forrest

deep as a puddle i'm so jealous of the sea yet it envies me

#poetry

boy: rowdy and rough quit climbing on the table i have had enough

#poetry

nighttime dalliance appropriate your refuse i am the raccoon

#poetry

Behold: a tubby nine-year-old boy obsessed with computer games and cheese pizza; absentminded, shy, and prone to angry outbursts; selfish, hyperactive, and if he didn’t find immediate joy in a task – he didn’t do that task. He would skip homework because “my dog ate it!” and couldn’t be bothered to come up with a more original excuse because The Legend of Zelda: Ocarina of Time and Transformers cartoons lived eternal in his mind. These antisocial proclivities landed The Boy in “special education” classes, but the more The Boy was treated as “special,” the worse his behavior became, and he retreated ever deeper into computer games.

The Boy’s Mom didn’t know what to do with him. She noticed The Boy’s digital obsessions and that they were violent; after all, Zelda featured a young boy that slayed monsters with swords. The Mom thought that if she replaced the violence with educational games that this would not only improve The Boy’s behavior – turning him boastworthy for soccer-mom-watercooler-confab – but also show that she cared about his interests, because above all else: she truly loved her son.

The Mom took The Boy to the local electronics store and told him to pick two computer games from the educational section. It was the year 2000 and stores were packed with computer games containing the prefix “Sim’” and the suffix “Tycoon”; these morphemical games were baby’s-first-capitalism; business simulators wrapped in graphical-interfaces targeted toward children. The Boy immediately gravitated to the vibrant theme park packaging of RollerCoaster Tycoon. He quickly dismissed the dated graphics of DinoPark Tycoon. SimCity 3000 was also considered but it intimidated The Boy with its technicalities. And just when The Boy was about to call-it-quits, he noticed a glimmering jewel calling out to him from the discount pile. The jewel was an Italian caricature sporting a floppy chef’s hat and a white apron stained with what was hopefully pizza sauce; he sported a mustache even more extravagant than Freddie Mercury’s during the recording of Queen’s 1980 album “The Game” and was grinning into the camera while holding a pizza-with-the-works as if breaking the fourth wall to summon The Boy into a universe of freshly cooked pizza pies forever. Not only was pizza The Boy’s favorite food, but Queen was also his favorite band – and by this logic: Fast Food Tycoon was bound to be his favorite game.

After The Boy came home and ate a few slices of pizza for dinner, he slid the pizza-shaped disc into the tray of the Windows 98 computer in Dad’s office and clicked through the many prompts of the installer. Upon boot, the words “Fast Food Tycoon, Eat Here” flashed in cold cathode above a seedy street corner that was positioned between a club and a pizza joint; the club was red carpet, and the pizza joint was a money-laundering scheme; both owned by the same organization. The Boy was about to learn many important life lessons.

Fast Food Tycoon – or Pizza Syndicate, as it’s known in Europe – is a business simulator centered around managing your own pizza franchise, created by the German developer Software 2000 and published by Activision in North America in November 2000. When the game starts, you are given the option to make your own pizza person, choosing their picture from a premade selection of Italian caricatures, selecting their name, and adjusting their starting stats from a long list that rivals the most complicated of role-playing computer games. Once your character is created, you are thrown into the sleazy world of pizza and quickly realize that you are smack-dab in the middle of an all-out pizza war between ancient crime families. And there’s no hope of survival unless you sell your soul to the mafia for better ingredients, better pizza, and guaranteed protection from getting whacked by Papa John. Once you become a made man in the dark underworld of pizza, you crawl your way up the pizza chain from Chuck E. Cheese Capo to Don of Domino’s and, if you’re lucky, to The Godfather of Pizza.

*The Boss evaluates your Pizza Performance; he is not impressed.

