. After all, video games were both research and a tax write-off!

In addition to cranking out a ton of game synopses and reviews, I became an editor with the All Game Guide. I also began writing for the Comic’s Buyer’s Guide (which older readers may remember as The Buyer's Guide for Comic Fandom), as well as other publications. Between these writing gigs and selling stuff on eBay, I was able to quit my job at Waldenbooks and work at home, which was awesome: I was living the dream! And changing a lot of dirty diapers as our kids—Ryan and Katie--were little at the time. Speaking of family time, my wife Charis—a high school English teacher—was a HUGE help during this point in my writing career. She’s a fantastic writer and editor in her own right and would look over my work on a regular basis, offering all kinds of great advice for polishing up my prose.

Writing steadily for the All Game Guide and the Comics Buyer’s Guide helped me hone my craft to the point where I was ready to write a book. In 2006, I went to San Diego Comic-Con, where I met an editor with McFarland Publishers. I left a business card, and three days after I got home, they emailed, asking if I had any interesting book ideas. This contact and my fascination with reference volumes and electronic entertainment led to my Classic Home Video Games series, the first installment of which came out in 2007—right around the time retro gaming started becoming super mainstream. Later, I wrote more books, including some for Schiffer Publishing, such as the Omnibus books and my newest, The 100 Greatest Console Video Games: 1988-1998.

In 2009, I wrote my first cover feature for AntiqueWeek, where I have a pop culture column. My friend—former AntiqueWeek contributing writer Rick Kelsey—gave me contact info for the paper, which is obviously still going strong. My first AW article was about video games (the Atari 2600, in this case), but I’ve written about countless other topics related to collecting. In 2010, I started a near-decade-long career as a freelancer for a major metropolitan newspaper, the Fort Worth Star-Telegram. I loved that job, but they downsized like so many publications during the past few years and now rarely use freelancers for entertainment-related articles.

The past two-and-a-half decades have been hugely gratifying careerwise. At least most of the time. Writing articles for Game Informer, Filmfax, Fangoria, Robot, Native Peoples, Back Issue, Alter Ego, and other mainstream publications has been a dream come true. I’ve interviewed numerous celebrities. I called Adam West, and he answered the phone, “Hello. Batcave.” I had an argument with William Shatner. I’ve been on tons of press junkets, getting wined and dined at museum galas and restaurant and bar openings. Getting press passes to comic book conventions is always fun. Even better is being invited to video game conventions across the country as a guest author, YouTuber, and panelist.


It’s been a good run, but I’m far from finished. These days, I’m cataloging video games and writing blog posts for Heritage Auctions, as well as continuing to do my own stuff. I hope to keep at it in one form or another for another 25 years!

As always, thanks for reading! And thanks for your support!



Tuesday, March 12, 2024

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

Squeeze Box

Atari 2600

Publisher: US Games. 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 the MCP level of the classic Tron arcade game from 1982. In Tron, players face off against the Master Control Program, breaking through rotating walls in a colorful environment. Squeeze Box attempts to capture a similar vibe, placing players, as a jailbird, in a claustrophobic scenario where the walls literally close in on them from the sides. Despite the potential excellence, Squeeze Box falls far short of delivering the well-balanced and strategic gameplay that made the MCP level of Tron a favorite.


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

One of the main issues with Squeeze Box is the lack of balance in gameplay. As the walls inexorably close in, players quickly find themselves in situations that feel cheap and unavoidable. Unlike Tron, where skillful maneuvering and timing provide a fighting chance, Squeeze Box soon puts players in positions where any escape attempt is futile—it goes from easy to impossible with not much in between. This feeling of helplessness detracts from the overall experience, making the game feel more frustrating than fun.


