Man finds out his wife is cheating on him in the most savage texts everand his revenge is even more brutal The revelation turned into one of the most bonkers text exchanges of all time SOPHIE. The game ends when everyone has had a turn! Note: This is a great warm-up before beginning choreography work on a show. Have a comment or suggestion? — Beat by Beat Press is passionate about inspiring kids through theatre. That’s why we create unique teaching drama resources and high-quality plays for kids to perform.
Introduction to Theatre
Online Course
Objectives for this lesson:
Students will examine:Elements of ActingModern Realistic Acting:
Method vs Technique
The most visible element of the theatre; it seems to personify theatre.
Thespis -- considered to be the first actor -- thus the term thespian -- 554 BC.
Acting was not really widely a 'profession' till the 16th century.
It involves sophisticated role-playing and make-believe, pretending, conveyed through doing -- enacting on the stage a vision of life.
An impersonation -- usually at the service of a script; though not always a script.
Acting can be considered as a 'pure art': the artist and the instrument are the same.Acting consists of:
1. a series of tasks, usually in a situation or context;The actor must discover the essence of character and project that essence to the audience.
2. done usually as someone else; and
3. imaginary -- at least part of it.
The Essence of the character has been perceived differently, however, at different times, periods, styles, and cultures, and by different personalities of actors.
'The Paradox of the actor' --an essay written by Denis Diderot (1713-1784) -- begins to approach part of the actor's challenge:
to appear real, the actor must be artificial. (Wilson, p. 108, tells us that Diderot endorsed more realistic prose dialog rather than verse.) Before this, there was not much of a specifically acknowledged approach to acting.
Francois Delsarte (1811-1871) -- devised system of expression that reduced emotions to a series of fixed poses and attitudes, achieved through body and voice -- became methodistic and unworkable, but Wilson notes that the American Academy of Dramatic Arts, founded in 1894 (which your instructor graduated from) was founded on Delsarte principles.
The American Mime Theatre, which held some classes at The American Academy, approaches acting in a similar, though certainly not exact, manner.
Modern 'realistic' acting based much on Stanislavsky (1863-1938).
3 basic ingredients of the actor:
1. native ability (talent){Top of Page}
2. training (including general education)
3. practice
Training and Means:
1. understandTensions and blocks must be overcome usually through exercises, improvisations (enacting characters in a situation without planned script or blocking), theatre games (animals, stereotypes, machines, etc.).
2. practice
3. discipline
Also used to arrive at a 'neutral state' ('tabula rasa'--blank slate). Many artists believe that to create they must first have a blank slate -- an empty canvas -- on which to place their art. Actors must find various ways to achieve this... Wilson and Goldfarb use the term 'centering.'
B. Imagination and Observation
Observe and imagine people in various relationships.
The term 'affective memory' has often been used to refer to use of the actor's memory to find things in his/her life that are similar to, or could evoke, the emotions required by the character on stage.
This would involve emotional memory (remembering feeling from the past),
sense memory (remembering sensations), and substitution (mentally replacing the thing / person in the play with something / someone in real life).[discussed below]
Theatre Games For Cheating Outside
. Control and disciplineActors must learn how to develop their powers of concentration.Must be aware at all times of their current situation (being an actor on stage, with an audience out front) and the context of the play (what is the character doing/feeling/etc.)What am I doing? -- NOT how am I doing?{Top of Page}
The Acting Process:
A. Analyze the role
1. use the script to help determine all information about the character-- and fabricate what the script does not tell you.
The quotation analysis is a valuable tool for the actor: analyzing what the character says and does, and what others say about the character and behave toward the character
2. Define goals of the characters --
Determine the character's Objectives -- what character wants for each scene -- intention, purpose -- this is really the characters entire justification for being on stage...
Often broken down into three 'types' of objectives:
Objective -- what the character wants for each scene
Super objective -- the 'Spine' -- what character wants for the whole play. Also called the through-line.
'beats,' 'units' -- sub-objectives -- changes of mood, intention, subject, etc., in a scene.
3. Character relationships:
Robert Cohen in his Acting Power uses the term 'relacom,' referring to 'relationship communication.'
All communication has at least two dimensions: the content dimension of the message and the relationship dimension of the message. We not only say things, but we say them in particular ways -- and the WAY we say things often tends to develop, clarify, redefine a relationship. This is very important for actors to explore -- the subtext-- what is UNDER the lines.
