# Cactus Canyon Remake Pinball Featurette (Chicago Gaming Company, 2025)

**Source:** Straight Down the Middle  
**Type:** video  
**Published:** 2025-03-21  
**Duration:** 19m 7s  
**Beat:** Pinball

**URL:** https://www.youtube.com/watch?v=sTGm_8julzo

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## Analysis

Chicago Gaming Company's Cactus Canyon Remake featurette featuring Lyman Sheets (legendary Stern code designer) and Josh Sharp (IFPA president and Roger Sharp's son) discussing their work finishing the unreleased 1999 Williams WPC-era game. The team emphasizes preserving the original design vision while adding new story content, rules enhancements, and previously unused audio while maintaining the 'Williams charm' of 1990s coin-op design. Focus on toy interaction, narrative integration, and respecting the original team's creative intent.

### Key Claims

- [HIGH] Lyman Sheets has been programming pinball machines for almost 30 years — _Lyman's opening statement about his career duration in pinball programming_
- [HIGH] Cactus Canyon was the last WPC game before the transition to Pinball 2000 (games with video monitors) — _Josh Sharp's explanation of Cactus Canyon's position in Williams' development timeline_
- [HIGH] The original Cactus Canyon team included Matt Coral, Rob Barry, and Johnny among others — _Josh Sharp referencing conversations with original design team members_
- [HIGH] Previously unreleased speech lines recorded in the original ROM but never called in the game have been integrated into the remake — _Josh Sharp's detailed discussion of finding and implementing dormant audio assets_
- [HIGH] Josh Sharp used his father Roger Sharp's personal contacts (Rolodex) to reach original Cactus Canyon design team members for research — _Josh's explanation of research methodology and consulting with original creators_
- [HIGH] The approach prioritized story development before rules design ('story first, rule second') — _Josh Sharp's explicit statement about design methodology for the remake_
- [HIGH] Limited Edition version includes a Boss Bart topper that interacts with gameplay — _Josh Sharp's description of LE-exclusive features_
- [HIGH] The game distinguishes between 3-minute coin-op experience design versus longer home play expectations, with Cactus remade for home environment — _Lyman Sheets' explanation of coin-op vs. consumer product design philosophy_

### Notable Quotes

> "Cactus Canyon represents an era of Williams games that the sights, the sounds, the rules are—I've referred to it as the Williams charm. There's something that you just can't put your finger on when you're comparing all of these classic Williams games to modern games today."
> — **Josh Sharp**, ~2:30
> _Core design philosophy: capturing intangible quality of 1990s Williams games that distinguishes them from modern manufacturers_

> "The idea of being able to finish Cactus Canyon in that same vein that games like Attack from Mars, Medieval Madness, and Monster Bash that are still regarded as all-timers—the goal is getting Cactus into a position where it would be that next game that came out of Williams that had that same level of quality and charm."
> — **Josh Sharp**, ~3:30
> _Establishes competitive benchmark and design aspiration for the remake's quality standard_

> "In a perfect world, everybody who was involved with the project originally would have been able to finish it, and we wouldn't have been involved at all...the challenge is wanting to change things, but you can't. You have to keep those basic things that already work."
> — **Josh Sharp**, ~4:15
> _Explains the constraint-based design approach and respect for original creators' work_

> "I could add some branches and add some leaves into those branches. But in no way was I interested in getting a chainsaw, chopping the tree down, and making a new tree."
> — **Josh Sharp**, ~5:00
> _Metaphor encapsulating the philosophy of evolutionary enhancement rather than revolutionary redesign_

> "The most important part of the story of this game was to actually get the story of this game from the people that created the story...I came into it, and this wasn't my world. This was a team at Williams that created this world, and my job was to help finish what their vision was."
> — **Josh Sharp**, ~6:45
> _Emphasizes collaborative approach and humility in finishing someone else's work; frames project as licensed-game treatment of original Williams vision_

> "The thing I love most about the game is really that Williams charm...the games that were made in the '90s were really made as commercial devices—it's less of this marathon of a story, and it's more of get in, get out, get entertained really quick."
> — **Lyman Sheets**, ~11:15
> _Core aesthetic philosophy: brevity and commercial efficiency vs. modern game complexity; identifies market niche that Cactus can fill_

> "Boss Bart is the mechanical part of the game. You get to hit them. You get to see him react. The mine opens up. The drop targets pop up, and you can shoot them...that toy interaction with the ball and unique ways for the player to enjoy...having cool things happen."
> — **Josh Sharp**, ~15:45
> _Details mechanical/toy interaction philosophy; differentiates from screen-based modern design through tactile feedback_

