Previously on Retro Arcadia, we took a look at Deathstar Interceptor – a game I first came across being advertised in the May 1985 issue of Computer & Video Games magazine, liked the look of, but wouldn’t play for decades.
I won’t bore you with any more recapping because you can read all about it right here, but I will just mention again that the Commodore 64 version was very much an afterthought in the advert…
I recently went back a year or so further into the C&VG archives, to July 1984 specifically, and that gives us a bit more to go on than the assumption that it was an afterthought because it’s a stinker in comparison to the Spectrum version. Which it certainly is, but with this new context, it’s all about the Spectrum because the C64 version had been the subject of previous advertising. And the headline might confirm this, with the fight continuing on the Spectrum because the C64 version appeared already. Maybe?
Apart from the word “Deathstar” we are not really getting the very in your face Star Wars vibes of the Spectrum advert, so we are possibly pre-licensing of the Star Wars theme tune. And when we previously mocked the C64’s hamburger and coat hanger enemies, they might simply have been what was there in this original(?) version before any Star Wars association – as loose as it was – materialised on the Spectrum.
A disservice then? Absolutely not! It’s still garbage, though that does make the outrageous advertising blurb even more comical. And I quote…
52K of pure machine code giving you 12 screens of 3D graphics, super smooth 3D animation, unbelievable sound effects music, 4 skill levels and hiscore table… this is the ultimate challenge? This game has to be played to be believed! You have not seen what the Commodore 64 is capable of until you have played Deathstar Interceptor! – Commodore 64
You’re really better off not knowing what it’s capable of if that means playing this awful game! However, thanks to this advert you don’t even need to, because look closely and in one final twist, their strange insistence on showing every gameplay element on offer in tiny numbered screenshots includes “Victory (Screen 12)” – the end game screen!
History once again teaches us everything if we care to look. And I’m glad I came across this older advert and could maybe shed a bit more light on this version – and a bit more context on the Spectrum version – of a true Star Wars (or not?) curio.
It’s easy to forget there was TV outside of Miami Vice in 1986, such was its influence on the style of a 14-year old at the time, but it did exist! The Chart Show started a 12-year run, and would become almost equally influential later for its indie or rock chart every other week… Winona by The Drop Nineteens, in my top three favourite songs ever (behind The Cure’s Pictures of You and Ride’s Vapour Trail, if you’re interested) was found there. I seem to remember Today by The Smashing Pumpkins too, and bands like Faith No More and Suede. Shame you had to sit through so much crap to get to those five minute slots, though we were, of course, entertained by Samantha Fox’s Touch Me on there in its first year, so you got something else worthwhile out of it sometimes! I was also a big fan of courier-cum-detective Boon, which would be around for another six years from then, though I always feel that over time it got a bit eclipsed by the adventures of sexy antiques rogue Lovejoy, who first appeared in 1986 too. We also got Neighbours for the first time, most hours of the day from what I remember!
Over on kids TV, which I was becoming a bit more choosy about by this point, the biggest thing happening was probably Zammo’s ongoing slide into heroin oblivion on Grange Hill; if only he hadn’t made such a big deal of winning the moustache-weighing competition, he might have got away with it, and we’d have never had to suffer Just Say No… We also suffered the end of Bananaman, Robin of Sherwood and the wonderful Terrahawks, but we did see the launch of Gaz Top’s Get Fresh on Saturday mornings (though he was still no Sarah Greene), The Trap Door (which also spawned the best looking Spectrum game ever), and a quiz show that no one remembers called First Class…
No one remembers First Class because the majority of the programme was completely forgettable – a BBC1 kids quiz show with general knowledge and popular culture rounds for teams representing their schools. But make it through those, and things got interesting because the last round was an arcade game round, where members of the team were nominated to compete against each other on Hyper Sports or Paperboy, and I think 720 too. And for me at least, there was no better advert than seeing any of them for the first time than on the living room TV! If only they had home computer versions… If only I didn’t have a VIC-20… As an aside, when I said the majority of First Class was “completely forgettable” I was doing a disservice to its presenter, Miss Great Britain 1984, Debbie Greenwood, who could definitely give Sarah Greene a run for her money!
Of course, in the grand scheme of things it wouldn’t take long for the home versions of all three to arrive – and fine ports they all were – and my Spectrum +2 wasn’t far behind either. But for another 20 years, my only experience of arcade Paperboy was that tantalising segment on First Class! I eventually got my hands on the arcade version on the PlayStation Portable no less, as part of the Midway Arcade Treasures: Extended Play compilation, which also included 720 and around 20 other arcade wonders. The whole thing was a modern wonder, but it was on a tiny screen, and it would be another 10 years (2016, in case you’re keeping track) before it turned up in Lego Dimensions Midway Arcade level pack and I got to play it on a much bigger screen than originally intended via my PlayStation 4!
But now we’re way ahead of ourselves, and we need to get back to the origin story. Paperboy hit the arcades in 1985, complete with its bicycle handlebar controls that were actually a modified version of the yoke found in the greatest arcade machine of them all, Star Wars! This meant you were pushing forwards to speed up, back to brake, then steering your bike left and right as normal… If you’re bike had an X-Wing yoke instead of handlebars, which is now the greatest bike of them all! Anyway, there was also a button on either side that allowed you to chuck your newspapers…
The game had you, the paperboy, delivering newspapers to your subscribers down Easy Street, Middle Road or Hard Way (also the three difficulty levels), every day from Monday to Sunday. You start with a minimap of the street showing where your friendly neighbourhood subscribers are, and also where the villainous non-subscribers are, though you will pretty much ignore this as one lot live in bright houses and the others dark houses. You need to deliver the newspapers by throwing them at the mailbox outside the house, ideally, which gets you the most points, and if you get them all you’ll double your score. This will also win back any non-subscribers you’ve lost previously because you missed their house. You also get points by vandalising non-subscriber houses, and smashing one of your newspapers through a window is still one of my favourite things in all of gaming! (Closely followed by breaking what I think are gravestones you can bust in half)! But don’t go too nuts because you’ve got a limited supply of newspapers so keeping your subscribers happy needs to be your priority, though you will come across refills on the way.
All the way down the street you’re avoiding hazards like bins and rampant tyres and lawnmowers, cars, go-karts, pets, skateboarders, breakdancers and all kinds of crazies that will spell instant death, losing you a life but thankfully allowing you to carry on your journey until you run out of them. Get to the end of the street and you’re rewarded with a go on the training course, with ramps to jump over, moving obstacles and targets to throw your remaining papers at for more points. Including this was a genius move, because whilst they already had a unique game in an isometric racer that involved delivering newspapers, they also hit on the massive BMX craze in the mid-eighties with the training course that pretty much sold the game by itself! Anyway, get to the end (or not) and you’ll get your daily totals and any cancelled subscriptions, and you’re onto more of the same but harder and with different things to kill you on the next day.