Theatre Games For Cheating Out Of Control
4. Function that the role fulfills in the play.
Actors need to understand how their character relates to the theme and the action of the play: is the character a protagonist, antagonist, or foil, a major or minor character.
5. Sensitivity to subtext -- not what you say but how you say it--the actions and unspoken thoughts going through the mind of the character -- between the lines -- the underlying emotional motivations for actions (including what character says to others), psychological, emotional, motivations.
6. Role in the overall production
B. Psychological and Emotional Preparation
Ways of inducing belief in self and character when actor finds difficulty fitting self in situation.
The 'magic if' -- what would I do if I were that character in that situation.
Emotional and sense memory -- 'affective memory' and 'substitution,' sense memory -- clothes, air etc. -- how do they affect your senses?
Emotional memory -- remembering action / feelings from own life that resemble character's in play.
Substitution -- substituting a real person (mentally) for other actor.
To what extent does the actor 'become' the character?
There are different degrees of identification (or detachment) from character -- probably combined -- actor and character, involved and detached...
C. Movement, gesture,
stage business -- 'Obvious and detailed physical movement of performers to reveal character, aid action, or establish mood.'
Brockett, 440: stage business -- 'often prescribed by the script, but may be invented by the actors or the director to clarify or enrich action or characterization.'
'Business' -- doing actively -- to simulate real life
Delsarte -- focused on physical characteristics -- body language (see W&G for brief discussion of Stanislavsky's concept of 'psycho-physical action').
Blocking -- '...the arrangement and movements of performers relative to each other as well as to furniture and to the places where they enter and leave the stage.'
where actors move, how, and facing which directions
Stage areas (from the Acting Workshop Online)Gesture -- to help express character.
Cheating - opening out / up -- making sure as much of the front of your face and body can be seen by the audience as possible, while still retaining the illusion of normal conversation.
Crossing and counter-crossing -- moving from one part of the stage to another, sometimes 'countering' another's movements to make the stage picture more balanced.
D. Vocal characteristics
Actors are armed with a variety of exercises to improve their vocal quality (projection [ability to be heard], tone, inflections, pitch, rate) and their articulation (pronouncing words clearly and accurately).
E. 'Learning Lines' (Memorization) and line readings -- learning lines suggests more than just memorization -- it suggests learning why, for what purposes, in what circumstances lines are said...
semantics refers to the 'meaning' of what is said.
F.Conservation and build
Actors learn that usually 'less is more' -- they develop a sense of economy, using their ability to conserve energy and action to build to ever stronger actions.
G. 'Ensemble' playing -- a sense of wholeness--everyone working together -- working together as a unit toward a common goal, like a well-oiled machine.
Modern 'Realistic'Acting:
Begun by (attributed to) The Duke of Saxe Meiningen--who ran a theatre troupe in the late 19th century in Germany -- 1870-1890 -- and toured Europe.
He emphasized a pictorial style of directing --
For acting he emphasized crowd scenes and ensemble.
In our modern age -- the industrial age needed to examine the world -- to discover the functions of things and increase our understanding of them.
Acting becomes more literal and 'representative' of manners and behaviors.
Konstantin Stanislavsky:
Developed the 'system' (now known more popularly as 'the method') of acting that emphasizes causality, purpose, and literal interpretation of behaviors...
Used Motivational Psychology championed by Sigmund Freud, who made the inner workings of the mind something we could examine and study.
In the later 20th century, there have been reinterpretations and rejections of this 'method.'
Two basic schools of thought that actually merge -- most actors will use a combination of both:
Method (Internal) vs. Techniques (External)
Technique (External)
- Discovering ways to convey emotions vocally and physically and project to the audience.Requires an intellectual understandingUses more of an 'outside-in' approachDo the action and then the feeling will follow (The James-Lange Theory-- physical actions can lead to emotional reactions)...Emphasis on Body language--
The Delsarte System (Olivier felt that the key to a character was the nose or how the character walks) -- I once found the key to a character (Earnest in Design for Living) in how he held a cigarette--once I discovered that way of holding a cigarette, much of the rest of the character developed.
- To help actors discover the emotional truth of the character--works best with 'realistic' theatre -- for which it was originally intended.Requires an emotional intelligence and understanding.Uses more of an 'inside-out' approach.Think the thought and the action will follow.The 'magic if' -- What would I do if I were that character in that situation?