> "When people who made the games make good stuff, the world usually accepts that stuff as great. Taking a page out of that playbook—that's the direction for this project—is make that game that nobody got to see."
> — **Josh Sharp**, ~22:30
> _Meta-commentary on project legitimacy and commercial strategy: positioning incomplete Williams work as now-completed 'classic'_

### Entities

| Name | Type | Context |
|------|------|---------|
| Lyman Sheets | person | Legendary pinball code designer with ~30 years in pinball programming; lead programmer on Cactus Canyon Remake |
| Josh Sharp | person | Son of Roger Sharp ('man who saved pinball'), president of IFPA, rules designer and co-lead on Cactus Canyon Remake |
| Roger Sharp | person | Josh's father; historical figure who 'saved pinball' (presumably referring to 1976 skill vs. chance legal case); provided contacts for original Cactus Canyon team research |
| Chicago Gaming Company | company | Manufacturer/publisher of Cactus Canyon Remake; responsible for game finishing, quality enhancements, and commercial release |
| Cactus Canyon Remake | game | Chicago Gaming Company's completion of unreleased 1999 Williams WPC pinball game; features Boss Bart topper, enhanced toy interaction, story modes, and previously unused audio |
| Williams Electronics | company | Original manufacturer of Cactus Canyon (1999); legendary pinball company whose 1990s design philosophy the remake aims to preserve |
| Matt Coral | person | Original Cactus Canyon design team member; consulted during remake development |
| Rob Barry | person | Original Cactus Canyon design team member; consulted during remake development |
| Johnny | person | Original Cactus Canyon design team member; name provided without surname; consulted during remake development |
| Attack from Mars | game | Classic 1995 Williams Pinball 2000 game; benchmark for 1990s quality and charm that Cactus Canyon Remake aspires to match |
| Medieval Madness | game | Classic Williams game; referenced as exemplar of 1990s all-timer status and design quality |
| Monster Bash | game | Classic Williams game; referenced as exemplar of 1990s all-timer status and design quality |
| Pinball 2000 | product | Williams platform generation featuring video monitors; represented evolution beyond WPC-era games like Cactus Canyon |
| Boss Bart | game_character | Main antagonist in Cactus Canyon; mechanical topper character in LE version; represents central toy interaction element |
| Polly | game_character | Character in Cactus Canyon narrative; damsel-in-distress figure across multiple save modes (train, waterfall, bank heist) |
| Straight Down the Middle | organization | Video production/content source for this Cactus Canyon featurette |

### Topics

- **Primary:** Game Design Philosophy: Williams 1990s 'Charm', Honoring Original Creator Intent in Remakes, Toy Interaction and Mechanical Playfield Design, Story-Driven Narrative Integration in Pinball Rules
- **Secondary:** Limited Edition Features and Differentiation, Audio Asset Recycling and Implementation, Coin-Op vs. Home Play Design Considerations
- **Mentioned:** Chicago Gaming Company's Market Positioning

### Sentiment

**Positive** (0.88) — Enthusiastic, respectful tone throughout. Both designers express confidence, pride, and excitement about the project. Respectful deference to original Williams team. No criticism or negative sentiment detected regarding the game or process. Tone is celebratory and collaborative.

