Assassin’s Creed: Unity

Unity takes the action to 18th Century Paris with new lead protagonist Arno. Some 50 years after the pirating events of the previous game Black Flag and around 100 years after the discovery of the Americas in Assassin’s Creed III. At this time France was in one of it’s many periods of revolutionary zeal with the demise of Louis XVI and the rise of Napoleon providing the back drop to the action this time out.

This seventh mainline entry in Ubisoft’s premier historical open-world franchise launched to a back drop of some notoriety. This was a very, very ambitious game with a new version of their Anvil game engine being shown off for the first time. Alas this ambition would prove Ubisoft’s undoing. Intel have a tick-tock policy when releasing their processors. New features on the the tick, new manufacturing techniques on the tock, never the two together. Ubisoft changing the underlying game engine and introducing new game features proving too much in one release. The PC version in particular was ridiculed at launch with pretty horrifying glitches in character rendering.

When I first played this game it was a few months after the initial launch and by then the first patches had been applied fixing the worst experiences at release. Indeed I don’t actually recall encountering anything beyond the standard Anvil game glitches every Assassin’s Creed game exhibits, and certainly remember nothing here being as game breakingly bad as what I saw in Assassin’s Creed: Revelations.

AI density and crowds are the largest, most deeply packed, of any Assassin’s Creed game and certainly nothing I’ve seen rivalled until the opening Paris level in the most recent Hitman trilogy many years later. For the first time in this type of game, and fitting for a city in the mist of a revolution, the streets actually feel alive.

Unity also improves on the Assassin’s Creed formula vertically. Buildings tower over the player and feel more realistically in proportion. This necessitates an improvement in the underlying parkour to make climbing and descending three or four stories a little more fluid than previous games blessed with a lower skyline. It does take some getting used to but ultimately works surprisingly well.

All in all Unity is a very good game that is unfortunately placed between two series highlights in Black Flag and Syndicate, and marred by launch glitches.


Hitman: World Of Assassination Trilogy

Back around 2011/2 time, just after the infamous PSN Hack, I found myself “getting back into gaming” (or should that be “getting into gaming properly for the first time”). As part of this process I re-acquired an original Microsoft XBox and very quickly, using the Splinter Cell Save File, softmodded the box with a larger hard drive and, er, suspect copies of various games.

A couple of game I hadn’t previously played would become very formative experiences in my future gaming tastes. In particular True Crimes: New York City and… Hitman 2: Silent Assassin. As as result over the past 10 years I’ve been a keen follower of this franchise and have played every outing, many more than once, and am even one of the few who thinks Absolution was a very good game.

The first part of the World of Assassination Trilogy was previously played back on the PlayStation 4. However initially the episodic release pattern didn’t gel with me, then later personal issues with online connectivity meant a sub par experience with offline gameplay and the Complete First Season release. Partly due to this, and partly because I wanted to experience the whole completed game at its very best, I ignored the second season and waited patiently for this. All three parts running together as one complete experience on the worlds current best gaming system.

Unfortunately there is no official bundle bringing the entire trilogy together in one purchase. You need to own or purchase the previous two instalments and import them into a freshly purchased third season. There is a particular order to install and setup so that when you launch the menu for the most recent version all the levels are there. Alas I couldn’t get Hitman 2 to register the fact I had a legit copy of Hitman Season 1 installed and setup. This meant having to purchase the first game yet again in the guise of an expansion pack for the second game. Thankfully at time of purchase this was available at a special Christmas discount, but still, I didn’t enjoy having to spend an addition £16 for a game I already owned and had installed.

Setup teething issues aside, the wait was more than worth it. Hitman’s unique brand of open world free form stealth gameplay remains possibly the best gaming experience available anywhere. IO Interactive have successfully taken the brilliant level designs last seen in Blood Money (the third main instalment of the first trilogy which confusingly began with Hitman 2: Silent Assassin) and paired it with the vastly improved gameplay introduced in the much derided fifth entry – Absolution.

The real genius of Hitman is very difficult to find on a first playthrough. Everything is still new, your still in a state of discovery. Learning maps, gaining experience, and unlocking options. It’s when you replay levels that everything falls into place. This is a game of endless replayability. The options on how to approach each target, the final solutions, are only limited by individual play style. Level Challenges are on hand to inspire some creative thinking on new ways to approach each level but even without them now two play throughs of any levels are ever the same.

The expansion packs are particularly satisfying in this regard. Hitman 1’s Patient Zero, Hitman 2’s Special Assignments, and Hitman 3’s Seven Deadly Sins. They send you back to familiar locations with new targets and actively encourage experimentation with different play styles.


Twelve Minutes

This is a strange game in that on the one hand it is really rather good, and yet on the other it collapses under the weight of a concept it struggles to deliver. The central premise being a who done it played out in a three room apartment using a Groundhog Day time loop to collect information required to solve the mystery. Thankfully given the narrow scope the game game is mercifully short clocking in between 5 and 10 hours.

Twelve Minutes plays out like an Amiga/16-bit era graphical adventure like those developed by Lucas Arts with you essentially moving a mouse pointer to manipulate items in the environment, your inventory and dialog menu options. Over the course of the titular 12 minutes you need to solve various puzzles by interacting with your environment and talking to other characters to gain information needed to advance the story. Fail and the loop restarts for you to attempt again hopefully using information gathered from the last playthrough to push you forward.

