When Rode unveiled the original Rodecaster Pro it was something unusual: a capable mixing desk with a singular focus on podcasting. It made it easy to record multiple guests in person or over the internet/phone, while adding background music and audio …
Ayn’s Odin is the retro gaming handheld to beat
There are many, many ways to play retro games today. Plenty of those options are handhelds. But you might be surprised at how many of these devices feel jury rigged, cheap or often both. Worse, there’s a mishmash of open-source emulators running on a v…
How Gen Z is pushing NES Tetris to its limits
In the fall of 2018, tucked away in a side hall at the Portland Retro Gaming Expo, seven-time Classic Tetris World Champion (CTWC), Jonas Neubauer, found himself against the ropes. 37-year-old Neubauer, the Tony Hawk of Tetris, was two games down to teenage rookie Joseph Saelee. To stage a comeback, he now had to win three games in a row, a monumental task that would require every last drop of focus.
As his third game came to an unsuccessful end, Neubauer’s strained expression appeared to dissolve from frustration to the realization that his long reign as champion could be over. Neubauer may have lost in three straight games to 16-year-old Saelee, but the real defeat – for the Tetris old guard at least – was the arrival of a new era for the world’s most played game. An era that would upend over 30 years of convention and redefine, quite literally, how the game is played.
Saelee’s disruptive victory, or one like it, was inevitable. Neubauer played Tetris just like you or I do – holding down the D-pad to move the pieces (a technique called “delayed auto shift/DAS” in competitive Tetris lingo). He just happened to do it with a level of skill beyond almost anyone else. Saelee played differently. He used a style called “hypertapping” – a contorted mix of fingers and thumbs designed to sidestep the game’s built-in speed limit – and it allows you to move pieces much faster than DAS.
Saelee didn’t invent the technique, but he coupled it with enough skill to secure his victory over Neubauer and, with it, would kick start its popularity in competitive play. “So 2018, it was just Joseph [tapping]. 2019, honestly, it still hadn’t quite taken over yet.“ Adam Cornelius, CTWC Co-founder told Engadget. “2020 was the year that it totally flipped, by then, there was like, 100 kids who were tapping.”
Tetris, invented in 1984 by software engineer Alexey Pajitnov, is considered by many to be the perfect puzzle game – easy to learn, difficult to master and endlessly playable. It exploded in popularity in 1989 after its debut on the NES and release as the pack-in title for the Game Boy. Tetris has since been officially released on over 65 platforms and holds the Guinness world record for the most ported video game. Despite all that, there’s possibly never been a more exciting time for fans of the game than right now.
“Classic Tetris” usually refers to the NES port of the game. It’s considered the gold standard original and is the version played in the CTWC tournaments. This means original NES consoles, controllers and big old CRT TVs. “A lot of people make fun of us in the comments. They’re like, can’t you afford new TVs?” Cornelius told Engadget.
This not only ensures authenticity, it creates a level playing field. Other competitions, like Classic Tetris Monthly are more relaxed about what hardware/emulation you can play with, but CTWC and any world records will usually be played on original Nintendo consoles. There’s a slight concession allowing for a special version of the game that’s modified to allow for higher scores (often done with a Game Genie) and you’ll understand why later.
Saelee’s victory at the 2018 CTWC finals may have surprised everyone, but it didn’t happen in a vacuum. Interest in the game had been steadily growing since the tournament’s inaugural event in 2010, which was also the subject of a documentary: Ecstasy of Order: The Tetris Masters (directed by Cornelius). The film followed a rag tag bunch of high-ranking players toward the climax of the first CTWC event. The winner? Jonas Neubauer.
CTWC soon found a home at the Portland Retro Gaming Expo and grew in size every year. In 2016, another newcomer found their way to the final against Neubauer, who was competing for his 6th title. That player, Jeff Moore, was having the run of his life, scoring repeated Tetrises much to the amazement of the commentators. “Boom, Tetris for Jeff” they yelped every time he slid a long bar down the right hand side of the screen.