### Signals

- **[business_signal]** Chicago Gaming Company positioning Cactus Canyon Remake as premium collector item via Limited Edition topper feature, differentiating market tiers (Pro/LE implied pricing structure) (confidence: medium) — Explicit mention of 'Limited Edition features a topper'; topper described as interactive gameplay element, suggesting tier-based feature distribution strategy
- **[sentiment_shift]** Both Lyman and Josh express high confidence in community reception based on positive internal playtesting feedback and design alignment with beloved 1990s Williams benchmark games (confidence: high) — Lyman: 'I've been having a lot of fun playing the game'; Josh: 'I know it's a blast, and I'm looking forward to seeing everyone else enjoy it'; framing as 'game that nobody got to see' positioned as historical preservation
- **[competitive_signal]** Cactus Canyon positioned explicitly to compete with or fill same market niche as Attack from Mars, Medieval Madness, Monster Bash remakes by capturing 1990s Williams aesthetic now absent in modern manufacturer portfolio (confidence: high) — Josh: 'idea of finishing Cactus Canyon in same vein as Attack from Mars, Medieval Madness, Monster Bash that are still regarded as all-timers'; Lyman: 'fills a really specific niche that people are continuing to be satisfied by'
- **[design_philosophy]** Implicit acknowledgment of modern pinball design excess (screen-heavy, marathon storytelling) vs. 1990s commercial brevity; Cactus positioned as corrective to design trends among current manufacturers (confidence: medium) — Lyman: '90s games were 'less of this marathon of a story...get in, get out, get entertained really quick'; 'something really satisfying about games made in '90s'; implicit critique of modern game complexity
- **[design_philosophy]** Explicit commitment to preserving 1990s Williams design aesthetic ('Williams charm') through constraint-based approach: no playfield changes, story-first methodology, emphasis on toy interaction over screen elements (confidence: high) — Josh Sharp: 'add branches and leaves but not chainsaw down the tree'; Lyman on distinguishing '90s commercial efficiency from modern marathon storytelling; repeated emphasis on toy interaction (Boss Bart, mine, drop targets, topper)
- **[market_signal]** Chicago Gaming Company's completion of unreleased 1999 Williams game signals strategic focus on licensed/heritage IP remakes as differentiation strategy in competitive pinball market (confidence: medium) — Project framing as 'finishing what was started'; comparison to licensed game treatment; positioning as 'game nobody got to see' implies scarcity/historical significance marketing angle
- **[personnel_signal]** Lyman Sheets (legendary Stern code designer) and Josh Sharp (IFPA president) brought in to complete Williams game for Chicago Gaming Company, representing outside expertise consultation model (confidence: high) — Lyman's opening credentials; Josh's introduction as IFPA president providing design feedback; both referenced as recent additions to project ('I get involved late')
- **[announcement]** Chicago Gaming Company officially announcing Cactus Canyon Remake completion with detailed feature breakdown including Boss Bart topper (LE), multiple story modes, and integrated audio assets (confidence: high) — Entire featurette structure; detailed gameplay descriptions of orbits, ramps, modes, topper mechanics; explicit LE feature differentiation
- **[product_strategy]** Cactus Canyon Remake includes enhanced mechanical interactions: Boss Bart topper with reactive animations, mine mechanism with opening animation, drop target bad guys, improved toy visibility and narrative clarity through playfield design enhancements (confidence: high) — Detailed descriptions of Boss Bart interaction ('hat's going up, you're busting him up'), mine opening, drop target pop-up sequences, emphasized mechanical feedback vs. screen elements
- **[technology_signal]** Recovery and integration of dormant audio assets from original 1999 ROM that were recorded but never implemented, avoiding need for new voice recording sessions with aging original actors (confidence: high) — Josh Sharp's detailed explanation: 'a lot of speech calls that were recorded in the ROMs but not in the game...instead of bringing somebody into the studio...to have all of those things just put them right into the game'