Fast Food Tycoon is as much about making the tastiest pizza as it is about sending armed goombahs to rival pizza joints; bursting with such depth as “goths like meat on their pizza” to “should I poison the food at Mario’s Pizza Palace or should I just plant a bomb instead?” to “which style of music should I play to attract the correct demographic?” to “should I bribe the mayor or just save the money for more machine guns?” All the while fudging numbers and trying to make the perfect pizza pies only to perpetuate The Great Pizza Wars – an endless cycle of pizza-funded violence.

Fast Food Tycoon teaches children many valuable lessons about the stygian horrors of not only pizza but also business and humanity as a whole. It teaches children that bribing the mayor has massive perks in the form of blind-eyes and tax-exemptions. It teaches that if you plant rats in a restaurant, the Department of Public Health will shut down that restaurant. It teaches that pizza joints are a surprisingly efficient way to launder stolen bank money. It teaches that fear is one of our most powerful motivators. And above all else, it teaches that pizza is very serious business.

Of course, The Mom had no clue that Fast Food Tycoon bestowed these valuable life lessons upon The Boy. To her, Fast Food Tycoon was just another educational business game for her son to level up his business acumen and help on his path to becoming a fitter, happier, and more productive human being. When she watched The Boy play, he was simply managing ledgers and decorating restaurants and there was nothing to be concerned about. The Mom was so impressed by Fast Food Tycoon’s ability to engage The Boy that she recommended her neighbors buy the game for their children, and thus, the ancient cycle of pizza violence continues to this day – The Great Pizza Wars rage on.

When The Boy looked back, he realized that Fast Food Tycoon was not prescriptive; instead, it was a warning – a commentary on the dangers of unregulated capitalism, the prominence of quid pro quo in the private and public sectors, and that, while fear and violence may rule humanity, the golden rule always kicks in and you will eventually reap what you sow; be that in the form of delicious pizza pies or a bag over your head in Papa John’s basement.

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(Originally published on 4/8/2024)

#ComputerGames #FastFoodTycoon #Autobiographical #Review

As I write this piece on The Powerpuff Girls: Bad Mojo Jojo for the Game Boy Color, I am completely shitfaced and drunk and stoned and very deep into adulthood; at this moment, I am the exact opposite demographic from the one that the developers at Sennari Interactive intended for this game; that demographic being: kids who begged their parents to take them to Toys “R” Us after school to buy some Crazy Bones and happened to wander into the computer games aisle only to find their favorite Cartoon Network cartoon wrapped in Game Boy Color packaging with a $50 price tag stamped on it – in 2000.

Yes, Game Boy Color games cost $50, even in the year 2000. I remember. I was there. I was that kid.

The bottom line is this: if Cartoon Network executives knew that a drunk man in his thirties would be writing a piece containing the words “shitfaced,” “drunk,” or “stoned” for their beloved The Powerpuff Girls: Bad Mojo Jojo and releasing that piece in a highly esteemed computer games magazine, those executives would be sending their goon squad to that man’s office to cut off his fingers, thereby ensuring that he neverever puts digital pen to paper again. And I imagine that goon squad would look very much like villains from The Powerpuff Girls.

The Rowdyruff Boys could be descending upon my location at this very moment.

It’s well known that the 2000s Cartoon Network-branded Game Boy Color games are merely palette swaps with different intellectual property names slapped-on, but The Powerpuff Girls: Bad Mojo Jojo has a unique twist: it’s the first in the mythical The Powerpuff Girls Game Boy Color Trilogy; the other two games being: The Powerpuff Girls: Paint the Townsville Green and The Powerpuff Girls: Battle HIM. Each game allows you to play as one of three prepubescent Chemical-Xers: Blossom, Buttercup, or Bubbles; and has you fighting a different group of villains in each title.

Cartoon Network executives clearly wanted to capitalize on mom’s hard-earned-waitressing-money by coming up with diabolical ways to get children to buy the same game three times. When we were children, being unknowingly taken advantage of by corporate goons was fun; as adults, it’s just another boring day in Townsville. I guess we can blame Pokémon for the Mephistophelian trend of let’s-release-the-same-game-with-minor-differences-as-an-entirely-separate-game-at-full-price-and-incentivize-children-to-buy-them-through-playground-shame-and-ridicule.

