Recent Atari 8-Bit Ports

In the early 1980s, Atari’s 8-bit computers were an extremely popular gaming platform. Every important game of that time (as well as most of the unimportant ones) had its Atari 400/800 version. However, that changed dramatically sometime around the middle of the decade. Suddenly the 8-bit Atari lost its appeal for the nascent gaming industry.

There were several reasons: the success of the Commodore 64, shift of Atari’s focus to the 16-bit ST line, and the popularity of the Sinclair ZX Spectrum in the United Kingdom, Europe’s biggest gaming market at the time. Because of this all, even though the 8-bit market still had some 5-8 successful years to live, some of the biggest 8-bit hits never made it to the 8-bit Atari.

It’s because BBC Micro and Atari have the same processor and the Micro version uses a graphics mode that is very similar to an Atari one.

But times they are a changin’! About twenty years later (i.e., recently), many classics are getting ported, faithfully and enthusiastically, by the community. Now even Atari users can enjoy games that the industry didn’t bother converting back then because the 8-bit Atari was considered a dead horse. Today we’ll have a look at five of them.


Lunar Jetman Screenshot

Lunar Jetman is a shooter originally released by the legendary Ultimate Play the Game for the Spectrum and BBC Micro. It’s a sequel to Jetpac, Ultimate’s previous game in which Jetman has to rebuild his rocket. This time, his mission is to find and destroy evil ETs’ bases on the Moon, and apart from his trusty jet pack, he has a moon buggy – called Hyperglide Moon Rover in the game’s manual – on which he can transport equipment for bridging craters and additional weapons.

Fandal, who ported the game, chose the BBC Micro version as the source for the port. It’s because BBC Micro and Atari have the same processor and the Micro version uses a graphics mode that is very similar to an Atari one. The Atari version of the game was then included in the disk magazine Flop in 2014.


Pentagram Screenshot

Pentagram is another game originally published by Ultimate Play the Game for the Speccy, in 1986. It’s a part of the legendary Sabreman action adventure game series. The game is based on Ultimate’s revolutionary Filmation isometric engine. Sabreman’s goal is to recover the fabled Pentagram, a potent magical artifact. He’s trying to do that in a maze full of enemies and objects with which he can interact.

The Atari 8-bit version was coded by Mariuszw in 2016. To port the game, Mariuszw created a special recompiler that takes the original code for the Z80 processor and translates it to its equivalent for the 6502, which is the heart of the Atari machine. The 320×200 resolution used in the the game is only monochromatic, but more colors can be added through a clever use of hardware sprites, called PMG (Player-Missile Graphics) on the Atari. José Pereira took care of this part of the graphics, and Miker did the music.


E-Type Screenshot

E-Type is a car racing game in the vein of Out Run, originally released in 1989 for the British computers BBC Micro, Acorn Electron, and Acorn Archimedes, written by Gordon J. Key. You try to go as far as possible in your Jaguar E-Type, avoiding such obstacles as mail boxes, roadworks, or oil on the road. When you hit something, you and your gorgeous blonde passenger (because all your passengers in all car racing games seem to be blonde bombshells) are knocked off your seats. If you give a ride to the policemen on the road (or run over them, depending on how you interpret the necessity to hit them with the car), you receive a time bonus.

The Atari port was realized by Fandal, with Irgendwer doing the graphics. As an extra, the Atari version received an additional first-person mode in which you are put into the car’s cockpit instead of just watching the vehicle on the screen.

E-Type stands out for two reasons. It’s one of the few road games on the Atari 8-bit in which the landscape isn’t strictly flat, so you drive also up- and downhill. And because of the game coming out only for the Micro and the Acorns, it’s one of a few good games that never made it to either of the Atari 8-bit’s biggest competitors – the Speccy and the C=64.


Bobby Bearing Screenshot

Bobby and his brothers are bearing balls living in the future land of Technofear, where everything is made of steel. They have been warned many times to stay clear of the Metaplanes outside their home, but one day their rogue cousin came and led Bobby’s brothers right there. There the evil Bearings stunned poor Bobby’s four brothers, and now it’s up to him to find them and roll them back home.

According to the authors, Robert and Trevor Figgins, they hadn’t heard of similar games like Marble Madness or Spindizzy until well into the development when their publisher pointed out the similarities, and cited Ultimate’s Knight Lore (perhaps for its isometric graphics and puzzles) as their inspiration.

The game was released in 1986 for the Spectrum, Amstrad CPC, and C=64 – and in 2016 for the Atari 8-bit, ported by Mariuszw with additional graphics by José Pereira and music by Poison, supporting stereo.


Adventure Screenshot

Adventure is a bit older and different from the other games in this list. It was originally published in 1978 for the Atari 2600 console (VCS). The player controls his avatar, a simple square. Next to not getting lost in the maze, the player must find a magic cup and bring it to the golden castle, avoiding the deadly dragons (who, as the author Warren Robinett noted later, look more like ducks). The game, inspired by Colossal Cave Adventure (that ran on mainframe computers), is also recognized as one of the first game containing an Easter egg, a secret room containing the text “CREATED BY WARREN ROBINETT.”

The game was ported to the Atari 8-bit by Avery Lee, the author of the widely spread video processing software VirtualDub … and the Atari emulator Altirra.

Hey, stop reading, start playing!

(This article was guest-written by Krupkaj, the maintainer of the Czech and Slovak Atari Portal. Thanks, mate!)


A brand new game for the Commodore 64 in 2017? YES! Protovision, todays’ only software house producing exclusive C64 games has, among others, released a new shoot’em-up game based on the aged Galaga: Galencia by Jason Aldred. But why the hell did he do a Galaga clone in 2017? Because he could. And because Galaga is cool. And because it’s not just a copy of the former game; it adds a lot of cool stuff. WE PLAYED IT!

Posters! You’ll get them if you purchase this game on a tape or disk.


Is amazing. You load the game, it automatically recognizes whether you’re using a PAL or NTSC machine, shows a very nice intro with a story about a person named Amy (who surely has to be gender neutral, because he or she looks so in the game graphics, but let’s suppose it’s a woman because Amy is a female name) and her dog who has to fight against the big bad insect population that mankind has lost control of, and then the main game loads up and a title screen appears. Pressing the F1 key will take you to options. There you can alter things like background starfield color and score and time font colors, turn in-game music on or off, load, save or reset the high score, and a tournament mode which gives you just one life.

Galaga (1982) had two versions on the C64: a monochrome one (for saving the screen of your high-radiation 1981 CRT monitor) and an upgraded color version, which didn’t contribute to its beauty, to be honest.