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## Transcript

My name is Slime Sheets. I'm a pinball well I mean I'm a soft software engineer so and but I've been working in pinball uh pro programming pinball machines uh wow for almost 30 years. I'm Josh Sharpe. I am uh probably most wellknown as Roger Sharp's son, the man who saved pinball and uh president of the International Flipper Pinball Association and someone who is trying to provide myself as a resource for any anybody who's been crazy enough to want to make a pinball machine. I've been crazy enough to give my feedback, solicited or unsolicited, and have been happy that the uh the team at CGC reached out about me being a part of finishing this Cactus Canyon game for their remake. Cactus Canyon was kind of the last WPC game that was made in that kind of transition from making dot matrix WPC games to Pinball 2000 which had a video monitor. So for me, Cactus Canyon represents an era of Williams Bally games that the sights, the sounds, the rules are I've referred to it, and this is to internally to the CGC team as as the Williams charm. There's there's something that you just can't put your finger on when you're comparing all of these classic Williams Bally games to to modern games today. They're they're different and you can tell when you play them. The idea of being able to finish Cactus Canyon in that same vein that games like Attack from Mars, Medieval Madness, and Monster Bash that are still regarded as all-timers in the world, even among a sea of modern games over the last 20 years. the goal of trying to get Cactus into a position where it would be that next game that came out of Williams that had that same level of quality and charm, as I like to call it, that would it would fit right right in that zone. I think for me the biggest challenge was knowing that we had to finish this game sort of in the context of here's the work that's been done already. And in a perfect world, everybody who was involved with the project originally would have been able to finish it and we wouldn't have been involved at all finishing the game in that context. And then I think the challenge is wanting to change. Hey, can I change this insert on the playfield? No, you can't. Hey, can I, you know, no, no, you can't. And then also having those basic things in the game that people have already been experiencing for the last 20 plus years that keeping those things intact and having those things that already really work um working on top of those instead of going in and and and changing and changing them. Those were the big challenges. The most challenging part was definitely, you know, looking at that original cactus team as the tree trunk, if you will, of game design and knowing that we could add some branches and add some leaves into those branches. But in no way was I interested in in getting a chainsaw, chopping the tree down, and making a new tree. So with that there there were a lot of challenges with figuring out you know rules solutions that serviced what they were doing but was still I within the zone of making sure that that people that buy games today would absolutely enjoy it. If the original team had the time and the resources to do it they would have done it. So, uh, to really do the research, do the due diligence on what the team wanted to see for the game and and and fill out those pieces of the puzzle. The most important part of the story of this game was to actually get the story of this game from the people that created the story. So, for me, there was a lot of research. which I was I was able to reach back into my dad's Rolodex, get in contact with all the original design team members, and it it was really there was a lot of research to I would kind of compare it to a licensed game. I came into it and this wasn't my world. This was a a team at Williams that created this world and my job was to help finish what their vision was. Being able to talk to Matt Coral, Rob Berry, Johnny, all the people that were on the team, find out what their vision was for what this game ultimately should have been and what can I do to help get it there. Making a coin up product is very different from making a consumer product. So when we made coinop you make this game this intense experience for 3 minutes is probably the average person playing you know a coinop product and for somebody at home where oh I want you know 18 hours 20 hours I like people who play home video games like that's what they expect out of out or and now pinball and we we've kind of gone down that path and for us I think and for me specifically is to try to get the game to the point where you have that where it can stand up in a home environment where it's a little more than than what we would do with a coin product. The thing I love most about the game is really I spoke about it earlier that Williams charm to not have that. I mean the games in my basement and and the games that enthusiasts play, you kind of don't realize what you got until it's gone. And it is different. And there is something really satisfying about the games that were made in the '90s that were really made as commercial devices that it's less of this marathon of a story and it's more of, you know, get in, get out, get entertained really quick and it's just a very unique experience that I don't think you get with other, you know, games from other manufacturers right now. So, it fills a really specific niche that uh that I think people are continuing to be satisfied by that kind of entertainment. So, I think it's a hole that can still be filled and I think Cactus is is a piece that can fill it. I have an expectation when I walk up to the game that if the game is Cactus Canyon Remake that it kind of needs to be the skeleton bones of it need to be Cactus Canyon. It's a theme that people can kind of look at and kind of get it right away. You know, they look at the back glass and they kind of understand Cactus Kenyon. Okay. It looks like a western kind of theme. And then when they start and that's what I love about the artwork and everything is is you get drawn into it and you can kind of look at the playfield and see kind of the story and you can kind of get it within maybe like the the first 30 seconds of looking at the game. While working on this, I get involved late way more than I feel like he makes rules. Nah, it's about story and engaging the player at an emotional level with the game. So, story-wise, it is kind of the classic western where a it's kind of uh what do you call it? You Clint Eastwood kind of had this uh it's uh the man with no name or stranger comes to town and the town has some problems. There are some bad guys who are victimizing the people of the town and there's some nefarious bad guys wreaking havoc on this town and you're there to come in and and clean it up, you know, get things in order. So, uh, and again, there are all kinds of characters and things that you would see in in the West. boss has a bunch of henchmen that rob banks and boss is you know kidnapping Paulie and and their gunfights and and conflict uh with these characters. So overall you're trying to work your way through all of the bad guys in the story and to ultimately battle Boss Bart and and defeat him and what should we say restore law and order to Cactus Canyon. I I certainly enjoy some of the new stories that we built into the game where in the original game, Save Polly, the original intent of the designers after obviously we talked to them is to not just be saving Polly from the train when she's being held hostage in a bank in in in