The home versions started appearing in 1986, and would eventually be available on pretty much everything you could imagine, but I guess I picked up my Spectrum version around Christmas 1987. And it’s a fantastic conversion! The main gameplay area – about two-thirds of the screen – is presented in a blue and black monochrome with some lovely colour-clash provided by the odd garish obstacle! Apart from the lack of colour and things being a little on the small side, the impressive attention to detail of the original is all present and correct, and that transfers to the gameplay itself, which feels exactly how it should at it scrolls along at a fair old whack. It’s just as tough too, but like the original is never overly punishing once you get used to what’s happening and where you need to be to avoid it – for the first couple of days at least!
I did get the Atari ST version a few years later, in one of those awkward oversized cassette-style cases it used to favour, though I don’t really remember playing it much. From what I do remember, it was pretty much the arcade version, with big colourful graphics and a lot more sound than the incidental beeps the Spectrum version managed! I played a fair bit of the Game Boy version too, which was like a mash up of my previous two versions – big graphics, great sound, all monochrome! Very impressive though, but not as impressive as the final version I’m going to mention, which I’ve only played on emulation but is a real technical marvel – the Commodore 16 / Plus 4 version! Considering this would have been squeezed into about 12K of code, it still manages to at least resemble and, more importantly, feel like the arcade game (if it was slowed down a bit).
I’ve only ever played the SNES version of the 1991 sequel, Paperboy 2. This time you could be a papergirl if you wanted, and you were delivering to both sides of a more elaborate road as even more bizarre obstacles got in your way. It’s fun but it’s all a bit soulless though, and there’s no way I’d ever load this up when there’s so many ways to play the original… Which I probably still wouldn’t load up while my Spectrum +2 is sitting right here in front of me!
I’ve been reading a wonderful book called Attack of the Flickering Skeletons by Stuart Ashen. So wonderful I bought it twice… “More terrible old games you’ve probably never heard of” and the sequel to Terrible Old Games You’ve Probably Never Heard Of, which I haven’t read yet. I bought this for my cousin for Christmas because he has read it (because I bought it for him), then I bought it again because I forgot I’d bought it!
I didn’t get very far before I got to a game called Rik the Roadie for the Amstrad CPC, all the way from 1988. And I’m not going to say what he thought about it because you can read it for yourself, or use your imagination, but at the end of his rant he mentions that there was a Spectrum port… And, despite everything he said, I still wasn’t convinced it sounded that bad…
You’re the roadie for alternative rock band Alternative Rock. You’ve got to drive them 200 miles to their gig in your van. Then you’ve got to carry their stuff from the van into the music venue. Then the last stage has you sorting out their gear so they can play. As I said, doesn’t sound that bad, right?
You hit the road in what seems like the driving bits from the brilliant Ghostbusters, minus the road markings, seeing your van top down in four lanes of traffic. Get moving and you’ll soon be hitting 100mph, though until you get there you won’t notice any physical change in speed. At this point, Stuart Ashen mentions an actual acceleration until you get to your top speed of 128mph, though that might be a CPC thing because I didn’t notice this. And while all this excitement is going on, you’re weaving in and out of traffic. Occasionally. And all the traffic is moving at the same speed as each other, and relative to you, so it doesn’t matter how much you slow down or speed up to avoid them, it’s just left and right, assuming you have that option… Actually, once you’re moving at all, there’s no need to worry about what speed you’re going whatsoever! There’s even less driving skill needed here than in the Ghostbusters driving filler. It’s just luck if you don’t come across enough unpassable rows of cars to crash into – which knocks your timer down – before you’ve driven 200 miles. Did it first time, took many more attempts before I did it again. And this all takes so long that it genuinely feels like you’ve driven 200 miles by the end!
Now you’re at the venue, and this level is a bit like the biathlon in Winter Games – you’re waggling or pressing left and right to move nondescript gear from the van to the stage door at a specific rhythm against an endurance bar, which in reality is a timer that depletes in about 3 seconds regardless of your rhythm. What you need to do is like Han Solo’s flying casual technique; you know, keep your distance but don’t look like you’re trying to keep your distance… In this case, there’s a specific fast but not fast cadence that is pretty much impossible to judge! Should you get your equipment to the stage door – which has a cat in it – you’re going to have to do the same again several more times before all the gear is in!
I’ve no idea what happened in the third level, and I’m not going back to find out! I think you’re now at the sound desk because there are four volume level indicators and four volume controls on the screen, and you have to do something with them to stop the audience getting deafened, which apparently I’d successfully done before I even worked out what was going on. At less than ten seconds though, whatever happened at least happened quickly! Actually, that reminds me of a Lauren Harris gig I was DJ’ing at a few years ago, at a 250-capacity venue in Bedford. The resident sound engineer had been slowly going deaf, so the volume had been slowly going up month by month, and her dad, Steve Harris from Iron Maiden, claimed it was the loudest gig he’d ever been to!
Back to equally rock and roll circumstances, your job is now done, and the screen switches to the sight of Alternative Rock on the stage under flashing lights (meaning the whole screen just changes colour over a static picture every few seconds), and having got your band all the way here, you’re treated to their gig as your end game sequence! Which reminds me, all the way through this game is some of the worst music you’ll ever be subjected to in a game. And it just continues its mercilessly short loop through this end-game treat! Which you can’t skip…
Speaking of can’t skip, before we hit the closing credits, in the form of the most painfully slow scrolling, lengthiest and incredibly harsh high score table you’ll ever see (but don’t go anywhere because it still has merit!), I need to mention spelling (not to mention punctuation) throughout the game. Now, we know mistakes happen even today, just like they did in pre-spellcheck, bedroom-coded games in the eighties, but we’re at a whole new level here! Before you even turn the ignition key, I quote, “Guide Riks van allong the road to the next gig, dont hit any other cars, or you loose time……….”
Things do briefly pick up when you start the second level, when loose becomes lose, but just a couple of seconds later you’re inevitably going to be told that “you have droped the equipment!”
But all of this pales into insignificance once you get to the high score table, which is effectively a chart rundown of the big hit makers of the day, like U2, Simple Minds, Bruce Willis (Bruno, surely?), Erasure and Sam Fox. And Banarnarama, Des O’Conner, Madona, Kim Wild, Jean Michel Jarr… And it doesn’t end there, but typing things that incorrectly is a real struggle in this day and age, and you also need something to discover when you play it for yourself!
One last thing… spare a thought for the BBC owner. Not only did they own a BBC, but if they also owned Rik the Roadie and they also got this far, they were rewarded with this. And it moves…!!!
I don’t think I ever spent as long making so little progress as I did with Auf Wiedersehen Monty on the ZX Spectrum +2! But I adored it all the same, and was never happier than jumping around what can only have been a quarter of the 80 screens that brilliantly and ingeniously characterised the whole of Europe, collecting items and cash so Monty Mole could buy his own island. Which he never did that I’m aware of! It was hard as nails but it was enormous fun, and you never tired of trying to get just one more flick-screen further into your travels!
