Showing posts with label Sunstrike. Show all posts
Showing posts with label Sunstrike. Show all posts

Sunday, July 31, 2022

ATARI 2600 SUNSTRIKE AND THE INFINITE PYRAMID

ATARI 2600 SUNSTRIKE AND THE INFINITE PYRAMID
This side-scrolling game consisted of 6 playable characters- an innovation, to be sure, in 1981- crossing a dozen playable fields.

A blue fireball deposits Clay Reeves from Earth into the Temple of Inguz, where Merriwyn of Kolpar must make a timely rescue. From there, the duo grows in size to a half-dozen characters, battling foes such as the Voidons and Sulinar Vix, as they search the Pyramid for Ing, the mighty living rocket ship, who can lift them safely on their way.
GAME PLAY FOR SUNSTRIKE AND THE INFINITE PYRAMID



On board one, Clay falls through the fire ball into a Norse temple. The player character is Merriwyn, who must float and make contact, then safely bring them both down to the temple floor.

Text captions introduce the two to each other.
ON board two, Merriwyn and Clay run through the Forbidden City, avoiding the stone soldiers. Here, a two player option lets you play either one.

Board three is a differently-designed version of the Forbidden City chase, ending with their exit and meeting Shamilal Asano-9, who helps them across a mine field at the end. Board four's graphics compromises became too much of a strain for the series writer to grasp; after seven scenes were developed, on this one, he asked to depart the project.
Board four is where Tappandally, the living plant, taps into a special map envisioned when Merriwyn (the player character) tries on a grand helmet in a treasure room fit for a departing monarch.
Board five is where the player is Tap, trying to navigate a way down to the Starship Chambers.

Board Five can be a bit of a time-killer, finding the way to root down to the star base within the Pyramids. It's the most challenging level.
Board Six is where two players can each take Shamilal Asano or Merriwyn, who drifts down beside the extended stalk, and guide the party to the Starship Chamber using Tap’s foliage body.

Board Seven is where the player meets Vado Bujinka. As Vado, you must solve the message on the wall. Or, player two can fight off Voidons while Vado works. This and the next board are intended to match the challenge of board Five.

Shamilal Asano 9

Board Eight is where Shamilal Asano’s drone finds the command center controls. Now he must use his super computer and wits to find, open and empower the star rocket, Ing.
Board Nine is a differently-colored version of Board Three, with the Seekers trying to guard Ing, in place of the Forbidden City watch.
oN THIS design, Sunstike's Keepers (in issue #2, spring 1975) got there first, with their guardians of Star Ship Chamber.
Ing, in robot form on Board Nine, from the video game SUNSTRIKE AND THE INFINITE PYRAMID (1981).
Board Ten is a differently-colored version of Board Six, only this time, the objective is to go up, following Tap up the side of the rocket ship, to the entrance.
Board Eleven is where Rip Bubba plays the pilot. Sulnar Vix only appears in this scene, in a pursuing ship. To win the game, the rocket (a transformed Ing) ascends to the stars.

The action bears some template resemblance to the first board. This was one of three scenes that re-used graphics memory in a skillful way, to expand to at least these eleven game boards.
Loading in the pictures the creators wanted led to the most compromises and delays.

The amount of data for the game as designed exceeded the memory limits of home game cartriges of the time. This led to an abbreviation of some scenarios. A full run-through of the game could be achieved in fifty minutes to an hour, for avid players, the kind eating up each new release. A newer video gamer might spend months with it.

The original idea would've included scenarios to occupy the player much longer. However, with Easy, Medium and Hard variations, the release aspired to portray a story that would be fun to play over again with other players.

ORIGINS OF THE GAME
"rRight from the first issue, our story had the robot-as-ship concept, and the attainment of a star ship in order to desperately gain some new galactic perspective," says the creator of the comic, who has spent years erasing his identity tracks.The author is known to pick up his check by mail, and conducts no further publicity connected to his work.