on the right ramp and you know captured in a canoe by Bossbart in the waterfall on the left ramp and to build out those stories with rules of their own to add more to the stories and the characters in a game. And then obviously from a rule standpoint, which we enjoy a lot doing story first, rule second. Feature-wise, when Lyman and I were both sort of attacking how the the puzzle of this project was going to come together, the most exciting part of the game for us that the original team did release with the games that were built was the uh the interaction with the bad guy drop targets and the posts on the bottom and the gunfight. And I think for us trying to match entertainment-wise, pointwise, importance-wise in the story of the game was was really we kept coming back to that as the thing that was just the coolest thing in this game. What are the big elements of the story, you know, to kind of get the player engaged in the story? What can they look at on the playfield to see what are the elements of the story? What am I trying to do? And and what's really great about what the guys at CGC did with this game is is really made some nice enhancements to the game to make all of those things really obvious to the player. The the train and the train tracks, the the topper on the game, boss Bart, all of those things. And the thing that I like most about it is is the mechanical part of the game is is boss bar. You get to hit them. You get to see him react. The mind, you get to see it open up. Uh the drop targets, the bad guys, you you get to see those pop up and and you can shoot them and interacting with the topper. All of those things. When you think back to those classic '9s Williams games, the toy interaction with the ball and unique ways for the player to enjoy, you know, them shooting a ball on a piece of wood and having cool things happen. You know, you have a moving train that goes across the playfield. You have these drop targets that really feel like bad guys. You know, you have the boss bar in the corner that you're actually the ball's flinging at him. It's actually hitting him. His hat's going up. you're really you're busting him up and the topper is just an extension of that where you have boss Bart living up there and the ability to really feel connected to him during game play is something that that I find incredibly satisfying and entertaining. The Ellie features a topper that has boss Bart up there and he will interact with you during your adventures in Cactus Canyon. the miniame you're faced with needing to kill enough bad guys while saving the innocent bystanders of Cactus Canyon. So your goal as the bad guys start to attack you fast and furiously is to uh get through that unscathed and it is quite fun. I think the attention to detail that that Chicago Gaming uh has for this game and just the amount of iteration that's happened to to get it into a beautiful package. Look at the playfields. You have ramp shots and orbits and storylines and characters and a world where that that's what the game is similar to games like Medieval Madness and Attack from Mars. Players will step up and there's these advancements of shots all the way on the play all around the playfield that will get you into different features within the game. So on the left orbit, you will uh advance towards being able to ride a Bucking Bronco and play that story out. The left ramp features a uh it's a save poly mode where you are saving her from a waterfall. The center ramp, you're saving her from uh being rescued on the train tracks, which is from the original game. The trickshot mode allows you to sharpen your skills as a want to be sheriff and uh be able to show how accurate you are through through your progressive shots within that mode and the right ramp you are saving Polly from a bank heist. So being able to get into those stories, rescue Py or not, and you're able to do all of that, defeat all of the art brothers and their entire family worth of villains. There's a set of challenges here right in the the middle of the playfield that a player can earn all five stars on their badge and advance to the higher wizard mode. There's a a quick draw feature where if you roll on the in lane, it will pop up one of the single drop targets that are found across the playfield. And if you can defeat all four bad guys, you'll get into showdown multiball. Thank you. So, very similar to sort of the challenges that you face on Attack from Mars to then be able to rule the universe. There were a lot of when we got on this project, there were a lot of speech calls that were recorded in the ROMs, but not in the game. Just, okay, so Paulie, I'm tied to the tracks and I can't get up and and all kinds of other quotes from Boss Bart, Paulie, uh there's Bionic Bart, uh a whole bunch of speech, and it was in the ROMs, never called. So again, putting those pieces of the puzzle together, it they just all those speech just sort of fit naturally into what we were doing with the game. So there were a lot I I think people will probably look forward to a lot. all of those extra speech calls that instead of bringing somebody into the studio and having them record new things and having trying to get the balances and the flection. I mean, some of these people are, you know, they're older, their voice is going to sound different, whatever, but to to have all of those things to just be able to just put them right into the game and have make sense like that that was pretty cool. I I don't know if nostalgia is correct, but the the project is Cactus Canyon Remake. And I think at least why I'm involved is is I I feel a debt to those people at Williams that put this game together and the idea of trying to finish what they started in as best of a way that I could help to facilitate that. I think and hope that that they are proud of of the work that that we're able to do for this and and if they're proud just based off of the feedback of just that era of games like the people that made the games when they make good stuff the world usually accepted that stuff is great. So taking a page out of that playbook that's uh that was the direction for this project is is make that game that nobody got to see. And I think Lyman and I both agree like we've been having a lot of fun playing the game. And with that, the confidence and excitement of getting to share what we've done with people is is the most exciting part for me. Like I know it's a blast and I'm looking forward to seeing everyone else enjoy it as much as I have as a player. When I looked at it, it wasn't starting with a blank piece of paper. And and it design becomes much easier when here here are the limitations of what you have to do. Here's the playfield. We're not going to play change the playfield. Make this game finish this game in the context of again what what everybody wanted it to be, I suppose, originally. And that job becomes a job that I can do this job and I'm going to do this job well. Thanks for following along, partner. Saddle up and ride to your favorite arcade to play you some Cactus Canyon remake today. Or better yet, don't be a yellow belly. Purchase one for your game room What he's really trying to say is is that he gets to have all I do. I get to I get to have all I get to I get to play. Yeah. I'm going to get you guys a hangout. [Music] What are you doing? No. You're good. You're fantastic. [Music]

_(Acquisition: youtube_auto_sub, Enrichment: v3)_

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*Exported from Journalist Tool on 2026-04-13 | Item ID: a03b1c55-b697-45a3-ad54-7f3294b62c48*