Galencia is one of the best Galaga clones ever made for a home computer; no doubt.

The game starts by pressing fire on your joystick, and you can watch a pretty animation of the hero with her dog at a rocket base entering their “1981 Galencia Fighter” space ship. Then a classic playfield appears with your fighter ship on the bottom, the starfield in the background, and all the insect baddies attacking you from left and right. The insects are actually big wasps. They might seem quite peaceful at the first sight, but then, when you start shooting them, they retaliate soon by attacking your ship with bombs.

The picture and scroll text introducing the plot.


You’ll have to find a certain strategy of what to shoot and when to shoot it. The number of lives is important here, because you can be kidnapped by one of the aliens, named Siren. It’ll take one of your lives away, but just until you shoot the kidnapper and your kidnapped ship returns to you as a second fighting module, so you’re able to shoot double bullets since then. However, the game respects the old Galaga style. Your ship(s) can be controlled to the left and right directions only while you can shoot bullets. Unfortunately, the bullets never get any extra power, at least to the point where we’ve got to. After every three standard rounds there is an extra hard stage with different, tougher enemies, and then comes a bonus level, in which you have to shoot anything that moves.

Top: The Siren is going to kidnap the player’s fighter ship | Bottom left: Preparing to destroy the kidnapper | Bottom right: Double fighter ship in the first bonus level

If you miss a single object, you don’t get a bonus. The bonus can be an extra life or extra rocket in the tandem (double). Another type of bonus levels come later in the game. There you have to avoid asteroids and collect stars for points and extra lives or to kill the big boss and get the same for that. As the stage counter comes up, the enemies are tougher and survival is getting harder and harder. They are the basic “Formations” (150 points), nastier “Attacking” (250 points) and the insidious “Sirens” (500 points when shot).

The big-bee-boss bonus with lasers is hard to pass even with the double fighter ship.


The graphics are just cute. All of them are well drawn, detailed, and very well animated. You’ll love the intro screen and the intro animation of the hero and her dog entering their space fighter ship.

Cute animation of Amy and her dog entering the fighter ship.

The in-game screen mode uses extended upper and lower border areas to display score counters, your ranks, and messages. Some aliens change colours to indicate how many hits remain to kill them. In addition to the title screen music, there are also in-game music and bonus level music, which strike as a bit repetitive, but they use just one or two SID channels, so you never miss any of the all-important sound effects. Anyway, if the music gets annoying to you, you can turn it off in the settings, as mentioned above.

Top left: Extra life for shooting all the aliens in the bonus level | Top right: In the 2nd bonus level you must avoid the big asteroids and collect stars for good | Bottom left: The Game Over screen | Bottom right: Entering Hi-Score initials


Galencia is one of the best Galaga clones ever made for a home computer; no doubt. It brings some new ideas and offers very addictive gameplay with nice extras, and you won’t get bored after the first couple of minutes. You’ll be wanting to beat your record again and again, which is exactly what a game relying on simple mechanics should achieve. If you have a C64 game party evening with friends, you can turn on the tournament mode and fun is guaranteed, at least for a while. The game can be bought as a digital download at, and eventually you can get a physical copy on a floppy disk, cassette tape or even a cartridge from Protovision, which is about to be a gem for collectors’ show-cases with all the merch like posters, manual, and original cassette tape, floppy or the cart. We played it. Now it’s your turn!


I like big, epic games. Turricans, Nobby the Aardvark, Dragon Wars – that kind of stuff. But every now and then I just don’t feel like immersing in a game for hours or even days. And then it’s time for some of the great game miniatures that replace size and complexity with perfectly polished mechanisms and sheer playability. Like Traffic.

Immense fun! And immensely addictive.



Traffic is a logical game from 1984, a time long before the genre’s reputation got ruined by the tsunami of 2nd and 3rd rate half-baked quick-cash junk in the mid 1990s. It was originally released by Argus Press Software (APS)/Quicksilva for the C=64 and ported to CPC a year later by Amsoft/Andromeda Software.

Let the CPC version tell us what the game’s about:

Traffic - Game Description

Well, thank you very much for such a reward!

The graphics are simplistic but cute. All the vehicles are just rectangles of various sizes, but you’ll have no trouble seeing motorbikes, regular cars, vans, and trucks in them. Their blinking indicators, made of a minimum amount of pixels, are lovely.

The sound could probably be called simplistic too (but not cute). On the title screen, there’s the typical Big Ben jingle, followed by a forgettable tune with instruments typical of the early ’80s (“we’re happy that it makes a sound!”). There are also a few in-game sound effects, the most important one being the alarm that sounds anytime a queue length is nearing a terminal value.

Where the game excels is the behavior of the cars. They don’t just decelerate and accelerate. They properly slow down when they need to turn. Trucks are slower. But the winner is the situation when the red light comes on and the drivers know they won’t be able to stop in time: in that case they simply step on the gas to go through the crossroad faster. It’s so lifelike that I have to smile whenever I see it.


Playing the game is easy. On the screen, you have a top-down view of the area, with only two actions available: you move between the junctions with your joystick and switch the lights from red to green and vice versa with the fire button. Cars come from outside the screen, go through the area (adhering to the lights), and then leave. You get a point for each car that leaves your area. You complete the first level if you dispatch 200 cars, the second level is over after 300 cars, the third level takes 400 cars, and so on.

Level 2. C=64 on the left, CPC on the right. Note that even though the roads are put pixel-exact in the CPC version, the graphics aren’t converted but re-drawn (see placing of the buildings, the perspective, and the number of their floors) from scratch.

As long as incoming cars fit onto the screen, everything’s fine. When a queue starts to form outside the screen, you’re in trouble. If the number of cars in any one street waiting to enter the screen reaches 5 in the first two levels and 9 in the higher levels, you’re game over. In the higher levels, there’s also a limit for the total of all the queues.


Sounds as sexy as a decaying zombie teeming with maggots? Sure, but it’s immense fun! And immensely addictive. Seeing the cars traverse the screen fluently gives you a feeling of satisfaction, and then there are countless little dramas when you are this close to a queue reaching critical length and get the traffic going again in the last moment possible. Plus the game has the “just one more try” magic. You’re sure next time you’ll do better because you think you know what just went wrong. And then again. And again. And again.