That was the fourth Monty Mole game, released in 1987 by Gremlin Graphics. I think I’d played the first one, Wanted: Monty Mole somewhere; I was aware of the second, Monty is Innocent, but wouldn’t play that for several decades after its release; and I definitely played Monty on the Run on a friend’s Commodore 64. I’ve never played its cannon successor, Impossamole – by the time that came out in 1990, I was all about the Atari ST and the Game Boy.
There was actually another game between the fourth and fifth entries though, but blink and you missed it! Moley Christmas was only available on the cover of Your Sinclair magazine, in the Christmas 1987 issue, in what for me ranks as one of the highlights of what would become the Spectrum cover tape wars! I know I was long gone by the time they were all abandoning actual magazine content and just sticking about ten AAA games to a few bits of glossy paper, but before that, this and Ocean’s Road Race (which we’ll come back to one day) and, of course, the seminal better-than-Arkanoid Arkanoid rip-off, Batty, were way better than most of what you’d pay full price for!
Moley Christmas might have been short, with only six screens, but the Monty Mole stamp of quality was everywhere to be seen on each of them. And as you’d expect, it was hard as nails first time around, though spend enough time on it and you weren’t just trying to do it without losing any lives, but you were doing what would one day be called speed-running too! Not sure why that never worked out for me in Auf Wiedersehen Monty though…
In Moley Christmas, you – Monty – are running about the place as usual, picking up objects, jumping over bizarre meanies, generally dodging death through perfectly timed, pixel-perfect leaps, and just working out how to get from one screen to the next, which isn’t always immediately apparent. And all of this in a bid to get the Your Sinclair cover game to the printers in time for Christmas!
In the first screen you’re at Gremlin Graphics HQ, trying to get to the program listing for the cover tape game. Then on the second screen you’re taking it to the mastering plant – successfully reach the other end of the screen and it becomes the master tape! Screen three is where it’s getting duplicated and turned into cassettes. The instructions said that although they were putting over 100,000 copies of the game on the magazine out, the Gremlin programmers made their own estimate of the Your Sinclair circulation, so you only had to pick up eight cassettes to bring to London. And that was a major clue because if you didn’t have eight in mind there was no way you were ever progressing past that screen, which gave you absolutely no indication of what you were doing before you even got to the point where you were counting tapes!
Anyway, the fourth screen was another head-scratcher, this time making your way into an M1 service station (I think), with the puzzle being how you got past the final parked car that kept eating you with no apparent rhyme nor reason! Work out that you just needed a bit of single pixel prodding and retreating there, and on the fifth screen you’re in the Your Sinclair offices for a very tricky timed jumping section that must have taken me a hundred attempts to get past the first time even though I knew exactly what I should be doing! And then you’re finally on screen six, a kind of loosely Frogger-style experience where you’re dropping off piles of magazines from one side of a lunatic road to the other, several times. Do that and it’s a lovely message of Christmas cheer / advertising and a nice Christmas tree. Then you’re strangely compelled to start again…
Despite the usual gaming perfection that a Monty Mole game demanded of you, this one seemed to be about getting lucky sometimes too. And I think that’s why even after the head-scratching is done, I like going back to it, then trying to get through it again and again a bit quicker. Combining that slight unpredictability (possibly caused by some odd timing that I can’t really put my finger on) with its shortness actually makes it more akin to playing something like Super Sprint than the traditional platformer it makes out to be. You definitely can go a bit faster, because you definitely can do it without running into something, but will you? And all this going faster is actively encouraged throughout the game because your energy meter is going down regardless of what you run into, and in the penultimate screen you’re also racing magazines getting finished (where I still don’t really know what means death and what means success)!
There’s some great use of clash-free colour, everything moves smoothly, and the level of detail you expected of a Monty Mole game by 1987 was all present and correct. Sound was alright for the Spectrum too, with a nice background tune (on my +2 at least) and some inoffensive white-noisy effects when called for elsewhere.
It’s hard to say where this would fit if you were to rank all of the Monty Mole games, but there’s more to it than meets the eye in comparison to the others, even if there’s significantly less to it, which as we’ve seen, brings its own rewards. But remember, it was free on a magazine! And if you’re anything like me, the only one of these you’re going to finish too!
I’m fairly certain that Daley Thompson’s Decathlon was the fourth game I ever played on the ZX Spectrum! My best friend Paul had moved from an Atari 2600, and our days of playing Boxing and the one with the two tanks (Combat?) on their family TV in the living room were replaced in the most part, in my memory at least, by the distinctive sound of Spectrum loading screens in his bedroom, interspersed by actually playing the occasional game! It was the Classic setup – rubber-keyed 48K Spectrum connected to the type of small portable cassette recorder every home had at the time but didn’t belong to anyone in particular, connected to a tiny portable TV and a couple of games; all on the floor.
I think Horace Goes Skiing (more here) was my first experience of the ZX Spectrum, with it’s Frogger rip-off first screen getting in the way of what still holds up as one of the best-feeling skiing games ever! Second was Chequered Flag, and I can still remember being totally blown away by that in-car view with the moving wheels and steering wheel! Still one of my favourite racers ever. Then a bit later his collection extended to Alcatraz Harry, an early Mastertronic £1.99 title where you negotiated the maze-like prison, avoiding guards and collecting escape tools, but usually ended up caught and in front of a firing squad. We did actually finish that one once! And then a bit later still we got to what would become one of the system’s defining games, as well as the ruin of many a Spectrum itself…
Not sure if he had any other games up to then, but I don’t remember playing anything else over what must have been his first year owning it, with most of the action happening over the summer of 1984; frequent trips backwards and forwards down the network of alleyways that connected the roads where we lived. We all knew and loved every inch of those dusty, poorly surfaced, weed-strewn alleways that ran the length of both sides of each of three roads, behind the terraced houses and gardens and sometimes garages, and were connected by another at each end, one of which was interrupted by the roads. These were our hide and seek and ball tig grounds; our cycle tracks and skate parks; our football and cricket pitches; our assault courses and everything else we needed them to be whenever we were playing outside with the neighbouring kids! And from the time I was allowed to walk to Paul’s house by myself, to when we used to get the bus to upper school near there, to when as young bucks on the prowl I’d go to his house on Friday and Saturday nights to get a taxi into town to go out drinking, that was my own almost private shortcut!