Moreover, the game suffers from a lack of strategic depth. In superior games, even when the action becomes frantic, there remains a sense of control—a belief that a clever strategy 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 little room for tactical decision-making or foresight. Arcade-style games inherently make 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 with its concept but ultimately disappoints in its execution. The potential for a compelling, strategy-based challenge is undermined by unbalanced gameplay and a lack of meaningful strategic options. The comparison to the MCP level of Tron highlights what Squeeze Box could have been—a game where skill and strategy lead to satisfying victories against daunting odds. Instead, players are left feeling that their fate is more often dictated by the game's brokenness than their own actions. While Squeeze Box may hold some nostalgic appeal or curiosity for Atari 2600 collectors, it does not stand up as a nicely programmed example of the system's capabilities. What a missed opportunity…

Friday, March 8, 2024

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 for his forthcoming book, The Minds Behind the Games: Interviews with Cult and Classic Video Game Developers. He was a pro introducing himself and told me that my 2016 book, The 100 Greatest Console Video Games: 1977-1987, inspired him to write a book of his own. Better yet, the book was going to be released by McFarland Publishers, the company that published my Classic Home Video Games series. Needless to say, I was incredibly flattered and happily agreed.

In the intervening years, I’ve gotten to know Patrick and discovered him to be a big personality with 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 attentive father 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 projects and makes sure they know why he works so hard—it’s for them. It’s also to leave a legacy behind. And to be sure that many of the unsung heroes in the video game biz—namely the developers and programmers—get the credit they deserve.

One of the coolest things about Patrick is that he loves to support other content creators by encouraging them, sharing their successes and posts, and collaborating with them. He wants his friends and other content creators he respects to succeed; he’s pretty much the opposite 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 the ridiculous drama that occurs.

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


Monday, March 4, 2024

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

Top 5 Reasons Retro Video Games Have Gotten Expensive

The escalating prices of retro video games have sparked excitement, frustration, and widespread bewilderment over the years. This intriguing rise in the value of classic games is more than a fleeting trend; it's an historical journey worth exploring. Delving into this phenomenon reveals a wide array of factors that have propelled these plastic pieces of old technology to the status of prized collectibles, 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 retro video games are still a ton of fun to play and offer unique experiences—shedding light on why video games have become treasured collectibles and not “just” entertainment.

1. The Rise of Fanzines

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 of retro video games. Along with reviews, nostalgic stories, and the like, these publications sometimes included cartridge listings and rarity/price guides, serving as an early form of market analysis for collectors and enthusiasts. By cataloging 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. This early documentation and valuation of games have played a significant role in shaping the perceived value of vintage games today. While many gamers of this era viewed outdated video games as junk (old consoles and cartridges in fine working condition were routinely thrown in the trash), a collector’s market was emerging.

2. The Advent of Retro Gaming Conventions

The late 1990s marked the birth of retro gaming conventions, with events like the Northwest Classic Gamers Enthusiasts meetups, which evolved into the Portland RetroGaming Expo, and the Classic Gaming Expo, originally called World of Atari, setting the stage. These gatherings brought together hobbyists, collectors, vendors, and developers, creating a vibrant marketplace for buying and selling retro video games. The communal experience of sharing passion and knowledge about older titles and consoles contributed significantly to the increased interest in retro gaming. As demand grew, so did the prices, fueled by the competitive spirit, the desire to own a piece of one’s childhood, and the endless endorphin rush of filling holes in the collection. Today, some of the bigger retro gaming cons, such as Classic Game Fest in Austin, Game On Expo in Phoenix, and Too Many Games in Philadelphia, each host more than 10,000 attendees. PRGE is still going strong, and you can’t have this conversation without mentioning the Midwest Gaming Classic in Milwaukee.

3. The Impact of eBay and Online Sales

The advent of eBay, initially launched as AuctionWeb in 1995, revolutionized the way retrogames were bought and sold. This platform allowed sellers and buyers from across the globe to connect, significantly expanding the market. The convenience of online shopping, coupled with the ability to find almost any title, no matter how obscure, led to an increase in demand. This demand, paired with the auction format encouraging competitive bidding, drove prices upward. As more platforms emerged and the online marketplace matured, the accessibility to rare and sought-after titles became easier, further inflating the cost of vintage games. There were even auction sites, such as Game Gavel, dedicated strictly to video games. Similarly, online message boards such as AtariAge and Digital Press (an outgrowth of the fanzine) helped collectors connect for buying and trading. Today, many people buy, sell, and trade video games through such outlets as Craigslist and Facebook Marketplace. The proliferation of retro gaming stores, both online and brick-and-mortar, has also played a significant role in expanding the market.