The Powerpuff Girls was created by cartoonist Craig Douglas McCracken in 1998; he also helped direct Dexter’s Laboratory, which released around the same time and had a strikingly similar artistic style, albeit Dexter’s Laboratory was created by the legendary Genndy Tartakovsky, known for creating the truly mythical Samurai Jack and Star Wars: Clone Wars cartoons. Don’t get these cartoonists confused; one created the greatest thing in the Star Wars extended universe, and another created a cartoon featuring a very irresponsible father who uses his three genetically engineered children for casual vigilantism.

That’s not a crack on Craig – I am getting wasted and writing about someone else’s creations for a zero-reader computer games blog while he’s had more success doing what he loves than I could ever dream of.

While The Powerpuff Girls was never one of my favorite cartoons as a kid, the significance of one of the villains spitting blood whilst being kicked in the mouth by Buttercup during the opening was not lost on me; being one of the few times blood was shown in a children’s show – and that’s special because this violence inspired me to become that 2000s Toys “R” Us kid who begged his grandma to buy the The Powerpuff Girls: Bad Mojo Jojo during one fateful 2000s summer. My friend also had the game and I wanted to battle him because we both knew all three games had link-cable-functionality but we soon found out that the link-cable-functionality was only for trading collectibles found in the game’s levels and the collectibles were nothing more than blurry pixel art and we were sorely disappointed but we played and beat our respective versions regardless because back then you got a new game once in a blue moon and you savored every moment with those blue-moon games because they were all you had until the next cerulean satellite.

*something resembling an oval with pink eyes rams a man wearing a prison jumper

I asked that same friend if he remembered playing The Powerpuff Girls on Game Boy Color with me during that warm 2000s Charleston summer and he stared at me with a dumbfounded look on his face, indicating that this stuff is far more important to me than it is to him. And that’s probably a bad thing for me; a sign that I shouldn’t be waxing nostalgic on childhood frivolities so often; perhaps my brain power could be put to better use than writing over 1000 words on games that no one has thought about in over two decades and that are clearly targeted toward children?

No – it is he who is wrong, not I.

But I have been waxing far too long; you’re here for the riveting gameplay review, of course – so it’s time to start waning.

The Powerpuff Girls: Bad Mojo Jojo and its two sisters are side-scrolling beat-em-ups with controls as slippery as four glasses of wine at a dive bar after getting into a big fight with your girlfriend; all you can do is punch, kick, and fire some special-liquid-attack provided you have enough Chemical X in your bloodstream. There is no jump button, but holding up on the directional pad makes your character fly for a brief period, which never feels quite right. The levels range from The Professor’s Laboratory to Townsville Rooftops to Pokey Oaks School Playground to The Mouth of a Volcano and they all contain a non-zero-number of barely-hidden collectibles meant to be traded with friends using the link-cable-functionality. The enemies are mostly big dudes in prison jumpers with large muscles and guns; attacking said prison people is a combination of very-specific-angles and luck and always-taking-damage because you got too close to the enemy in the process of attacking. The bosses are just more-dangerous versions of prison dudes and there is no real strategy involved in anything and it’s about as entertaining as playing tic-tac-toe with a six-year-old who cheats.

The Powerpuff Girls Trilogy is an uninspired palette-swap cash-grab meant to encourage kids to trade in-game collectibles with their friends or – for those with no friends – buy all three versions and trade the collectibles with themselves in what amounts to the ultimate foreshadowing of lifelong depression. Of course, kids never did either of these things because the collectibles are lame and the game just isn’t fun to play. Cartoon Network tried to take advantage of children by tricking them into buying their insipid shovelware cash-grab games like Professor Utonium took advantage of three small children to fight crime in Townsville.

