Bojangles4th
BACKER
2017
Played on default settings with Survivor.
Rain World's.. well, world, is utterly beautiful and captivating, there's something about it that strikes me as endlessly interesting with just how diverse each region is despite what could broadly be described as "post-apocalyptic industrial"; it effortlessly outclasses many in this aesthetic genre, with a sprinkling of Buddhist theming that elevates it to masterclass status in my book. It feels like a mashup of Girls Last Tour and Made in Abyss visually. I feel like this is where the intrigue for many comes in, especially in the last couple of years or so with the cutesy Slugcat fanart and gifs people love sharing around (I did so for ages before even playing), but I feel something is miscommunicated about the game from this angle by the fandom.
When people talk about a game having disregard for a player in a good way, the vast majority of the time they're talking about Demon's Souls or sometimes Dark Souls 1, or cheap shots in mostly old PC games; but these games always give the player the tools to overcome, especially the lauded Souls franchise and adjacent. Rain World does not, or at least not really; you might be given a spear, but the amount of hostile enemies you can actually kill with it? Like, two, at least somewhat reasonably. The world does not care if you wish to walk across that bridge, there is an eldrich horror larger than you could have imagined casually feasting on one of the beasts that previously demolished you. Wait... There's your chance to get past, RUN! Jump over that rock, hurry! Scurry along you silly little Slugcat and pray the monster is still engorging itself. Finally you reach the pipe, and on the other side, another beast, instantly snaps you up.
Press [start] to continue.
So you've learned something at least, about how this ecosystem interacts; but you died, despite how hard it may have been to get where you were. You can't go back though, you know it's a dead end, the worm nudges in that same direction still. You have to push on, Survivor. So you push forward again, with that depleting Karma meter you haven't payed much attention to only a couple hours in or so. You claw and climb your way through a (to you) arduous section with some beasts and perilous jumps, until you finally reach the door and shimmy through, to be met with a Karma Gate at tier 3, but alas you are only tier 1, and hungry. Time's almost up, the screen begins shaking and the sound becomes thunder, soon you're washed away into oblivion. How utterly frustrating, I thought, how could they make the player go through all of that knowing they'd likely die and be unable to get through? There's a lot of moments like this, and an area in particular that drove me insane, I constantly asked "how would I change this?", and each time I'd conclude, simply, that I wouldn't. To fix that or place that on a cycle or something rigid would defeat the purpose or at least severely crack the game's vision. To approach these challenges from the perspective of "how would I change this for the player experience" is to directly detract from the experience of the Slugcats.
This isn't about you, this is about a Slugcat which in this game no matter how good the player may be might as well be regarded as only a couple rungs above insects. The act of killing something that could also kill you is rare, and reliant on often single-use tools you happen across. You WILL be fumbling with Slugcat's movement to the very end and it's all the better for it. Why should things be easy? The decision as well to make the game fixed-screen was also massively beneficial to selling the uneasiness in a 2D space, it places extra emphasis on immersing yourself in the soundscape, listening to every little audio cue you can to clue yourself in on what's just around the corner. It also makes the game feel even larger than it already is, while still retaining measurable distance over "samey" screens such as certain waterways or long tunnels. The sound design is also masterful, and it synergizes perfectly with the visual presentation and how it impacts progression through the game.
With the Downpour DLC came a free update that optionally adds visual cues to things such as indicators for off-screen enemies and accessibility options such as an engine slowdown similar to Celeste's; I always appreciate these sorts of updates and tweaks on principle, but I would still strongly urge trying to Survive and to only tweak downwards if you're genuinely going to drop the game over these gripes. They are in my mind what makes Rain World, Rain World, but I get it.
Ultimately Rain World represents what I believe to be the most realized vision in a video game, period. Unfaltering in its indifference to the player and their usual power-trip-seeking behavior and drip feed dopamine addictions, it has a story to tell about the cutest thing in the world simply trying to reunite in an apocalyptic world, and it refuses every step of the way to fall victim to dissonance between its gameplay and its narrative.
In one word: Primordial.
