Console launch season is upon us. A time for billion dollar corporations ingratiate themselves with “Johnny Consumer” by promising the future of entertainment is finally available to one-and-all. The focus of this new generation of consoles has been the battle for 4K supremacy between Xbox Series X and PlayStation 5. Interestingly, Microsoft also created another iteration of their Xbox Series for those satisfied with games in 1080p, and thanks to [Dimitris] we have been able to see the internals of the Xbox Series S (XSS).
Microsoft’s choice to produce an all-digital console has greatly affected the internal design of the XSS. With the lack of a disc-drive there is only a single cable, the fan cable, tying the components together. The heat sink covering the 197mm² AMD APU takes up nearly 60% of the motherboard surface area. Though the XSS may be diminutive by modern console standards, its cooling fan is huge, somewhere in the 140 mm range. What little space is left by the heat sink and fan assembly is taken up by the internal power supply. As a fun nod, the PSU sports a Master Chief insignia to denote the location of the two-pronged connector beneath.
On the underside of the motherboard lies the biggest surprise of the “little brother” console. The system storage SSD is socketed rather than directly soldered to the board itself. The primary design goal of the XSS was to provide a cheaper alternative for players, but this standard m.2 slot reveals that Microsoft has plans for future expansion. This SSD, while not user-accessible in a traditional sense, will likely provide an alternative method to expanding storage outside of Microsoft’s proprietary external offerings. For a look at the teardown in process, [Dimitris’] video from his Modern Vintage Gamer YouTube channel is below.
Consoles are obsolete the minute they are released. The onward march of silicon innovation ensures that consoles never are able to keep up with the times, but technical superiority rarely results in being remembered. That kind of legacy is defined by the experiences a device provides. A genre defining game, a revolutionary approach to media, or a beloved controller can be enough to sway popular opinion. But really…it all boils down to a box. All the spurious promises of world-class hardware specs, all the overly ambitious software ship dates, and even the questionable fast-food crossover promotions exist in service to the box. The boxes vying for attention in 2020 A.D. are the PlayStation 5 (PS5) and Xbox Series X/S/Seriessss (XSX or whatever the common nomenclature eventually shakes out to be). These boxes likely represent the minimum spec for the next decade in big-budget video games, however, it is the core identity of those consoles that will define the era.
Nintendo wasn’t always in the videogames business. Long before Mario, the company was one of the foremost producers of Hanafuda playing cards in Japan. From 1930 until 1959, Nintendo ran its printing business from a four-story art deco style building that featured distinctive plaques at the front entrance. We now have a chance to print those former Nintendo HQ plaques at home thanks to [Mr. Talida] who shared some 3D models on Twitter. Talida, a self-described “retro video game archivist”, recreated the plaques via photogrammetry from a number of reference photos he took from a visit to the Kyoto site late last year.
These 3D models come at a crucial time as the old Nintendo HQ building, which sat dormant for years, is set to be turned into a boutique hotel next year. According to JPC, the hotel will feature twenty rooms, a restaurant, and a gym and is expected to be completed by summer 2021 (although that estimate was from the “before” times). The renovation is expected to retain as much of the original exterior’s appearance as possible, but the Nintendo plaques almost assuredly will not be included. For a first-person tour of the former Nintendo headquarters building, there is a video from the world2529 YouTube channel provided below.
It is encouraging to see examples of this DIY-style of historical preservation. Many companies have proven themselves to be less-than-stellar stewards of their own history. Though if his Twitter timeline is any indication, [Mr. Talida] is up to something further with this photogrammetry project. A video export exhibiting a fully textured 3D model of the old Nintendo headquarters’ entrance was published recently along with the words, “What have I done.”
The modern ideal of pixel art is a fallacy. Videogame art crammed onto cartridges and floppy discs were beholden to the CRT display technology of their day. Transmitting analog video within the confines of dingy yellow-RCA-connector-blur, the images were really just a suggestion of on-screen shapes rather than clearly defined graphics. Even when using the superior RGB-video-over-SCART cables, most consumer grade CRT televisions never generated more than about 400 lines, so the exacting nature of digitized plots became a fuzzy raster when traced by an electron beam. It wasn’t until the late 90s when the confluence of high resolution PC monitors, file sharing, and open source emulation software that the masses saw pixels for the sharp square blocks of color that they are.
More importantly, emulation software is not restricted to any one type of display technology any more than the strata of device it runs on. The open-source nature of videogame emulators always seems to congregate around the Lowest Common Denominator of devices, giving the widest swath of gamers the chance to play. Now, that “L.C.D.” may very well be the Raspberry Pi 4. The single board computer’s mix of tinker-friendly IO at an astonishingly affordable entry price has made it a natural home for emulators, but at fifty bucks what options unlock within the emulation scene?