Except, Cartoon Network failed. The Powerpuff Girls Trilogy bombed commercially upon release and some Cartoon Network executive somewhere probably got fired for pitching the idea.

Instead of Sugar, Spice, and Everything Nice; The Powerpuff Girls trilogy is Exploitation, Corporatism, and Everything Wrong With the Licensed Games Industry. And, as a result, I am full of artificial sweeteners, sarcasm, and lots and lots of cynicism – thanks Cartoon Network.

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(Originally published on 4/8/2024)

#ComputerGames #PowerpuffGirls #Autobiographical #Review

The deer had to be grazing only fifteen yards away for I could see the tranquility in its eyes. It was a doe; no antlers. With silence and slow, I lifted the butt of Dad’s ancient lever-action rifle to my jawline and held breath while my index finger crept around the grip of the wood and quietly inched toward the trigger guard; trembling. I winked my left eye shut as my right focused into scope, and I could see the beast’s tranquility even clearer now. It wasn’t grazing; it was standing, perusing nature, and it bat lashes as it slowly lowered its slender head toward a solitary leaf on a sapling; nipping it most delicately off the hardwood. The scope revealed the doe’s spiky velvet, an uncommon trait; perfect for my induction ceremony. Dad would be very proud.

I first learned of Counter-Strike within the pages of a PC gaming magazine in Autumn Y2K; it was depicted as a realistic first-person shooter with a focus on multiplayer and teamwork. And although derived from Valve’s Half-Life, it lacked the science fiction aspects that attracted the taped-glasses demographic and appealed more to my audience: southern boys who dreamed of monster trucks and machine guns and mounted deer heads. I wanted Counter-Strike more than anything; especially after my friends at school started playing, but my Dad didn’t see the appeal and wanted me to focus on the three G’s: girls, grades, and guns – and football. But we made a compromise: if I made all B’s in school that year, he would buy me a Dell PC and a copy of Counter-Strike. Needless to say, I studied real hard, and I got those B’s.

As I watched the doe chew leaves from the hardwood, I thought about what Dad told me years ago: “the best way to kill a deer is to shoot ’em while they’re standin’ with one side of their body facin’ ya; that way, ya aim true an’ make every shot count. Ya gotta be quick but silent an’ steady as a rock; that’s the key to bringin’ home the bag, son.” He would say while chewing tobacco as naturally as the doe chewed leaves, “this ‘ere is called a broadside shot an’ it’s the quickest way to kill a deer, son – ya know, they’re still livin’ animals and we don’t want ‘em sufferin’ too bad.”

Counter-Strike is a simple premise wrapped in layers of deep first-person-shooter mechanics; two sides – terrorists and counter-terrorists – firefight across everyday terrain with objectives such as bomb defusal and hostage rescue. The game oozes realism, as each gun is derived from a real world model and handles as one would expect; holding down left-click to rapid-fire – or ‘spraying’ – decreases your accuracy, while firing in short bursts – or ‘tapping’ – keeps your aim steady; holding the ctrl-key to crouch increases precision even further which mirrors the real world firing technique of kneeling with your rear knee placed on the ground and your other leg supporting the elbow of your forward arm. All weapons benefit from these precision mechanics, but the AWP benefits most; the AWP is a sniper rifle that kills in one shot – the drawback being that it requires a reload after being fired.

When I used the AWP – which was always – I pictured my opponent as deer and recalled what Dad told me about the broadside shot, and this advice carried me to Counter-Strike stardom. I became so proficient with the AWP that my friends called me “The AWP King” and I joined local tournaments full of confidence and verve.

