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This one was quite hard to place. It’s almost certainly the slimmest game in this entire chart, offering just five stages of perhaps the simplest sport in existence without even the superficial novelty of different opponents.
On the other hand, if you’re going to execute something as exquisitely as this, how much does that matter?
60. PANG Arcade: 1989, Mitchell Corporation Spectrum: 1990, Ocean
Look, nobody’s more surprised than me.
I was expecting this to be challenging for the top 10. The triumphant Arkanoid-style updated return to the Speccy of the arcade game that started out years earlier as Bubble Buster/Cannon Ball has it all – the graphics, the music, all the levels, even a decent splash of colour.
80. CRYSTAL CASTLES Arcade: 1983, Atari Spectrum: 1986, US Gold
On first glance, Crystal Castles looks like an awfully big ask for the Spectrum.
A fast-moving, colourful, trackball-controlled game in a diagonal 3D perspective looks like an obviously impossible feat, so when you see what a mostly-fine job Andromeda Software made of it, it just makes it more annoying that the ship was substantially spoiled for a ha’porth of tar, in the shape of the almost total absence of sound.
Recently, just for fun and to pass the time now that I’ve retired from political journalism, I thought I’d compile a totally definitive list of the 100 best arcade conversions (both official and unofficial) on the ZX Spectrum, to mark 30 years since the original Your Sinclair All-Time Top 100, also compiled and written by me, was published in 1991.
(Phew, made it with eight hours of 2021 to spare.)
There’s a whole torrid story attached to the undertaking, but meh, some other time. Here’s the entirety of the chart in one place. It takes about a thousand years to load as a single page because YouTube is such a big whiny baby, so I’ve split it into five.
Super-veteran readers may recall the story of Scorpion Software, the amateur games development collective I formed with a pal in the early 1980s to create largely rubbish games mostly written in BASIC for the ZX Spectrum and the Dragon 32.
If you read the 2008 retrospective linked in that paragraph, you’ll note that it offers a bit of constructive self-critique on some of the games we produced, and the other day I accidentally stumbled into following my own advice.
My Retropie setup is my favourite physical thing I’ve ever owned. For a total cost of about £300 (the Retropie box itself, plus a monitor and a double arcade joystick), I have instant access to just about the entire history of videogaming up to and including the original Playstation (plus some later stuff too, like the Nintendo DS).
But the physicality of it makes a huge difference. It’s hard to overstate what a complete revelation switching the Pi from a little box under my living-room TV controlled with Playstation joypads to a stand-up machine with proper joysticks was. It changed from something that was nice to have a little play on once in a while to something I use for pleasure every single day.
Ashby Computers & Graphics Ltd, better known under their trading name of Ultimate Play The Game, were the most reclusive and secretive videogame developers of the 8-bit era. Almost never doing interviews and giving very little away when they did, they preferred to let their stream of smash-hit games do most of the talking for them. The anti-Bitmap Brothers, if you will.
The games themselves were just as enigmatic, never really explaining your goal or even how to play. You'd be told the control keys, given a bit of cryptically florid plot waffle and left to get on with it.
But even now, 37 years after the last new Ultimate release, remarkably little is known about how they managed to arrive full-fledged on the scene, already making games that most other releases of the time paled and quailed beside.
And as I'd given myself the week off writing about politics and there wasn't a poker game on, I decided to spend last night having a bit of a dig.
Galaxy Wars, released by Universal in 1979, is one of the first wave of "proper" arcade videogames (defined here as coded on ROM chips rather than being semi-mechanical or solid-state like Pong).
Running on a hacked Space Invaders board (as most of the first wave did), it actually bears a lot of similarities to Taito's 1978 blockbuster. It's got UFOs running across the top of the screen, above a field of asteroids which move one way across the screen, then drop down a level when they reach the edge and start moving back across in the opposite direction.
The screen was a monochrome reflector – sometimes supplemented by sheets of coloured cellophane to mimic a colour display – and all the sound effects are ripped straight from Invaders.
It was a pretty dull game, and other than an inexplicable Japan-only SNES port in 1995 (which seems to have been the only ever licenced home version on any format) it made very little impact on posterity.
Until this week, when it suddenly threatened to become mildly interesting.
I came by a little snippet of games-magazine history this week – via an unlikely route that needn't concern us here – and I just thought I'd share it for the historical record.
Atari ST Review was a magazine published by EMAP in 1992 and 1993, when after just 12 issues it was suddenly sold to Europress, leading to this editorial column in a suspiciously large typeface:
But alert readers might have noticed (from the slightly off alignment of the red border) that the column actually took the form of a hastily-applied sticker. Because that wasn't the editor's original leader.
So, yeah. It was on this day in 1991 that the first ever proper issue of Amiga Power (A Magazine With Tatty Shoes, or something) hit Britons’ newsagents’ shelves.
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And while vast numbers of old games magazines are now available to read as lovely friendly PDFs or similar that you can load up onto your computer or electro-tablet and flick through page by page in a gratifying manner, AP inexplicably isn’t.
"If you've got the crowd behind you, you're probably facing the wrong way."
- S. Munnery
Reality
"Existence is random. Has no pattern save what we imagine after staring at it for too long. No meaning save what we choose to impose. This rudderless world is not shaped by vague metaphysical forces. It is not God who kills the children, not Fate that butchers them or Destiny that feeds them to the dogs. It's us. Only us."