In the beginning you go all operative. Get used to that it’s the UK, i.e., cars on the left. Just turn the green light on wherever cars are waiting. Then you realize there’s a tactical layer to it: you don’t want cars to go through one crossroad only to stop at the next traffic light because if the cars have to accelerate and brake, they spend more time on the screen. So you need to create a flow. And after you fail a level several times, the strategic element comes in. You see that no matter which queue finally gameovered you one particular time, there always seem to be one or two streets that are absolutely jammed at that moment and are probably the bottleneck. Therefore you try to create a flow with special attention paid to those critical places. Well, yeah, you still haven’t negotiated the level – but your high score just went 15 points up. You’re on a good track. Next time (or the one after that) you’ll sure make it!

C=64 VS. CPC

The two versions are almost identical.

The C=64 version boasts an achievement for the time: when you complete a level, a sampled voice says, “Next map.” But the CPC has a unique element as well: it offers a special color scheme for playing on a monochromatic monitor (having white color for red and blue for green if you choose it on a normal device feels kinda surreal).

Traffic - screenshot from the monochrome version

Would you stop or go if you saw a white traffic light? And what about a blue one?

The rest is just details. On the Commodore, the active junction is indicated by a crosshair, on the CPC, its outlines change color. The high score table (which is not saved) has 3-char names on the 64 and 4-char names on the CPC.

So the only important difference is that the CPC version seems to be one tiny little bit easier than the C=64 version. Which might be an important factor because the game’s not only great; it’s also fairly difficult.

But whichever platform you prefer, give traffic a try. It’s totally worth it.

Stop reading, start playing!


Wait… Cookie? I’ve heard this before. Oh yeah, I remember! I played it as one of the very first games on my Spectrum. One of the Ultimate Play The Game’s early 16K games. Excellent game on the Speccy. Cool graphics, very good sound, and superb playability. I spent long hours with Cookie; also because it didn’t always load correctly and I got Tape loading errors.

I love the graphics. They’re just wonderful.

So, what’s the point of this article? To review such an old game? Well, actually, yes [*a gale of hearty laughter]! Because the good old Cookie came out for the Commodore 64. After 34 years! Bang!!!

The title picture is drawn in the multicolor mode. It looks very attractive.

The author of the conversion is the well known Andy Noble. The same Andy Noble who created the super excellent conversion Jet Set Willy PC in 1999. The C64 version of Cookie seems cool and has additional title music by Paul Tankard, which is not present in the original version. But first let’s talk about the setting.

You are a little Cookie who has to bake a cake. All you have to do is put all the ingredients coming from the Pantry cabinet into a bowl by firing flour bags. But nothing is as simple as it seems. There are also bad items like fish bones, old cans and nails and tacks coming from trashcans positioned on both sides of your bowl. They’re trying to kill you, unsurprisingly. You can shoot them with the flour bags, but you also have to shoot them down to the trashcans. If you accidentaly get them down to your bowl, the amount of required ingredients will increase. Once you fill the bowl with the needed amount of food, the level is completed and you’re about to go to the next one and next kind of ingredient. The game ends after completing the fifth level and you go from the beginning on a higher difficulty.


The title screen is excellently converted from Speccy to the C64 multicolor mode. It looks very great. The game character set (font) is a bold Speccy font, and the game is controlled with a joystick in port two or a spectacular combination of Q-A-O-P-Space keys. The C64 sprites are used, of course, so you can see a nice logo animation on the title screen and also all in-game moving objects are very smooth. I love the graphics. They’re just wonderful. It isn’t just a straight conversion — all the graphics are hand-drawn from scratch, to be as close to the Speccy original as possible and to be as colourful as possible on the Commodore 64.

Menu screen (top left), credits and greetings (top right), ready message (bottom left), level 1 (bottom right).


This is a very questionable thing. I love the original Cookie for its very good playability. I can return to this game anytime, and it never gets boring. But the C64 version is hard. It is just [*censored]ing hard, even from the very first level. On the Speccy, you get the irritating nails and tacks at a later stage, but here it’s almost the first object that flies out of the Pantry cabinet. And it goes after you and wants to take you down immediately. Even the known tricks to position the Cookie next to the Pantry and shoot in the upper directions doesn’t work well here. I must say this is the worst aspect of the otherwise excellently converted game. The game, like the original, has 1 player and 2 player modes; the second one based on alternating players.

The second level.

Cookie on the Commodore 64 surprised me by its quality, it’s very close to the A.C.G. quality quality level we’ve seen in 1983 on the Spectrum. Nobody did such good games on Speccy back then. The mysterious Ashby Computer Graphics made the breakthrough and all the girls and boys adored them for that. With the new 2017 conversion it’s similar. Andy Noble is a quarantee of quality and the game is so well done that it casts a kind of nobility on it.

We compared the ZX Spectrum and the Commodore 64 versions. ZX title screen (top left), C64 title screen (top right), game level 2 on the ZX (bottom left), game level 2 on the C64 (bottom right).



Flame of the Month, as the name suggests, is going to be a regular feature where our guest editors will review a game on all the major 8-bit platforms. The first Flame comes from Commodore Crusader. Jason Wotnau and Akio Tenshi would like to say that even though they respect the guest editors and their opinions, they don’t necessarily have to agree with the contents of these articles.


Druid is an action adventure by Firebird from 1986. A lot of those who have played it (my humble self included) return to it with affection. Yet it rarely scores high in any C=64 Top X list that I know. And that’s the point. Even though it’s not considered a tops game that would showcase the numerous strengths of the C=64, it’s still enough to demonstrate the machine’s superiority over the jokes of a platform called Atari, CPC, and Spectrum.

You are Hasrinaxx, the last of the Great Druids, and your task is to restore peace in the realm of Belorn by defeating four demon princes in the dungeons of the evil lich Acamantor.

You have missile spells based on Water, Fire, and Lightning. The element of Earth is used through a golem that you can control and use either to cover your back or as a tank. Apart from those, you can also cast Chaos and Invisibility. Let the journey begin and good luck!


Well, good presentation doesn’t make a good game, but it can’t harm, can it?

The C=64 has a great loading picture featuring the main protagonist in a mysterious landscape in the moonlight, with a staircase leading down into Acamantor’s lair. The CPC version is a direct conversion of that. It’s worse than the original, but at least it tries.

The C=64 picture (left) vs. its CPC version (right) is one of very few fair fights we’ll see along the course of the article. The CPC one isn’t too bad. Some bits around the druid himself even look improved, but what ruins the pic is the choice of colors of the ground (doesn’t fit the lighting), broken perspective around the castle walls, and especially the credits mania. This Paul – who probably converted the pic – just must put his name under Bob, and once they put extra text into the picture, they had to insert the music credits too. Music credits on the title screen? C’mon, people!

