Category: Retro Gaming

Title

Falcon Patrol

Developer

Steve Lee

Publisher

Virgin Games

Year

1983

Platform

Commodore 64 (also VIC-20, BBC, Electron)

Genre

Horizontal-scrolling shoot’em up

Score

8 / 10

There are entire books written about Defender‘s impact on the shoot’em up. There is, as far as I can find, exactly one decent piece written about Falcon Patrol, which is a problem because the latter — written by a single programmer for Virgin Games at the absolute peak of British budget gaming — is in many ways the more honest of the two.

The Brief

You are the last surviving pilot of the Falcon Patrol. Your job is to defend six airfields from waves of enemy jets. You fly a Harrier-style VTOL fighter — yes, you can hover, yes, you can land at any of the six airfields to refuel and rearm — and you scroll left and right across a stretched-out desert horizon engaging the enemy in air-to-air combat.

If that sounds simple, that’s because the appeal of Falcon Patrol is in the texture, not the brief.

What Makes It Special

It’s a game where the smartest move is, very often, to land your plane and walk away.

Falcon Patrol does three things that most arcade-derivative shoot’em ups didn’t bother with. First, fuel and ammo are real, finite resources. You will run out. You will need to land. The landing sequences are a small ballet of throttle control and patience that nothing else on the C64 in 1983 was attempting. Second, the AI jets actually bomb the airfields. Lose all six and the game ends. You’re not racking up score in a vacuum — you’re defending something.

Third, and this is the bit that’s still surprising forty years on, the game has a cadence. Waves get harder, fuel pressure mounts, airfields are gradually picked off if you don’t actively defend them, and the moments where you screech in to land on the last functional strip with a wing on fire are some of the tensest sequences ever rendered in MOS 6510 machine code.

The Tech

Falcon Patrol is one of those C64 games that ran circles around the rest of the format because Steve Lee simply understood the hardware better than most of his peers. The two-way smooth scrolling is buttery. The sprite multiplexing during big formations is invisible. The collision detection is rock solid. There is no flicker. There is no slowdown. In 1983. From one bloke.

It’s also an early demonstration of why the C64 was the right machine for action games of this kind: the SID chip’s raw engine drone, the punchy explosion samples, the way the screen briefly inverts on a kill — that’s the C64 doing what Spectrum and BBC could only dream of.

The Sequel Problem

Falcon Patrol II followed in 1984 and is, regrettably, a slightly worse game. The first one’s purity got buried under added features (smart bombs, helicopters, more enemy types) and the magic balance between fuel, ammo and territory was lost. Skip the sequel. Play the original.

Verdict

Falcon Patrol is one of the great unsung British budget games. It is what happens when a programmer takes a US arcade blueprint, strips out the bits that don’t matter, and rebuilds the rest around resource management and pressure. Eight out of ten — losing two only because the visual variety thins out in the late game and the difficulty curve doesn’t quite earn its final waves.

But for forty minutes of the most underappreciated arcade design on the C64, you can’t do better.

• Pro tip: You can shoot enemy bombs out of the air. You probably should.
• Pro tip: Hovering over an airfield draws enemies to it. Patrol on the move.
• Where to play: VICE emulator, the C64 Mini/Maxi, or the browser version at commodoregames.net.

8 / 10

Title

Hyper Sports

Developer

Konami

Publisher

Konami (arcade) / Imagine (8-bit ports)

Year

1984 (arcade), 1985 (Spectrum/C64/CPC)

Genre

Multi-event sports / button masher

Score

8 / 10

If you grew up in the UK in the mid-eighties and you owned a Spectrum or a C64, there is a non-zero chance Hyper Sports physically destroyed at least one of your joysticks. Konami’s arcade sequel to Track & Field took the original’s dual-button waggling formula, added more events, refused to make any of them less brutal, and was unleashed on home computers in 1985 by Imagine’s conversion team. The result was a game that turned thumbs into puddings and cost more in replacement Quickshots than the cassette did.

The Events

Six events on the home conversions, seven in the arcade, and they all share a common DNA: can you mash a button faster than your friend?

