CGA-2025-11 🔴🟡🔵🟢 REMOVE CARTRIDGE ⏏️ PlayStation WHAT?
Hey! You wanna know why we're here? Go read this. It's because Sony UK's marketing department misappropriated £100k for random campaigns they couldn't possibly get in front of higher execs in time, which they used to make cardboard flyers saying the PS1 was "more powerful than god" and had perforations in the perfect size to roll up as roaches for people to toke up in the Playstation room at your local club. Yeah, baby.
They also mention the same T-Rex that Rodney Greenblat saw! That had to have been one rad fucking dinosaur. Anyway.
We've had more than our fill of rapping, bunnies, crises, electric shocks, and Pepsi this month. Outside the novelty, why do these crazy-ass games matter? WELL:
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It's great upheaval! CDs weren't just a major shift in storage, but production and cost. CDs took something like a week to order instead of two or three months. Imagine you have an extra eight weeks or so to develop an idea and put it in front of an exec, and they're not spending buckets on the cartridges. Why not accept those ideas? Why not take the risks? We're not quite at the indie boom and the internet, but it was certainly quite a step in development and risk-taking for the end product.
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Fuckin' money! Much like Nintendo's infamous war chest, Sony firmly planted themselves at the top of the pole for a long while. All this speed meant that - per GamePro's approximation in 1997 - there were 400 PlayStation games were in development by the end of 1996, whereas the Saturn had ~200 and the N64 had ~60. That variety lead to something like a 4-game attach rate to people buying a PS1 console, and the games themselves cost less because the CDs were cheaper. I was an N64 kid, but those cartridges were expensive. (Plus all the rando peripherals - the transfer pak? Expansion pak? The VMU for Hey You Pikachu!? Jesus, my parents were good to me.) The PS1 probably gave people leeway to take a buying risk on a zany idea. Even from more conservative spenders, it had to have been way more appealing to anyone on the fence.
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Music games! We had two here, and the Playstation was the home of Bemani for quite a while. Not much question why for the developer of the Walkman...
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That T-Rex! Golly!
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Age! Mascots and color grabbed kids, but kids aren't necessarily attracted to cool vector line art and an outlet for enormous CD collections. (They also, hopefully, weren't rolling too many joints at the club?) There was plenty of room to attract kids with Spyro or Crash - why not push the median age up at the same time? One study estimated that the "average gamer" was something like a 30 y/o woman in the 00s; nudging that number up and broadening the appeal had a lot to do with Sony's aggressive marketing. Another neat idea I saw mentioned was that the number of extreme sports games being produced gave video games another angle as a sort of lifestyle machine; Tony Hawk's Pro Skater itself was just as skate-punk as its people and bands. It sounds like a lofty thought, but THPS2 got me to pick up a skateboard, sooo...
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Finally, Japan! Obviously the 80's and early 90's brought so many mascots and characters out of Japan with enduring appeal, like Mario and Sonic, but their impact was very often with localization or marketing crews adapting that. Here we have stuff that's very distinctly Japanese making its way over here, rather than getting edited in trepidation over the original idea attaching. Why not? Throw a couple CDs our way, see what sticks.
And as a reminder, we're only scratching the surface! This console is a trove. I wanted to wait until the Remove thread to discuss more games, so the biggest one I'd leave everyone with is LSD: Dream Emulator, which is as much an art installation as it is a "game". You wander around randomized environments and "wake up" after 10 minutes or by being killed by things like lions, cars, or giant dudes coated in kanji characters. It's pretty fucking weird, and it was a fairly obvious point of growth from other projects like Yume Nikki, itself a springboard for dozens of ideas in games like Doki Doki Literature Club and Undertale. More recent popular projects like hypnagogia 催眠術 and Ena: Dream BBQ have obvious lineage - the former was from an LSD-themed game jam!
There are SO many others. Gaball Screen, a shoe-flying simulator (??) released by a music label where you collect music videos produced by Tetsuya Komuro. There's Heart of Darkness, a puzzle-platformer and influence for contemporary "gore game" horror titles. Its greatest puzzle is perhaps its absolutely baffling E rating! And No One Can Stop Mr. Domino... Really? No one?? Who possibly can???