As a related aside, on what was probably one of the last of hundreds or thousands of journeys down those alleyways to Paul’s house, I had music playing on something – most likely my Aiwa PX347 “Walkman” with Super Bass, Feather Touch Control and Dolby 8 NR! It was an incredibly hot summer day, probably around 1993 or 1994, and on came Heat by The Mission, and the lyrics that I knew inside out by that point somehow chose that particular listen to make an eternal connection in my brain between that song and that mundane trip on that particular scorching Friday evening: And the heat comes down And the heat comes down And hand in hand We melt in the heat
Almost exactly ten years before that, at the end of that exact journey, something similar had happened with another song, 1999 by Prince. Like The Mission’s Heat, it would have been a song I was already very familiar with by that time; it had come out two years earlier in 1982 and was obviously a massive hit, getting non-stop airtime all over the radio and in my fledgling record collection, as well as becoming a regular feature at school discos when 80’s nights really were 80’s nights! But there was something about that song that just happened to be playing in the background at the exact moment I started hammering two rubber keys as fast as humanly possible for my first ever 100m dash that forever connected 1999 with playing Daley Thompson’s Decathlon in Paul’s bedroom! Actually, it was very much the concept of the song at that time that stuck with me during that particular listen, maybe taking note of what the lyrics were saying for the first time… To a 12-year old in what would have been heading into late or even Christmas 1984 by the time the game actually appeared on Spectrum, all that partying like it’s 1999 seemed like science fiction! It was literally more than a lifetime away, too far in the future to fathom. And then when we got there far sooner than this 12-year old might have imagined, that memory and that connection in my brain was still there, but it didn’t seem so long looking back as a 27-year old. And it seems even closer all these years further on! Funny how your brain makes connections just as strong for minor, seemingly random and mundane events as those it makes for remembering where you were on 9/11 or when you heard Kurt Cobain was dead or when the Mary Rose was pulled out of the sea…
Or maybe even where you were when Daley Thompson won his first Olympic decathlon gold medal in 1980 (about my limit!), or again in 1984. Daley Thompson was massive – even bigger than Prince at the time! Remember, we had four TV channels and things like the Olympics, and athletics in general, were a major factor in the summer TV schedule even if you weren’t much of an athlete. And if you owned a Spectrum, you just needed a copy of Ocean Software’s Daley Thompson’s Decathlon. Interestingly, I don’t remember any of my Commodore 64 owning friends ever having a copy (even though I think it came first and was the same great game and a bit more, for example having a second competitor on the screen on track events), and obviously I didn’t know anyone with an Amstrad CPC, which it also appeared on!
As well as cashing in on the man himself, Track & Field was also a big deal in the arcades at the time, sucking up my 10p’s during a church trip to Great Yarmouth that year (also memorable for playing a neighbour’s Mini Munchman on the bus journey there) and the next, and this was as close as you were getting to a home version. In fact, you’d have to wait until 1988 and the Game, Set and Match 2 compilation for a Spectrum (or Amstrad CPC) version; and it wasn’t great, especially as we’d been spoilt by an excellent port of Hyper Sports inbetween. That said, this compilation was generally awesome on the Spectrum – Super Hang On, Basket Master, Match Day 2 and Championship Sprint more than made up for any duds (and the stuff you weren’t interested in, Nick Faldo Plays The Open I’m talking about you)!
The game, predictably, has you taking part in a decathlon. I’d like to say as Daley Thompson, but your character is very white. You might justify this by thinking that’s just to cover up any colour clash, but I’m not sure how the very “white” character hairstyle contributes to that. The loading screen goes a step further, where he’s even more white than the white fellow competitors behind him! At least the hair works a bit better there, and the cassette inlay makes further strides in recognising his actual skin colour.
Anyway, regardless of whether you are playing as Daley or a white imposter, you’ve got two days of athletic pursuits ahead of you, one of each side of the tape! On day one, you’ve got 100 metres, long jump, shot putt, high jump and 400 metres. On day two, you move on to 110 metre hurdles, discus, pole-vault, javelin and 1500 metres. Gameplay ranges from the famous, keyboard killing button mashing of two keys (or joystick waggling if you really want to break some stuff quickly) to make you go faster in races or run ups, to precisely angled jumps then more strategic stamina management in the long distance races. You effectively have three lives, meaning fail to hit the qualifying time or distance or height in an event three times and you’re out. Get through everything and you’re the champ!
Things start pretty smoothly. No brains required in the first event, just hit those left and right buttons as fast as you can and you’ll qualify pretty easily. Play it safe and you should qualify in at least one of your three long jumps next too – just hit jump near enough to the line and hold it down until you get to about 45 degrees – and make note of that number! Shot putt was a variant on that, but you’re throwing a heavy ball at 45 degrees instead of jumping when you get to the line, and it’s really easy as long as you don’t cross the line. High jump is where the challenge starts, and has you hitting and holding jump a second time to adjust your body angle mid-jump, and this is going to take some experimenting until you know the right angle numbers (about 80 and 20 degrees if I remember right) and more importantly, when to hit jump to take off because there’s no distance indicator before you reach the bar; keep going higher until you’ve fouled three times. Should you get there, 400 metres takes the button mashing approach of the 100 meters but goes on four times longer, and your fingers aren’t going to forgive you in a hurry!
Turn the tape over and you’re going to load into the 110 meters – button mashing with the added challenge of timing a jump whilst staying in your running rhythm; screw it up once and you’re going to struggle but avoid crashing into any hurdles and crossing the finish line feels really great. Discus has you spinning rather than running, then timing your 45 degree let-go when you’re facing the right way having reached a decent rotational pace. Another tough one until you’ve got the timing in your head, then it’s hard to not qualify.
Pole vault is another test of timing and knowing when to start dropping the pole, but like the 110 meters, you’re going to feel great when you finally get over a really high bar; like high jump, this keeps going until you foul three times, and is great fun when you’re chasing your record scores. Javelin goes back to the standard running and chucking formula, but I always found watching it (very) slowly ascend and flatten out along the top of the screen then descend quite hypnotic! Qualify this far and you’re at the 1500 meters, the epic final event that struck fear into any Spectrum gamer, but in reality was more sedate (or even boring, some might say) than the long distance test of finger stamina it was perceived to be! This time you have an energy bar, and the faster you go, the quicker it will deplete, so it’s all about finding a rhythm and speeding things up when your energy looks like it can take it. This is definitely the most thoughtful of all the events and whilst the gameplay might not invoke a frantic final push to the podium, it certainly feels great when you get there, though it’s hard to fail once you know what you’re doing.
Sound effects are mostly non-existent up to this point, apart from some white noise of varying lengths representing a starting gun or crowds cheering when you qualify, but there are some short bursts of music elsewhere between events, and, most notably, when you win gold at the end of all this, with a beautiful (in Spectrum terms) rendition of Chariots of Fire as white Daley stands on top of the podium with his arms held high. Then you get the final score and you’re ready to go all over again. After loading side one again, of course.
Apart from Daley Thompson’s questionable ethnicity in the game, there was an awful lot to look at and be impressed by. As said earlier, the white character did avoid any serious colour clash so everything else was very colourful. That screen was really clearly presented (and pretty much directly lifted from the Track & Field user interface) – your score and qualifying requirements at the top, current attempts and records below, then the best crowd representation I’d seen up to that point, moving around excitedly with their Ocean banners; below them you’ve got the track or field area with your main man in action, and at the very bottom a speed, angle and distance guage that appeared as required. Every event was smoothly animated even if the running has aged a bit today, with nice touches like the guy with his tape measure in the long jump or the shadow under the shot putt as it flies through the air.