The ZX picture was probably drawn by a schoolboy. Talent-free schoolboy. There are lots of bad details in the picture, but the winner is the golem. It looks like it’s dressed in spandex under which it has an erection.

Loading pictures on the C=64 (good) and the ZX (awful)

Left: nice loading picture on the C=64. Right: Hepatitic druid wearing a cross (eh?). Golem suffering from priapism. Constipated as well, juding by its looks. Were the gates of the castle meant to look ominous? This is supposed to be dark fantasy, not Trap Door! And by the way, the player is obviously supposed to understand hexadecimal.

No, actually, the reall winner is the Atari 8-bit version because it has no loading picture at all.


Well, good music doesn’t make a good game, but it can’t harm, can it?

On the C=64, there’s this cult tune by David M. Hanlon (whose tune for Druid II later became even cultier because it was used about a zillion times in Fairlight cracks). It emanates mystery, tension, looming fate. But on the CPC, the music has absolutely nothing in common with the atmosphere of the game. I swear I’m not overdoing it when I tell you that it sounds like one of the old wanna-be-merry hurdy-gurdy carousel tunes.

Then there’s the bizarre bit with the Spectrum music, or the lack thereof. The ZX version credits D. M. Hanlon for music, but there’s no music at all! Actually, all the ZX credits go to the same people as on the C=64, so it looks like someone just mindlessly copied a few lines of text. Or hoped no one would notice. And ah yes, no music whatsoever on Atari either.

Different computers, same credits

This is where the C=64 and the ZX version look almost identical. Ironically, this screen should not look the same on two different platforms.

Now good sound effects don’t make a good game, but they certainly can’t harm, can they?

The Commodore has them pretty straightforward: shots and enemies being born or killed are white noise, the druid is taken care of with a bass sound that implies power. But for the other platforms, in-game sounds are another Waterloo.

On the Atari, the sounds that have to do with the enemies sound either like wet farts or like a bike tire losing air. And the druid sounds are much, much worse. Those bleeps sound so electronic that it completely ruins the fantasy atmosphere of the game. The CPC sounds have a strange metallic touch to them. Most of them have a high pitch element that just causes me a headache. Maybe it was meant as additional motivation for players: don’t let any enemies near you, or we’ll play you this sound! Works for me. Really does. The ZX version, for a change, has about one sound: the slight crack of a skipping record. All the sounds in the game are then composed of this one crack being played various times and with various gaps in between. Yet, if I had to choose between the ZX’s serial cracking and the Atari’s and CPC’s radio bleeping and squeaking in fantasy settings, I’d go for the Spectrum in 11 out of 10 cases.


Well, good graphics don’t necessarily make a good game, but bad graphics can suck some enjoyment out of it.

On the C=64, you start out in Acamantor’s gardens infested by ghosts and giant beetles (further levels will add more, like living blobs of slime, ralacks, wraiths, or even devils). Next to trees and hedges, there’s a neatly animated river. There are also chests scattered across the gardens (and later in the dungeons as well) where you can replenish your magic inventory. After you cross the river, you find a rotating pentagram (called “Pentogram [sic!] of life” in the manual, probably to signal to concerned parents that this has nothing to do with worshiping evil) that heals you if you stand on it. When you feel ready for it, you take the staircase down to the dungeons.

The CPC in-game graphics are once again a solid conversion of the C=64 original, but what surrounds them puts the looks of the game down. Obviously for hardware reasons, the part of the screen where action happens is several lines smaller than on the C=64. What to do with the empty space? Let’s put the druid, golem, and rating statuses below the spells! Result? It still looks like they didn’t know what to do with the space. But as they were redesigning, they had another “clever” idea: putting some graphics under the game window to make the screen less empty. But what color, not to risk confusing it with in-game gfx? They chose blue instead of the original druidish green and gold (yellow), which then led to changing the font in the “DRUID” on the screen’s top, and once they were at killing the style, they also replaced the stylish eye indicating the spell currently in use with a blue arrow. Not cool.

On the Spectrum, the dark energy emanating from Acamantor’s lair is already much more visible in the gardens. For example, not just the beetles, also the ghosts are black. Even the druid is black, perhaps as a kind of mimicry. Very efficient mimicry. As more or less anything that moves looks like a shapeless lump of black pixels, don’t ever take your eyes off the screen, or when you’re back, you won’t know what’s you and what’s an enemy. The river then contains squares and rectangles of light blue water. I spent ages trying to decipher this secret code until I realized it was just bad drawing. The rest is the regular “black on something” Spectrum graphics.

The Atari has more colors, but even there, Acamantor has been hard at work. He started with stealing every other pixel line of the lawn and replacing the grass there with his evil yellow stuff. Then he, for whatever mysterious reason, made his minions smaller than on the other platforms. Well, one could live with these cute ghosties (or, more accurately, cute white tree stubs wearing sunglasses) or the giant beetles being not-quite-as-giant as on the other platforms, but the devils in the later levels look more like overgrown mice with wings. Also, being limited on monster colors, the Atarimantor probably decided to make up for it in the display area: if you look closely, you’ll see that the water drop has a grey lower left corner and the fire is chiefly pink. To me, that’s a choice of colors asking for a very colorful language on the player’s side. Plus, where on the C=64 and the ZX you have a golem icon, on the Atari, there’s something between a flexing bodybuilder and a gorilla. And finally, there’s a certain WTF factor to the pentagram. Every self-respecting pentagram is either black or black and white. Well, the pentatarigram of life in screwed colors is blue and yellow.


The devil’s in the detail.” Well, in Atari’s case, it’s, “The overgrown mouse with wings is in the detail.” Anyway, nice details don’t make a great game, but they can turn faint hopes of having a good time either into facepalms or laugh-fests.

Water, fire, and lightning spells on the four platforms.

Water, fire, and lightning missile spells on the C=64 (top line), CPC, Atari, and Spectrum (bottom line).

One nice touch of the C=64 version are the missiles. They have different shapes and colors. Water is white and blue, fire is red, lightning is white. On the CPC, they just took the fire sprite and recolored it for the other elements. On the Atari, all the shots also look the same (like some enigmatic hieroglyphics), but they’re even the same two colors: blue and pink. We already know that some people on the Atari thought that pink was the color of fire, so now we also have pink water and pink lightnings. And the Spectrum? Well, yeah, the “black on something,” I know. That’s a kinda hardware thing. But the missiles also look the same. So instead of a fireball, lightning and a water bomb, you’ve got three identical tar balls.