We're left a neat legacy of ideas, experiments, and a time capsule for the advent of the CD-ROM, to those brave enough to dig through the library. Nintendo may leave a creative mark of their on their games, but the marks all over these games are maybe left by the machinery itself. A console that was willing to foster weirdos and prop up their chance to shine? The Playstation was radical.
Yo, and that T-Rex tho?
That concludes this month of our COLOSSAL GAME ADVENTURE! I imagine this was a less-accessible month, so for those tenacious enough to get the games running I salute you!
This topic is to share your thoughts on our selection, and weird shit on the Playstation in general:
The good
The bad
The fun
The interesting
What ideas aged well
What ideas were total crap
The things it reminded you of
Other games that belong here
And absolutely anything else!
We've got an extra ten days. so feel free to keep playing or to throw other PS1 curios at the group.
Next month, December 2025, will be The Secret of Monkey Island, hosted by the esteemed u/balooga! Thankfully that should be a MUCH easier game to get running than Vib-Ribbon, so be ready to walk the plank! (For less than twenty bucks!)
| Month | Game | Host |
|---|---|---|
| December 2025 | The Secret of Monkey Island | u/balooga |
| January 2026 | The Legend of Zelda: The Wind Waker | u/datavoid |
| February 2026 | Racing Lagoon | u/Kawa |
| March 2026 | Kaeru no Tame ni Kane wa Naru (The Frog for Whom the Bell Tolls) |
u/J-Chiptunator |
CGA Announcement: We have officially ejected the
cartridgesdiscs for PlayStation WHAT? No worries if you're not done -- there is still plenty of time left in the month to play!This topic is for people to share their parting thoughts and experiences. Spoilers are NOT required to be hidden for this topic, so if you're reading this before you've finished, be careful about reading any comments here.
If you would like to be added or removed from the Notification List, please PM u/kfwyre.
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Fantastic hosting, @Lapbunny!
I genuinely did have LSD: Dream Emulator in mind as one of the options when I put together this Arcade Special, but I nixed it because it seemed too much of a tonal shift from the other games. These are all sort of whimsical and irreverent, whereas LSD seems to be more serious (even sinister?).
I'll save my thoughts on this month's games for a later comment, as I'm still finishing up some of them, but if we're talking additional PlayStation oddities, then my favorite has to be Intelligent Qube.
It's a puzzle game where massive blocks much taller than your character roll towards you, with no way around them. You have to eliminate specific ones and not get rolled over. When you fail to eliminate all of the correct blocks (or eliminate ones you're not supposed to), rows of the platform you're standing on get removed. This reduces the runway for the blocks coming towards you, meaning you have fewer rotations to solve those rounds.
It's an odd concept, and it's uniquely thrilling for a puzzle game. It's got great music as well. I ripped the songs from my copy of the game way back in the day.
It doesn't fit the same "zany" category as these, but it is most certainly its own unique thing. I've never played anything else like it.
I'd love to hear what other random oddities are out there. With a library as big as the PSOne's, I'm sure there's a bunch out there that I've never even heard of.
VibRibbon was such an interesting game. Shenmue left me with no appetite for QTE (ever again), so I'm happy that watching a Let's Play let me sit back and take it in. I don't think I've seen a scribble aesthetic quite like that before. The closest analog in my mind was Rez.
Pepsiman was also a standout and it reminded me of something that I can't put a name to. I feel like I saw a Japanese Wii title that starred the muscley dudes from Cho Aniki and featured the same gameplay. Does anyone know what that is?
I believe that the closest representation to that would be Muscle March. It's a runner from WiiWare released in Japan and the rest of the world, where you chase after a thief while avoiding some obstacles and performing poses to fit through broken walls, all with the Wii Remote and Nunchuk.
Wow, thanks for this. I could do some sleuth to find out, but it'd be far more entertaining to ask whether there's a link to Cho Aniki, and if not, where Japan's obsession with body builders in wacky situations comes from.
These games were really not my bag. I thought that I loved rhythm games but even though most of these games were rhythm games, they annoyed me to no end. Vib Ribbon was incredibly unclear when to actually press the buttons, and PaRappa also had that problem because the visual indicator would occasionally switch when it would start listening to inputs. Most of these games seemed to be built around memorizing stages rather than simply reacting, which I can expect to a degree from rhythm games but generally don't have much patience for, especially when it doesn't give you a choice of which song to play.