This works up to the point the story naturally concludes. The story centres around a man coming home from work to a surprise meal by his wife who has special news for him. Their meal is interrupted when a copy breaks down the front door and the wife’s past quickly catches up on her. As some point this (minor spoiler incoming) base story arc concludes with a satisfying reason for cops interest in the wife’s past.

This is where the game breaks down by continuing past the point. The constant repetition, the slight obtuseness of the final pieces, and the inexplicably weird left turn the story takes from this point all bring it down. I actually didn’t physically complete the this playthrough after the natural conclusion occurred. A couple of attempts to push the action along and I ended up watching the last 15 minutes of gameplay at the end of a YouTube playthrough. Alas the nature of the gameplay and story means nothing is lost in the experience by taking this approach.


Mass Effect

Mass Effect feels like strange game. It seems to spend most of its time slightly missing the mark. A lot of the game feels very similar to the New Washington level of the excellent 90’s 2D platformer Flashback with lots of running backward and forwards stacking objectives to complete a mission. At the same time the overarching RPG mechanics and storyline give a very Chrono Trigger like feel to the proceedings.

Add to that a universe traversal system not too dissimilar to something like Elite that opens up a galaxy and a number of worlds to explore. This is certainly the right way to present a mutli-world space opera and one wonders why more space games haven’t exploited this method of focusing interworld travel on the galaxy map.

So far, so good, and yet something still doesn’t sit right. And the reasons are all niggly little things that add up and detract from something that should be seen as space RPG excellence.

It starts with player models and animations feeling more original XBox than 360, which isn’t too surprising given how early in the 360 generation this game was released. This is swiftly joined by some very questionable voice acting of a script written by a collective of pre-teen Dr Who fans. It’s all somehow vapid, shallow, and predictable. So much so that it quickly made Eastenders feel like Shakespeare and I soon descended in playing missions for playing missions sake rather than wanting to progress the underlying narrative.

Which brings us to combat. Maybe I’m spoiled by modern games but this felt like an early FPS struggling to use a gamepad instead of a mouse. During fighting there didn’t seem like much agency with the character model drawn to the screen. It really may as well had not been there. And as common with many early FPS aiming and shooting lacked accuracy, descending quickly into “fire in rough direction of enemy and hope enough rounds connect”.

This culminates in the final boss battle that even on the easiest difficulty setting manages to stay the wrong side of frustrating as the enemy zips around the screen and your scatter gun pot shots barely connect with your opponents health bar.


Black And White

Argh! This game is going to be a low scorer for all the wrong reasons. You see, I like this game. I like this game a lot. It as a lot to offer. And still…

So where did it all go wrong? Well, it’s the controls. Awful. Just plan awful. To the point of being completely unplayable. The idea seemed to be take a fully open 3D world and layer on top a real-time-strategy god game controlled entirely by the mouse. Everything is based off the left/right, up/down movements of the mouse roller and the click of its two buttons. There are no other controls and everything is entirely context sensitive based on the positioning of your God Hand on the screen.

The main issue is camera and movement. Everything else would work if these were move to the keyboard, and lets face it every PC this game is playing on has a keyboard. Instead I found 90% of my game play involved correct and fighting with camera positioning. Often times finding the view either too zoomed in, or too zoomed out. Rotating the camera is an art form and movement breaks as you hit areas of mountains or open water.

Get past the controls and there is a really good, fun engaging game at the core. You can see and feel the evolution in Peter Molyneux’s career. The roots of Black and White are very much in the Amiga classis Populous series married with the humour and story telling that Fable would bring to later XBox systems.

You control the hand of God. As God you must perform miracles that will provide for your followers. The more followers you gain the greater your godly powers become, the more miracles you can perform, etc. Most of this takes place in a very real time strategy like micro management. Pick up followers and place them in locations to make them experts (forester, builder, farmer, etc). Move wood and food to locations for your followers to pick up. Create water, wood and food out of thin air using miracles.

As I say the core game as a lot to commend it and is laced with that British Humour Molyneux’s games have become known for. It’s just a shame it is all brought to its knees by a control system that is not fit for purpose.


Soul Blade

Based off Namco’s Tekken franchise and released as Soul Edge everywhere else on the planet, this is a 3D Street Fighter II like versus fighter that adds weaponry in to the fighting mix.

It’s pretty much the same as any other similar beat’em up but in this series each character has a weapon to fight with. A Sword, A Staff, An Axe, etc. Beyond that the gameplay is much as you’d expect from these types of games that haven’t changed all the way back to Way Of The Exploding Fist on the 8bit micros.

That said both the weapons and three dimensions do add to the combat experience. There’s a satisfying clink at a good defensive parry and quickly mashing the down key twice allows you to nimbly sidestep your opponent making use of the extra dimension.

These types of games really come in to their own when you have human opponents to stand up against. That said Namco have done a really good job of offering up some compelling single player options. You have your story, or Edge Master, mode. A Survival mode playing single death matches against AI opponents. And the Arcade mode that offers up the original in arcade experience of best of 3 timed matches going up in difficulty until you meat the big boss.

Graphically the game has aged pretty poorly. It is a step up from the likes or Tekken 2 and Virtua Fighter, but the PlayStation 1’s low polygon count only goes so far and these type of games do tend to come off worse for wear over time. Still, it is just as enjoyable to play today as it was back in the late 90’s. I do remember spending many hours on this game with my brother back in the day.