Mesmerized – I continued to peer through the looking glass. The doe basked in stray beams piercing the canopy layer, only breaking posture to pluck leaves off the hardwood. My thoughts veered to the ancient rifle that trembled lightly in my hands, passed down from grandfather to father to son in The Ritual of the Hunt. I wondered to myself; did Dad tremble too? Did he hesitate before shooting his first deer? Why was I hesitating at all? To stop the trembling, I took a note from Counter-Strike and held the crtl-key to crouch; my right knee crunched into dry leaves as my left supported my forward arm while I readjusted the ancient rifle. I winked and peered through the looking glass once more, but this time the doe’s magnified eyes were staring back at me.

For our first local tournament, we faced a team composed of kids from our middle school. The winners of the tournament would win brand new gaming PCs. It was hosted at a local LAN Gaming Center called the Arena; a dark warehouse overflowing with computers jam-packed with the most popular computer games of 2001. The ambiance was shadow and fluorescent, like that of a jellyfish in the darkest recesses of the oceans. The Arena was the natural habitat of stoners, outcasts, and those who played Everquest and Doom; a place where both hardcore nerds and potential school shooters mingled freely as there was a surprising amount of overlap in their interests. My team pushed through this unholy union and started discussing strategies for the upcoming digital gunfights when the opposing team walked in; their leader was wheelchair-bound with thick glasses, greasy hair, and a band-tee for a group I had never heard of. My teammate Ryan – an older boy who had been held back several grades and expelled for attacking other students at least twice – pointed at the kid in the wheelchair and called him the f-slur of the homosexual variety and we laughed like a wicked pack of hyenas gyred around a human baby. An Arena employee heard this slur-slinging and gave us a warning, but we shrugged it off because we talked like this all the time – it made us feel superior when someone got offended.

*ancient violence consumes the LAN tournament

The tournament was not going well. The other team seemed to read our minds; we would go B and they would go A; we would go A and they would go B; we would try to camp at spawn but they would flashbang us into confusion and clean up in the aftermath; we would try to rush early but they would anticipate this and trap us in a pincer formation. And to top it off, the disabled boy was far more skilled with the AWP than I – his trigger finger was always seconds faster than mine. We lost the tournament and we were embarrassed, but we masked this embarrassment with the foulest language possible. We slung slurs like bullets at a drunken bar fight in a Wild West saloon.

The slur-slinging culminated in whirlwind-heat-and-flash as Ryan stood up and accused the disabled boy of cheating. I turned to face the altercation, but before I could do anything, Ryan grabbed the disabled boy by his long hair and was screaming slurs at him. Ryan then pulled the disabled boy’s hair with such force that it tornadoed him onto the floor and left a clump of bloody mess in Ryan’s clenched fist. He then started kicking the disabled boy in the gut, “this is what you get for cheating, you gimp fa—!” he shouted on repeat.

Horrified, I leapt in and grabbed Ryan from behind, but he was much stronger than myself and pushed me to the floor. Four Arena employees then jumped in and dragged Ryan off the disabled boy, who was moaning meekly between invocations of “mom” gurgled in spittle and hemoglobin.

The police were called, and an ambulance showed up just as the disabled boy’s mom arrived to pick up her mangled son. There was an exodus as the boy was wheeled out on a stretcher, mumbling incoherently. I watched as the mom hurried to her son’s side with tears swelling in her eyes. She turned to Ryan, who was being escorted by two police officers, and instead of screaming obscenities at him, she started to sob uncontrollably. I knew then that, even though Ryan had attacked the boy, I was just as much at fault as he was. I couldn’t articulate it at the time, but I had dehumanized that boy into a stretcher.

The doe was unmoving, as if stunned by the glare of an ancient violence. I lifted my vision to catch a glimpse of her beyond the glass, but there was no illusion; she stared in confusion, as if asking a single question – “why?” I shifted my vision to the glass once more, expanding her forehead into a perfect target just when two small fawns emerged from the nearby brush. The fawns obscured my view as they nuzzled into their mother, but the doe remained resolute in her questioning. The fawns, noticing their mother’s focus, turned to me, and then they too stood resolute – questioning my ancient violence.