“The commentators got so overly excited about this new dark horse candidate, Jeff, that they kind of said, ‘Boom, Tetris for Jeff’ maybe a little excessively. And people just stumbled across the video [on YouTube]” Cornelius said. Cutdowns were made and t-shirts were printed. “Boom, Tetris for Jeff” was just the right sort of silly in the right sort of venue (YouTube) to pique the interest of younger eyes and kickstart a growing appetite for competitive classic Tetris videos.
“There are a lot more young players getting into the game, especially since Joseph Saelee won the world championship, because he kind of blew up the scene in terms of teenagers and stuff.” Christopher “Cheez” Martinez, told Engadget.
Cheez, as he is known in the Tetris community, is one of those teenagers. He found the game via Saelee’s world championship win video and then another recommendation about Tetris Effect. At 16 years old, he’s exploring a game that was already twice his age. Like many other of the new, teenage players, his progress has been remarkably fast.
Before there were competitions like CTWC, there were two white whales for elite classic Tetris players. The main one was the “maxout.” The NES version of the game only has a six digit scoreboard meaning 999,999 is the highest score obtainable, but reaching that was difficult, not least because of the second elusive goal: beating level 29 (aka the “kill screen”).
As anyone who has played any version of Tetris will know, one of the main dynamics is that you clear lines to advance to the next level, as you do the blocks fall faster than the level before. In NES Tetris, level 29 is when the game reaches its maximum speed and was widely considered impossible to beat when DAS was the only play style. This, in turn, meant that if you were playing for a maxout you had to get there before level 29.
The maxout was officially first achieved by Harry Hong in 2009, but it’s widely accepted that another old school player, Thor Aackerlund, achieved it earlier, but in a time long before video phones, YouTube and social media. Aackerlund also claimed to have reached level 30 (albeit briefly) but myth about the achievement meant it’d be many years before the kill screen was truly considered beaten.
After Hong’s maxout in 2009, a slow trickle of players started achieving the goal each year. Until you get to 2019, at which point the number exponentially accelerates. “It took me a year, I progressed pretty slowly compared to a lot of the players now actually. People are maxing in like four or five months. It’s kind of ridiculous.” Cheez said. He achieved his first maxout in 2019 and was the 65th player ever to do so. Today, around 400 people have reached the magic million points..
As for passing the level 29 “kill screen.” This was, at one point, considered almost impossible. A hard wall that could not be surmounted due to how the game was designed. DAS simply cannot move the pieces to either edge fast enough, meaning that once the “stack” is above a certain height math takes over and failure is guaranteed. Despite that glimpse of level 30 by Aackerlund, kill screen’s reign of terror truly ended when Saelee reached a verified level 33 just months after winning his first world championship.
Yet, despite the two main goals of high-level Tetris no longer being out of reach, these achievements seem almost quaint by today’s standards. As DAS gave way to hypertapping, the once impossible soon became a a rite of passage for elite players. But with the limitation of the kill screen now removed, the theoretical score limit was also eliminated. While level 29 probably was intended to be the last level (the level counter breaks once you hit 30 and the speed no longer increases no matter what level you reach) hypertapping was perhaps still not quite fast enough to allow players to progress much further.
Cheez had other ideas.
While he had made a name for himself as a player with hypertapping, Cheez eventually found a video of someone using a technique that doubled the inputs for one press. “They would put their thumb down, and they would hit on the bottom and the top into their other thumb, and you would get two inputs with the same motion pretty much. So I kind of took inspiration from that in like, late 2020. And rolling became a thing.”
“Rolling” is a strange technique to watch. Most players rest the controller on their thigh or knee, many wear a single glove and then “strum” the controller from below with one thumb on the D-pad. However you get there, though, you can move pieces left and right even faster than with hypertapping. It’s such an efficient technique, Cornelius says, that some fans consider it cheating. It’s entirely legal in CTWCs eyes as it is done with unmodified NES hardware and nothing but your hands.