• Swimming (100m freestyle): Pure mash. Tap fire to swim, jab up to breathe. Forget to breathe and your swimmer drowns. Drowning, in a Konami arcade game, in 1984.
• Skeet shooting: The one event that isn’t button-mashing. Twin barrels, four clay pigeons per round, sub-second timing.
• Long horse / vault: Mash to build speed, then a single perfectly-timed up-thrust to clear the horse. Get the angle wrong and the gymnast eats the apparatus.
• Archery: The thinking-person’s interlude — windage, elevation, breathing. The crowd’s cheer when you nail a 10 is one of the most satisfying sounds the SID chip ever made.
• Triple jump: Three button-mashing run-ups and three angle taps in sequence. The hardest event in the game.
• Weightlifting: A two-stage clean and jerk that has destroyed more Sinclair Spectrum keyboards than any other software ever released.

The Ports

The Imagine conversions were minor miracles. The Spectrum version was the most-played.

On paper, porting an arcade button-masher to a rubber-keyed home computer should have been a disaster. In practice, the Imagine team — under Ocean’s umbrella by then — produced ports that captured 90% of the arcade buzz on machines with a fraction of the horsepower. The Spectrum version had the cheekiest sprite work, the C64 version had the best music (it’s Martin Galway, of course it had the best music), and the CPC version was — as so often — somewhere quietly between the two.

The Cultural Damage

Two things you should know if you’re approaching this game in 2026. First: there is a reason every retro-gamer over forty has slightly knackered thumbs. Second: the joystick industry of 1985 invented the autofire button primarily so that British kids could win at Hyper Sports without dislocating a wrist. The Konix Speedking and the Cheetah 125+ both owe their existence, in part, to Konami’s masochism. Cheating, yes. Necessary cheating.

Verdict

Hyper Sports is one-trick-pony game design — but the trick is so well-executed, and so deliciously competitive when two friends are taking turns, that it transcends its limits. It is the purest party game of the 8-bit era. It is also the game that taught a generation of British kids that exercise and pain are sometimes the same thing.

Eight out of ten. Would not recommend playing without a tin of Vaseline for your fingers.

• Best event: Archery — sublime balance of luck and skill.
• Worst event: Triple Jump — the difficulty curve crosses the line into sadism.
• Where to play: MAME for the arcade, Spectaculator/FUSE for the Spectrum, VICE for the C64. The Konami Arcade Collection on the original Game Boy Advance is also worth tracking down.

8 / 10

Title

Chuckie Egg

Developer

Nigel Alderton (16 yrs old)

Publisher

A&F Software

Year

1983 (Spectrum, BBC, Dragon)

Genre

Single-screen platformer

Score

10 / 10

Chuckie Egg is — and I will fight anyone in the car park about this — the perfect 8-bit platformer. Not the most famous, not the most ambitious, not the most influential. Just the most perfect. Nigel Alderton wrote it when he was sixteen. Eight levels, five lives, infinite ladders, infinite hens, and the cleanest input-to-action loop ever shipped on a BBC Micro.

The Pitch

You are Hen House Harry. You are trapped in a hen house. There are eggs to collect on platforms, ladders to climb, lifts that arrive when they feel like it, and twelve hens that will end your career if you so much as graze them. Collect all the eggs in a level and you progress. Take too long and a giant duck escapes from a cage in the top-right corner of the screen and starts hunting you personally. Yes, really.

Why It’s Better Than It Has Any Right To Be

The genius of Chuckie Egg is in its inputs. Harry runs at a pace that feels like he’s actually accelerating. He climbs ladders with a satisfying clunk-clunk rhythm. The jump is short, predictable, and never lets you down. The hens follow patrol patterns you can read after thirty seconds, but the layouts force you to thread the needle between them in ways that feel improvisational every single time. Nothing in the game is random. Everything is on you.

It’s the platformer that respects you. Every death is your fault, and you know it.

Versus Manic Miner

Chuckie Egg and Manic Miner came out within months of each other and they’re often paired in retrospectives, but they’re almost opposites. Manic Miner is a baroque, ornate cathedral of a game — every screen a different theme, lethal in different ways. Chuckie Egg is sleek and uniform; one set of mechanics, eight expertly tuned variations. If Manic Miner is the British Donkey Kong, Chuckie Egg is the British Pac-Man: simple inputs, infinite skill ceiling.

The BBC Micro Version Is The Definitive One

The Spectrum version is great. The Amstrad version is great. But the BBC Micro original — running on Acorn’s bulletproof 8-bit hardware — has the cleanest controls, the fastest sprite movement, and the most consistent collision detection of any release. If you’re going to play one, play that one.