For what it's worth I did enjoy PaRappa more than I thought I would after getting into the groove, but after the 3rd or 4th stage there was a massive spike in difficulty that made me nope out of it.
Irritating Stick was the notable sore thumb in the selection, but I'm afraid I only played it for about 5 minutes. I was really turned off by the digital-only controls. Was there an option for analog control somewhere I missed? It kind of felt like a flash game with higher production values. I'm looking forward to hearing from others to see what it is that I'm missing.
Pepsiman was the standout for me. It's so cursed. It's a very (literally and figuratively) shiny kusoge. The gameplay is so simple but it's got so much personality that you can't help but love it.
I feel like I should have really liked Incredible Crisis. It's also got personality brimming from it, and the production values are off the chart. The low-effort localization is one of those things that makes me happy, but I had to give up after running through the second minigame for the fifth or sixth time and still not understanding what I was doing wrong. It's astonishingly unforgiving. I even tried to use autofire for the X button to make running from the boulder more reliable but it seemed to actually make me play worse somehow.
That second scene from Incredible Crisis really is awful. I was able to get through it by mashing X at a regular, somewhat rapid rate, but it took me several tries and didn’t at all feel intuitive or like I knew what I was doing. The scenes beyond that are definitely better, though even those have a general clumsiness to them that’s right in line with the game’s aesthetics and narrative.
I also had similar issues with the timing in Vib-Ribbon and PaRappa. In Vib-Ribbon I got in the habit of looking at Vibri’s feet which usually touch down in time to the music. That trick becomes especially useful in the moments which, for whatever reason, the game isn’t synced with the music and you can’t play by feel. That’s a major sin for a rhythm game, but I was pretty forgiving of it because I was so charmed by everything else.
I do wonder if the timing issues for these games are byproducts of emulation? Maybe these play better on original hardware.
I played the game with a MiSTer, which theoretically has about as little input latency as possible outside of using a CRT (which it does support, but I didn't have set up). But even when reducing it by using wired controllers and my TV's very low latency game mode, I still had issues.
I've tried a bit of PaRappa the Rapper 1 and 2 through real hardware coupled with Morph 4K upscaler. With under 8ms of combined input lag (1/2 of a 60FPS frame), I was able to consistently press the button at the correct times.
1 is a tad stricter with its timing window compared to 2, presumably due to the lower frame rate. I had to press the button when the protagonist's head is pretty much in the centre of a command icon.
I confess that I spent two weeks being conflicted about the morality of, um, acquiring and emulating games that are currently available from the Playstation store and which I think I could run on a console that I have somewhere (PS4), but which are also priced higher than I would be comfortable paying. Buying one game would have been ok, but multiple titles a bit too much. I then naturally extended that conundrum to also make myself very uncertain about the other games as well as I could buy most of them secondhand and run them on another console that I have (my PS3, I believe, is backwards compatible with PS1 and PS2), supporting secondhand economy and putting my money where my mouth is when it comes to game ownership (vs everything just being "usage licensing" these days).
And so, I didn't really end up engaging with any of the games properly because of all that. But I have also been travelling, so there is that as well.
And before anyone thinks otherwise, I feel I need to clarify that I don't mean the above as a commentary on anyone else's choices or preferences, it was just an interesting personal question that I got quite stuck with.
I did go through all of the games cursively though, and ended up spending the most time with Pepsiman. Such a ridiculously stupid game that one, but one that was fun to play. Like I wrote in the insert cartridge topic, it reminded me of Paperboy.
By the way, if any of you need a bridge between this month's byte-sized silliness and next month's The Secret of Monkey Island, check out Death by Scrolling. It's a new game by Ron Gilbert, the creator of the said Monkey Island, which came out a couple of weeks ago. It's reasonably priced, has the humour of Monkey Island and anything else Ron has made, and I feel in many ways belongs to the category that many of this month's CGA games come from. It's not the most unique or complex game ever made, but I've enjoyed jumping into it every couple of days for a few minutes of fun.
Yup to everything you said! Morality aside - and I didn't really have enough to say about it besides "wow it stinks" to bring it up - this month is a good case for attention to game preservation. Vib-Ribbon is weird to get going! Pepsiman is such a meme that it's literally hundreds of dollars for a copy, and the weird legality issues probably have it in a mire! The digital ports of Parappa weren't well-received without lag adjustment! And we didn't even try to play something with a Guncon, which is impossible on a modern digital TV. Old games are a mess.