The game was based on the 1974 quarterly first issue of SUNSTRIKE by Homer Press. Due to the timing of the story line going into starship battles with issue number fifteen, and that issue’s release within three weeks of the motion picture Star Wars, there was a special blip in interest in the title in 1977 and 1978. It was in this time period that Homer Press struck a deal with a developer, who took the game in 1980 to Atari. The game was scheduled for the summer of 1981. However, the new game went back into development until the last week of December, 1981.
It really would've been fine as a computer game, on a floppy disk. I would still like to see it revived.- original artist Ken Westler, Games Magazine, 2009.


Despite missing the Christmas season push, the game sold fine, though with limited pressings, and virtually no fanfare, save for the mention in the 1982 Atari Game Catalog. The lack of a cabinet game in arcades hindered the game’s popularity. A cartoon movie had been planned for BetaMax release, but this stack of publicity did not quite align at the time. By the time the re-release- with 24 boards of play- was prepared, the home video game market was experiencing its 1983 crash, severely curtailing the re-released game’s distribution. The resulting sales led to SUNSTRIKE getting the axe along with many other canceled games in early 1984. Rights remained tied up, so the series plan fell apart.

Development sketch of m'Tig V'Seela, a character originally intended to recur as the benfactor of Sunstrike. m'Tig is revealed in the sequel to be the daughter of the Marc Kane- a Dark Ages bgearer of the same mystic mantle as Peaches Kane, who becomes a playable character in BACK IN TIME.
courtesy Westler/Wood Studios
The comics series originally had the origin story of Sunstrike and his companionship with Merriwyn and company in issue one, then did something unusual with issue two: a depiction of three variations of the plot of the previous issue, with a different destination of the dark side of the Moon for one, and the introduction of the Champion, who pointed Sunstrike towards the plane of the King of Swords. Issue three picked up the original ending of issue one, and one of the endings of issue two: space ship Ing takes everyone to a satellite at the end of the solar system, Danger- Naught, full of living, artificially-intelligent beings. (The middle story depicted an escapade where Shamilal Asano tried to take solo advantage of the opportunity to take a space ship, with darkly comical results.)
Artwork for SUNSTRIKE AND THE INFINITE PYRAMID, 1982.
Issue four depicted a confrontation on the moon, revealing a smaller fragment of the moon also orbits Kolpar. The team narrowly escapes the Zavox, who seems the center of all Voidon activity to drain Kolpar of motivation and passion. Issue five finds everyone a guest of the King of Swords. Sunstrike finally receives training for all of his five basic powers. Issue six finds the Champion come to try to take the Sunstrike power for herself.
Issue seven follows the pattern of #2, and shows two alternative versions of the previous events, including a visit with the Queen of Dreams, and an astral assault by Sulinar Vix, who hunts for Sunstrike.
Issues eight through twelve revolve around a quest to find Merriwyn’s best friend and rescue him from a star cult. This leads to an ultimate confrontation with the Zavox, and ends with Sulinar Vix now split into an indefinite number- later revealed to be seven-versions of himself, scattered throughout the story scape, each with his power and believing himself to be the one true Sulinar. Here is where the Sunstrike Annual of 1977 (spring) tells the story that is the basis for the preview game, intended as a sequel to INFINITE PYRAMID, where Sunstrike now has more experience and greater powers. This game focused on Sunstrike as its main hero, for players one and two. There is a board where Peaches Kane, the mystic, is the main character for either player. Its sixteen boards on Atari, and 22 boards on ColecoVision, reflected the plot of the annual, which had been over double the length of a regular issue of SUNSTRIKE. (The book paused serial publication between #12 and #13 to release this product, a $1.75 release, in a different format, without competition from the book, which goes monthly shortly after the hiatus, allowing #15 to hit comics stores on June 12th, 1977. That game, however, was only released in Europe, in 1984.


The smaller firm producing that game, Alto Games, bankrupted early in its run. Its release in 1985 in America did not have a buying tidal wave, though lower income families were looking for bargain games for their newly-purchased sets. The limited chain distribution of SUNSTRIKE; Back in Time meant that the merchandise accompaniment intended was only done in test markets. Video games were not doing gang-buster home sales now, until the advent of Nintendo, arriving in a wave of 1986. The video for the new game, September 2nd, is here: https://www.youtube.com/watch?v=aKy-k5WzHrc
The modern version of the game, created by Cecil Disharoon and friends, can be previewed here, free, at Games Create. https://gamescreate.com/games/show/5023

Monday, June 6, 2022

New, extended story sequences: Sunstrike and Company!