The game won Best Arcade Style Game at C&VG’s Golden Joystick Awards in 1984, and also Best (Overall) Arcade Game in the Crash Readers Awards, fending off challenges from the mighty Jet Set Willy and only marginally less mighty Sabre Wulf. The following year it joined both of those games and Beach Head on the first They Sold a Million compilation, so we can assume it sold a ton too. And rightly so! Play this or Track & Field or Hyper Sports today, and whilst bashing buttons for speed might not feel as natural and ubiquitous today as it did in the mid-eighties, it’s just as much fun and is just as destructive to your equipment… And don’t forget the old pro tips about rubbing a biro really fast across the keys for an extra boost. I’m sure they all work equally well nowadays!
The April 1985 issue was when I decided I needed to buy my own copy of Computer & Video Games magazine, and not rely on reading hand-me-downs from friends when they were feeling generous. What might have sparked the decision was the type-in game Starship Victory for the unexpanded VIC-20; I was big into those at the time (as you can read about here) and there was no way I was missing out on a cool Asteroids clone like this! There were also a few reviews that probably caught my eye – at the time, there was still pretty good coverage for the VIC-20 here, but of course we were in the minority… and you couldn’t help looking over the fence at what you were missing out on for the big new machines! Impossible Mission, Ghostbusters and Cauldron being of particular note that month! It wasn’t so much jealousy – at least for a year or two – but just wanting to lap up the massive amount of exponentially increasingly incredible games that were now coming out on a massive amount of computers; in that month alone, a quick scan just now revealed stuff for BBC, Electron, C64, Spectrum, VIC-20, MSX, Atari, Amstrad, Dragon and Texas, and I’m sure I missed some PET and C16 stuff too!
I’ve never been that big into superhero stuff, but I always consider the May 1985 cover of C&VG as iconic as well as fairly unique in its styling for them. There’s so much going on in both the main illustration itself and also the text blurb around it. Amazingly, if you actually read it, it was mostly all just promoting stuff you could win, including a copy of text-adventure Questprobe 3, featuring the featured Fantastic Four, but not forgetting a map of Alien 8, which was about the first thing shoved in your face after the contents page! What really stuck in my mind that month though was the advert inside the cover for a game called Deathstar Interceptor by System 3 Software.
I might not have been into superheroes, but Star Wars was another matter, and that X-Wing and the three screenshots had me hooked (mostly because the text was pink on black which was near enough to my red-black colour blindness to make it not worth trying to read). Definitely a Star Wars game though, even though it doesn’t mention it! Strange… Actually, it barely even mentions what the game’s called, which is why it might have long-since escaped my memory by the time I eventually got a Spectrum, and would do so for another 35 years until I was sorting through a stack of old computer games magazines in the garage!
“The Fight Continues… On The Spectrum. …Earth is threatened by an Empire Deathstar, can you penetrate its defences, destroy it before it destroys you? …Deathstar Interceptor gives you 12 screens of 3D graphics, super smooth 3D animations, unbelievable sound effects, music, 4 skill levels and hiscore table …this is the ultimate challenge! …This game has to be seen to be believed! You have not seen what the 48K Spectrum is capable of until you have played Deathstar Interceptor.”
I was probably just as well off with the screenshots! The first one is the first part of the game. A real oddity where you’re taking off in your X-Wing, which at some point will veer off to the side of its own accord and you have to guide it back towards the hyperspace thingy (I guess) at the top. It’s not very scientific and seems to be a matter of luck if your single press in the right direction actually gets you into the middle of it or not, allowing you to proceed into space and the second screenshot!
This looks fantastic; it’s a kind of Galaxians with tie-fighters and some other nasties, and you have horizontal and a bit of vertical movement… Expert tip – move to the top left and nothing can shoot you! As this is going on, the Empire Deathstar is getting bigger and bigger it’s close enough, then you’re into the trench. There’s a couple of phases, involving dodging lasers from the sides then shooting some more enemies, then either I got lucky with an unintentional shot to the exhaust port (unintentional because I never even noticed it) or it does it for you.
Either way, you’re rewarded by the ultimate insult to the red-black colour blindness sufferer – the red explosion in the black of space! Like the advert, I don’t think I was missing a lot here; it was hardly the mind-blower when the same thing happened in the Star Wars arcade game. Then you start all over again, looping until you die and you get a really nice rendition of the Star Wars theme.
If you look hard enough, the advert also mentions it’s available for the Commodore 64. Not surprised they didn’t make a big deal of it though – it’s a shocker! The Spectrum game looks like a Star Wars game and has a bit of variety to its “12 screens of 3D graphics” but for as much as I played of it, the second stage en-route to the Empire Deathstar is a really ropey shooter, then when you get to the trench you’re still playing the same ropey shooter as before but against a trench background. And you’re not even fighting tie fighters in the C64 version, but what look like coat hangers and hamburgers!
The best thing here is the Empire Deathstar design in the second stage though – for some reason, the C64 version has the big round shooting part at the top of the Empire Deathstar repeated at the bottom too! Two death bits! Even the Star Wars theme sounds better on the Spectrum, and when did you last hear that?
As you can tell, at the time of writing in the year 2020 I’ve now played both versions (actually both emulated on a PlayStation Classic console!), and I even got to the end of the Spectrum’s loop. And I think I appreciated that version at least a little more than I would of in 1986 or 1987 when I got my Spectrum +2 because there was loads more going on there then than hunting out this old Star Wars curio I couldn’t remember the name of anyway. The Spectrum version is really fun!
But what about Star Wars? Is this a Star Wars game? Or was it really the case the in the wild west of video games in the mid-80’s you could get away with ripping off even Star Wars this blatantly? Well, partially at least it seems. I’ve learnt recently that the Star Wars theme tune was licensed, but as for the rest, probably not! Which might explain certain aspects of the advert, and using words like “Empire Deathstar,” and not even mentioning their limited official Star Wars licensing, let alone barely mentioning what the game is called! A curio indeed.
Yes, you read that right. What was once hallowed ground for the VIC-20 owner is here and now on the Spectrum…
And once I was over not having our own exclusive Manic Miner / Jet Set Willy game anymore, I was totally thrilled with Perils of Willy finally being ported to the ZX Spectrum! It’s perfect and it’s available now!
This was my favourite VIC-20 game, and currently sits at number 17 in my top games of all time list. It’s all about getting Miner Willy home after a night out by collecting musical notes through a variety of platforming locales, but as is hopefully increasingly the case, you can read my full thoughts on that here!
The Perils of Willy Spectrum recreation was lovingly crafted by Allan Turvey, and as far as I can tell so far (because after several hours of play I can still only get through about a quarter of the 32 brutal screens) it’s a direct port apart from the screen dimensions being necessarily shifted a bit. Some might say the background music is slightly more bearable too!
It genuinely feels as good now as it did in 1984, meaning a tough as nails lesson in hardcore platforming that I can’t stop playing all over again!
You can download it either free or for a donation of your choice here.