We'll probably run into all of this with Racing Lagoon again, too. But hey, it ain't a Colossal Game Adventure without some conflict, right? Actually, don't answer that.
They are, indeed. Although, and I suppose this goes to the very heart of what CGA is about, it is interesting that we live in a time where many of us expect to have some kind of an inherent right for the opportunity to experience not only everything that is currently available, but everything that has ever been available. We value, if not cultural preservation, at least cultural access, and often go out of our way to check out works from past eras, whether it is games, films, books, music or something else. We do so, even if it means that our experience of the work is almost entirely removed from the context in and for which it was created.
Me, this November, playing a Japanese game from a quarter of a century ago featuring a local mascot of a global soft drinks company is fundamentally weird. Me doing it hunched over a laptop as opposed to sitting on a sofa with a controller in hand and a CRT television in front of me is, in many ways, a very bizarre way of attempting to understand something.
I'm not saying that it's wrong, of course. Just wondering how close to an authentic experience I am really getting.
Then again, does it even matter? Is my experience today, disconnected in so many ways from the intentions and practicalities of the original release, in any way less valid that the experience of someone playing the game on its intended system at the intended time and within the intended cultural context? It is different for sure, it is likely not what the designers were aiming for, but I don't think it is less valid?
I wonder if there has ever been a time in history that we have felt so entitled to past artefacts as we do now. It used to be natural that books went out of print, films like theatre productions disappeared once their theatrical runs ended, television was transient to a point where episodes once broadcast were taped over by producers. Music releases similarly came and went, and if you didn't buy something around the time of release, good luck finding it from second hand music shops.
And that's just art forms from the last century. Before that, things must have been even less permanent, more local, emphemeral.
As far as I can recall (I'm a kid from the 80s), it wasn't so long ago that we still didn't mind that most things weren't available. It was just how things were. You treasured the treasures that you had and wondered about the ones that you had no access for.
I knew all of Akira Kurosawa's films quite intimately long before I had seen almost any of them. Growing up, I had access to only a couple of his works, from low quality library VHS tapes. But the same library also had Donald Richie's book The Films of Akira Kurosawa, which described and discussed all of Kurosawa's films in detail. Or at least the ones that had been released by the time of publication. I read it multiple times. I sort of knew his films inside out. I just hadn't seen more than a handful of them. And I felt fine about it. I didn't feel like I was missing out on anything. Or at least I didn't feel like I was entitled to anything.
When did the change in our mindsets happen? When did we (or is it just me?) start to assume that we should have access to everything?
The internet certainly made it possible, but I don't think it immediately changed our expectations. A lot of things were available through BBSs, news groups and warez sites, and from around the turn of the millennium through systems like Napster and peer-to-peer file sharing protocols like BitTorrent. But I think the change in our cultural mindsets didn't yet happen at that point. When I, and by "I" I of course mean "a friend of mine", used those services to acquire a gazillion Prince bootlegs, I didn't feel like I was collecting what is rightfully mine. Each new release was a blessing placed upon me by the gods of cyberspace.
In contrast, these days, if the Prince estate releases something and it is not immediately available for my consumption, I feel a little cheated. If the Prince estate decides not to release something that they clearly could release, I feel even more cheated. But what right do I have for that feeling?
I think the change happened sometime around the late 2000s, with streaming services like Spotify and Netflix a major catalyst for this new mindset. Suddenly, we were promised access to everything that we could ever want with an extremely low monthly price. And we got used to that promise. We began to expect that everything is now available to us. These days, we are up in arms about the fragmentation of streaming services and their constant price hikes. A creative industry trying to dig itself out of an unsustainable market structure that a handful of tech companies created.
Not that the promise ever became reality, anyway. I have never had access to Akira Kurosawa's films through any of those services.
But Akira Kurosawa also doesn't really matter, not to the current zeitgeist. And that zeitgeist is largely shaped by social media platforms, which were also a product of the late 2000s. I think they too are a major reason for our mindset change. The concept of global level FOMO became a thing. Previously, you maybe felt left out if your friend group had seen or done something that you hadn't yet. But nowadays it is very easy to fall into the trap of comparing yourself to the entire world. If not directly, at least indirectly. And by extension, you may also feel that just like you should have access to the same experiences as someone who is remote physically, you should also have access to the same experiences as someone who is remote temporally.