Here's where you find our Integr8d Soul game for free: We tie in the storylines that touch, I think, every storyline in our fictional universe. It's great heroic fiction, with that dash of philosophy and wonder that completes the package.
We've just released the newest version. Be a friend and share, OK? It's a blend of humor, wild imagination, and far-out drama. You start as either plant person Tappandalli, the Kolparian idealist Merriwyn Archiere, or roguish adventurer Shamilal Asano-9, complete with his hi-tech gear. https://t.co/hjxgyNYn72
The Pyramids of Infinitude contain portals to many story settings. There's also three playable characters hidden inside, including Sunstrike, himself. This is his origin story, after all.
One distinguishing feature of our new material: we reveal more clues about the nature of the linked pyramids. We also plant clues about the deeper identities and links of these characters, to be explored in future game-stories. https://gamescreate.com/games/show/5023
While the character dynamics are not modeled after any other team, I think each main is interesting. If you've wanted a glimpse into our years of creations, here you will find everything crossing over. Hopefully, we'll be returning to that well for many new adventures.

Monday, April 18, 2022

Vado and Tap, the Living Land, and a daughter's tale (from Sunstrike and the Pyramids of Infinitude)

Vado Bujinka and her morphing plant friend, Tappandalli, cross a threshold, departing the Pyramids of Infinitude. As her eyes adjust from cavernous dank to brilliant light, a familiar feeling vibrates through her.
Free link to the story game: https://gamescreate.com/games/show/5023
“What joy!” exclaims Vado. “The Living Land! How did such pretty homeland rocks appear here, so strangely distant?” “Hey, this is really rich soil!” cries Tappandalli. “I’m rooting for us to stay a while!”
Tinkling stones catch Vado’s ear. She saunters along, then sprints, as though guided by the sound of a water fall. What Tappandalli sees is a being form from the soil, much as he is a floral entity, himself.
There in the meadow, amid golden grasses, the Living Land sits up as one like themselves.
“Dear Bujinka!” exclaims the Living Land. “Pardon my dry mouth! Can you hear me speak now, beneath the wind?”
“Yes! Yes, dear friend,” she says. “Home is carried ever in the heart, and now so literally do I find a natural place, where I can be myself.” “Yes, please relax a while,” says the Land. “Come! Be among my flowers, so they know they are beautiful!” “I must have imagined I longed to see you so,” says Vado.
Tappandally giggles as bees search his crown for pollen.
“The longing to see someone so,” says the Living Land, thoughtfully. “Yes, that was my story, too. Those who last dwelt within my embrace sought wholeness.”
Tap feels an explanation arise, to state whence they came of late, together.
“There is said to be, in the world where the Pyramids are found, greatest abundance. Let’s travel to the stars! Said those people. Let us remember we have friends and fear not the cosmos. Some living thing, though, exists among that host, changed to devour the energy of motivation, as though bottomless with a need for love. So the paradise found has become obscure.”
“So is MY story, of those who did sit among my cool mosses and insectoid songs,” replied the Land.
“Am I again, through you, in the homeland? My travels took me from there, to a land I thought felt like the Future, for if it were the past, then it was an age undreamt of by my Silver Claw people of the Dome. I accepted there was only the present; perhaps all I knew and loved were now in my heart, but a world, passed. But the ultimate journey of a scout is ever to cross boundaries unknown in the daily life of one’s tribe.”
“I am of your land, and am here, too,” says the Living Land. “For now, you are simply Home.”
“Who were the last to set foot in you?” asks the plant person.
“In me sat a daughter, who answered her mother, her Queen of Dreams. Her sadness had been buried by a brook, which gurgled with stones smooth since childhood. The daughter came to me to escape those who want command, want authority her free spirit will not permit.”
“She sounds like me,” says Vado, nodding. “There was a time she felt her mother did not love her so much as she had, when she was learning to first speak.”|
“Plant parents never really lose touch,” says Tappandally. “We know we’re connected!”
“Such is the world of minds,” says Vado Bujinka. “Take it from one who loved to master the languages of people near and far. There are words together that mean ‘loneliness.’”