Hero Quest

In August 1991 Amstrad Action magazine put a demo of this game on their fifth regular covertape. While I didn’t play it much, being just a demo, there was something about the format of that game that grabbed me.

Hero Quest is a computer translation of a board game that only came out only a couple of years prior. At its heart it is a trapped back version of Dungeons and Dragons and similar choose your own adventure fantasy books which become popular during the 80’s. As in those games you choose to play as one of the classic Warrior, Sorcerer, Dwarf, or Elf and must explore a maze being the first player to complete a given objective.

The moment to moment gameplay follows the board game with the player rolling a virtual dice and moving a given number of moves around the maze. In gaming terms the result is a very stripped back and basic turn based RPG. The actual presentation is the familiar isometric 3D style made popular nearly a decade earlier on the ZX Spectrum in games like Knight Lore and Batman. The screen layout and player controls also who a debt to Populous.

Each mission is fairly short and without expansion discs number only around a dozen. However completion of later levels does require completion of earlier levels in order to ‘level up’ your character enough to completer those missions. As you explore mazes you will find equipment and potions, find gold and between missions are able to purchase better equipment to use going forward. A certain amount of replaying earlier levels and saving character profiles to a save disk is required to get to the end.

I’ve never played the board game but, much like later conversions like RISK, this does feel like it is faithful to the original source. This does create some minor problems with pace and randomness is battle results. Finding a way of managing your health is key, trying to to die while searching rooms to gain items that will help you not die. Likewise, constant dice rolling and square by square movement doesn’t exactly work playing single player.



This is among the earliest games I ever played. It was part of the Amsoft 12 pack, under the name of Roland On The Ropes, that came free with every Amstrad CPC464. A computer I got only a year after the ZX Spectrum. While the Amstrad version does make very good use of that computers superior colour palette, the two versions are as nigh on identical as two versions of the same game can be.

Back in the the late 80’s for some unfathomable reason I never really ‘got’ the maze nature of this game. Replaying properly some 30-odd years later and the riff on earlier maze games from the 70’s makes perfect sense. This is a quintessential random computer maze experience. It’s all about the presentation.

Presentation wise it has a very Indiana Jones feel and very reminiscent of Core Design’s Rick Dangerous that’ll appear on the scene some 5 years later. I do wonder, given the nature of some of the nasties, the ropes, and main character design, if Atari 2600’s Pitfall provided some inspiration for this game.

Fred, in the Spectrum version, is a very big chunky well detailed sprite. Something that immediately sets it apart from the more common smaller sprites in most spectrum games of around the time. Again the large character detail reminding me of a game like Saboteur that’d come out around a year later.

As you move around the maze you need to avoid nasties which will drain your energy. Ghosts are most common which can be shot at to encourage them to change direction. Little caterpillars crawl along floors need careful timing to jump over. And in later levels bouncing Mummies are a real treat to watch move around the maze.

On the way there’s a few collectibles to be had to boost your score but ultimately it is all about finding the rope leading to the exit somewhere at the very top of the maze.

Alas there are a couple of issues that just keeps this game from being an ideal 5-star outing. And I do think they are all things that were fixable with a bit more playtesting when the game was being written. Timing avoiding some nasties can be a little tricky and being hit stops movement while the player is red for a few seconds. Ropes can be difficult to mount and dismount and needs some unnecessary pixel perfect positioning.

The worst problem is how badly the game flickers and how slow movement is. Is the game written in BASIC? Too many sprites on screen? The Z80 not liking 2-way scrolling? Whatever the reason the slow flickering movement is almost a deal breaker.


Computer Golf

I think this could be the very first ever video game of Golf. I could be wrong but I do struggle to find details of anything that predates this. The other major contender being the Atari 2600 version of the same game. From what I can make out the G7000 does predate the Atari version but there’s a lot of very obvious similarities between the two games and honestly the copying of ideas usually went in the other direction.

You play an overgrown stick figure with what appears to be a sizeable penis extension in place of a golf club. You guide this, er, big man around a very miniature 9 holes of pitch ‘n’ put. It is supposed be a very basic par 3 affair for each hole. A round of 27 which I completed in, well, erm, 44.

You guide your man around the course so his, er, ‘club’ is touching the ball at the right angle for the shot you wish to make. Then hold fire to set up the strength of the back swing and away you go. Hopefully avoiding the two of three trees laying around for hazards.

Trees are a bit of a bug bear for this game. Getting entangled with one cause your stick guy to throw several fits until the ball is finally moved to a save position for the next shot. Thankfully tangling with the trees doesn’t effect your play count, just slows you down.

All in all, especially for the time (circa 1980), this plays a fairly competent and enjoyable round of Golf.


Middle-Earth: Shadow Of Mordor

A fairly epic fully open world tie in set in Peter Jackson’s Lord Of The Rings universe somewhere between the events in The Hobbit and The Lord Of The Rings trilogy themselves. You play a newly dead Ranger possessed by the infamous creator of the Rings Of Power, Celebrimbor. You are tasked with hunting down the top chiefs in the Dark Lord’s army in order to extract vengeance for the murder of your loved ones. In doing so you also complete Celebrimbor’s objective of preventing Sauron from being able to take physical form.