ZX Druid standing by the pentagram and then going over it

ZX Druid standing by the pentagram and then going over it.

One more proof of programming laziness on the Spectrum side: there’s no masking out of the background. In human terms, while nothing can be done about that the druid is black and the other color changes all the time according to the background, the “inside” of the druid isn’t just filled with this color, it acts transparent instead. It’s most visible in the druid’s face, or, as the picture below shows, most invisible if the background happens to be black too.

The Spectrum’s druid seems to be a specter. But Atari fans shouldn’t despair. They have typewriters. Really! On the C=64, the CPC, and the ZX, they are the chests with magic spells, but on the Atari they look like stylized typewriters. Have a look! (The typewriter on the right is added by me for comparison.)

And then there are the monsters. On the C=64 and the CPC.

On the Spectrum and the Atari, they are rather graphical monstrosities. The ZX enemies – and sometimes the druid as well – look like a “guess the monster” quiz. Just try it yourself!

Question: In the picture, there are two characters standing opposite each other. Those of you with a really rich imagination can recognize the druid on the left and a ghost on the right. But what’s the black smudge in front of the tree on the far left supposed to be?  (Answer: another ghost.)

On the Atari, monster colors are a problem. So someone had a bright idea: if we can’t have multicolored monsters, let’s at least have the monsters in a multitude of colors. The only other explanation would be that the Atari druid has smoked some weird stuff and can see the monsters in psychedelic colors. Have a look at the – by far – not exhaustive gallery. Top to bottom: a salmon-colored something (probably a wraith), a yellow overgrown mouse with wings. Then there are a white, greenish, purple, and a blue beetle; all with blue eyes (note that they are very magical beetles because their heads are not connected to their bodies). Next are a yellow, green, salmon, and a pinkish-violetish snake. The bottom line are then a grey and a green ralack. Yet the winners in my eyes are the pink and the turquoise skeleton.

Just for a bit of a comparison, here are some monsters from the C=64 version. Top to bottom, left to right: ralack, snake, slime, devil, beetle, ghost, skeleton.


I’ll be brief here. Bad gameplay does make a bad game.

The CPC version is sluggish and too difficult at the same time. Due to the smaller game window, more enemies spawn closer to you, giving you less time to react. Also, on the C=64, if you’re running from an enemy and the enemy gets off-screen, the computer still “remembers” it for a while, so if you stop, the same enemy will come from that direction. The CPC, on the other hand, removes the enemy from the screen as soon as it touches the border, resulting in not only enemies suddenly disappearing but once again more random spawns and you not being able to plan your next steps. In addition to that, your spell missiles are slower than on the C=64, and as you can have only one on the screen at any given time, if you miss, you’ll have to wait that much longer till you can shoot again, which can cost you dearly. The sluggishness then comes from that even though the game window is smaller, if there are more enemies on the screen, the game gets visibly slower. And the scrolling is wobbly, so avoid if you’re prone to headaches from unsteadily moving pictures.

The Atari version has some fun-breaking issues too, like there’s no difference between the pictures of a typewriter that you haven’t looted yet and one you’ve already opened. So if you get a bit lost, you may go through a lot of fights and lose a lot of energy to get somewhere only to find out you’ve already been there. Furthermore, sometimes monsters drain your energy not through direct contact but touching the same object you’re touching. Collision-checking clumsiness at its worst. And on top of that, the game is somewhat too easy. I haven’t played Druid for about ten years, yet on my first play of the Atari version I got beyond half of the game.

The Atari might have issues with how the game is balanced and how some of the game mechanics are implemented, but the Spectrum version is just a total flop. Not only is it quite slow. Its biggest problem is that it doesn’t scroll. So it happens that you’re on the side of a screen, and suddenly you start losing energy because there’s a monster on the next screen that can see you and starts biting you. In Druid, it’s vital that you can always see what’s coming at you, so that you can either kill it or avoid it, and the Spectrum copies all the other game mechanics except the scrolling. It’s like having to play a joystick-wiggling sports game with text adventure commands.


C=64 rules. Atari, CPC, and ZX Spectrum suck. Or at least Druid on the Atari, CPC, and ZX Spectrum sucks.


Formula 1 3D: F.1 Manager II

Let’s start with a very scientific-looking chart that explains the difference between writing about contemporary games and retrogaming journalism. On the vertical axis, we’ll have game quality. On the horizontal axis, we’ll have advertising.

At any given time, there’s more games than any paper magazine in the past or online magazine today could review. So the role of contemporary mags usually is to give the players guidance whether to buy big titles or not. They work as guardians of gamers’ wallets.

With retrogaming it’s different. The wheat was separated from the chaff long ago. We already know how much the licensed Superman and Knight Rider games sucked. But there are still thousands of games that have never made it into the limelight – sometimes because of a bad marketing strategy, sometimes because they were made by great creators who, unfortunately, had no idea about that a good game won’t sell by itself, and sometimes just because of a chain of unfortunate events. Finding such games and giving them some belated justice is one of the major tasks of retrogaming mags. Or of ours at least.

We want to cover great games that didn't get advertised enough to gain fame.

Discovering cool games that never got famous is one of our goals.

So this article introduces Cool Stuff—our tips for games that you might have never heard of because they never got the recognition they deserved.


… there was an Italian company called Simulmondo. They made games for the Commodore 64, Amiga, and DOS. The games had two good things in common: they always looked good, and they were always at least solid. I don’t remember playing a single one bad Simulmondo game. I liked some of them more, some of them less, but I always liked them. And one of them I simply loved: Formula 1 3D: F.1 Manager II.

It’s a pity that Simulmondo did games only for the C=64 on the 8-bitters, because the game would have definitely been doable on the other platforms.
The graphics look pretty, but the game’s not really color-demanding, so the usual color downgrade for the Spectrum and Atari 8-bit wouldn’t have mattered. I guess a hires Spectrum version would have had a certain charm.

Sounds are limited to the engine noises, which all of the 8-bitters are capable of, and just one, very special, tune. Its specialty consists in that even though I normally hate short repetitive tunes with bad instruments, there’s some strange magic to this one: even though it’s horrible, I’m very fond of it and sometimes just can’t help myself humming it even when I do something totally computer-unrelated.

As the company’s name suggests, they did a lot of (although by far not exclusively) sims. As the game’s name suggests, it’s a Formula 1 simulator/manager game. And it’s symbolic that such a good game of this kind comes from Italy, the home of the company that’s almost synonymous with F1: Ferrari.