Representational Vs Presentational Acting:
Representational: actors want to make us 'believe' they are the character; they 'pretend.
Presentational: rather than 'pretending' they are the character, actors 'present' the character to us, almost as if saying, 'Hi, this is the actor speaking, and I'm going to present the ideas of this character to you; I don't really believe I'm anything other than myself, but you can believe it if you want.'
'personality' actors -- even today, many successful actors never play anyone but themselves, but do it very well.
On the 'representational' side of the aisle, arguably: Dustin Hoffman, Meryl Streep, Robert DeNiro, Samuel L. Jackson
On the 'presentational side,' arguably again: Paul Newman, Denzel Washington;
Does anyone ever believe that Bruce Willis plays anything other than himself, but does it really well?
A critic (witty Dorothy Parker) said of Katherine Hepburn in the 1930's that 'she runs the gamut of emotions from A to B.'
John Wayne -- never tried to be anything else...but they are successful because they help us to believe the story...
A 'revolt' against Stanislavsky's 'method' acting: Brecht's 'Alienation-effect' asks actors to 'present' their characters to the audience and specifically NOT to get involved.
Important terms:
improvisation
'method '
'technique'
internal approach
external approach
subtext
substitution
emotional, sense, affective memory
magic if
Stanislavsky
Delsarte
Actors Studioand LeeStrasberg
beats, units, objective, super-objective (spine)
ensemble
Duke of Saxe-Meiningen
stage business
Click here for a short study quiz on this lesson...
Next Section: Directing.
This page and all linked pages in this directory are copyrighted © Eric W. Trumbull, 1998-2008
This page last modified: January 4, 2008
Theatre Games For Cheating Outfits
A game can be bad for many, many reasons. Maybe it's too hard. Maybe the developers forgot to include an important clue. Maybe important information got lost in translation. Maybe it was good at the time and hasn't aged well, or maybe it just doesn't make any sense.
While cheat codes won't fix bad graphics, poor storylines, or unresponsive controls, they can help rescue games from developers' oversights, and in some cases, introduce entirely new, superior ways to play. Yes, with cheats, you may not be playing some of these exactly like their designers intended—but if you're having fun anyway, then what's the real harm?
SimCity 2000
You know what's not fun? Taxes. You know what you have to deal with in a normal game of SimCity 2000? Taxes. In a standard round, the way you make money—which you need to do things like build roads, establish industrial, commercial, and residential zones, or pretty much anything else in the game—is by taxing the population of your city. If the taxes are too high (and they're always too high), existing citizens complain, and nobody new will move in. If they're too low, you'll quickly run out of cash, making it impossible to build the city of your dreams.
Given that the fun part of SimCity is building wild, impossible urban landscapes—and not balancing your checkbook—just skip the whole thing. In SimCity 2000, if you type 'imacheat' at any point during the game, a mysterious benefactor will deposit $500,000 into your bank account.
Cheating Games For Kids
Don't feel bad—everyone else is doing it too. In fact, infinite money cheats are so ubiquitous among SimCity players that almost every version of the game includes one. Just keep in mind that, when you use these cheats, there's also a chance that a disaster will strike your city. Don't worry about it, though: it isn't like you weren't going to unleash an earthquake or an alien invasion on your budding metropolis at some point anyway.
Guitar Hero III
Most people who played video games in the mid-to-late 2000s have a stack of plastic instruments in their closets, and for good reason. While the novelty of the guitar-shaped controllers might've worn off, Guitar Hero is still very, very fun—and Guitar Hero 3 is the game that really made the series a superstar. With 73 separate songs on the disc and a handful of different difficulty settings, Guitar Hero 3 has enough content to keep you busy for years—once you take the time to unlock everything.
See, for some reason, the game begins with most of its tracks unavailable, and players will have to grind through pre-defined setlists or earn enough in-game currency to access them all. Not only is that annoying and time-consuming, but it's an excellent way to get sick of the game—and its music—before even getting to play some of Guitar Hero 3's best tracks.
Thankfully, there's an easy solution. Inputting a series of chords will make every track in the game available in Quick Play mode instantly, eliminating the need to grind away to unlock everything. That's a good thing, too, because if we have to hear 'Hit Me With Your Best Shot' or any of Guitar Hero's entry songs one more time, we're going to go full-on Pete Townshend on our plastic Les Pauls. You've been warned.