Gameplay is straight out of the Assassin’s Creed playbook complete with view towers that lift back the fog of war and shows you nearby side quests and collectables. The actual game map though is more expansive than a regular Assassin’s Creed city taking on the landscape of Mordor itself. It fills much closer to the open world Egypt of Assassin’s Creed Origins in this regard. On the combat front the game lifts pretty directly from Warner Bros Gotham franchise. The overall end result is a pretty tight game that offers a better Assassin’s Creed experience than anything Ubisoft have delivered since Syndicate. Certainly better than Valhalla or Watch Dogs: Legion and as an overall experience on par with the first Watch Dogs.

Shadow of Mordor is very much a game of two halves. The first part of the game is fairly restrained and feels like an overly long tutorial as you grind your character levelling and get introduced slowly to various game mechanics. The second half switches scenes to a more Uncharted feeling platform greenery domain and with it a switch in focus to a much more Assassin’s Creed stealth style gameplay. Overall you are left with a feeling that the second half the game could have been easily extended by a few hours and introduced much, much sooner.

While it does play a part during the first act, the games unique foe system really comes in to its own during the more stealthy second part with you slowly taking control of the five war chiefs. The Nemesis system, as it is known, allows NPC’s to have a life outside your direct interactions. As such they grow in stature when they beat you on the battlefield and remember you when you next meet them in the game world. The idea is you have a unique foe who you struggle to dispatch and end up having a personal beef with, adding to the satisfaction when you finally pick off that one difficult opponent.

Overall Middle-Earth is a well polished game that is fun to play in a way Assassin’s Creed have long forgotten with a single play story that fits the game between the two Tolkien franchises very well indeed.


Assassin’s Creed

I’ve played this game far too many times in recent years. Mostly because it is one of two games that reignited the flame for this past time. It was the PSN hack of 2011 that brought this to my attention. Everyone got a free months membership to the premium PS Plus service. At the time there was a selection of games available for a 1 hours free trial, this game among them. The rest is history.

The game itself is far, far, from perfect but it gets the core ideas out their and sets the foundations for what has become one of games best and most important open world franchises.

Originally developed as an entry in the then popular and well established Prince of Persia franchise, the story uses advances in DNA technology to unlock ancestral memories allowing the player to replay events of the past. This game is set during the time of King Richard’s Crusades and sets of a continuing feud between Assassin’s and Templar’s over control of the Holy Lands.

You play as part of the Assassin’s clan, hence the game title, and after an initial disgrace are given nine targets in three middle east cities to dispatch. It is played in the third person and relies heavily on the parkour mechanics originated in the previous Prince of Persia games. The focus is very similar to the earlier PlayStation 1 classic Tenchu: Stealth Assassin’s with the player blending in to the environment and aiming for a more stealthy style of gameplay.

This is were the first criticism comes in. Despite the words of the creed being rammed down the players throat the game actually doesn’t want you to play with any kind of stealth and actively goes out of its way to force combat. This becomes more and more noticeable during later stages as city guards are happy to pounce on you for merely breathing the same virtual air as them.

The real set pieces are the nine assassinations but you as a player a funnelled through a set piece sequence and not given as much freedom or imagination in completing your task as future games will offer. Again mostly these set pieces involve a somewhat less than stealthy conclusion.

Outside the main assassination sequences you have three fair sized (almost) fully open-world free roam medieval cities to explore. The cities themselves do very little to distinguish themselves from one another though and the whole experience does feel very same-y. During these moments you are supposed to be gaining clues from the natives as the location and motives of your target. This is a really great idea but unfortunately it comes of very cut n paste here. You have nine missions that ultimately all play out in the very same way. Alas once you’ve done a couple of missions you have seen everything the game as to offer.

Despite its short coming it is still a fun game and one I can still happily replay mostly because the setting and core ideas are there.


Call To Power II

The Civilization games have been a personal favourite since their inception on the Amiga back at the start of the 90’s. They pretty much invented the modern 4X strategy format that puts a heavy emphasis on exploration. You control a fledgling civilization born at the dawn of time and over a few hundred turns must guide them to world domination some 4-5,000 years in the future.

At some point between Civilization II and the release of Civilization III in 2002 the rights to the franchise some how split in a very James Bond “Never Say Never Again” way and Activision published two of the best games in the franchises history. The first Call To Power came in 1999 and was quickly followed by Call To Power II that legally had to drop the Civilization moniker.

Call To Power brings a few improvements over the then aging Civilization II and it would have been really nice to have seen this rival franchise develop further in competition with the primary Feraxis brand.

The two biggest features that really improve the overall moment to moment gameplay are the ability to combine multiple military units in to armies and the option to assign build queues to cities. You can even create custom queues that can be assigned to each city as required. Mayors are also an option in automating the assignment of the build queue and prioritising civic works but although I set Mayors for each city I did find myself resorting to micro-managing unit building, especially in times of war.

Call To Power II is not the perfect Civ game but it did make giant leaps in the right direction that I’m not sure Civ III, when it finally arrived, fully expanded upon. There are things missing that latter Civ games got right. Religion is one the things Civ IV brought to the field that really opened the dynamics of the basic 4X gameplay. Likewise connected empire bonuses and culture/religion flipping boarder cities. Add these features with hexagonal unit spaces to CTPII and I think there is the makings of the perfect Civilization experience.