“So were the words of this daughter,” says the Living Land. “But the words, as they came, were a victory, a way for little streams of the eyes to reach the greatness of the Sea. The feeling had arisen in her, beneath her many fanciful stories of angels and their plans to love and follow her. This Flame had sat on a smoldering ember, popped away from the hearth that kindled her.”

“She came to blame those who had tended the fire. One of the greatest logs for whom the Hearth burned had deserted her body. Now, with ashes by her side, the Hearth burned more dimly.”
When one of her five children had fallen in love one day with the water, the five went to play by the Lake. But that Joy left her body, to become one of the angels. Though she would never leave her mother, never leave her siblings, her breath did leave her. What remained was a body, swept in the current, left by its awareness to sleep and grow no more.
This mother, this Queen of Dreams, felt this was against the natural course of her love. Were they not laid upon her breast, to live as six who would burn brightly? Were not her children made to burnish long after the Hearth’s spark left in peace? How had she failed to illuminate and heat them, nurture them all to full adult Flames?

Now, Vado Bujinka and Tap envision these stories, differently. Tappandally, of the woods themselves, saw a tale of lumber and sparking bark.

Vado sees something in a long-past time. In that age, many were the people of the planet. They had learned to build machines to make distances more quickly, on ground sea and air. In that scene, this Queen of Dreams is but a maiden, herself, mother to children, only as she herself reached adulthood. She imagined herself a humble country girl- too humble to trust solely in her own will. For this melancholy reason, she had consented to relinquish her dream of six children. After all, they could not faithfully see the means by which to take care of them each. How that fear led her to the surgical severance of the tunnels within her, burning away the receptors of her fertility. It was for the best, they told her. She was not so certain. It was the first time she’d relinquished a life long dream. Just as she came to accept the birth of her fifth child, another girl, in the fullness of time, she did not again give birth, but gave one of her sweet ones, unwillingly.

Her tender tears could not call back her little girl from the waters, for she was gone, instead, to the air, to the stars. And now, in the name of some religious scheme, she was told:

“Let your little ones go elsewhere to play. You must sit and pray, listen for your God to heal you.”

But this was not always her will. After all, were not her four remaining children her divine sparks?

“And this daughter was one of these sparks,” says Tappandally.

“Do fires make you fear?” asks Vado of her buddy.

“Why, not at all,” says Tap. “Fires help us plants uncomplicate our lives. We know when we burn, we fertilize the ground for what will come again. There is again space for something fresh and new!”

“So this daughter did not understand why her mother would not see her.”
“The children were told: go away! Your mother needs to spend time with God.”


“Sounds like an awful punishment!” said Tap.

“For mother and children,” says Vado. “If they never understood in their hearts, how their mother never stopped loving them, then surely, they went on to pain and loss with their own children.”
“So deep was the unthinking damage done,” says the Living Land, with a tremulous sigh. “The pain of the siblings who did have children was never healed. They grew to imagine a life where they were separated from their own children.”

“And all in the name of some misguided human advice,” spits Vado, “claiming to know better than She, where her Creator and Creations lay.”

“’I’m NOT happy with that part of my family,’ said this daughter to me. She sat upon my cool, staunch stones, like a throne of less comfort- bur resting. We lived with them for just a while, she told me- my dad was on furlough from the Air Force. They took control of her grieving. They made her feel like she failed as a Mom! But my Mama was never a failure!’

“Then she turned her head, to place it in the bosom of my limbs,” continues the Land. “She cried because she could not comfort her mother, who needed her children. That is where she found the Divine; in their needs, in her purpose, is where she found her name, victory. She cried because her mother loved her, but was asked not to focus on being their mother. And so, she lost that ability somewhat. Her instincts withered, as learning to punish herself further for the past would exonerate her soul of what ever lay beyond her control! But what could one so young do, in a time when mothers lost sovereignty in the face of lip service to God?