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

In 2006, the world first witnessed the phenomenon of The Angry Video Game Nerd (originally The Angry Nintendo Nerd) and the launch of the Wii Shop Channel. AVGN, through his comedic rants about the frustrations of retro games, inadvertently sparked renewed interest in the titles he critiqued. Similarly, the Wii Shop Channel, by offering classic games for download, rekindled nostalgia for the original cartridges and consoles. This dual push of modern media celebrating retro content led gamers and budding collectors to seek out physical copies, driving up 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 value of harder-to-find titles. Certain famous influencers, such as Metal Jesus Rocks, have even been highly criticized for their roles in popularizing old games and, therefore, increasing the demand for them. Since MJR’s job is to discuss video games, and since that’s what his fans want, this criticism is pointless and even absurd.

5. Collecting Sealed and Graded Games

A more recent phenomenon impacting the cost of retro video games is the collecting of sealed and graded games. The practice of grading games, evaluating their condition, cataloging the variants when applicable, and sealing them in protective cases, has turned game collecting into a serious investment hobby. Collectors vie for the highest-graded copies of key titles, seeing them as valuable assets. Wealthy investors who may not even be gamers themselves nevertheless diversify their portfolios by purchasing retro games. Collectors from other categories, such as baseball cards and comic books, have taken an interest in retro game collecting. This shift towards viewing video games as collectible commodities rather than mere entertainment has significantly driven up prices, especially for titles that are complete-in-box (CIB) or factory-sealed. Early and rare variants (such as a hangtab Super Mario Bros.), factors that were barely noticed previously, are highly sought-after in today’s collector’s market. More desirable games can sell for six figures and, in rare cases, seven figures.

In Conclusion

The rising prices of retro video games can be attributed to a complex interplay of cultural, economic, and technological factors. From the early days of fanzines and conventions to the modern era of online sales, media influence, and professional grading, each has played a part in transforming the landscape of game collecting. As nostalgia remains a powerful force, the community around retro gaming continues to grow. There are even new consoles coming out, such as the Atari 2600+, that can play original software. With this in mind, it’s likely that the demand for these digital relics will only continue to increase, at least for the foreseeable future.

While recent trends have seen some marquee titles dip from their peak highs, a significant number of games continue to climb in value. For example, a CGC 9.2 A+ Early Production copy of Pitfall! for the Atari 2600 recently sold for $8,400 through 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 $26,400 via Heritage, far surpassing the previous record for that version of the game.

As the gaming consoles of today gradually transition into the classics of tomorrow, their game libraries will inevitably gain the "retro" label, sparking a new wave of nostalgia-fueled demand. Collectors on the fence about acquiring these soon-to-be classics might find themselves regretting not securing these games when prices were more accessible. However, the timeless advice for enthusiasts remains unchanged: focus on acquiring games that resonate with you personally, whether for the joy of playing or the passion for collecting. This approach ensures that, regardless of market fluctuations, the true value of your collection is measured in the enjoyment and satisfaction it brings to you.

Thursday, February 29, 2024

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

Greetings!

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

For those who aren’t in the writing business, you may not know that there are two kinds of writer’s markets: paying and non-paying. It’s always been this way, and you can find 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 for several non-paying markets, including Classic Gamer Magazine, Scary Monsters Magazine, and a couple of other publications. I did this to support the magazines, to get my name out there, and to help hone my writing skills. To get good, writers must write. A lot. It’s hard work, but it can be a lot 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 meeting Walter Day for the first time for Todd Friedman’s Walter Day's Gaming Superstars: Volume Two. Todd, a good friend of mine, told me up front that it was a voluntary project, and I happily wrote the story for free—it was fun recalling the time of how I met Walter at the Classic Gaming Expo in Las Vegas and putting it down on paper. For Rob Strangman’s Memoirs of a Virtual Caveman, I was happy to contribute two nostalgic stories free of charge. Like Todd, Rob is a great dude, and I wanted to help him out and appear in a great book at the same time—win-win! There are other retro gaming books out there—some that have sold more copies than mine—that are non-paying markets for contributing writers as well. My Omnibus books are hardly alone in this regard.