Rolling is so effective, it’s allowing players to dismantle the current limits of the game. Remember how Saelee achieved the first level 33 in 2019? Well when I interviewed Cheez for this story the new record for the highest level was 63 – kill screen and then some. By the time I clicked publish, that record has been smashed again, with an eye-watering level 95 now the goal to beat.
This rapid advancement isn’t just about new world records, it’s fundamentally changing how the game is played, strategically and physically. Competitive classic Tetris is all about the score. Not the number of lines or how many Tetrises you make, just who scores the most points in a best of three game.
In the old world, the kill screen’s hard limit forced players to focus on efficient play, scoring as many Tetrises as possible before level 29. In the era of rolling, pros are training by starting at level 29. This is where the Game Genie comes in as the original version of the game just can’t count above 999,999 which you’ll definitely need it to once you get to this level. If you hone your skills on the fastest level possible, that becomes the new normal and you can theoretically play indefinitely. That’s how we can go from the impossible kill screen to a level 95. But this also presents some challenges for the burgeoning esport, something Cornelius is all too aware of.
“I predict that in, maybe it’s this year, maybe it’s in five years, but sometime very soon, everyone’s always going to max out on level 28. And they’re always going to get to level 50. And tack on another million points. And it’s really just going to be this… who flinches first, who messes up first, is really all that matters” he said.
This is already happening, at least on the record-setting circuit. Shortly before I interviewed Cheez he had recently set a world record for the highest score: 2.3 million which casually included a level 61 and a total of 551 lines cleared – both also new world records at the time. All of these have since been beaten, and by considerable margins. The game is now at the stage where players are looking to more niche or specific goals and records to break – such as the highest score achieved with a level 29 start – because these are the areas of the game yet to be broken wide open.
In early 2021 something unexpected rocked the Tetris community. On January 5th, at 39 years old, Neubauer collapsed and died of a sudden cardiac arrhythmia of undetermined cause. The game’s most iconic character was gone, and with him the last champion DAS player. “Jonas’ passing is a big part of the story and he was a friend of mine” Cornelius said. “Obviously, nothing compares to the loss in general. But for the Tetris scene, it was really cool to have one person from the old guard who could really hang with all the kids.
Despite renewed interest in the game from a much younger generation, Tetris is still somewhat of a fringe esport. You’ll find games featured on ESPN and it has obviously been growing in popularity, but prize pools remain modest compared to more popular games like Counter-Strike or League of Legends.
“The highest paying tournament is CTWC right now. And the first place prize is $3,000. So it’s no Fortnite but it’s kind of a decent sum of money anyway.” Cheez said. When I asked him if he’d consider doing this full time should that become an option, he was diplomatic. “Honestly, it’s hard to predict the future of the scene but like if the money gets good, I might try to make it a job at some point, but I don’t know how stable it would be.”
Cornelius is a little more optimistic about where the future could lead. “You know, when you watch an Olympic sport, you don’t watch to see someone beat everyone else by double, you’re seeing people winning by these tiny, tiny, tiny margins that are almost imperceptible,” he said. “I think that’s where Tetris is headed, where the players are all going to converge on a point where they all play exactly the same. And there is one ideal way to play and we’re witnessing them try to just add, just push it a little bit further every year.”
Cheez, for his part, made it to the semifinal for April’s Classic Tetris Monthly event and will no doubt be looking to beat his 2020 top seven placing at CTWC after finishing 21st in last year’s event. One thing’s for certain, whoever wins will likely be a roller meaning Cheez’s mark on the tournament and the game in general is indelible.
Thanks to the pandemic, CTWC was forced to take the competition online. This year’s plans aren’t confirmed yet, but the hope is to return to an in person event if possible. Current world champion Michael “Dog” Artiaga is set to return to defend his title. After Saelee’s 2018 victory, he won again in 2019. Dog took the title the next two years and there’s a host of players ready to take his crown. Dog is widely considered the one to beat, especially after recording a 2.2 Million high score on a level 29 start. Because today’s Tetris begins where the old game left off.