Formula 1 3D: F.1 Manager II (I’ll call it just F1 3D from here on), published in 1991, is not really a sequel to the original F.1 Manager from 1989. It’s a crossbred between a translation and a remake. The original was in Italian only, while in F1 3D, you can choose between Italian and English. Other than that, just a few pictures got changed, a few details were added on the managerial side, and the difficulty got tweaked a bit. Nothing 3D was actually added: the first game had been in 3D already, but in the early 90s, the 3D madness took over, plus Simulmondo published I Play – 3D Soccer, I Play – 3D Tennis, and even 3D Scacchi Simulator (3D chess, even though 3D views had been common in chess games since the early 80s, therefore there was no rational reason to point that out) around that time as well, so it might have been their naming strategy for sports games.

Sexy language selection screen

That’s what I’d call a pressFkeybait.


The game is a typical manager in that you have to work with limited resources. You can play alone or with a friend. You start with a budget of $6 million, and you have to divide it between your pilot, engine, chassis, and staff. Are you going to put a lousy driver into the seat of a great car, or will you make compromises on the car design side, hoping that a good driver will still be able to overtake with it? And where exactly are you going to save? Pilots have three stats: courage, ability, and tactics. Gonna go for an incapable kamikaze or a boring tactician? The engine parameters are cylinders, valves x cyl., max. RPM, HP. The chassis are characterized by aerodynamics, grip, cooling, safety, and resistance. If you neglect the aero, your car will be slow, with low cooling you’ll risk that your car will overheat, and so on. And if you don’t have enough engineers and mechanics, will you be able to extract the maximum from the car?

Building your team

Create your driver, pick your engine and chassis, get some staff, and you’re good to go!

It will take you a while to find a combination that works best for your managerial and driving style. And that’s what’s so great about the game!


On the 8-bitters, most sports simulations are heavily imbalanced. Either they are a tiring, endless series of menus that will put you to sleep after a while, or they are badly covered action games where most of your choices won’t really matter. F1 3D serves a yummy blend for both your brains and hands.

Before every race, you take part in quali. In qualifying, you drive the car yourself. You have three laps, and the best one of them counts. What I especially like about the qualifying is that, like in the so-called real world, you actually have to know the circuit to perform well at it, and you can’t just go through every corner at full throttle. I hadn’t really been successful at the game until I started writing down the layout of the circuits. Right then the game really got me hooked many years ago. Driving the car was fun, and seeing the difference my performance made motivated me to improve. Often I found myself with my whole body tilted in the corners, trying to take the optimum line, murmuring, “Getitrightgetitrightgetitright!”

Set up your car and go for the quali!

Set up your car and go for it. Hitting those apexes really matters!

After the qualifying, you move into the role of the team boss, sitting on the pit wall, watching the race on TV, following the car data via telemetry, and instructing your pilot how to drive according to all of that.

You control the speed of the pilot and the driving style (defensive or aggressive), and you also decide when to make pit stops. You make these decisions based on your position, the state of the car’s front and rear tires and the gearbox, the temperature of the engine, and the remaining fuel. In the meantime, the TV feed serves you the overtaking maneuvers and other highlights, like pilots’ excursions off the track or their technical problems.

Race screenshots

A lot can happen during the race.

And your decisions matter! If your tires are in a bad shape and you want your driver to drive too fast and too aggressively, you usually end up in a wall. You’ll be as nervous and foot-tapping as any real team boss, watching the feed and waiting what’s going to happen next. Will the increased aggression get your pilot ahead, or will he overdo it? Will the tires last till the end, because you want to avoid another pit stop? Is the driver behind, who has been getting closer lap by lap, able to overtake your driver? Should you turn the engine down because it’s getting very hot? These questions will nag at you and your heart will skip a beat anytime you’ll see the name of your driver on the screen.

If you pick your strategy well (and your driver isn’t too shabby), you can make progress through the field. Yet the game is so well balanced that if you qualify plumb last, usually you can’t make it to the points, let alone victory. So you can gain and lose in both the action and the managerial part of the game.

As a pilot you want to win, but as a team boss you have to secure your team’s future in the first place, so in the end everything translates to money. You get prize money for qualifying and your end result in the race, you lose money if you wreck your car and have to fix it, and before every race you can select a sponsor, who will reward your end result. Each sponsor has a different financial strength, so it pays off to select the best ones for the races where you know you usually perform well.


Therefore you have two goals every season: become the world champion and have enough money to run the team for one more year, possibly with a better car and/or pilot.


Time to celebrate! A race victory in-game and a great game on our side of the monitor.

But, actually, there’s a third goal with which I always start this game: just play it. Because it’s nice, because it’s very playable and addictive (just one more race!), and because it’s fun. It’s Cool Stuff!



It’s mostly people who have never seen the 8-bit computers in action. They’ll tell you that the “old graphics were so chunky that they practically consisted of bricks,” “the sounds consisted of the occasional beep and bleep,” and that “there were no storylines to speak of.” The straw that broke the back of my patience with these ignorants was a reviewer who commented on an abomination of a recent indie game with something like, “I don’t have a Commodore 64, so I lack the hardware to play this game.” The Commodore 64 (as well as the 8-bit Atari, the Spectrum, or the CPC, for example) has literally thousands of games that can effortlessly kick the donkey of the very most of the current game production. The 8-bitters may be outdated, but they definitely aren’t obsolete. Here are 8 very valid reasons to play 8-bit games.


Ever heard of “too much graphics, not enough gameplay”? Well, that’s what won’t happen in the 8-bit world. Not having to care about employing Hollywood actors for marketing purposes or plaguing their games with scripted events to show some cool explosions or even cooler eviscerations, the creators didn’t have to care about how to force you into those situations. So they could focus on letting you do some actually cool things by yourself.


8 bit games had soundtracks, not ambient, faceless, impotent movie-score-like string boredom. You can whistle and hum 8-bit themes twenty years later (last time I checked, I was able to remember about 200 8-bit music themes spontaneously), but how many melodies do you remember from PC games you’ve played over the last five years?


Characters in 8-bit games have always been dictated by the story, not by minorities bitching about being underrepresented in home entertainment (surprisingly, none of my gay 8-bit friends has ever complained about no gay characters in games), and even the German censorship could be placated by killing robots instead of humans. Did anyone ever object against the female baddies in Double Dragon or Target: Renegade kicking your character in the-, erm, just fatally kicking your character? Games were just games, not balls in pressure groups’ political ping pong. And if you really wanted political correctness, you could still have it – for example, Strip Poker had a data disk with male opponents, so there! And by the way, the next time they reboot the Tomb Raider series, I want Lara to be Larry, a little guy of Asian complexion, with glasses and no muscles to speak of. Just for the sake of balance, you know.