Rain World's.. well, world, is utterly beautiful and captivating, there's something about it that strikes me as endlessly interesting with just how diverse each region is despite what could broadly be described as "post-apocalyptic industrial"; it effortlessly outclasses many in this aesthetic genre, with a sprinkling of Buddhist theming that elevates it to masterclass status in my book. It feels like a mashup of Girls Last Tour and Made in Abyss visually. I feel like this is where the intrigue for many comes in, especially in the last couple of years or so with the cutesy Slugcat fanart and gifs people love sharing around (I did so for ages before even playing), but I feel something is miscommunicated about the game from this angle by the fandom.
When people talk about a game having disregard for a player in a good way, the vast majority of the time they're talking about Demon's Souls or sometimes Dark Souls 1, or cheap shots in mostly old PC games; but these games always give the player the tools to overcome, especially the lauded Souls franchise and adjacent. Rain World does not, or at least not really; you might be given a spear, but the amount of hostile enemies you can actually kill with it? Like, two, at least somewhat reasonably. The world does not care if you wish to walk across that bridge, there is an eldrich horror larger than you could have imagined casually feasting on one of the beasts that previously demolished you. Wait... There's your chance to get past, RUN! Jump over that rock, hurry! Scurry along you silly little Slugcat and pray the monster is still engorging itself. Finally you reach the pipe, and on the other side, another beast, instantly snaps you up.
Press [start] to continue.
So you've learned something at least, about how this ecosystem interacts; but you died, despite how hard it may have been to get where you were. You can't go back though, you know it's a dead end, the worm nudges in that same direction still. You have to push on, Survivor. So you push forward again, with that depleting Karma meter you haven't payed much attention to only a couple hours in or so. You claw and climb your way through a (to you) arduous section with some beasts and perilous jumps, until you finally reach the door and shimmy through, to be met with a Karma Gate at tier 3, but alas you are only tier 1, and hungry. Time's almost up, the screen begins shaking and the sound becomes thunder, soon you're washed away into oblivion. How utterly frustrating, I thought, how could they make the player go through all of that knowing they'd likely die and be unable to get through? There's a lot of moments like this, and an area in particular that drove me insane, I constantly asked "how would I change this?", and each time I'd conclude, simply, that I wouldn't. To fix that or place that on a cycle or something rigid would defeat the purpose or at least severely crack the game's vision. To approach these challenges from the perspective of "how would I change this for the player experience" is to directly detract from the experience of the Slugcats.
This isn't about you, this is about a Slugcat which in this game no matter how good the player may be might as well be regarded as only a couple rungs above insects. The act of killing something that could also kill you is rare, and reliant on often single-use tools you happen across. You WILL be fumbling with Slugcat's movement to the very end and it's all the better for it. Why should things be easy? The decision as well to make the game fixed-screen was also massively beneficial to selling the uneasiness in a 2D space, it places extra emphasis on immersing yourself in the soundscape, listening to every little audio cue you can to clue yourself in on what's just around the corner. It also makes the game feel even larger than it already is, while still retaining measurable distance over "samey" screens such as certain waterways or long tunnels. The sound design is also masterful, and it synergizes perfectly with the visual presentation and how it impacts progression through the game.
With the Downpour DLC came a free update that optionally adds visual cues to things such as indicators for off-screen enemies and accessibility options such as an engine slowdown similar to Celeste's; I always appreciate these sorts of updates and tweaks on principle, but I would still strongly urge trying to Survive and to only tweak downwards if you're genuinely going to drop the game over these gripes. They are in my mind what makes Rain World, Rain World, but I get it.
Ultimately Rain World represents what I believe to be the most realized vision in a video game, period. Unfaltering in its indifference to the player and their usual power-trip-seeking behavior and drip feed dopamine addictions, it has a story to tell about the cutest thing in the world simply trying to reunite in an apocalyptic world, and it refuses every step of the way to fall victim to dissonance between its gameplay and its narrative.
In one word: Primordial.
Half the score for half the effort. Actually unreal people are defending the Tour maps when they either have horrid signage or none at all (Paris???).
Most of the tracks fail to do anything that makes them feel like MK8 content, these would be right at home in MK7 and- oh wait some of these already had community-made versions in CTGP-7. These would be bottom tier even in MK7 and low-tier in CTGP-7.
I also remember now that I'm playing it that it has my 2nd least favorite item meta only behind 64 which is unfair since 64's literally is broken, as in nonfunctioning, on half its courses as well as AI softlocking themselves.
But hey at least it costs less than an actual new Mario Kart would for almost the same amount of content, who cares if it's microwave slop some 16 year old outdid a decade ago with janky level editors made for a game nobody has access to the source code for.