Oddworld: Abe’s Oddysee

This is a 5/5 game, it’s clearly a 5/5 game, it’s always been a 5/5 game. But, cut to the punch, I can’t in all honesty award it more than 4/5.

Abe’s Oddysee is one of the quintessential PlatyStation 1 games. It was one of the very first games acquired for the system way back in ‘the day’. I’ve played this many times over the years. Always one of the first games to be installed in any emulation. And this is the reason for its demotion into the 4/5 realms. At the end of Paramania there’s a level were you need to out run a nest of Paramites. At the start there’s some alternate platforms to wander and preview the layout of the obstacle course, but even with modern emulation cheats the course is impossible, I just can’t do it!

For those not in the know Abe is somewhat traditional 2D puzzle platformer. In style it feels very much the spiritual successor to the Amiga classic Flashback: Quest For Identity. You play loveable alien Abe who is a worker in a meat factory. It appears fellow members of his species are the latest product for canning. You guide Abe through a series of platform puzzles designed to take him on an adventure to free his species and bring down the evil mega corp.

At a time of the industry moving to and experimenting with 3D, a 2D platformer was a relatively brave thing to attempt. It pays off because Abe really does stand out visually among the pantheon of PS1 titles. The sprites, colours and animations the new generation of consoles could handle over the previous SNES and MegaDrive’s are really put to good use. There’s a very fluid feel to the animation that is extremely reminiscent of Flashbacks rotoscoping technique.

All in all a PS1 must play that only misses out on top marks thanks to an insane level of difficulty later on that even snapshotting in modern emulators cannot overcome.



There are few games that represent the 16-bit era as well as Lemmings. It did make a few ports over to the more popular, older, 8-bit machines, and on to games consoles of the time, but It never really translated well to keyboards, gamepads and joysticks. This is a game built for a mouse at a time when the mouse was new.

At its heart it is a fairly straight forward puzzle game. A number of rodents will appear through an entrance on one side of the screen and you need to guide them to safety through the exit on the other side of the screen. Simple enough. However these are Lemmings and any hazards between entrance and exists won’t be avoided. These critters will happily march to their death.

To avoid this you, the player, have the power to upgrade any Lemming in to a super-Lemming with a special ability. It’s the use of these special abilities that allow you to guide the little fellows away from danger and herd them to the exit. Lemmings are upgraded by selecting the required power from the menu at the bottom of the screen and then clicking on the Lemming needed to perform this task.

Improvements include climbing obsticles, parachuting (with an umbrella), bashing through rocks, digging out the ground and just stopping other Lemmings from going were they are not wanted.

There are around 100 levels in the original game at various difficulty from really easy dig a whole to highly frustrating falling to their death immediately out of the entrance, and everything in between. All levels are really well designed and the puzzles leave the player with that all important ‘one more try’ feeling as you spend most of your time learning from your failures.

As I said in the opening paragraph, this games was made for the mouse. It’s hard to think of another game that really thought about its design language and gameplay loop so well and married perfectly to a new input method. Much like Solitaire being given away by Microsoft with every copy of Windows 95.


Atic Atac

Back in the late 1980’s I only had a ZX Spectrum for a year. Even then it was only the 16K model and I only remember two main games from the time. All my ZX Spectrum experience either comes from ports for the Amstrad CPC or games I’ve found in the years since using emulation.

Atic Atac is one of the later. As far as I know this was a Speccy exclusive and never found its way to the Amstrad micros. Shame as this is easily the Stamper brothers finest moment. In the early 80’s the Stampers, through their company Ultimate Play The Game, dominated the ZX Spectrum gaming market thanks to a production quality their competitors struggled to rival.

Atic Atac offers a psuedo-3D top-down view of the action. The heart of the game is a very standard for the time maze affair. Though it is a pretty big maze set in the environs of a fairly large mansion. The maze is traversed in a typical for the era flip screen approach walking through doors to flip the action to the next room.

The object of the game is to open the main door in the lobby where you actually begin the game. You do this my finding the three parts of the main door key that spell out ACG (Ashby Computer Graphics – another company name used by the Stampers). This is made harder by random monsters appearing to drain your energy which can be fended off by pressing the fire button.

As you travel around some doorways will be blocked and can only be passed if you are holding the appropriate colour key. Adding to your difficulties is the fact you can only carry three objects at a time. So there’s an element of going back and forth, finding what you’re looking for, dropping main key parts in the opening lobby, while fending on energy sucking nasties.

Your energy also depletes while you move, but thankfully there’s plenty of food to pick up as you travel around, and three lives if you need then (hint: you will).

The only real negative I found in playing this game was the controls. Remember this game was made for a computer with rubber keys, that most would not have added a joystick to, by a company that had just recently released the brilliant Jetpac with very userfriendly keyboard perfect controls. In this game they choose to line up the movement and fire in one line – Q,W,E,R,T. Not even the horrid Speccy standard of cursor control on the number keys. Trying to get used to moving up and down in that layout is a right mindbender. Literally a game breaker. If we review the game from here, as we probably should, it falls from grace down to a 2/5 experience.

However, I can’t do that. Plug in a Kempston compatible joystick (not really that uncommon for the time) and this game easily becomes one of, if not the, best gaming experience on the Spectrum. Later Ultimate games have better looking 3D (like Knightlore) but honestly randomness hinders those games where they enhance this one.