Cheating Games For Free
Castlevania II
In most games, cheating is an option. Every once in a while, it's a necessity. Just look at Castlevania II: Simon's Quest. Like other so-called Metroidvania games, Simon's Quest features an open, non-linear world for players to explore. Unlike other Metroidvania games, Simon's Quest features one of the worst Japanese-to-English translations in video game history. For some games (the original Legend of Zelda, for example), butchered text isn't a problem. In a game like Simon's Quest, which relies on subtle clues to guide players towards objectives, it's a disaster.
For example, raise your hand if you can figure out what 'Hit Deborah Cliff with your head to make a hole' means. Anyone? That's what we thought. As a result, if you want to beat Castlevania II, you have two options: either you can wander through the map, trying everything possible on every square until you luck into the right solution, or you can pull up a walkthrough, which will explain that in order to proceed, you need to hold a red crystal while kneeling on a in the graveyard. Yes, that's cheating, but given the situation, nobody's going to hold it against you. Trust us.
Mortal Kombat
During the early '90s, when fighting games ruled the video game world, Street Fighter II was the undisputed king of the arcade. It had everything you needed. Not only was it the first modern fighting game, but its cast of colorful and interesting characters like Ryu, Guile, and Chun-Li, easy-to-learn but hard-to-perfect special moves, and fast-paced combat made it hard for any other game to measure up. But Mortal Kombat had one thing that Street Fighter II didn't: lots and lots of gore.
For parents (and major political figures like Joe Lieberman and Second Lady Tipper Gore), Mortal Kombat's blood—to say nothing of its ultra-violent Fatalities—presented some problems, and when Mortal Kombat migrated from arcades to home consoles like the Super Nintendo and Sega Genesis, Nintendo and Sega had some tough choices to make. In order to keep its family-friendly image intact, Nintendo censored Mortal Kombat's most extreme moments and made the blood gray, passing it off as sweat.
Supposedly, Sega followed suit—but as any '90s kid knows, that wasn't really the case. After booting up the Sega Genesis, pressing A, B, A, C, A ,B, and B on Mortal Kombat's 'Code of Honor' screen unlocks the full, blood-soaked version of the game, delighting children around the country. As a result, there's no real question which version of Mortal Kombat is superior. The Super Nintendo version of Mortal Kombat has better sound and smoother graphics, but the Genesis one has decapitations. We know which one we'd choose.
Turok
In 1997, Turok was fine. First-person shooters had yet to make their mark on home consoles—Turok came out a few months before GoldenEye: 007—and Turok's edgy, mature tone provided a nice contrast to the rest of the Nintendo 64's colorful, kid-friendly lineup. At the time, it was easy to forgive the blocky graphics, awkward platforming sections, or the mist that kept everything farther than a few feet away out of sight in order to protect the Nintendo 64's limited CPU.
And while the basic game itself hasn't aged well, it's still fun. If you don't know why, we've got two words for you: disco mode. Going to Turok's cheats menu and entering SNFFRR fills the game's prehistoric world with flashing lights, and transforms its enemies from foes into guests at a worldwide rave. Because you know what's better than battling cybernetically enhanced dinosaurs? Dancing with cybernetically enhanced dinosaurs.
Oh, and don't worry: if your Nintendo 64 doesn't work any more, the 2015 remaster includes both disco mode and a level editor, meaning that you're only a few clicks away from creating the prehistoric dance club of your dreams.
Final Fantasy VIII
Compared to previous Final Fantasy games, Final Fantasy VIII is different. In the preceding titles, character progression works in a consistent way: earning experience points levels characters up, making them stronger, while equipping things like jobs, Materia, or Magicite teach them spells and skills that they need to survive.
Final Fantasy VIII, however, uses something called the 'Junction System.' Squall and his friends don't inherently know any magic. Instead, they steal spells from enemies, which they can either save or unleash on unsuspecting foes. But in Final Fantasy VIII, magic isn't just for battles—if you want to complete the game, you'll also need to attach the magic in your collection to your characters' various stats. The more copies of a spell that you have in your inventory, the stronger your characters become.