The actual original tracks or any that saw more than a finger lifted to refit them are unsurprisingly the best in the pack so far. Others like Coconut Mall are strict downgrades over their originals.
I dunno. I fell off of 8 and especially 8D at points in my life where I should have sunk my teeth into them until I was splitting bone, for a variety of reasons too long to fit here but I may elaborate in the main game page for MK8/MK8D.
But hey it's a party game, I should just shut up and enjoy the slop because Nintendo put in Birdo so my queer ass can go "so true bestie" every time she honks.
Most of the tracks fail to do anything that makes them feel like MK8 content, these would be right at home in MK7 and- oh wait some of these already had community-made versions in CTGP-7. These would be bottom tier even in MK7 and low-tier in CTGP-7.
I also remember now that I'm playing it that it has my 2nd least favorite item meta only behind 64 which is unfair since 64's literally is broken, as in nonfunctioning, on half its courses as well as AI softlocking themselves.
But hey at least it costs less than an actual new Mario Kart would for almost the same amount of content, who cares if it's microwave slop some 16 year old outdid a decade ago with janky level editors made for a game nobody has access to the source code for.
The actual original tracks or any that saw more than a finger lifted to refit them are unsurprisingly the best in the pack so far. Others like Coconut Mall are strict downgrades over their originals.
I dunno. I fell off of 8 and especially 8D at points in my life where I should have sunk my teeth into them until I was splitting bone, for a variety of reasons too long to fit here but I may elaborate in the main game page for MK8/MK8D.
But hey it's a party game, I should just shut up and enjoy the slop because Nintendo put in Birdo so my queer ass can go "so true bestie" every time she honks.
2023
It's actually incredible how little this feels like a Nintendo game, a lot of shit barely works and the worst part is they made us compete for squats and we're all too honorable to cheese it with lifting. My legs are screaming and the we3d didn't numb it.
NintendoLife gave a first party Nintendo title less than a 8/10.
IGN gave a first party Nintendo title less than a 6/10
Both too generous, I think.
This is below a pack-in game, and it fails to do anything better that Jackbox or WarioWare already do.
NintendoLife gave a first party Nintendo title less than a 8/10.
IGN gave a first party Nintendo title less than a 6/10
Both too generous, I think.
This is below a pack-in game, and it fails to do anything better that Jackbox or WarioWare already do.
Sticks to snakes!
Heal all wounds! (heals self for 10%)
Hold person. (fail)
Hold person. (fail)
Hold person. WWURRRRRRRRRRRRRRRRRRR
Heal all wounds! (heals self for 10%)
Hold person. (fail)
Hold person. (fail)
Hold person. WWURRRRRRRRRRRRRRRRRRR
2019
Author put that swiss cheese lookin ass course with placeholder textures in cus it was their little sibling's creation and their parents said it had to be in. -0.5 star for that and some other :raised_eyebrow: courses that are either way too dim, not marked correctly or were clearly designed with only 100cc in mind.
That said, it's MK7 which imo was already one of the strongest bases for a Mario Kart with excellent item tweaks (fake box is back, can get rid of fire flower and leaf quicker now by holding L) and a mostly very solid course selection. An entire cup just being Rainbow Roads is hilarious and genuinely good. TONS of character swap options but only visible to you, and some new gamemodes I have not really tried. There's some absurd rubberbanding at times but that is not because of this mod, and it's still less offensive than N64/DS; can be mitigated if the person ahead agrees to slow down a bit.
Beaten all of the new cups 150cc with @Nowhere (12-9, I lost -0.5 star /j)
Also it has an active online community and you can do that too!! Great stuff and super easy to install, automatic if you have universal updater already.
That said, it's MK7 which imo was already one of the strongest bases for a Mario Kart with excellent item tweaks (fake box is back, can get rid of fire flower and leaf quicker now by holding L) and a mostly very solid course selection. An entire cup just being Rainbow Roads is hilarious and genuinely good. TONS of character swap options but only visible to you, and some new gamemodes I have not really tried. There's some absurd rubberbanding at times but that is not because of this mod, and it's still less offensive than N64/DS; can be mitigated if the person ahead agrees to slow down a bit.
Beaten all of the new cups 150cc with @Nowhere (12-9, I lost -0.5 star /j)
Also it has an active online community and you can do that too!! Great stuff and super easy to install, automatic if you have universal updater already.