When it came time to 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 would be a non-paying market, and of course I told the writers upfront. I was looking for authors, YouTubers, programmers, store owners, and others in the industry who wanted to tell nostalgic stories about some of their favorite and most memorable video games for the sheer enjoyment of recalling those great times. They were welcome to include critiques with their stories, but I didn’t need them to actually review the games—I primarily wanted them to help capture the culture of gaming, particularly the SNES during the 1990s (though more recent memories regarding the console were certainly welcome).

Of course, there were pragmatic reasons for making my Omnibus books a non-paying market. With 79 contributing writers on The SNES Omnibus Vol. 1 alone, most of whom wrote multiple stories, it would have been cost-prohibitive to make it a paying market. As a full-time freelance writer at the time, this made the most sense to me. During the writing of the Omnibus books, it took a ton of time away from my primary and more profitable job of being a journalist for various magazines and newspapers, including AntiqueWeek and the Fort Worth Star-Telegram. In short, each book was a passion project. The books have sold very well, thankfully, but all things considered, I made the correct business decision.

Regarding the contributing writers who have done the yeoman’s work of telling all these stories, they have done an amazing job, and I’m incredibly grateful. And virtually all of them I’ve spoken with have been thrilled with how the books have turned out. For one YouTuber in particular, he called it a “dream come true” to have his writing appear in a hardcover book that was for sale at Barnes & Noble and 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 to write books of his own, including Avengers in Video Games: A Guide to Solo Adventures and Mighty Marvel Team-Ups, with Creator Interviews.

Without these Insider Insights in my Omnibus books, they wouldn’t be nearly as interesting or entertaining. Reviews and synopses are fine, but stories are more fun to read. Countless noteworthy gamers, content creators, and industry insiders contributed amazing anecdotes to the Omnibus tetralogy, including such popular figures 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 many others to mention. I’m forever grateful for these amazingly talented people—too many to mention them all!

You may have a problem with me not paying my writers, but they certainly don’t—they were happy to be involved and help me out! I’m friends with most of my contributing writers, 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 in retro gaming. Rather than disrespecting these contributing writers as I’ve been accused, I’ve shown a great deal of respect and repaid them in kind by sharing links to their books and YouTube channels, writing about them on my website with my Writer Spotlights, and more. In fact, I’ve collaborated for free with some 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 a convention or being too distracted or busy to chat—apologies all around! It can be stressful and overwhelming to set up at a show and deal with a bunch of customers, but this is no excuse—I’ll try to do better!

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

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

If you still aren’t convinced that writers sometimes write for free and do so gladly, or you can’t imagine why they would do such a thing, here are some general reasons that apply across the industry:

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

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

Community and Collaboration: Projects like these often foster a sense of community among contributors, who can form valuable professional networks and friendships. The collaborative nature of contributing to a collective work can be fulfilling in itself. I’ve seen this first-hand the numerous retro gaming cons I attend each year.

Professional Development: Contributing to such projects can also serve as professional development, allowing writers to hone their craft, experiment with new writing styles, and receive feedback from peers and editors.

Building a Portfolio: For writers starting out, contributions to published works can be a powerful addition to their portfolio, demonstrating their ability to write professionally and meet publication standards.

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

And, as always, thanks for reading!

~Brett Weiss

Sunday, February 25, 2024

My Last Intellivision Amico YouTube Video? Your comments!


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

 @forcedfeedbackclassicgamer5499

Couldn't care less about the Amico at this point, and Tommy's probably going to prison in the end, but the one thing that really pisses me off about the whole ordeal is the limbo that Earthworm Jim 4 now finds itself in. I was genuinely looking forward to a new Earthworm Jim game hearkening back to the franchise's actual 2D roots with so many of the original devs attached to the project. I can only hope that somehow the game finds a new publisher, though if what I've heard is true, the game never actually saw any substantial development to begin with (comparable to much of what was promised regarding all things Amico), so there's probably no real loss there when all is said and done.

@SomeOrangeCat

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

@OriginalGrasshopper

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

@koolaidbomber

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

@martinhelling7248

Good video! I was excited about 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 all around. I think even if it did come out it would have been doomed based on the price alone. Yes, older gamers and people into retro would buy it, but put it next 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 back when you're ready.

The console was always just an Android based hub for the controllers, really nothing more, and it also turned into a nightmare to produce for a small company. Having said that, we never needed it anyway, Brett. There are many, better Android boxes in MILLIONS of homes right now that the controllers will play on as a console. Many are dirt cheap, too.