You can play your 8-bit games in peace, or with a friend sitting by your side. You enjoy the games the way you want, and no one can spoil your party by sticking in front of your eyes that you haven’t killed Gzhrondzor in less than 10 seconds or have gone through the Hotlands not finding all the five tubes of the Killi Chili Paste. And your heart doesn’t get broken by seeing that there are about several thousands other people with higher scores in a game you used to think you were the king of. In the 8-bit world, your high score is your high score, and that’s it.


You bought the game on Day 1, and if you were good enough, you could finish it on Day 1. Today you get to about Level 2, and then have to wait till a patch is released that finally stops the game from crashing, makes the boss at the end of the level killable, or puts an end to items randomly disappearing from your inventory (can today’s coders imagine that there are people who don’t have – or even don’t want to have – Internet at home?). Also, developers didn’t charge you extra for something that already was on your disk or tape but would be presented as an expansion or super duper hyper deluxe bonus content. And just by the way, no hassle with online activation even when you buy a physical medium.


8-bit games have a bigger color palette. Yes, they work with just 16 or so colors, but they don’t use them all the same way. They know other color combinations than just darkish-greyish-greenish for war simulations, the-shiniest-yellow-and-red-and-green-and-blue-and-especially-violet for action titles, and the 50-shades-of-black-and-dark-grey monochrome of survival horrors and indier-than-the-indiest-indie titles.


8-bit games have content before form. If a game is original, it’s original because someone had a great idea, not because a wannabe-indie team of people spent a week in a hut on a beer-and-pot diet, trying to brainstorm something that hasn’t been here before. As a result, 8-bit developers didn’t spend most of their time scratching their heads, thinking how to fill the idea of an exciting and highly innovative procedurally generated real-time strategic rouge-lite RPG with crafting elements and pausable fight (that has come to them on the top of their high) with some substance. Instead, the 8-bit developers just coded cool games!


Believe it or not, there were times when you could do more in games than just fight in a (conventional, magic, or future) war, solve 3D puzzles, survive in isolated premises infested with unknown evil and graphomaniacs constantly losing pages from their diaries, look for (how moving!) someone close who has mysteriously disappeared, or play sports games licensed so thoroughly that you wonder whether the characters use licensed toilets off-camera. There were times when you could compete in psychotic judo or cow milking, drive a prehistoric or space taxi, search for (and find) the Loch Ness monster, dispatch aggressive carnivorous dinosaurs with a baseball bat, ride on a broom, be a nice monster cooking for a nasty monster, or step into the shoes of an aardvark searching for a promised land called Antopia. And much, oh so much more! Anyone, anything, anywhere.


In case you counted with us: this would be reason no. 9, but it’s not really a reason. But just admit it: nothing can ever beat the fun you had with [insert your favorite title here, or hundreds of your favorite titles if you’re a hardcore 8-bit freak like us]!


Just in case you’re a visitor from another galaxy, have discovered the world of 8-bitters just recently, or have been on a platform the game never made it to: Jet Set Willy is a part of the 8-bit family jewels. It’s a sequel to Manic Miner, also an outstanding game where Willy the miner must escape a complex of caverns filled with such grave dangers as mutant telephones or an alien kong beast.

Anyone who’s ever played Jet Set Willy knows that it’s not an easy game. After Willy escaped the mines, he threw a wild party in his new house. The house is not only new but also huge, so when Willy’s annoyed wife Maria tells him in the morning she won’t let him enter the bedroom until he tidies up the whole house, there are more than sixty (!) rooms waiting to be put back into order.

In the beginning it might look like Willy’s got enough time for the cleaning job (from 7 a.m. to midnight), but there’s more to the house than meets the eye. Like that there’s an item in one of the rooms (Conservatory Roof) that you can’t collect without losing a life? Or that the game looks different on different 8-bitters? Let’s have a closer look at some of the trivia around the game.

The Attic Bug

The original release of the game had a fatal bug. Once you visited the room called The Attic, you couldn’t enter some rooms (like The Kitchen or The Attic itself) anymore. If you did, some mysterious power kept killing you there until you ran out of lives.

Software Projects, the game’s publisher, were neither the first nor the last to try the stupidest excuse of them all: “It’s not a bug, it’s a feature!” They said that visiting in The Attic caused some of the gas pipes in the house to break and the corrupted rooms therefore contained poisonous air.

This naive “explanation”, however, wasn’t enough, and Software Projects had to release an official set of POKEs that fixed this bug and several others that had transpired in the meantime.

The Uncollectible Item

Apart from some invisible objects, which you acquired by just visiting certain rooms (e.g., Swimming Pool), there was also one that couldn’t be collected. Originally, it was located in First Landing, just next to the top of the blinking cross. Not only you couldn’t see it, but you couldn’t even reach it. So a fix was published that kept the item on the same screen coordinates but moved it to The Hall, whose layout made it possible for Willy to get it.

The Forgotten Abbey

This room isn’t bugged, just insanely difficult. To cross it, you have to jump over four monsters whose paths mutually cross, so you have to plan your way carefully and be almost pixel-exact while jumping over them.

Secret Passages

From certain rooms you can take shortcuts from completely different parts of the house. Usually, it is done through exiting the room in the “up” direction, like in Watch Tower, where jumping up from the conveyor belt on its top gets you to The Off Licence. Likewise, if you jump up from the conveyor belt in Rescue Esmeralda, you’ll find yourself in Ballroom East.

Bugged Mother – Bugged Daughter

Even though the 1980s were the idyllic time when games usually just worked, the curse of The Attic Bug seemed to affect also the ports of the game to the other major platforms. The C=64 version by Shahid Ahmad was also bugged. Perhaps the biggest problem is that Willy’s jumps to the left and to the right are of different heights (and, consequently, lengths). It’s a matter of just a few pixels but prevents you from completing the game. That every stair in the house is about waist-high and Willy looks like strangely levitating when climbing them is then just an insignificant detail. The translation to the 8-bit Atari by Tynesoft, however, was even worse. I could throw a lot of funny adjectives at the graphics, animations, and mechanics of this totally unplayable disaster of a game, but I’ll just refer you to the screenshot above instead. If it wasn’t for Rob Hubbard’s music, there would be no reason to load this version even once.