This is easily one of my favourite games from the earliest main era of video gaming. The late-70s arcade period supported by very basic home consoles like the Videopac, VCS, and Channel F but before games like Space Invaders, Pacman and Donkey Kong lifted the Atari machine above its rivals.

The game is very simple, as they all where, and very Pong-esque. You play one of two wild west gunfighters and must simply be quicker on the draw than your rival. Known as Boot Hill in the arcades, you must guide your cowboy around the screen and quickly press the fire button when you think you’ve lines up the perfect shot on your opponent. First to 10 wins.

One nice feature of the Videopac version is the choice of opponents. The default is a straight two play match against a friend, one on each joystick. However without a friend you can use either joystick to play and the Videopac will detect the other joystick is not being used automatically and take over control of the rival gunslinger, giving you a single player computer controlled opponent.

More interestingly, start the game without touching either joystick and the Videopac will play against itself!


Alien: Isolation

There seems to be some unwritten law that when I review a First Person game I have to mention how much I generally dislike the view point and how rare it is for me to play such a title. I then go on to explain how this game is an exception to the rule and a welcome surprise.

Alien: Isolation is one of those games. And a very welcome surprise it was too. The draw is obviously the Alien franchise and the love of the first two Sigourney Weaver movies. I’m pleased to say Creative Assembly, the makers of this masterpiece, have treated this source material with nothing but the upmost respect.

The game is set upon a space station that has come in to possession of the flight recorder for Ripley’s ill-fated ship from the first movie. You play Riply’s daughter, Amanda, in search of answers to what happened to mum. You arrive on the space station only to discover a world in disarray and the possibility that more than the flight recorder has survived the Nostromo.

In moment to moment gameplay it is very, very reminiscent of Dead Space just with an Alien franchise skin applied and a switch in perspective. This of course is no bad thing.

The primary gameloop is built around stealth and crafting. Getting in to any kind of fight and/or running out of essential supplies is often very, very deadly. Each level gives you a series of puzzles to complete while you desperately avoid just about every other inhabitant of Sevastapol Station.


Lego Star Wars II: A New Hope

Traveller’s Tales Star Wars Lego games are a compilation of smaller mini games, much like the Die Hard Trilogy on the PlayStation 1. Each mini game focusing on the events of its respective film. The first Lego Star Wars collection, on the original XBox and PlayStation 2, focused on the newer prequel trilogy of films. This sequel is based around George Lucus’s classic trilogy from the late 70’s and early 80’s.

There’s something very endearing about Travelers Tales Lego games. Over the years I’ve seen it in their Batman Series, Star War Series, City Undercover, and Marvel Superheroes. In every case they manage to pull off the seeming impossible by remaining true to the source material, true to the foundations of Lego as a brand, and had a spice of knowing humour with references to keep Dad happy while also keeping Junior amused.

This section perfectly recreates the plot of the 1977 original movie over 6 entertaining chapters. Gameplay is very much a modern wide-linear third person action adventure variety with you guiding various lead characters through key sequences lifted directly from the movie. For those of use knowing some of the dialog almost word for word it’s particularly fun seeing the Lego miniatures act out many of our favourite scenes. Nothings is lost in translation and in some ways successfully builds upon the original source.

While one or two puzzles left me head scratching for a moment or three, for the most part the difficulty is kept relatively low so even your average 5 or 6 year old could pick up a controller and not get overly frustrated over progressing through the action. That said these games are very much designed for co-operative multiplayer. Plug in two controllers and suddenly the game really opens up. A real father-son bonding experience.

Even so, if you’re in your mid-40s and going in for some solo gameplay there is still plenty of value to gain from the experience offered here.



Believe it or not I’d never heard of the board game RISK until I was in my early 20’s. My sister’s boyfriend of the time introduced it to us and I very quickly become addicted to it. In some ways it is a highly simplified version of Warhammer which I was vaguely aware of at the time (and still have never tried playing).

The board game offers up a simplified map of the globe for up to 6 players to battle it out. Each player controls an army and is given a mission card with an objective to complete to win the game. Examples include “Capture Africa and North America” or “Eliminate The Green Player”.

RISK II is Deep Red Games second recreation of this board game for home computers. The first game came out in 1996 with this version arriving four years later in March 2000. Out of the box it offers a very faithful and highly playable recreation of the original board game. The first noticeable bonus of computerisation comes from a worthy roster of A.I. players. Since gathering six humans for a good game has always been a challenge it’s really nice to be able to enjoy a single player match against good computer opponents or mixing some AI unpredictability for a smaller number of human opponents.

But RISK II doesn’t stop there. They actually attempted, and succeeded, to improve upon the original. As well as the classic board game there is now a “Same Time” version of the game that allows players to issue their orders simultaneously (for networked and/or AI players). This is designed to get rid of the slow pace nature of turn base gameplay and reduce the wait between play.

The other addition allows for some optional rule changes including adding some additional countries/connections to reduce the isolation of Australia and South America in particular. There’s also options for auto allocating territories at start and playing capture the capital or domination games instead of using the traditional mission cards. There are also options to alter how the reinforcements are allocated.

All in all Deep Red did a fantastic job of expanding the basic board game and providing a good amount of variety and longevity. And this is all topped by the piece de resistance – Tournament Mode. For single players there’s a 16 level ladder to complete that pits you against ever increasing difficulty in AI opponents. Each level offers a different challenge and regular mix up of the various rules and options available.