Verdict

Chuckie Egg is what happens when a teenager with an idea and 16K of RAM gets a tight, ruthless edit on his own design. There is nothing wasted. There is nothing missing. Forty-plus years on, you can sit a child who has never seen anything older than a Switch in front of it, and they will, after dying twelve times to that giant duck, get it. Real games don’t age.

• Pro tip: Don’t rush level 1. Establish the rhythm. The duck punishes panic.
• Pro tip: The lifts don’t always show up. Plan a fallback route up the ladders.
• Where to play: The 1996 Windows port from Pickford Bros, BBC emulators (B-em, jsbeeb), or the official remake on Steam.

10 / 10

Title

Manic Miner

Developer

Matthew Smith

Publisher

Bug-Byte / Software Projects

Year

1983

Platform

ZX Spectrum (48K)

Genre

Single-screen platformer

Score

9 / 10

There are perhaps a dozen British games from the early 80s that genuinely shaped what came next, and Manic Miner is one of them. Matthew Smith was nineteen when he wrote it. He coded it on a ZX Spectrum in his bedroom in Wallasey, slept three hours a night, and produced the game that — more than any other — convinced a whole generation of British kids that a bloke in a bedroom could actually make a thing people would buy.

The Setup

You are Miner Willy. You have fallen into a network of disused mines beneath the Surbiton suburbs, and the caverns are inhabited by mutant telephones, killer toilets, manic mining robots and what is clearly meant to be a demented penguin. Twenty rooms. Each one a single screen. Collect every flashing key, then leg it to the portal before the air runs out.

That’s it. That’s the game. The astonishing thing is that this minimalist setup contains, by some unholy alchemy, more design ideas per kilobyte than any modern platformer manages in an entire act.

How It Plays

Three lives. No saves. No checkpoints. Twenty rooms of immaculate, hand-tuned cruelty.

Willy moves like he’s wearing wellies full of cement. The jump arc is fixed — no variable height, no air control — which sounds like a limitation until you realise the entire level design is built around exploiting it. Every gap, every conveyor, every collapsing floor has been calibrated to the millimetre against that one jump curve. It’s a platformer where the platforms don’t move; you have to.

What separates Manic Miner from the dozens of platformers that came after it is how each room reads as its own puzzle. Solar Power Generator is a route-planning problem. The Vat is a timing study. Skylab Landing Bay is a dexterity exam. By the time you reach The Final Barrier you’ve effectively been on a 20-stage design lecture in what a single screen can carry.

The Music

Manic Miner is also the first game on the Spectrum to feature continuous in-game music — Smith hammered Grieg’s In the Hall of the Mountain King through the Spectrum’s single-channel beeper while the game still had to calculate sprites and collisions. People at the time genuinely could not believe this was technically possible. It drove some players insane (you could not turn it off). It cemented a generation’s relationship with that specific Grieg piece forever.

Verdict

Manic Miner is a ten-out-of-ten game that I’m scoring nine, because the difficulty in the back half — particularly Wacky Amoebatrons and The Endorian Forest — crosses the line from ‘demanding’ into ‘punitive’, and not all of it is the kind of unfair that’s secretly fair.

But it is one of the most important video games ever made on these islands, and it still works. Find a Spectrum emulator, sit down with it for an hour, and you’ll feel the exact same dopamine loop that made British kids in 1983 skip dinner. That’s not nostalgia. That’s design.

• Best room: Solar Power Generator — every input matters, the route is gorgeous.
• Worst sin: Three lives only, no continues. You will lose progress to a single careless jump.
• Where to play: Spectaculator, FUSE, ZX Spectrum Next, or the Antstream Arcade collection.

9 / 10

Walk into any second-hand games shop in 2026 and try to buy a boxed PS2 copy of Shadow of the Colossus. Good luck. The same disc that sat in bargain bins for £3 a decade ago will run you £40 if it’s clean, more if it’s sealed. CRT televisions — the chunky cathode-ray sets your parents threw out around 2009 — are now a six-month wait on auction sites and routinely outsell new budget LCDs in dedicated communities. Limited Run Games’ physical reissues sell out in minutes. Something is going on, and it’s bigger than the "everything old is new again" story we’ve been telling ourselves since the NES Classic.

This isn’t nostalgia. It’s preservation panic.

The retro boom has three engines, and only one of them is sentimental. The first is the simplest: the kids who grew up with the PS2 and GameCube are now in their thirties, with disposable income and a sudden awareness that the games they remember are getting harder to play legally every year. Sony shut down the PS3 storefront. Nintendo shut down the Wii U eShop. Hundreds of games that were once one click away are now functionally extinct unless you know where to look. That’s not a nostalgia market — that’s a preservation crisis with a price tag.

