On the surface, they look a lot like the other games on Gama’s shelves.
A gama electron game, for example, offers “tickets to games”, and the box art says, “Ticket prices vary.
Check with seller.”
But what do these games actually sound like, you might ask?
I asked Gama to explain, and he offered a few different explanations.
The first was “an electron game,” which he described as a game with the same core elements of an arcade game and the familiar “two buttons” of a console game.
The second was a platformer game called “Bubble Boy,” which was “a game that you run around bouncing things around in a bubble.”
(This may be a reference to Bubble Boy, a Nintendo game developed in the early 1980s, in which you bounce bubbles around a platform.)
The third was “The Bubble Boy,” a platforming game, but that one’s a bit more straightforward, with a few characters and a few enemies, and its “player” (or “gama” as the games call themselves) “bounces” bubbles in a vacuum.
Gama explained that he was developing the games to appeal to “older gamers who may have been playing older games on their console.”
(He says this to avoid having to make games that appeal to children.)
The fourth game, he explained, was a game that uses sound effects to tell a story.
I asked if there was any chance of getting a “gAMA-style” soundtrack.
“I don’t think so,” he said.
“We don’t do anything with the sound.
That’s not our job.
We make games for the fans.”
I asked him why he’d released a new game in the Prizreen, and if he’d had any feedback on the sound, he replied, “I’m sure they were all really great.
There were a lot of great things.
I think they are a great way to engage with the fans and the community and show them that there’s more to Gama than just video games.”