Amico will actually be a much better product now IMO.

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

@dynamicvoltage9765

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

Thursday, February 22, 2024

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 JT did a video recently on Pat Contri’s forthcoming N64 book. He mentions me in the video as someone Pat has unfairly insulted on his YouTube channel and podcast, which I appreciate – thanks, Smash. But just to be clear, I wasn't consulted for the video, and I've never commented on Pat’s N64 book before this blog post. I've also never commented on his and his contributing writers’ use of emulation to write the reviews. I figured that was his business, and it didn’t really affect me.

I’ve discussed other retro gaming books by other writers on my blog and my YouTube channel, but I don’t really feel 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 and expensive games, but less so for common ones. Those should be fairly easy to purchase (and later resold if needed to recoup the money) or at least borrow and play on original hardware. I love physical media, and original cartridges are always preferable, but it is what it is. Regardless, if he wants review games using emulators, that’s his prerogative and not really my concern--it's actually a common practice. It's certainly NOT a scam to write a gaming book using emulation, as Smash JT's video states. It's not a perfect solution for games you don't have access to, but it's a solution. My issues with Pat run much deeper.

One thing is clear: had Pat, who I was friends with for almost 10 years, not only turned on me and started trashing me on his podcast as soon as my first Omnibus book came out (his attitude change toward me was instantaneous when he saw me as a competitor), I would probably be congratulating him and maybe even helping him promote the N64 book—after all, we were friends and had an amiable working relationship. I promoted the hell 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 him congratulations on his Super NES Kickstarter, which he ignored.

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

But, as soon as he saw me as competition instead of a friend and colleague, he started lying about me repeatedly on his podcast and calling me names. Among other things, he called me a "passive aggressive asshole," presumably because I've tried to deal with this pointless conflict in a cordial manner. He said my reviews for his NES book were “garbage” after he deleted them for the publication of the THIRD edition. He brought me up on his podcast periodically, just to say bad things about me and my reviews, which is totally strange and disingenuous since he complimented them repeatedly during the production of the book. In 2015, he said "great job" and that I was a "backbone" helping keeping his NES book going, as you can see by the email below. During the writing process of his NES book, and while the first two editions were in print, he was cool to me and said nice things about my reviews (while sometimes suggesting edits), but then things changed. Even before he started getting really nasty with me, he began ghosting me at conventions and acting uncomfortable around me—but only 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 third edition of his NES book to be published, he announced that there were going to be 60 reviews completely rewritten. I remembered that I had done approximately that amount and messaged him to inquire if he was taking out my reviews. He saw the message but didn’t answer me, which was odd. I wish he had given me a heads-up because I was still mentioning that I had written reviews for his book in my bio and my resume—freelance writers like myself are constantly sending out pitches to various editors, using their credentials when submitting article ideas.

Pat had every right to remove my reviews from his book, but I just wish he would have given me the professional courtesy of letting me know. It really did cause problems for me. 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, mentioned that I had written for his NES book. Well, if someone only had the third edition 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 of information. First-world problem to be sure, but annoying. Much worse, his followers began harassing me online, based on Pat's harsh words about me. Pat even insults me “privately” on his Patreon. (Message for Pat – nothing online is private.)

The bottom line is this: Pat only started being a jerk to me after my first SNES Omnibus book came out. 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 information when he says he thinks my reviews are garbage. He paid me for them and complimented them several times. And even if thinks they are garbage, and even if he heavily edited a few of them (a common practice for editors), is that really the way to treat one of your writers and supposed friends? I’ve written hundreds and hundreds of articles for various publications and never once did any of my other editors start insulting me about it later. In fact, Pat’s is my only editor to have ever insulted me at all. Sure, I had work rejected before, like any working writer, but those editors acted like professionals. People had warned me about working with Pat—that he might turn on me, which he ended up doing—but unfortunately I ignored them.

Oh, and one more thing: if my NES reviews in Pat's book were indeed garbage, then he should be soundly criticized for publishing them in the first two editions of his book. None of my other editors/publishers would have published and sold what they thought was awful writing. Those "terrible"  reviews of mine would have simply ended up in...the garbage.

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