The second engine is hardware. The current generation of retro handhelds — devices like the AYN Odin 2, the Anbernic RG556, the Retroid Pocket 5 — has crossed a quality threshold the old emulator boxes never reached. They’re properly built, they handle PS2 and GameCube without breaking a sweat, and they cost less than a single AAA game. That changes the maths. Five years ago, playing your old library required either keeping the original hardware running or wrestling with a desktop emulator. Now it’s a £200 device the size of a sandwich.

The third engine is the thing nobody saw coming: modern games are tired. Not bad — tired. Forty-hour open worlds with the same crafting loops, photo modes, accessibility menus, post-launch roadmaps. There is a generation of players who have realised that a tightly-designed 90s platformer respects their evening more than a modern game’s fourteenth tutorial does. Difficulty isn’t the appeal. Density is. A Treasure shoot-’em-up gives you more design ideas in twenty minutes than most modern releases manage in twenty hours.

The PS2/PS3 bubble (and why it won’t pop yet)

The most-discussed corner of the 2026 retro scene is the PS2/PS3 surge. Prices for cult titles — Persona 4, Rogue Galaxy, the Yakuza originals, Way of the Samurai 4, Demon’s Souls — have all spiked sharply in the last eighteen months. Some of this is the standard collector’s market doing its thing, but there’s a structural reason the bubble is unlikely to deflate any time soon: Sony has been quietly remastering the wrong games. The headline-grabbing remasters keep targeting the safest bets (Twisted Metal, the umpteenth God of War re-release), while the genuinely beloved B-tier — the games that defined what those eras felt like — sit in copyright limbo or stuck on dead storefronts.

The result is a market where the supply of legal copies is fixed and shrinking, while demand is still climbing. That’s not a fad. That’s a property class.

Mini consoles: the gateway drug

The plug-and-play mini console — kicked off properly by the NES Classic in 2016 — has settled into a steady drumbeat of releases. The Atari 2600+, the Evercade lineup, the various third-party Mega Drive and PC Engine clones — they’re a constant in the toy aisle now. They’re also, for a lot of people, the start of the rabbit hole. Someone buys a mini console for the box-art nostalgia, plays through Sonic 2 in a weekend, and three months later they own a CRT and a PVM and they’re soldering a region-mod on a Saturn.

This is how scenes grow. Slowly, then suddenly. The retro community in 2026 is bigger, younger, and more technically literate than it was even five years ago — and the ecosystem of YouTube channels, Discord servers and homebrew tooling around it is the healthiest it’s ever been.

Where to start (without getting fleeced)

• Don’t start with original hardware. A modern handheld emulator (RG40XX, Retroid Pocket Mini, Miyoo Mini Plus) gets you 90% of the experience for 10% of the cost and zero of the cleaning, recapping, and HDMI-mod nonsense.
• If you want a CRT, get one local. They’re heavy, they’re awkward, and shipping one is a nightmare. Facebook Marketplace and house-clearance sales still throw up perfectly good Trinitrons for free or near it. Don’t pay eBay prices.
• Be honest about what you’ll actually play. The 16-bit era is the sweet spot for most people: short, dense, gorgeous, and well-supported. The PS1/PS2 era is technically harder to emulate well and emotionally heavier — start there once you know you’re hooked.
• Buy reissues when you can. Limited Run, Strictly Limited, and the various indie revival labels are reprinting genuinely great games at fair prices. Supporting them sends the right signal to the rest of the industry.

The bigger picture

The most interesting thing about the 2026 retro scene isn’t the prices or the hardware. It’s that an entire industry is, slowly, being forced to take its own back catalogue seriously. Microsoft’s backwards-compatibility programme, Nintendo’s piecemeal Switch Online classics, even Sony’s begrudging PS Plus retro tier — none of these existed in their current form a decade ago. The pressure for them came from the bottom up. From collectors, emulator devs, archivists, and the kid who bought a mini console because the box was pretty and ended up running a Mega-CD homebrew project.

If you’ve been thinking about getting back into the games you grew up with, 2026 is genuinely the best moment to do it. The hardware has never been cheaper. The community has never been more welcoming. And the alternative — waiting another five years and watching prices climb — gets less attractive every quarter. The renaissance is real. Go play something old.