Amazon AMP preview: Like the app, my radio show needs a little work
I spent about an hour hand-picking songs for my first Amazon AMP radio show. The social-audio-but-with-music app offers the chance to play radio DJ with just a phone and your imagination. I tried to pick a catchy name for my debut broadcast – “The best House Classics” or something like that. Like all music bores, I was confident I was about to blow some minds with my impeccable taste and hand-picked floor fillers. All that was left to do was click the “Go Live” button. Once you tap it, the app counts you down 5…4…3… . I cleared my throat and then… silence.
AMP was initially reported as something of a Clubhouse competitor, but that’s not really the best way to describe it. Yes, you can sorta-kinda use it as a live chat platform, but music is really the selling point here. When you create a “show” you can add songs from Amazon Music’s library and then stream them to your audience. In between hosts are doing anything from chatting about sports, to comedy skits, having guests call in or just letting the music play. On paper, it’s the app teenage me, with his dual cassette deck and microphone, had been waiting for all his life. It’s just a shame that, right now in its beta form, no one’s really listening.
I’ve spent the last week or two exploring the app and hosting shows and I barely peaked at four simultaneous listeners. Briefly. Usually I was lucky to get one or two people tuning in, but more often than not I was alone. And I definitely didn’t do a whole hour-long show talking to myself in between ‘90s drum & bass tracks. Definitely not a thing that happened. Twice.
It’s hard to tell if this is a true reflection of the interest in AMP, given it’s in beta. It’s not difficult to get in, as long as you have access to the US App Store / have an iPhone. Technically you also need an invite code, but given that the official AMP Twitter account has one right up top, the app is basically open to everyone who meets the first two criteria.
I speculated I am at a disadvantage being located in Europe, so my shows tend to fall in the middle of the American work day. But I checked the app regularly and even at typical US commute and evening times other people’s shows rarely had more than 10 listeners, usually half that. But again, this is a beta so not an indication of too much. I bring it up now though for the following reason: without a listener, you cannot play songs and that presents a problem. Hence the silence at the start of my big debut show.
In fact, there are a few more restrictions. Not only must you have at least one listener to play music, you can only play two songs from the same album or three songs from the same artist within a three hour period. These rules make some sense to prevent the free app being abused. But also that presents a big problem during the beta stage. If I have no listeners, I can’t play a song… so I can only talk. But what is the point of talking if no one is listening?
It certainly made for some intimate moments. I joined someone’s show when they currently had no listeners. I could practically hear the host excitedly rushing to play a song now that they could. I then enjoyed a 1-on-1 human-curated show of hip-hop. Likewise for my own shows, there were definitely some weird moments when I realized it’s just me playing songs for someone else. I ended up using a second account on a spare phone so I wouldn’t have to wait for someone to join (hence the DnB party for one) to fully test the service for this story. This should be less of a problem in the future, but it was frustrating at the start, waiting up to 30 minutes sometimes for a listener to join so you could kick a song off.
Amazon also imposes other curious rules that seem a little ornery if not hard to enforce. For example, you may not make a show consisting mostly of listener requests, you may not announce playlists ahead of time and you may not announce a song until just before it is being played. The difference between can and may I’ll leave up to you.
Setting up a show is straightforward. Tap the button top left, add a title, choose some topics (tags), type a description and then either add songs to a playlist or just throw caution to the wind and go live, adding songs later. I’d recommend having a playlist fleshed out because navigating the song menu screen isn’t very slick right now. You can only enter global search terms – there’s no filter by artist or song title or genre etc. – so finding what you want can sometimes be hit and miss.
More importantly, the library doesn’t seem to be fully fleshed out right now. AMP’s official help pages claim there are “tens of millions of songs” but I sometimes couldn’t find what I was looking for. To be fair, this was usually down to my weird taste in niche ‘90s dance music but I did find songs on decent-size labels that were absent.
For example, “Gold Dust” by DJ Fresh is on Amazon Music for sure, but it wasn’t available in AMP. This is a real crime as anyone who knows that track will attest. I did check again over a week later and saw that a remix had since been added, so it seems the library is growing in real time. More surprisingly, another time I looked for a track by Hot Chip and noticed only half of their albums were listed.