I have two very distinct memories of buying stuff from Boots (when they were still much more than a chemist) in May 1987 – that month being significant for my birthday, meaning I had more money then than at any other time of the year and could afford to buy two things! The first was U2’s The Joshua Tree; my £4.99 contributing to it becoming the fastest selling album in British music history. I wouldn’t say it’s one of my favourite albums (maybe top 50), but side one is without doubt one of the strongest ever, and to this day I still listen to it regularly whenever I notice it in my record rack. That said, there’s a moment in their 1988 Rattle & Hum movie (about 55 minutes in) where you hear the keyboard intro from Where The Streets Have No Name kick in, and the words “Sun Devil Stadium, Tempe, Arizona” appear on the screen, and to me those words and the next 5 minutes of live performance were the most rock star things I’d ever seen to that point! If I was here naming the top ten things that inspired me to form a band, that would definitely be one of them, but that’s something for another day…
Back to the slightly less glamorous lower floor of Boots, at the bottom of the spiral walkway in the even less glamorous Harpur Centre in Bedford, and from the very same entertainment section we come to my second purchase. This time we’re slightly later in May, during school half term and I’m with my Mum and two brothers, which I know because my other very distinct memory is walking with them to my Grandma’s house on the way back from town, reading the Agent X cassette inlay!
The reason I’m writing about Agent X – or Agent X in the Brain Drain Caper to give it its full name – right now rather than something else is because I was just flicking through the June 1987 Your Sinclair magazine and noticed it climbing up the top ten. Actually, it was the whole top ten that caught my eye first, which, including Agent X, features no less than four of my top ten favourite games ever – Feud, at number one where it deserves to be in whatever games chart you care to mention, plus Olli and Lissa (not Lisa, Your Sinclair, but see my post on that here for the full rundown!) and Gauntlet. Pretty good month for games in my opinion!
Also of note in that copy of Your Sinclair, just before the chart rundown, was the legendary advert for Barbarian featuring Wolf from Gladiators and Page 3 stunner Maria Whittaker, which I may have mentioned before, but as it’s of so much cultural significance to the 15-year old boy in 1987, bears repeating again here!
Back to Agent X, it’s interesting it was climbing the charts now because I think it had been released at some point in late 1986, and seems to have been reviewed pretty well in early 1987, but as a £1.99 release from Mastertronic, wonder why it took a while to get going? If I’d noticed it in the shops earlier, I’d have certainly bought it on the strength of the screenshots on the back of the box alone. Maybe everyone else was strapped for cash until their birthday too!
It wasn’t just how good it looked on the box that caught your eye, but the variety you were getting too. This was pretty much unheard of until now in a budget title – it looked and read like you were going to be part of an entire James Bond movie! “A multi-load mega action adventure, in which you set out to stop some lunatic scientist turning the President into a warmongering maniac. You are the only one who can help. If you’re superb at espionage, karate, driving, flying helicopters and bomb aiming you MIGHT have a chance. Just.” Not entirely sure that multi-load was the key selling point they thought it was at the start of that pitch, but what’s not to love about the rest?
After your first multi-load, the game starts out with you in your sports car on the way to the abandoned mine / underground lair. This is a really nicely presented section, playing a bit like a simplified isometric Spy Hunter but instead of guns your car can jump. Speaking of nicely presented, your current health is displayed by your agent, cigarette in mouth, moving ever closer to his gravestone in a beautiful moonlit graveyard. What you want to do is get to the end of this section with that intact! It’s not that hard to reach the end but to have a chance later on you need to get there without the tanks coming towards you, and dozens of lorries and police cars in front and behind, knocking you into the kerbs or various holes in the road and causing damage.
Another fantastic multi-load and you need to stop the tape, press any key but do not rewind! The next section is switching to a Kung-Fu Master (see my views on that here) style side-scrolling beat ‘em up. Now this is where the challenge ramps up… As well as the colour clash, with your man changing from white to whatever garish colour the current background feature happens to be – green doors, yellow control panels, pink No Smoking signs and so on; make a feature of the colour clash and it’s not a problem anymore… They should have put that on the box with multi-load too! If you get to the end of this section halfway to your grave you’re doing pretty well. As well as regular goons, you’ve got what looks like guys in capes and fencing masks, unicyclists and runaway minecarts to deal with coming at different speeds from all sides. Real damage limitation stuff as you kick and jump and flying kick your way gradually to the left until the relief (and joy) of your next multi-load appears from nowhere!
Next we’re in an Operation Wolf (yes, you guessed it, more here!) style setting, and you’re face-to-face with the lunatic scientist in his lab! Visually this is really striking, even if you don’t really want to think too hard about what’s going on here. He’s in the middle of the screen in a kind of lab control room, surrounded by eight mechanical doors that shoot out 3D shapes (missiles, according to the depressingly slow progress bar at the side) at you. You need to move your crosshair to shoot them, which is greeted by a speech bubble full of comic-style obscenities from him, otherwise you get a “Ha” if you miss, and a big step towards your grave. This is another tough section that’s really going to put a strain on your joystick as you wrench it all over the place, especially when things get a bit frantic towards the end. Hang on for long enough, and your man lines up his crosshairs on the lunatic scientist with a “This one’s for you pal!” and he blows a whole through the glass and takes his head clean off leaving a smoking neck hole. Cool!
Make the most of this multi-load as it’s your last one – you’re now on the home stretch, flying Airwolf style in a helicopter to get a bomb from a platform out in the sea. By the way, you won’t find a link to any post on Airwolf here any time soon. You’d soon get bored of me going on about the first three screens – I might be able to beat Mega Man but I’m not that good! The first part of this is pretty simple, flying through gates and avoiding missiles, then things get a bit harder with guys on jetpacks (wait for it…) shooting at your approach to the bomb, which you’re going to bring all the way back to Omega Base as the underground lair seems to be called! This is a great looking side-scrolling section that doesn’t have that much to it but it’s really nice to control the helicopter when you’re at speed on the return leg. Or the return return leg after you re-plant the bomb and get the twist…
As you can tell, I still love this game! The variety works brilliantly, nothing is too challenging that you won’t get through it sooner rather than later, then it’s just about getting good enough at each section to set you up for finishing the next. Apart from VIC-20 text adventure Pirate Cove, I think this was one of the first games I ever finished, and as I write this almost 33 years later, it’s the last game I finished too. The best £1.99 I ever spent? Well, it’s one of the top three at least!
Based on the commercial success of the first game, Agent X did come back for more with different genres tackled in Agent X II, but it never really clicked with me. The first section was a very frustrating side-scrolling shooter that looked like Zynaps meets Jetpac (here you go!) that just went on and on for way too long. Then you had a platforming section where you had to jump about collecting codes, followed by a bonkers version of Breakout where everything moved too quick and out of control for its own good, and was more luck than judgement, though you would get lucky most of the time. It did feature one of the Spectrum 128’s most acclaimed pieces of music, so worth seeking out for that, but otherwise was a bit anticlimactic in every other respect (especially the abrupt ending). Better to stick with the original if you want a proper good time
When I started thinking about Jetpac on the VIC-20 recently, a couple of questions immediately came to mind: Where does it fit in my top VIC-20 games? And because I kind of already knew it wasn’t going to figure quite as highly as it maybe should… Where does it fit in the top VIC-20 games?
Coming back to the first question, this one is easy thanks to my big nerd list of my favourite games of all time ever.