I thought to myself: “Three heads to hang on the wall. Dad would be proud.” But as I looked into the eyes of the fawn, I remembered the boy at the Arena. And as I looked at the doe, I remembered the mother sobbing. I remembered the violence, and just as I remembered this ancient violence, the fawns nuzzled their mother’s velvet head and she nuzzled back, and then they turned with a skip and trotted slowly into the wood, as if there was nothing to be afraid of – as if I was one with nature itself.

My finger eased off the ancient trigger of the ancient rifle, and I slung the ancient violence over my shoulder as I walked back to camp.

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(Originally published 4/8/2024)

#ComputerGames #CounterStrike #Fiction #Ethics #ShortStory

I remember it as if it were last night. My cat – a strapping lad of gray shorthair named Digit – jumped through the open ground-floor apartment window onto my lap while I was sitting on the couch playing computer games with my roommate. The window was open not only to allow Digit free passage outside but also to filter the tobacco smoke that stained our lungs and jaundiced the light-colored walls. My roommate and I had Dreamcast controllers in hand and lit cigarettes dangling from our mouths and subtle glowers on our faces as we sat brand-new-to-adulthood and transfixed by the massive widescreen firing off psychedelic lightshows. The blues of hadoukens and the purples of reppukens flashed about inside puffs of cigarette smoke like ball lightning within the clouds of an alien planet. And although the room was loud, there was silence between us, for we were engaged in the digital-equivalent of a samurai honor duel and we were both great pretenders; pretending like we were engaged in just another friendly game of Capcom vs. SNK: Millennium Fight 2000 for the Sega Dreamcast; when, in reality, there was an intense clash of personalities playing out between the sounds of button mashing and pixelated fighters yelling the names of their ridiculous special-attacks and Satoshi Ise’s electro-infused drum-and-bass stage music.

Capcom vs. SNK: Millennium Fight 2000 was originally developed and released by Capcom in August 2000 for the arcades; it was later released on Dreamcast in North America on November 8th, 2000. The origin story – the myth – is that the magazine Arcadia featured a cover with both The King of Fighters ‘98 and Street Fighter Alpha 3 titles a little too close together and readers misread this thinking it was “KOF vs. SF”; when this imaginary game didn’t manifest, fans of both series went unhinged with hate mail and thus: Capcom vs. SNK was born – or something. And while it wasn’t the first crossover between Capcom and SNK, it was the first to reach a wide audience outside of Japan, as the previous title – SNK vs. Capcom: The Match of the Millennium – was only released for the Neo Geo Pocket Color; a handheld console that was poorly adopted in the West where Street Fighter and Pokemon infected the minds of young computer gamers like brain-eating amoebas. An updated version of this game, Capcom vs. SNK Pro, was released a year later – and the concept was so popular that it would eventually spawn a sequel, Capcom vs. SNK 2, which built upon the hip-hop back-alley beat-down eclecticism of Millennium Fight 2000 and further reinforced Capcom and SNK as the premier 2D-fighting game developers.

My roommate and I were on our centesimal round of Capcom vs. SNK: Millennium Fight 2000 and I had not won a single match. I played Iori and Sakura; he played Ken and Yuri. I must have smoked half-a-pack of cigarettes because I was getting my ass handed to me on a very dirty ashtray. I persisted in total silence with a look of unbothered determination on my face; this faux-stoicism belied the fact that I was a raging storm inside. I could have stopped playing; I could have called it quits after the nth loss; but something like pride compelled me to keep going, and as I kept going, my playing got worse and the hole grew deeper until it was quickly approaching Hell. My roommate’s faux-stoicism was much simpler; with every knock-out: his confidence grew and his gamer-cred multiplied, and he would always have this over me because computer games were very serious back then and he dared not speak a word lest the fisticuffs escape the television-set and stain the shag carpet with blood. The digital-equivalent of the samurai honor duel was about to end in seppuku.