A related issue is that you can’t preview tracks before adding them to your playlist. In my case, that meant a few occasions where I had found a version of the song I wanted, but golly was it not the one I was expecting when I played it, making for a slightly awkward record scratch moment. If you have better taste in music than I, you’re probably fine, but if you were hoping to spin niche cuts or even some fairly well known synthpop you might want to revise that plan for now.
I know AMP is designed to be a mobile-first experience, but I do wish there were at least some tools to prep your show on desktop first. I often resorted to finding tunes on my PC and then just looking up tracks on the phone while setting up the show. I also learned the hard way that if you schedule a show for the future and then sleep through the time it was set for, the show and all the tracks you added to it disappears (I’d at least have liked the option to reschedule it!).
Relatedly, you can’t add tracks to some sort of “record box” or bookmark them for later shows. I found myself thinking of great tunes for other shows but had to just keep a notepad going for later reference. Likewise, once you finish a show, that’s it, poof… gone. There’s no way for people to go back and listen again or scroll through your feed to see what you tend to play etc.
In its current state, the app also doesn’t offer any way to fade out a song or speak over it while it’s playing. This seems minor, but it does mean you either have to wait until the bitter end of a song before you talk (and then with no music “bed”) or cut a track off prematurely. I heard people doing both but it would be nice to have a more gentle way to transition tracks.
Once your show is over, AMP will give you a little slide show of stats. As you can imagine, this was a bit painful for me as it gleefully told me I peaked at two listeners and had one like, but this would definitely be cool once you have an audience.
Amazon has enlisted some popular creators to showcase the platform and give it some gravitas. These are instantly identifiable as they will be the only shows with a bunch of people listening. AMP promotes these accounts and they are featured on the website, but I do wonder where all these listeners go the rest of the time. The fact you can’t currently click on the show’s listener count to see who’s tuning in means you can’t size up potential listeners for your own show.
I’m live @OnAmp_ but there’s no way to share the link etc so have fun with that!
— James Trew (@itstrew) April 15, 2022
In fact, the “social media” element of the app is possibly the most limited part right now. For starters there’s no way to share a link to your show. I know the app is in beta, but given how open that is, I would have thought sharing links is a basic enough thing to enable. AMP offers links to recommended shows in its newsletters which you can adulterate to link to your own but you need the app installed for them to work so that’s still less than ideal.
Discovery is also not fully fleshed out at this point. When you open the app you’ll be presented with shows currently on air as you swipe through one by one. Then once you reach the end you’ll see what’s scheduled for the future, but right now there’s no real way to drill down by genre or topic. You can search, but a host needs to have scheduled shows for them to turn up in results.
It’s also clear that, right from the start, Amazon is trying to encourage diverse voices to join and host. The company was explicit about that in the run up to its launch, and it seems to be working. The types of show and the people behind them have all been refreshingly varied and this I feel is important to AMP finding its way to stand out. The music aspect alone makes it different from rivals like Clubhouse, Greenroom and even Twitter Spaces. But the voices it amplifies will be the secret sauce.
This for me was really the most rewarding part. I thought hosting my own shows would be fun, and it was, but it was the exposure to other music that was the most rewarding. I often joined shows with no listeners to allow them to kick off some tunes and then found myself staying. Other times I figured I’d dip into a show with a genre I don’t normally listen to and was more often than not surprised to find things I liked. Being a DJ is cool, but hearing new, hand-picked music is even cooler.
Rough edges aside, there’s a lot of promise here. It’s understandable that no one wants to listen to my favorite Happy Hardcore songs (the ones I could find on the app at least) at 2pm on a Wednesday. But if, like me, you kinda prefer the human touch over an algorithmic recommendation and the chance to stumble into new worlds of music then AMP makes a lot of sense. And of course, as with all such creator-based services as more people join, the culture and flavor of the platform starts to change organically (remember when TikTok was about people dancing to songs?). Once AMP is open to the public proper, it’ll be interesting to see where it goes. For now, if you want to hear rando dance music, I’ll be here… waiting.