Don't know why this game's as gassed up as it is with its autoscrollers and leaps of faith and borderline nonfunctioning sections (in co-op)
It's cute, but it quickly wears its jokes thin and the shameless meta advertising gets old and leans into gross.
All said it controls well otherwise and is still a bit removed from awful territory, and the minigames help mix up the pacing slightly. The mech fights are bad tho. Surprisingly high quality samples for SNES too.
Beaten with @Nowhere.
It's cute, but it quickly wears its jokes thin and the shameless meta advertising gets old and leans into gross.
All said it controls well otherwise and is still a bit removed from awful territory, and the minigames help mix up the pacing slightly. The mech fights are bad tho. Surprisingly high quality samples for SNES too.
Beaten with @Nowhere.
Can't tell if I love or hate it but one thing's for sure I want others to experience whatever they were cooking (incinerating?) here.
2018
This review contains spoilers
Adding to the list of "co-op only" (or borderline) games I have comes A Way Out, the first game by Hazelight Studios, played with u/Nowhere. Heavy spoilers in last two paragraphs before closing thoughts.
A Way Out starts so strong that the eventual watering itself down and throwing its hands up is just immensely disappointing to me. What I mean by watering itself down is how at the beginning you're tasked left and right with synchronized events that likely require a degree of communication during the Prison Act, but every point immediately past that never brings it back. It starts with requiring the two players to keep an eye out for guards patrolling while removing a toilet, then for distracting guards to get through the wash rooms, climbing the shaft, and finally taking down two guards at the same time on The Way Out. There's a couple driving sections where someone drives and the other shoots off the back, and while technically the driver can influence the gunner, they may as well be separate experiences. The only driving section that's "different" from this is both players driving a motorbike, and if you're new to both film magic and video games, the way the game "synchronizes" the stunts might be somewhat impressive if not for the really obvious (imo) slowdown of the bikes to do so on the ramps leading up to those sections. Sometimes I was early, sometimes I was late, but we met at the same time because one of us would magically slow down because Josef Fares told the game programmers to make a co-op Uncharted sequence.
A little before this the game also pretends the intro to the third act has another double guard takedown, and much to our amusement, Nowhere was able to just walk up to both of them and melee them as they flop into ragdolls; this is also where the game becomes a bad third person shooter with QTEs designed never to fail unless you put your controller down and walk away (though even then the game will often let the players sit there uninterrupted indefinitely if they so choose). That was the last instance the game "tried" to make us work together, but it seemed to have forgotten that it was ever about interesting puzzle design and flavor that comes with this style of game.
The story is atrocious, to the point where I think if it was smarter it'd be satirizing high stakes buddy films like Brother (2000) or The Raid 2 (2014); unfortunately, a bit like watching an old friend with a particular brand of humor still pedaling over a decade later, you realize they're not being ironic about it and the dread seeps in. Vincent is just generally abhorrent and Leo is a marginally more likeable absentee father who has the know-how to evade the entirety of the U.S. police force but can't communicate with his wife about anything. Actually neither can Vincent, and both their wives seem to exist only as pieces for them to make us feel bad for Vincent and Leo, instead I now realize that realistically Carol told him to screw off because he's a pig cop bootlicker and Linda-- actually we don't really know much about her other than she stole cigs and ice cream with Leo when they were kids. The hospital scene is hilarious to me, I don't know when this game is supposed to take place but in what state do they not ID check people asking to go into the maternity ward?? They just let these two complete strangers walk in, then a couple minutes later police show up. The escape from the hospital is also just comically bad, a cop practically stares at Vincent but because Vincent played Hitman (2016) he's like "I'll sit on this bench and I'll look like a patient." and it works cus I guess they just send 10 cars after em but not 1 cop even bothers to check faces? lol
The choice to present most of the story in this sort of "recollected" way with the two on the plane is also frankly kind of trash. I'm not opposed to this style of writing, but it takes a lot of the weight out of the entire first half of the game when their current whereabouts are that obvious. The latter half the of the game is a joke and the "twist" is dogwater. I don't find the fact that Vincent reveals himself to still be a bootlicker cop and "will lower Leo's sentence to be a bro" endearing in the slightest, Leo is 100% in the right then to be fucking pissed and it's mind boggling to me that the game is trying to put them on the same pedestal by then. Making the players do PvP to decide the "ending" is also drawn out and both Leo and Vincent are really tanky for some reason, which doesn't even matter because the deciding factor is a QTE that's just mashing one button anyways. Vincent's ending in particular I find gross; in the ending where Leo dies, Vincent tells Linda... something, we don't know what because writing a human interaction is the hardest thing in this game; then just goes back home and it's supposed to be a happy ending where because he was this deceitful and will likely never tell Carol he offed a dude, his resignation from the bureau makes Carol go "..." "Gonna come inside?" like why does she trust him at all? Does she not know she'd get his pension benefits anyways? LOL the women in this game are all written like flat boards, deceitful or untrustworthy. The men in it are too tbf, but the difference is the women here are a background accessory and the men have more dialogue in one-off conversations at the prisons than any of the women do across the whole game LOL (besides Linda maybe) In Leo's ending, he follows through and gives the letter Vincent wrote to Carol (albeit in an invisible man sort of way), before dipping to be off grid with Linda and their son Alex.