The Perils of Willy
The Perils of Willy (read more here) will always be my favourite VIC-20 game, but this was the first time I’d thought about a top five, and genuinely didn’t know most of what was going to follow when I went through my big list looking for VIC-20 games from top to bottom. Andes Attack, Jeff Minter’s llama-focussed Defender clone, was a surprise in second place – without thinking much I actually thought I was going to see Submarine Commander there! But thinking much about it, it’s probably right in my mind. As is Omega Race in fifth place, and our subject here, Jetpac, in third. I don’t like that Pinball Wizard (read more here) isn’t there though! But taking away the all important nostalgia factor, we come to the second question – where does it fit in the top VIC-20 games?
Even through my rose-tinted spectacles, I can look at my list and say that The Perils of Willy [maybe!] isn’t the best game on the VIC-20, though I won’t hear any argument that it isn’t up there somewhere!!! But seriously, looking at my list here for the first time, extracted like this as my VIC-20 top five, the first thing that came to mind was hang on, why isn’t Jetpac in first place? Instinctively, surely there’s no better game on the platform from a technical viewpoint, or aesthetically, or in terms of gameplay or longevity? From my top five, maybe Submarine Commander is an equivalent technical marvel, but I reluctantly concede that its gameplay has a more niche appeal. Omega Race also needs to be in there as an almost flawless conversion of the incredible playable – and re-playable – twist on Asteroids arcade game. Add a few other titles I’m familiar with, and after far more personal deliberation that was probably necessary, we have this:
We’ll get into Jetpac (finally) in a minute. In second and third place, I could easily switch positions between Omega Race and another incredible arcade conversion feat in Gorf, a multi-level spin on Space Invaders that included screen effects like I’d never seen before, not to mention the biggest enemy I’d ever seen with the Flag Ship appearing every four levels! Then we have Jump Jet (read more here), which is a Harrier flight-sim that at the time I got it was surely as good as flight sims would ever get! I could argue that A.C.E. (Air Combat Emulator) – coincidentally another flight-sim – should be in this spot too, but that was even harder than this was, and its plane couldn’t take off vertically from an aircraft carrier! It never made me air-sick like its box said it might either… Then we have Pirate Cove, part of that incredibly immersive VIC-20 text-based adventure series (almost any of which could really be here instead if you prefer) by Scott Adams where you “Go North” or “Use Mongoose” (to kill a snake if I remember right)! And if I also remember right, the first game I ever finished, not long after the mongoose incident!
List complete, and there we have it. Jetpac is officially the best game ever on the VIC-20! We should find out why.
Jetpac was released by Ultimate in 1983, but I’m fairly certain I got this after Christmas in 1984; it definitely needed an 8K expansion so it wouldn’t have been much earlier than that. Without doubt it was the screenshots on an advert or review I’d seen in C&VG or Commodore User, or on the back of the box, that attracted me to it, and amazingly they were probably even VIC-20 screenshots and not, as was usually the case, nefariously hijacked from a C64 version (which in this case never actually appeared). They could have come from the Spectrum version, but any VIC owner could proudly say that even if they did, you’d struggle to tell the difference. In fact, this was especially true because the VIC-20 version had colour clash that any Spectrum owner would have been proud of!
You play as Jetman, though bit like Mario’s first appearance in Donkey Kong, I don’t remember ever knowing him as Jetman – he was just an astronaut with a jet-pack and a blaster who had crashed on a planet far, far away and had to rebuild his rocket from the bits strewn about the place then fuel it up and start making his way home. All of this happens on a single wraparound screen, with three rocket parts that had to be dropped on top of each other in order, which you’d find lying on the ground or on mid-air ledges, whilst fending off the planet’s fauna that randomly flies around the place impeding your quest. Once you’ve put the rocket back together, fuel starts dropping out of the sky, also randomly landing around the screen, together with bonus jewels and stuff, which you collect and drop onto your rocket until it’s full up. Then you walk back into the rocket, it takes off and you start collecting fuel on the next planet, which is a similar screen but with a whole new set of meanies to attend to.
The game loops around a set of four levels, after which you’ve obviously crashed again and need to rebuild the rocket from scratch, which makes for the perfect setting for the game’s score-chasing intentions. This simplicity is what makes the game great – this gameplay loop is without fault, and it sits in the company of Donkey Kong, Pac-Man, Space Invaders, etc. as timeless games that play just as well today, still offering endless challenge and replayability.
The sound is very functional and of its time, but the aforementioned graphics are absolutely outstanding, and unlike most VIC games stand up just as well today, with big bold sprites for the main character and the various enemies, and this incredible sense of scale as the rocket is put back together. And when you eventually fill it up with enough fuel, that sense of exhilaration as it takes of and exits the screen is still there today too! The planet design, in contrast, couldn’t be more basic, with three platforms suspended over blackness – there’s not even any ground at the bottom of the screen! But you won’t even notice that when you’re frantically trying to create a path through a kind of large-scale bullet-hell array of fast-paced aliens, either by shooting or dodging or sheer fluke as you panic your way around to get to a rocket part or fuel drop or tasty morsel. And I say you won’t even notice it because for all the hours I’ve spent playing this over decades, I didn’t either until just now! There’s a lovely subtle flame effect from your jet-pack, which moves as you change direction, and from the rocket too as it flies up the screen; the aliens have their own explosion animation too, and I really like that this happens when they crash into a platform as well as when you shoot them. Aside from a bit of flicker, you really have to pinch yourself and say yes, this really is happening on a VIC-20!
And all of this is why Jetpac sits at the top of the pile for the VIC-20, even if it’s not actually as good as The Perils of Willy in my opinion!
I’ve never played any of the Jetman sequels, and have steered clear of the overly restyled XBOX title Jetpac Refuelled, but did eventually play the Spectrum version of Jetpac in 2018, when the Rare Replay collection went backwards compatible on XBOX One. You’ve got more screen space to play in and it’s the same fantastic, timeless game that the VIC-20 offered, but it doesn’t seem quite as fast and frantic, so I’m sticking with the VIC as having the superior version despite only having half the levels of the Spectrum version. And saying that is even more incredible when you come back to what a technical achievement it is that it’s on there at all, when it’s not such a technical marvel on the Spectrum; and when you consider the pedigree of Ultimate’s other games on the Spectrum. Really incredible!
A few weeks ago at the time of writing, the main event of WWE’s Wrestlemania 35 was the culmination of years of nauseating, cringeworthy, revisionist history, self-congratulation about revolutionising women’s wrestling… In other words, they stopped hiring porn stars to do bra and panties matches, and instead had real-life athletes pretending to knock the crap out of each other to varying degrees of success.
Anyway, Ronda Rousey, Charlotte Flair and Becky Lynch headline the biggest event of the year, and after all the build-up and excitement, the match is decided by a botched finish. Rousey is pinned by Lynch, she clearly has her shoulders up, the ref carries on counting regardless, Lynch wins. And whilst the result was predictable, no one saw it coming like that, including, apparently, the competitors; then there’s a second of awkward silence rather than the huge desired pop that was destined to be replayed ad-infinitum from the crowd in attendance; meanwhile those watching at home are rewinding it to check that they really did just screw up the first (and last, while Vince McMahon is still alive) women’s Wrestlemania main event.