That Japanese person playing Pepsiman a quarter of a century ago. What right does she have to the game that I shouldn't also?
I don't know. It's weird. But it's also interesting, I think. And in some ways healthy. If we had access to all of the cultural heritage that humanity has ever produced, perhaps we wouldn't so blindly keep making the same mistakes over and over again as a species? Maybe we could learn to live better with each other? Maybe we might be happier?
Or maybe someone would make a new, enhanced version of Pepsiman for the modern day and modern devices.
Either is fine with me.
Huh! I first read the marketing taunts in the video ("Infinite ways to die...", "There's always better ways to die") as the purpose of the game is to die. Like you rack up points by dying faster as a novel game mechanic. But this reading conflicts with the "where you kill enemies, collect gold, and avoid the Reaper long enough to pay the Ferrymanʼs exorbitant river-crossing fee" sidebar text. So I guess not...
But there's probably a game like that somewhere out there... and that seems more interesting than running away from a pacman ghost
I suppose the marketing is somewhat playing with the idea that you are in a purgatory now controlled by capitalist interests and therefore the more death there is, the better for
the stock priceeveryone!I wouldn't say that the game really manages to successfully make much of this concept -- David Graeber it is not -- but I find it amusing enough.
The gameplay itself is basically just you collecting stuff while running away from a wall of fire, dodging enemies and traps, and avoiding a pretty dumb reaper that appears sometimes. Nothing too complicated, but it's a fun game to jump into as a quick break from work or as a dessert after dinner. It's simple, yet there are enough semi-meaningful mini-decisions to make: which path seems safest to run, which pickups to grab, which enemies to avoid and which to confront, what boosters to get between levels, and so on. Just enough to keep me interested in short bursts. During last month's CGA discussions, @Kawa introduced me to the concept of "after a bath, before bed" games, and Death by Scrolling has been something like that for me. I don't expect to be playing it a year from now, but for now it's there for occasional fun.
From my Backlog Burner writeups (with minor edits):
(Note: I'm still playing PaRappa and Incredible Crisis and will post about those when I'm done)
Pepsiman
A few scattered thoughts:
This game is a perfect example of what I will henceforth call "The @vili Principle:"
The game is short. I probably beat it in about an hour or so?
But that's only because I abused the crap out of save states.
If I hadn't, it would have taken me hours, maybe dozens of them, to see the game all the way through. It relies on you learning its patterns and cycles through repetition so that you can avoid them. The game has a lot of cheap deaths or obstacles. If you don't collect enough Pepsi cans you can run out of lives and have to start all the way over. It's a bit unfair by modern standards to the point of potentially being unfun by modern standards as well.
That said, this isn't exactly a criticism. Back in the day, I was the kind of gamer that would have eagerly put those dozens of hours into this game. It was just how we played back then. I'm glad I was able to try out the game, and it was genuinely enjoyable playing it with save states. Without them, however, I think I would have hit a frustration wall pretty early on.
Vib-Ribbon
Similar to Midtown Madness (which I also played for the Backlog Burner), this is another 1999 game that always interested me but that was completely inaccessible to me as a kid (it never came out in North America).
I don't think I even knew about the game in 1999. Instead, what put it on my radar was when I started making my own custom DDR stepfiles for Dance With Intensity (anyone else remember that?). I embedded myself into several online stepfile communities, including one that had a custom map for the track "Laugh & Peace" from this game.
I was entranced by the song. It was odd. Quirky. It had drastic tempo changes and memorable lines. It feels like something that would fit right in on the amazing Katamari Damacy soundtrack.
My knowledge of and interest in the game stopped there for decades, until I finally picked the game up for CGA.
The game is a delight. Full of personality and charm. Its minimalistic, monochromatic graphics punch well above their weight in making the game feel lively, exciting, dynamic, and cute. Vibri is adorable.
The soundtrack is also excellent. I have since acquired a copy of it and uploaded it to my Apple Music account, so that I can listen to the tracks from the game whenever I want.