With all that out of the way. the one bright side is it doesn't glorify prison systems, and the farmstead is hilarious and where the game peaked before slowly burning down and crashing. A Way Out still merits a play for this style of co-op alone, the actual gameplay isn't "terrible" but it's mind numbing and the story takes itself way too seriously to ever be in a "so bad it's good" territory (except the fact QTEs can rewind some events, that's hilarious; remember that Marvel game clip that went around with Thor's hammer? Imagine that, for the CLIMAX of the game.). I can see a lot of the groundwork for It Takes Two was laid out here, but unlike this, It Takes Two remembers it's supposed to be a co-op game with variety and constant gameplay shifts to keep things fresh instead of being a glorified, bootleg Uncharted-in-parallel. It is in my mind, the epitome of Video Game Writing (bad, not endearing, not quirky, frankly gross, etc.)
A Way Out starts so strong that the eventual watering itself down and throwing its hands up is just immensely disappointing to me. What I mean by watering itself down is how at the beginning you're tasked left and right with synchronized events that likely require a degree of communication during the Prison Act, but every point immediately past that never brings it back. It starts with requiring the two players to keep an eye out for guards patrolling while removing a toilet, then for distracting guards to get through the wash rooms, climbing the shaft, and finally taking down two guards at the same time on The Way Out. There's a couple driving sections where someone drives and the other shoots off the back, and while technically the driver can influence the gunner, they may as well be separate experiences. The only driving section that's "different" from this is both players driving a motorbike, and if you're new to both film magic and video games, the way the game "synchronizes" the stunts might be somewhat impressive if not for the really obvious (imo) slowdown of the bikes to do so on the ramps leading up to those sections. Sometimes I was early, sometimes I was late, but we met at the same time because one of us would magically slow down because Josef Fares told the game programmers to make a co-op Uncharted sequence.
A little before this the game also pretends the intro to the third act has another double guard takedown, and much to our amusement, Nowhere was able to just walk up to both of them and melee them as they flop into ragdolls; this is also where the game becomes a bad third person shooter with QTEs designed never to fail unless you put your controller down and walk away (though even then the game will often let the players sit there uninterrupted indefinitely if they so choose). That was the last instance the game "tried" to make us work together, but it seemed to have forgotten that it was ever about interesting puzzle design and flavor that comes with this style of game.