What God was theirs, more than I, a giving place of Life? What Men dared to usurp the Creator, from one who had created and lost but had creations a’thriving to attend? What Women dared judge her silently, what hard heart would say: be not a mother, be a better servant of our Master?
Love as she might, separation and loneliness and anxiety and guilt grew, where once her duties lay.”

A gentle rain descends. In the misty, hazel garden, Tap makes of itself a fragile Lilly.
“The daughter knows, now, though, does she not,” says Vado. “She knows her mother never loved her less.”

“Yes,” replies the living terrain. “For as you have so imagined it, so have the waters come, from the sky. Soon they will dry, upon the things that flowers have done.”

“And so are the mistakes forgiven, of those who lacked the awareness to see the consequences of their actions?” says Vado.
“That, you may have more difficulty, imagining,” says the Living Land. “But it is so.”

“There was a saying among Humanity, in the times where our friend Shamilal Asano lived among them,” offers Tap. “’Forgiveness is the fragrance of the rose, upon the foot that trampled it.’” And it’s true. We plants forgive the missteps of humanity. The essence that makes Life in us, we share without cost.” “What is within us, comes out when squeezed,” says Vado.

“And that is why Love,” says the Living Land, hugging her, “ is within you- and without.”
Play
Sunstrike and Company: the Infinite Pyramid
Free link: https://gamescreate.com/games/show/5023

Wednesday, February 16, 2022

You can only, and only need be, You

I can tell you what the Voidon contagion feels like. At its core, one feels as though, they do not love their life they live; it fails them, somehow, in some way that you can’t change. That hatred for being alive in the life you have may not have outward circumstances that should be obviously grievous. The loss of any sense of serenity in one’s being, as it exists as though stretching far beyond, throughout the cosmos, crossed with the lack of satisfaction with any of the available ways of being alive, combined with the self-reproach for not forging the willpower and luck, but furiously refusing to humbly accept the situation with grace, even in that present moment, is the real reason a Kolparian cannot live here as a child of Forever.

Those words are me, using some creative elements to metaphorically describe phenomena of the emotional life. They could be the words of Merriwyn Di Archiere, the character so interested in saving the potential utopia around here, as found in stories such as Sunstrike and Company: The Infinite Pyramid.
Just earlier, Angela was asking me if I would ask questions, to get to know the point-of-view character, Clay, better, in ways that differentiate the life he lived before this story, from mine. I said, I've mostly just listened to him, as he progressed through the divergent plots. But "Voidon" is a mythological way of talking about Negative Feelings, just as "Kolpar" is a way of talking about Earth. Why haven't we made of it, a utopia, anyway? It seems we must cope with those who amass resources in ways that privilege few. We almost must cope with ourselves. Some, like you, will continue with me here, down this path of using- I can't believe it- what I'm uncovering from my own fiction-for what I've uncovered within our own lives. I really thank you, for finding this worthwhile! I hope I'm articulating something genuinely useful.
A person might still try to make life better for those he encounters, even while bearing such despair as described. Refusal to trust in the life one has forged for one’s self-one’s own choices of lifestyle- leads to pitiless self-pity.

The decision to trust in love and creativity- the choice to relax, which was not given as readily to the multitude of people in the past- gives a person the ability to witness, examine, this portion of their will, if it exists, yet respond well to the things they’ve chosen with which to nourish themselves. We spend our days, nourishing the psyche and body; we strive to understand the results in which we then live.

This is the hardest to bear: to circumvent the very root of our own discord, at our own inability to actually leap from life style to life style, up to the moment it bores us, or does not bring us satisfaction. To relax and enjoy imagination- the same visualization tool air traffic pilots use to safely direct plane navigation, as that of the singular poet, articulating her own past lives discovered in outward peace (for when our dramas less distract our daily lives, there are more layers of being)- rather than burn with hatred for our inability to try absolutely every version of our life possible in our day.

When that limitation is recognized, here begins the real search for opportunity, to find what activities would fit in any sequence of life events. Here, it becomes clear why there’s no use in our futile protestations. They become more time spent not pursuing our loves.