It's an interesting system in theory, but in practice, it makes Final Fantasy VIII an endless slog. In order to stay competitive, you'll need to artificially extend battles while you harvest the magic that you need, leading to repetitive gameplay and slowing Final Fantasy VIII's leisurely plot to an absolute crawl. It's tedious, not fun. Square Enix must've realized that too, because in the game's recent mobile and PC re-releases, Final Fantasy VIII comes with a number of built-in cheats that reduce grinding to a medium. Instead of spending all of your time picking away at monsters while gathering spells, you can gather all the magic you need with the press of a button. It makes the game a lot faster, and while it's easy to end up overpowered if you're not careful, it can make Final Fantasy VIII flow a lot better, too.
Battletoads
Battletoads is infamously hard, but for the most part, it's the fun kind of hard. The characters might be second-rate Teenage Mutant Ninja Turtles knockoffs, but the third-person brawling is solid, and most of the levels are eminently beatable if you practice and pay attention.
The same can't be said for the game's racing sections. In order to traverse the underground Turbo Tunnel Zitz, Rash, and Pimple hop on some high-tech hovercraft and partake in a high-speed race that requires split-second timing in order to dodge the tunnel's many obstacles. If Battletoads were a modern game with permanent saves and checkpoints, that would be fine. But Battletoads is a retro Nintendo title, and like most games from that era, once you run out of lives it's game over.
That makes memorizing the Turbo Tunnel's layout tedious and time-consuming, especially since you'll have to battle your way there from the beginning every time you run out of continues. Most people just give up, but you don't have to. If you hold down A, and B while you hit Start on Battletoads' continue screen, you'll resume with a few extra lives, giving you some extra chances to get things right. Using a Game Genie, a Pro Action Replay, or emulator-enabled cheats, you can give yourself infinite lives, letting you practice until you've got the whole level committed to memory. Or, if you really want, you can just skip the hardest part of the Turbo Tunnel entirely—hit the 10th gate in the fifth and final section of the level and you'll warp straight to level five, where you'll probably be killed by a floating log while cruising through Surf City.
Mario Kart DS
As the very first Mario Kart game with online play, Mario Kart DS should've been a triumph. It wasn't. Oh, at the time, the game's impeccable selection of courses, refined controls, and slick presentation made it one of the very best single-player Mario Kart experiences. It's when you ventured online that the problems started.
Cheating Girl Games
Ever since Mario Kart 64, racers have been able to get small speed boosts while drifting. Originally, to get the boost, you'd need to quickly flick the controller's joystick (or D-pad) in the opposite direction and back while holding down the drift button. Execute the move successfully, and your kart's exhaust turns from white to orange. Do it again, and the smoke becomes blue, increasing your speed temporarily once you let go of the drift button.
In Mario Kart 64 and Mario Kart: Double Dash!!, mini-boosts gave Mario Kart an extra layer of depth. In Mario Kart DS, it broke multiplayer. With a technique known as 'snaking,' players learned how to quickly drift and boost while effectively moving in a straight line, leaving less experienced players in the dust. It's not how Mario Kart is supposed to be played, and if you didn't master the technique, you'd be quickly left behind. If you wanted to stay competitive, you had to learn how to snake yourself. Sure, that made you part of the problem, but hey. A win's a win.
Zelda 2: The Adventure of Link
A well-constructed video game puzzle is kind of like a magic trick. The game designers need to give players all the tools they need to find the solution on their own, but if they nudge the player too far in the right direction, it takes all the fun out of solving the puzzle. Some games, like The Legend of Zelda: Ocarina of Time, get it just right. Others, like Zelda II: The Adventure of Link, do not.
Take Zelda II's Hidden Palace, for example. When you start the dungeon, you'll need the Magic Key, which unlocks an infinite number of doors, to get past the third screen. In order to get the Magic Key, you have to cast the spell Spell (yes, that's what it's called) at a dead end at the edge of the Hidden Town of Kasuto in order to uncover the Key's hiding place. To pull that off, you'll need to find the Hidden Town first—which involves chopping down trees with your hammer, because that's absolutely how forestry works—and learn Spell from a Kasuto native, and then you need to figure out what Spell does, because that name doesn't help at all (Spell also transforms some monsters into other monsters, which has nothing to do with making temples appear, adding to the confusion).