The mid-90’s was an interesting time for the video gaming industry, and a particularly difficult time for games creators. Technology had reached the point to allow the shift away from 2D animations that had been the foundation of all video games since their inception just 20-years earlier, to a more realistic 3D art style. The problem is nobody really knew what this meant and how to create game in three dimensions. The software developers where discovering and designing the rule book for the games we’d be playing for the next 20-years.

Platform games in particular struggled with this transition. By the end of the 80’s they had become probably the primary and most popular genre of video games. Mostly due to the phenomenal success of Nintendo’s Super Mario Bros, released in 1985, which all but wrote the rule book for this particular genre.

There’d be several attempts at making this transition from the first person Jumpin’ Flash!, to the fully 3D Crash Bandicoot and a number of, what we call today, 2.5D (halfway between 2D and 3D) including both Abe’s Oddysee and Pandemonium! before Nintendo once again wrote the rule book for 3D platformers with Mario 3D and then the world slowly come to the realisation that 2D is best for this genre and 2.5D is the compromise.

Pandemonium’s take on 2.5D Platforming is to fully build everything is lifelike 3D but restrict the player movement to standard 2D left-right and fixing the camera to the side of the player. This exposes the biggest issue with 2.5D games and that’s camera positioning. Abe’s Oddysee solves this but going for a single screen flip-book affair similar to 2D platformers prior to Super Mario.

Pandemonium attempts to completely recreate the side scrolling Super Mario experience in 3D and camera positioning is vital for this to work. The main issue, which Pandemonium does succumb to, is the player not seeing enough of what is to come to give them suitable time to react. Instead relying on the old, old, Platforming trope of player repetition to learn that “when I turn this corner there’d be an enemy/jump/gap/etc”.

There’s also the issue of how the camera follows the player and moves around the course. Pandemonium went for something a little rigid to the course flows through the camera rather than the camera flowing around the course. This creates instances were pushing right on the controller moves your player away or left as the character follows the flow of the course. Controller Right in this instance being used to “move forward” rather than “move in direction”.

Thankfully Pandemonium manages to transcend the issues it faces from its embryonic move into the 3D play space. The core game is a fairly competent if somewhat average run’n’jump sidescroll platformer in the vain of Castle Of Illusion, Rayman, or Cool Spot. However its saving grace is an art style reminiscent of those older 2D games that fully suits the limitations of the 3D hardware of the time. In a word its about presentation.

Pandemonium nails presentation and gameplay. Because of this it’s very easy to forgive the restrictions imposed by the camera positioning.


Star Trek

The best way to describe this highly rated (both at the time and today) Amiga game by German Star Trek aficionado Tobias Richter is “Elite with a Star Trek skin”. This is a freeware public domain game released for the Amiga around mid-late 1989. The programmer, TJ Richter, was already highly regarded for making Star Trek related demos and animations when this game was released. He has since gone on to become a well regarded CGI artist and has done much work in the Trek universe.

The game itself is a pure openworld (universe) sandbox affair. You are placed in the role of Captain James T Kirk aboard the original NCC-1701 USS Enterprise. As you fly around the galaxy Starfleet HQ will check in and present you with missions to complete. Very elite like. Go here, pick up that, delivery it there. Along the way you’ll pretty randomly bump into other starships, enemies (both Klingon and Romulan), and other hazards like meteor storms and magnetic clouds.

The game is played via a GUI representation of the original enterprise bridge with you in the captains chair. You lease with AI in the various tradition bridge crew roles to manage your ship and complete your missions. Get the missions from the Comms officer, Tell the Navigator to fly to location, Instruct the Helmsmen in removing impeding obsticles, etc.

Given its source material, when it was released, its freeware nature, and sandbox experience it is a really good quality, polished experience that comes highly recommended to any Amiga and/or Star Trek fans. And certainly this was the view of popular publications of the time.

However the lens of history is a little more critical. Alas missions from Starfleet HQ come thick and fast with little breath taken to engage in one task before another three are queued up. Random encounters happen a little too often. Most annoying being fellow UFP starships just there for a fly by that is cool once but distracting for the fifth time en route to location 1. Likewise helms controls can be a bit finicky needing you to click on three different screen locations to fire off one shot to an encroaching asteroid of Romulan cruiser.

Still for small blasts the subject matter, sandbox, and presentational polish all shine through enough to make this a recommended Amiga experience.


Manic Miner

This game was released in 1983. A time before game saves. You had lives. Run out of them and it’s game over – back to the very beginning to try again. How anyone ever completed all 20 levels of this game prior to the emergence of emulators on more modern hardware in the mid-90’s I’d never know. Maybe a cheat device like Romantic Robot’s Multiface to hack in infinite lives? Without that I’m sure it’s impossible, at least not without going completely insane. You see having three lives and dying on level 8 meant working flawlessly through the previous 7 levels //again// before having your next shot and working out how to beat that difficult level you’ve just encountered. Even with modern emulators allowing me to save state and instant reload at the start of the current level I bowed out at level 8 (Miner Willy Meets The Kong Beast).