Note: The Tynesoft version shouldn’t be confused with Jet Set Willy 2007, a fan port of the game to the Atari 8-bit, which in turn is perhaps the most faithful conversion from the ZX Spectrum, Willy’s home platform, to any other 8-bit computer. But Willy’s journey around the 8-bit world will be the subject of a different article that we’ll publish in near future.

This Little Piggy Had Wings

In The Nightmare Room, Willy transforms into a winged pig. Some sources call it a flying hedgehog. I’ll leave it up to you to decide. This feature is missing from the Atari and C=64 versions, while on the Amstrad CPC, the joke is applied even to the lives display at the bottom of the screen.

In some conversions, the piggy joke didn’t appear

The Banyan Wall

On the screen called The Banyan Tree, there’s a wall that makes it impossible to jump through the tree’s roots and get to A bit of tree (capitalization – or rather the lack thereof – as opposed to most other rooms, in the original). The wall has to be removed by one of the aforementioned POKEs.

Run, Willy, Run!

While in most rooms you have to be very cautious not to collide with any of the baddies and plan your way and jumps well in advance, in The Kitchen and West of Kitchen you can avoid the flying killer cooks by just blindly walk left all the time.

The Rainbow of Virtue

For those of you who have played the game as kids, this will be nothing new because we all have always played only legally bought games (right?!), but anyway… The game was one of the first to come with a special form of copy protection: once you loaded Jet Set Willy, you had to enter a 4-digit, color-based code that you had to look up in a matrix printed on the original cassette’s inlay. If you got the code wrong the first time, the game asked for a code from another square from the matrix. If you failed two attempts in a row, the computer reset and you had to load the game again.

Jet Sandbox Willy

Willy’s mansion, or rather manor, comes with all kinds of expected and unexpected rooms. Apart from the Master Bedroom (about which the whole game is), Willy has his own yacht as well as a watchtower and battlements, an emergency generator, or a chapel. There are much more obscure rooms as well: one’s called We must perform a Quirkafleeg, others have names like Dr. Jones will never believe this, or I’m sure I’ve seen this before.. (“Honey, could you please bring me my curlers from wemustperformaquirkafleeg? If they’re not there, then I must have left them in I’msureI’veseenthisbefore.. or in Dr.Joneswillneverbelievethis.”) There’s also a priests’ hole – whatever it is – and even an entrance to Hades! Here’s map of the game.

Watch Tower is one of the secret entrances

The game is so unique and the house so big that it almost begs for you telling your own stories. So when you know Jet Set Willy in and out, you can invent your own little games. What would happen if Willy just disobeyed his bossy wife and do the exact opposite of what’s asked of him? How many rooms could you visit not collecting a single one item? Or what if you just acted out a real-life scenario and instead of tidying up after the party immediately you just holed up somewhere and slept out of your hangover? For example, you could enjoy a nice nap in the branches of the tree in the Out on a limb room and, as a matter of principle, not to collect a single one item on the way. You can go through The Bathroom, Top Landing, First Landing, Main Starway, The Kitchen, and West of Kitchen, then through Cold Store and Back Stairway to The Wine Cellar. There you have to cross The Forgotten Abbey, The Security Guard, and Under the Drive. From there you’ll go to At the Foot of the MegaTree you’ll just jump through Inside the MegaTrunk to the Tree Top and Out on a limb, where Maria will never find you. You will not officially win the game this way, but you have not collected a heap of the things and can enjoy that priceless, heartwarming feeling of outsmarting the old witch in the bedroom. Or you can use one of the shortcuts – from the Back Stairway you can climb up to the roof and in We must perform a Quirkafleeg you climb up the rope to the Watch Tower. Once there, jump over the left obstacle, carefully avoiding the item on its top. Then go to the conveyor belt and jump up. Voila, you’re in The Off Licence, from where you’ll just go on to the left to the MegaTree.

Or just don’t care about my advice and get a bottle or five in The Off Licence. That’s a nice revenge too and gives you the sweet satisfaction of playing according to your own rules.

Either way, I heartily recommend you to stop reading and just load the game and enjoy it yourself. On your marks – Jet Set – Willy!


Welcome to 8-Bit Stuff!

Welcome to, the home of the living 8-bitters!

This site is dedicated to 8-bit computers and the software (and occasionally hardware) around them. In case you’re wondering what 8-bit computers – or simply 8-bitters – are: they’re the microcomputers that were on the top of home entertainment popularity in the 1980s and early 1990s; all those Ataris, Commodores, (Sinclair) ZX Spectrums, and others.

“Ah, you mean retrocomputing,” you might say now. Well, we do, and we don’t. Retro, the way it is mostly used these days, often implies pure nostalgia. “Those were the days!” retro people say. “These are the days!” we say. For us, our 8-bit pets are still very much alive and kicking. New games are being programmed, new hardware is being developed, and talking to our friends, we find out every day that many people who would love to hear of that have no idea about it.

“So, what exactly are you going to cover here?” a person interested in 8-bit computing might ask now. Thank you very much – we love people who ask the right questions at the right time. Let’s face it; in spite of its whopping 3 MHz clock speed, you probably won’t use a Spectrum to calculate the first seven billion decimal places of pi, so we’ll focus on what the 8-bitters have always been most famous for: games.

We’ll be looking at 8-bit games from all kinds of angles. You can expect profile articles with funny trivia on well known games, game series, or game authors. We’ll write about games that are less known but all the more worth playing. And we’ll spice it all up with occasional interviews. We’ll also cover relevant hardware, like the easy to build Atari MultiJoy adapter that enables connecting up to 16 joysticks for multiplayer games on the Atari 8-bit.

And we’ll be looking at all kinds of games:

  • Old. Because those are the games that everyone remembers, the classics everyone loves to return to. Our first goal is to be the go-to place for a pleasant reading on the most pleasant games and for an inspiration for what to play on your 8-bitter (or in an emulator).
  • New. This is where we intend to add value to contemporary 8-bit journalism. There are several servers that publish news on 8-bit projects if they receive them. But we can’t shake the feeling that they take them just as a kind of fodder for the article pipeline. They don’t follow up. Too often it happens that you can see a news bit on a new game in the works, but when the actual release happens, it isn’t covered. will closely follow new game projects from the day we learn of them till the day they get released. So our second goal is not only to be the go-to place for news on new games but also a place for creators to see interest in their work and ask for help where needed, gamers to give the creators feedback, and fellow enthusiats offering help with overcoming obstacles in the development, thus helping with completion of more projects.

Enjoy the 8-bit stuff!

Akio Tenshi, Jason Wotnau