The gameplay is, well, there.
Unfortunately, for a rhythm game, Vib-Ribbon has some timing issues. I suspect even the built-in tracks for the game were procedurally generated rather than hardcoded in, because there are obstacles that do not follow the song's beats correctly. I took to watching Vibri's footfalls to know when to press buttons, rather than going with the "feel" of the song, which takes a lot of the fun out of it.
I did still enjoy it, particularly the wrinkle the game throws at you in the final Hard stage. I'm also still planning to get a custom disc going with my emulator (but I need to finish PaRappa and Incredible Crisis first).
Despite what I see as an unignorable issue with the game's obstacle timings, I was ultimately won over by the game's irrepressible charm. It's got a personality all its own, buoyed by a bright, endearing, wacky cuteness.
PaRappa the Rapper
Great game. Terrible timing windows.
Similar to my feelings about Vib-Ribbon: I have decent rhythm myself, but I never really felt like I was "going with the flow" in the game. I had to abuse save states to see it through, locking in good bars that I could only tell were good based on the in-game scoring system, rather than me feeling like I nailed the timings.
Also, the squeaky duck sound that plays when you drop below the "Good" rank is infuriating (and off beat!).
I still really liked the game though? It's surprisingly short -- only six songs total. I genuinely enjoyed each of them. The different characters are memorable, each with their own vibe and setting. I uploaded the soundtrack to my Apple Music account so that I can M-I-X the flour into the bowl whenever I like.
As is tradition for CGA, I feel obligated to highlight queer characters, and this game has (the unfortunately named) Mooselini, a femme-presenting moose with antlers. We love a gender non-conforming emcee.
I do feel like the game's bright colors and flat character art aged quite well. I think it speaks to the universal truth that anything that's deliberately stylized is able to better hold on to its visual identity over time than something that goes for a more "standard" look.
Also, I like the game's unabashedly weird angle. Like, I didn't expect to have to rap battle for a place in a bathroom line, and I legitimately chuckled at the cutscene that played when I failed that song (the first time -- after the fifth time or so, it got pretty annoying). There were lots of little moments that were great too. For example, Cheap Cheap singing:
Or this moment where Mooselini closes the car door. The pause in the music... The "mmmh”...
It's genuinely iconic.
Like Vib-Ribbon, this is a game that gets by on aesthetics despite the fact that, mechanically, it is rather frustrating. The bright colors, catchy songs, and lovable characters cover a lot of sins.
I don't know who is marking these comments, but sorry for my second late submission in a row...
I didn't end up spending a huge amount of time with these games last month. My wife told me about Pepsiman a few years ago, so I had already tried that. I managed to get to the weird post-apocalyptic Pepsi-scape this time around, which is definitely further than I made it last time. Overall a very weird game, but in a good way.
Probably the longest I spent with any of the games was with Vib-Ribbon. However, I was just trying to get a working playlist of custom tracks. I tried using the tool on github, and using a couple different burning programs. I tried .wav and .mp3... but I could baaarely hear the tracks over the extremely loud white noise that started in the game at the same time as the level. I did make it through the first level of the included on disc music, and the concept is pretty neat. In practice I'd say the gameplay is objectively terrible, however!
I don't have too much to say about the others. PaRappa had some very weird timing, so I kept failing. Irritating Stick was funny and difficult, and I'm having a very hard time envisioning the target audience. Incredible Crisis was again very weird, but a hilarious concept. Sadly it was again way too hard for me, again due to weird timing (I can beat most guitar hero songs on expert, so I choose to blame the game!). I probably need to watch a video to see where the rest of this man's day went.
Overall I'd say I'm glad I played these briefly just to see how weird the PS1 got, but have probably now seen enough of them for the rest of my life.
Alright Teach, so... I didn't do the homework.
I tried Parappa and I tried Vib Ribbon, but that was as far as I got. I really didn't like either of them and then just never bothered firing up the ROMs for the other three games. It just...wasn't my style and with the Backlog Burner also this month, I just felt a lot more interested in playing other stuff that is more appealing to me. I'm not sure I should even really be making this post given I didn't do the homework, but I figured I'd at least add a little something rather than staying completely quiet.
I'll probably leave the ROMs on my various systems and maybe fire them up in the future, but I'm not sure that'll actually happen or not...