And what’s that got to do with Out Run? Well, a couple of days ago at the time of writing, after decades of playing it on all kinds of formats, I got to the end of one of its routes for the first time. On the arcade version no less, thanks to Sega Ages Out Run on Nintendo Switch. Over the past few months, I’ve come close a couple of times and knew that I knew this route well enough that it was just going to take a bit of luck to avoid more than one minor brush with danger, and I’d get there sooner or later. This run felt great, and whilst I didn’t look at the clock as I hit the final stage, I knew I just needed to take it easy, avoid traffic, and I’d do it.
Then suddenly control of the car was taken away from me and I’m seeing the end-game screen. Did I really just get to the end? Did I miss a finish line and a heart-in-mouth second of thinking I’m about to do what I started trying to do more than 30 years ago? After that momentary confusion, the elation of a moment such a long time in coming arrived and what, thinking about it later, is probably my greatest gaming achievement. My heart was racing and would be again every time I thought of what I’d done over the next few hours.
We need to go a long way back before we get to the Switch version though, via a much maligned version of Out Run on the humble ZX Spectrum! But to use another wrestling analogy, it might not be the Attitude Era, but I’ll take Macho Man versus Ricky The Dragon Steamboat every time! (And I’d take either over the bloated, politically correct, creatively bankrupt late night kids TV show we get now).
Before we get there, we need to cover the arcade game too. As usual, I’d seen it coming in Computer & Video Games magazine back in 1986, and I remember being blown away by it in the wild (in Great Yarmouth I think) despite there only being a stand-up cabinet in that seaside arcade, rather than the deluxe sit-down version that was rumoured to spin you around and shake you about.
None of that was necessary though. This was the most exotic game ever – as close as you’d get to being in Miami Vice. The palm trees in the sand and the sails in the ocean zooming by; or the feeling of freedom as the road suddenly opens up in the very first corner from three lanes to this huge, six lane highway and the speed really kicks in… That first stage, which is honestly all I ever saw of it for a very long time, with its absolutely astounding graphics flying past at such an astounding speed, was the most exhilarating feeling I’d ever had playing a game. It was pretty tough though, and clearly made to keep your coins going in – hit another car or, even worse, a lorry, and if you were lucky you were just going to take a huge hit on your speed, but otherwise the car was spinning to a stop, or if you hit a roadside obstacle, you and your girl were spectacularly somersaulting through the air together with the Ferrari. And seeing any of these scenarios meant game over sooner rather than later because a very aggressive clock was ticking down to zero on every stage.
But even back then, strip away the remarkable technical achievement that was Out Run with or without physical bells and whistles, and it was still a lot more than your run of the mill racing game. There were no other racers and there was no first place; it was just you and your Ferrari trying to impress a girl by driving as fast as possible as far as possible down one or the other route of your choosing when (if) you got to the end of each stage, towards five different end locations, with the wind in your hair and the finest soundtrack that has ever graced a video game… That soundtrack! I wonder at what point they realised that Magical Sound Shower, Passing Breeze and Splash Wave were so good that they demanded their own selection screen before you started, with radio frequencies changing as a realistically moving hand moved the dial clockwise through them.
Before I move away from the arcade version for a while, as an aside, life met art earlier this year when I was in Florida with work, playing Out Run on the Switch in a hotel on the beach that was on a road that the first stage could have easily been modelled on. And while we’re aside-ing, now I’ve gone beyond the first stage, I can say that going down the big hill in the fourth of the final stages is now what I believe to be the most exhilarating feeling I’ve ever had playing a game!
As I mentioned in my previous post on Operation Wolf, together with that and R-Type, Out Run was a game I never thought I’d see a home version of. Which might be a lot to do with why I have such fondness for a conversion that everyone else seems to think is such a stinker! Or do they? Hang on just a minute before you start scoffing, while I share some review scores from early in 1988: Your Sinclair 8/10; Sinclair User 81%; Crash 71%. Not so bad, right? And justifiably so!
As usual, the Spectrum version took a hit on colours, going for a mostly monochrome look on various boldly coloured backgrounds, but apart from that your Ferrari looked just like you wanted it to – big and convertible with your girl by your side – and everything else looked more than fine and where it should be. You had all the tracks from the arcade version (not that I ever saw two thirds of them) and on my 128K version at least, you had great versions of two of the iconic pieces of music. There was a bit of multi-load going on to do a new track, but it stayed in memory if you were doing the same route again. Again, usual compromises and more than acceptable for having a version of this unbelievable arcade game in your own home. Until Operation Wolf arrived a few months later, getting this for my birthday in May was probably my most anticipated game ever, and I remember the very moment I loaded it up with little time left to do any more than that before I left for school, still not quite believing this was possible! I didn’t even notice it wasn’t quite as fast as the arcade version!
Yes, speed, apparently, is an issue for the Spectrum version that makes it so bad it’s mentioned in the same breath as Pit Fighter (also unjustified), though I’ve just played it again and I still don’t think it’s as bad as everyone thinks it is, looking through today’s eyes, let alone those of more than thirty years ago. It’s still perfectly playable, it’s just as hard as it always was, and it feels fine – just like the review scores from the time said it was!
Now I’m going to jump forward a few decades to Sega Ages Out Run for Nintendo Switch. What on earth would 1987 me have thought about not just having the actual arcade version in my home, but having it in my hand too, should the mood take me! For less money than the Spectrum cassette was too! And not just the arcade version, but one with different coloured cars and speed, grip and damage buffs as rewards for getting to the end of four of the five routes and a true-to-life arcade experience once you’d done that and the fifth route too…
As I said earlier, I did finish the first of the five routes a few days ago with the regular red Ferrari. I was going to stop there – achievement enough and game finished as far as I was concerned – but within a day I was back in my new silver car to try out the increased grip version. Very nice and made corners so much easier. Then I decided I wanted to see every route and unlock every car. On my very next game, taking the same route to the final stage I’d memorised on my first run to the end, I got to the end of the second route. The third was fairly easy too, with only one new track to work out – my feeling is that once you’re on any of the final stages, you can just take it easy enough to avoid mistakes to reach the end. The fourth and fifth were a bit harder because you couldn’t get there by taking a left at the end of stage one, as I’d done all the time to this point, and had to go right instead onto a new set of tracks; they took me a couple more days. Definitely worth doing because the finished car with all four buffs active ends up handling a lot like the original one but a lot faster. Now I’m working my way through each of the routes on the original arcade version that finishing all five unlocked, and with the self-imposed pressure off, I couldn’t love this game any more than I do right now. Seems I’m finally quite good at it too!
Together with the aforementioned R-Type, I don’t think any game from the 80’s has stood the test of time like this has, and despite sequels and endless homages to it, has ever been or will ever be bettered for sheer exhilaration.