Oh, and the one hint you get to set you in the right direction? In Kasuto Town, non-hidden edition, an old man says. 'THE TOWN IS DEAD. LOOK EAST IN WOODS.' That's it. There's nothing about hammers, spells, hidden temples, or keys. Sure, if you're nine years old and have the time (and patience) to try everything, you might find get lucky and find your way on your own. If you're not, just check a walkthrough, then get back to the fun part: decimating Moblins and making Ganon beg for mercy.
School Cheating Games
Hitchhiker's Guide to the Galaxy
Like the radio drama and book series it's based on, the Hitchhiker's Guide to the Galaxy game is hilarious. It's also brutally difficult, especially by today's standards. While text-based games don't get much play these days, back in the '80s, they were a big deal. Since nothing needed to be animated—words are cheap, after all—in these games, players can do almost anything, as long as they know the right words (known as 'verbs') to type. Seasoned adventure game veterans can navigate walls of text with ease. For those of us raised on graphics and controllers, however, knowing which verbs to use can be a challenge all on its own.
That's true for both easy and hard adventure games—and Hitchhiker's Guide to the Galaxy is definitely not easy. A single mistake can result in Arthur Dent's death, sending the player back to the beginning. If you don't solve certain puzzles, or don't solve them the right way, you may not be able to beat the game—but Hitchhiker's Guide to the Galaxy won't necessarily tell you, letting you endlessly try the same commands over and over until you give up.
And then, of course, there are the puzzles themselves. The Hitchhiker's Guide to the Galaxy series thrives on its twisted logic, and the game does too, which is great for making jokes but doesn't always lead to straightforward solutions. For example, in order to get the Babel Fish, which you'll need to translate alien languages, you have to solve a puzzle so complex and convoluted that the developers actually made t-shirts that successful players could buy to brag about their achievements.
You could spend hours (if not a lifetime) trying to solve the Babelfish's memories— or, if you're just looking for some jokes, you can look at a walkthrough. Hey, we like puzzles too, but we also like things that make sense. In Hitchhiker's Guide to the Galaxy, those two things don't always go hand in hand.
Ikari Warriors
Many older games aren't that long—with limited storage space, there's not always room for a whole lot of content—and so, in order to make a game last longer, developers made many of them extra difficult. That's the only possible explanation as to why Ikari Warriors is so hard, especially on home systems. In the arcades, Ikari Warriors had rotary joysticks, which can be twisted in addition to pushed in eight directions, and co-op multiplayer to set it apart. On consoles like the Nintendo Entertainment System, Ikari Warriors is mostly notable for its steep learning curve, which wasn't softened at all for home release.
In fact, Ikari Warriors on the NES is longer than the arcade game, and doesn't have continues enabled by default. That's ridiculous. In arcades, harsh difficulty curves were used to gobble up as many quarters as possible. That's not necessary for home releases. The developers already have your money, and Ikari Warriors is difficult enough even with infinite retries. Thankfully, there's a solution if, after wasting your measly three lives, you want to pick up where you left off. In the gap between the game over and title screens, enter a special code (A, B, B, A) and, most of the time, you'll pick up right where you left off. Continues don't stop Ikari Warriors' brutal action scenes from feeling like a meat grinder, but unless you want to throw your controller through your television screen, it's pretty much the only way to play.
Teenage Mutant Ninja Turtles
Here's an idea: take a property made famous by a children's television show, then use it to make a game that's far, far too difficult for most of the kids who actually watch the thing. That's what Konami did when it made Teenage Mutant Ninja Turtles on the Nintendo Entertainment System. The bulk of Teenage Mutant Ninja Turtles, which features unforgiving action-platforming and respawning enemies, is hard enough. The second half of the second level, in which the turtles have two minutes and 28 seconds to disarm eight underwater time bombs, is infamously near-impossible.
Enter the Game Genie. While you could spend your time trying to master the level, it's easier to use Galoob's controversial cheating device to plow through the underwater hellscape. Entering SXVZGSOO on the Game Genie's launch screen (or the analogous menu in any popular NES emulators) renders the dam level's radioactive seaweed absolutely harmless. That makes the swimming challenge a lot easier to navigate, and while you'll still have to deal with the turtles' Flappy Bird-like controls, you should be able to disarm the bombs and finally, finally see what lies beyond the Hudson River (or you could just take Teenage Mutant Ninja Turtles out of your NES and swap in the superior Teenage Mutant Ninja Turtles 2: The Arcade Game, which has just as many mutants, but is also a fun, beatable game).