The story is atrocious, to the point where I think if it was smarter it'd be satirizing high stakes buddy films like Brother (2000) or The Raid 2 (2014); unfortunately, a bit like watching an old friend with a particular brand of humor still pedaling over a decade later, you realize they're not being ironic about it and the dread seeps in. Vincent is just generally abhorrent and Leo is a marginally more likeable absentee father who has the know-how to evade the entirety of the U.S. police force but can't communicate with his wife about anything. Actually neither can Vincent, and both their wives seem to exist only as pieces for them to make us feel bad for Vincent and Leo, instead I now realize that realistically Carol told him to screw off because he's a pig cop bootlicker and Linda-- actually we don't really know much about her other than she stole cigs and ice cream with Leo when they were kids. The hospital scene is hilarious to me, I don't know when this game is supposed to take place but in what state do they not ID check people asking to go into the maternity ward?? They just let these two complete strangers walk in, then a couple minutes later police show up. The escape from the hospital is also just comically bad, a cop practically stares at Vincent but because Vincent played Hitman (2016) he's like "I'll sit on this bench and I'll look like a patient." and it works cus I guess they just send 10 cars after em but not 1 cop even bothers to check faces? lol
The choice to present most of the story in this sort of "recollected" way with the two on the plane is also frankly kind of trash. I'm not opposed to this style of writing, but it takes a lot of the weight out of the entire first half of the game when their current whereabouts are that obvious. The latter half the of the game is a joke and the "twist" is dogwater. I don't find the fact that Vincent reveals himself to still be a bootlicker cop and "will lower Leo's sentence to be a bro" endearing in the slightest, Leo is 100% in the right then to be fucking pissed and it's mind boggling to me that the game is trying to put them on the same pedestal by then. Making the players do PvP to decide the "ending" is also drawn out and both Leo and Vincent are really tanky for some reason, which doesn't even matter because the deciding factor is a QTE that's just mashing one button anyways. Vincent's ending in particular I find gross; in the ending where Leo dies, Vincent tells Linda... something, we don't know what because writing a human interaction is the hardest thing in this game; then just goes back home and it's supposed to be a happy ending where because he was this deceitful and will likely never tell Carol he offed a dude, his resignation from the bureau makes Carol go "..." "Gonna come inside?" like why does she trust him at all? Does she not know she'd get his pension benefits anyways? LOL the women in this game are all written like flat boards, deceitful or untrustworthy. The men in it are too tbf, but the difference is the women here are a background accessory and the men have more dialogue in one-off conversations at the prisons than any of the women do across the whole game LOL (besides Linda maybe) In Leo's ending, he follows through and gives the letter Vincent wrote to Carol (albeit in an invisible man sort of way), before dipping to be off grid with Linda and their son Alex.
With all that out of the way. the one bright side is it doesn't glorify prison systems, and the farmstead is hilarious and where the game peaked before slowly burning down and crashing. A Way Out still merits a play for this style of co-op alone, the actual gameplay isn't "terrible" but it's mind numbing and the story takes itself way too seriously to ever be in a "so bad it's good" territory (except the fact QTEs can rewind some events, that's hilarious; remember that Marvel game clip that went around with Thor's hammer? Imagine that, for the CLIMAX of the game.). I can see a lot of the groundwork for It Takes Two was laid out here, but unlike this, It Takes Two remembers it's supposed to be a co-op game with variety and constant gameplay shifts to keep things fresh instead of being a glorified, bootleg Uncharted-in-parallel. It is in my mind, the epitome of Video Game Writing (bad, not endearing, not quirky, frankly gross, etc.)
Very mid but the cab is something else, does the whole double-wide thing like X-Men but in a shared cockpit with hazard lights and surround sound.
2000
Played w friends across 5 (1 trio + 2 single?) connected cabs, wasn't expecting this to slap as hard as it does. Trackball aiming is legit, Unreal wishes it had this much sass. Just a one of a kind, incredibly hype experience overall.
1994
Aerosmith sucks
1980
One of Atari's tightest games ever, the game that changed my mind about a decade ago about the arcade experience.
Galloping Ghost only has a 3" trackball (I swear the og is 4") but it still feels good to flick it across and strike down missiles and ships. Brilliant.
Galloping Ghost only has a 3" trackball (I swear the og is 4") but it still feels good to flick it across and strike down missiles and ships. Brilliant.
Marking as completed even if we lost cus we were like, at the exit when we ran out of time.
Extremely janky and the controls are 8 directions, which with a trackball is very hard to line up properly lol. Robotnik smiling before each stage is so good, same w the character portraits.
Played on a real cab, 3p.
Extremely janky and the controls are 8 directions, which with a trackball is very hard to line up properly lol. Robotnik smiling before each stage is so good, same w the character portraits.
Played on a real cab, 3p.
The utter look of @Nowhere when I turn to him and said "this is mt first Silent Hill game"
Surprisingly not that unfair (only beat stage 1), though they probably would've charged $2 a play in 2007 on a massive rear-projection CRT cab.
Surprisingly not that unfair (only beat stage 1), though they probably would've charged $2 a play in 2007 on a massive rear-projection CRT cab.
1992
Confuse not my rating for my enjoyment. Played on a real 6p, double screen cab with 5 friends, it's a blast as much it is mind numbing lol