Capcom vs. SNK was revolutionary as it combined characters from rival developers and introduced the lesser-known SNK fighting games to a wider western audience initially put off by SNK’s realistic-yet-very-anime art style, especially when compared to Capcom’s more western-palatable cartoon-like aesthetics. Both art styles exist in this game, with characters drawn in either style depending on which “groove” was selected before character-selection. The crossover makes perfect sense as SNK’s fighting games were directly inspired by Capcom; SNK’s Fatal Fury: King of Fighters was designed by Takashi Nishiyama, the director of Street Fighter, and was envisioned as a spiritual successor to that game. The two companies often parodied each other; Dan from Street Fighter, a parody of Ryo from SNK’s Art of Fighting, who himself was a homage to Capcom’s Ryu. And while Dan may not be in Millennium Fight 2000, the game does include a roster of over 20 characters from each series. As with most 2D fighters, the controls are obtuse to newbies but intuitive to those familiar with the genre; players are encouraged to use an arcade stick or learn to slide their thumb in circles, half circles, and quarter circles on very-small-directional-pads to execute special-attacks. Both series use this input method so there’s nothing to learn coming from one or the other; thus, combining Capcom and SNK characters into a single game was a no-brainer.

*Iori rushes Ken in the digital equivalent of a samurai honor duel

Patience and practice of the key fundamentals are important with all 2D-fighting games and this is especially true for Capcom vs. SNK: Millennium Fight 2000; its 4-button control scheme, lack of true combos, and smaller skill list compared to the series it pulled from, make mastering the key fundamentals – footsies, blocking, looking for openings, and punishing – extremely important. You could master all a character’s inputs, learn all their moves and perform them perfectly, but if you didn’t time these moves correctly or space them out properly, you would fail every time. For example, Iori Yagami – my main character of choice in most SNK titles – has a super-special-attack called “Ura 108 Shiki: Ya Sakazuki” which can stun and heavily damage the opponent, but it’s blockable so throwing it out in a battle without respect to the opponent’s actions will result in the opponent blocking the attack and punishing you. In fact, one could bait these types of attacks and punish them with a simple low kick, and entire matches could be won doing this.

Even the most fancy quarter-circle-back-half-circle-forward-punch special-attack won’t save you if the opponent sees it coming

And that was why I failed to win a single match that dark night on that alien planet. I knew the cool moves but I didn’t know how to properly use them. I would fire a burning projectile, but my roommate would jump-kick over it. I would use a rush-down attack but my opponent would only block and punish me with a low-kick. I was bound for the floor. I realized what was happening early on but I couldn’t adapt to it because I was too focused on quarter-circle back and quarter-circle forward and getting those flashy special-attack kills. My roommate patiently punished every attack with normal punches and kicks while I was performing complicated inputs for cool-points from the gamer gods who never answered my prayers.

Several hours passed in silence. We both had to work in the morning and at a certain point it became too irresponsible to continue getting my ass beat. I said something like, “I have to get some sleep” and my roommate nodded and we went our separate ways without another word between us. We both knew what happened.

When the door closed behind him, only the miasma of angst and an embarrassed man-child were left behind. I stood silently as the Capcom vs. SNK: Millennium Fight 2000 title screen flashed before my eyes, and my hands were trembling, feeling a wail building up inside me. My failures replayed over and over again in my head; over fifty rounds and no wins; my opponent didn’t perform a single special attack but still managed to defeat me. And all my quarter-circle forwards and half-circle backs only resulted in a full-blown quarter-circle meltdown. The Dreamcast controller I was holding dropped to the floor, and I fell to my knees with my face buried in my hands. As I was doing this, my roommate walked in to grab the lighter he left on the couch but, upon seeing my crumpled form, immediately turned around and left the room.

We never played Capcom vs. SNK again.

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(Originally published on 4/8/2024)

#ComputerGames #Autobiographical #CapcomVsSNK #ShortStory

o lover of light trapped, radiating, dying moth, was it worth it?

#poetry