You might reflect on all that and consider this all a bad thing and feel negatively about the game, and yet somehow its not. Maybe because this was fairly unique for its time. It’s loosely based on the Atari 2600 game Miner 2049er and similar early platforming experience like Donkey Kong (the head nod being giving by the aforementioned level 8). Maybe it was the number of levels, having gone from just 4 in Donkey Kong to 10 in Miner 2049er to 20 in Manic Miner. Or maybe it’s just the addictive fairness offered by the ‘just one more go’ mentality of Matthew Smith’s fiendish level designs. The game is difficult, but it’s fun.

Each level plays out the same way, jump between platforms and collect the flashing keys to open the door and exit while avoiding just about everything else on the screen which will kill you and remove a life. With only 3 lives on offer for the whole game and plenty of pixel perfect timing to be had there’s a lot of practice needed to get even close to the half way point.

Really this game gets its much deserved reputation for a combination of era timing and presentation. A couple of years later and the graphics would be considered dated and the difficulty too hard and this game would be in the garbage pile of history. Thankfully this game along at just the right moment in time. Along with Jetpac and Attic Attac, Manic Miner makes up a trilogy of top class, unique, arcade games brought to the ZX Spectrum for the Christmas of 1983 and ushered in a new era in video gaming far removed from the basic offerings of previous systems like the Atari 2600 of VIC-20.



One of three games included on the pack-in cartridge given away with every Videopac console purchased. This game simulates, or tries to, the excitement of some fast paced Formula One action.

You take you red car, at the bottom of the screen, and tear along the track at blistering speeds for two minutes. Your objective simply to avoid collisions and successfully overtake all computer drivers for two long minutes.

The issue with Race is really down to its pure simplicity. You’re simply dodging left and right for two minutes and on Level 1 you get to know exactly how long those two minutes really are since the pattern of the oncoming cars is incredibly easy to manage and the fastest speed it fairly pedestrian.

On Level 2 there is a bit more of a challenge since you can travel a bit faster and so the timing of the pattern becomes ever so slightly harder to navigate. Scoring is simply a case of amount of time you’ve not collided with another car. That said scoring does increase faster at high speeds so for the best scores a flawless run at Level 2 is needed at breakneck speed.

It’s a fun enough game given the era and the fact there are two other games on the cartridge as well. But even so it is all just a little too basic and lacks any real long term appeal.



This is the forth variation of the classic Pong game offered by the General Instruments widely used Pong-On-A-Chip. While the chip itself officially supports 6 games (technically 7, 2 being light gun games), most Pong clones based of these chips, indeed most Pong clones, only offered these standard four game – Tennis, Soccer, Squash, and Practice.

Practice is essentially a single player version of Squash, and the only single player game on these systems. It’s function is, exactly as it says on the tin, to allow the player to practice their volleys ready for two player challenges in one of the other three games. As in Squash the ball bounces off a now solid left hand wall and your goal is simply to return the volley 15 consecutive time.

You score for every volley you return and your score is reset when you miss a volley. Miss a total of 15 volleys and it’s game over.

As expected Practice is a mostly unexciting game but it does happily offer enough to get your eye in when friends are not abundant for a real match.


Assassin’s Creed: Valhalla

After the one set in ancient Egypt (Origins) I’d kind of reached the end of my passion for UbiSoft’s premier openworld series. While I enjoyed the game the direction had moved far from it’s peeks with Brotherhood and Syndicate. The developers had chosen a move away from the stealth mission assassination gameplay and focused more in to the sprawling openworld RPG arena not a million miles away from games like The Witcher 3 or Horizon: Zero Dawn.

Much like Watchdogs: Legion it was easily the setting that drew me back. But also much like Wachdogs, as a life long resident of the areas depicted, the setting was also a bit of let down. There’s a certain amount that can be forgiven taking into account known geographical changes since the time the game is set, such as the Norfolk Broads being built in the 1800’s and drastically reshaping the landscape. But then you get things like no real feel for being in the Peak District and the Pennines. And Essex felt much hillier than I recall from living there and Maldon finding its way closer to modern day Southend.

Still there were plenty of nice touches that made it very easy to overlook and forgive and topological anomalies found. Things like jump off a synchronisation point in Essex and bumping into a local Braintree based band with a pretty funny reference to one of their more well known songs. Or seeing some possible ancient beginnings to a certain festival just south of Stonehenge.

Valhalla is a huge, huge game. Easily the longest game I’ve played to date. Most modern ‘AAA’ games tend to take me around a month to play. Just over two months later and I get to what appears to be the end of the main story missions. It all happens in such a damp squib way that if there is more then I was just happy to leave here because the game had long outstayed its welcome.

Not that the main gameplay isn’t fun. The game is very similar to Red Dead Redemption 2 and Ghost Of Tsushima in it’s moment to moment action but Ubisoft really have mastered the art of giving these games a deep breadth of activity and making encounters seem fresh and different which Tsushima in particular struggled with.

Ultimately though it’s the focus on RPG progression and the endless side objectives that brings the game to its knees. Most of the time to properly progress your characters skill level needs to be within the vicinity of the recommended level for the area or task you are heading in to. This puts a big focus on constantly levelling up and that means busy work. By the end of the game my characters level was around 260 and the game was asking for a level of 340.

Thankfully the story missions rarely needed close matches so completing that part of the game was easy but I certainly never completed all the members of The Order or got close to “The Father”. But I suppose that just gives me somewhere to start up from again when I next come round to playing this one.