It always sounded a bit crunchy, but crunchy in a good way. SEGA’s 16-bit console, whether you call it the Genesis or Mega Drive, always had a unique sound thanks to it’s Yamaha YM2612 sound chip. The chip’s ability to reproduce shredding guitars and blasting bass drums was a joy to hear when placed in the hands of capable game developers. Games such as Toe Jam & Earl, Streets of Rage 2, and Sonic the Hedgehog 3 provided some of the most incredible game soundtracks of the ’90s; and while the retail shelf life of those games may have passed, their influence on sound design should not. One individual that is seeking to preserve that quintessential SEGA sound is [Artemio] whose MDFourier project seeks to capture it for future generations to hear.
MDFourier is a crowd sourced project. Users are asked to use two pieces of software to first generate common audio through a videogame console, and another to analyze the output as to form an audio signature of that machine. Of course SEGA were not always known for their stellar manufacturing record. Throughout the dozen or so board revisions of the Model 1 console there were factory bodge wires, there was also the Model 2 console, Model 3 console, Nomad handheld, Mega Jet, CDX/Multi-Mega, and Wondermega karaoke machine. Each new revision of machine created a slightly new soundscape, and no single piece of emulation software takes them all into account. [Artemio] wants to aggregate all of this data in order to improve SEGA Genesis/Mega Drive emulators, FPGA implementations, or whatever else the future may hold.
Fans of the suite of SEGA consoles, or even fans of great documentation, can take a look at some of initial results as well as the written procedure for contributing to the MDFourier project. For those seeking a more visual step-by-step approach there is this video from YouTube channel RetroRGB below: If you’d like that Sega sound for your MIDI instrument, take a look at this MIDI synth using a Genesis sound chip.
Choices matter. You’ve only got one shot to fulfill the objective. A single coordinated effort is required to defuse the bomb, release the hostages, or outlast the opposition. Fail, and there’s no telling when you’ll get your next shot. This is the world that Counter-Strike presented to PC players in 1999, and the paradigm shift it presented was greater than it’s deceptively simple namesake would suggest.
The reckless push forward mantra of Unreal Tournament coupled with the unrelenting speed of Quake dominated the PC FPS mind-share back then. Deathmatch with a side of CTF (capture the flag) was all anyone really played. With blazing fast respawns and rocket launchers featured as standard kit, there was little thought put towards conservative play tactics. The same sumo clash of combatants over the ever-so inconveniently placed power weapon played out time and again; while frag counts came in mega/ultra/monster-sized stacks. It was all easy come, easy go.
Counter-Strike didn’t follow the quick frag, wipe, repeat model. Counter-Strike wasn’t concerned with creating fantastical weaponry from the future. Counter-Strike was grounded in reality. Military counter terrorist forces seek to undermine an opposing terrorist team. Each side has their own objectives and weapon sets, and the in-game economy can swing the battle wildly at the start of each new round. What began as a fun project for a couple of college kids went on to become one of the most influential multiplayer games ever, and after twenty years it’s still leaving the competition in the de_dust(2).
Even if you’ve never camped with an AWP, the story of Counter-Strike is a story of an open platform that invited creative modifications and community-driven development. Not only is Counter-Strike an amazing game, it’s an amazing story.
The study encompasses hip-hop artists from the last thirty years, pitting recent hit-makers like Lil Uzi Vert against veteran artists like KRS-One. To ensure everything is on even playing field [Matt] limited the study to the first 35,000 lyrics of each artist including any material on a mixtape, EP, or full album release. Rappers’ vocabulary was then plotted according to the total number of unique words found in their lyrics (i.e.: “shorty” and the alternative spelling “shawty” were each considered to be unique words). Oddly enough, there were some notable exclusions from the list as artists like Chance the Rapper, Queen Latifah, and The Notorious B.I.G’s discography did not exceed the 35,000 lyrics mark.
When digging into the data, there was a downward trend in the vocabulary used amongst popular artists of the last decade. [Matt] attributed this trend to the fact that many of these artists have modeled their music to reflect the pop/rock music structure that makes use of simple, repetitive choruses. While others may attribute this downward trend to a general lack of talent when it comes to lyricism, however, it should be noted that the economics of music streaming platforms have had an effect on the average song length. Though whatever era of hip-hop you subscribe to, it is always interesting to see where your favorite emcees rank.