#after burner amiga

[worstvideogamesong-poll]

Worst Video Game Song Tournament - Round 1 Match 64

Maximum Power - After Burner (Amiga)

VERSUS

Imp's Song - DOOM

FIGHT!

I would recommend listening to as much as you can of each song before voting, but how you choose is up to you! Remember to be civil in the tags and replies!

Propaganda under cut:

Maximum Power:

"this one is a popular choice for trolling each other in the RadioSEGA requests. I've heard something about the track being corrupted somehow in the port to Amiga? well, whether it was on purpose or not, this is how it sounds in the shipped game. unfortunately it has started to grow on me since I like weird experimental music"

Imp's Song:

"'This sounds like a smoke detector going off while a car sits outside with its bass turned up too high.' - Dan Ryckert, Game Informer. Listen from 1:12 for the jackhammer starting."

Feel free to add more propaganda in the tags and replies, or send it to me in the ask box and I'll try to share it as soon as I can!

[retrocgads]

USA 1990

[dimalink]

Starflyer Star: interaction with space gremlins at star Djois III

Pixel art for today based on videogame Galactic Conqueror for game computer Atari ST. It is shooter about space. It is what you need! So, game was also released for another computers. For example, Amiga and PC MS DOS.

And this is my drawing based on. Same conception. It is like After Burner for Sega, Maybe little slower, because it is space and a little simulation.

You are a pilot of a starflyer type Star. Fast and ready for far distance fly space craft. Such starflyer has Hyper-D engine. Such space avengers are inside of Space Union forces. Extending borders of Space Union, Space Union always try to coordinate actions with other space nations. If they are exists. As a rule, space is empty. And all the planets are free.

It were found interesting planets for Space Union around the star Djois III. It were several planets, that are very good for colonization. But nobody expects, how space gremlins arrived. They said, that it is planets under their`s own control. So they assert their right to star system Djois III. At first. And little later they assert their right for 50 star systems, which are already inside Space Union.  

For making words more powerfull they blocked movement of all ships from Space Union by perimeter of 50 star systems. Gremlins are roaring and speaks no more by high frequency radio. Plus to this, they move battleships slowly inside territory of Space Union. For making this a solution, it was send a second army of planet Terra 2.

[archoneddzs15]

Sega Saturn - Sky Target

Title: Sky Target / スカイターゲット

Developer/Publisher: Sega / Appaloosa Interactive

Release date: 25 April 1997

Catalogue No.: GS-9103

Genre: 3D Shooting

Originally programmed by Sega for their Model 2A CRX arcade hardware, this reprogrammed version by Appaloosa for the Saturn isn't their first venture into ports of arcade and computer games. Known as Novotrade prior, they were responsible for the Saturn port of Galaxy Force 2 as well as the likes of the Ecco the Dolphin series, the Sega Genesis port of California Games, and the Amiga version of Castlevania. Sadly, Sky Target shows their somewhat lack of knowledge when it comes to the Saturn hardware with its low-resolution textures and super warping polygons but luckily the gameplay is still intact. Sky Target is best played with the Saturn's analogue controller (it is also compatible with the Saturn Mission Stick) for that better feel, but it is fully playable with the standard controller. If you're after an After Burner-style game, then Sky Target is the one for you but don't expect it to knock you out with its visuals.

[kinsie]

Behold, an absolute banger of a track from the Amiga version of After Burner...

[humor-y-videojuegos]

After Burner II Año: 1987 Plataformas: Amiga, Mega Drive, Atari ST, NES, Sega 32X, Saturn, TurboGrafx-16, Arcade...

[britesparc]

Weekend Top Ten #482

Top Ten Sega Games

So I read somewhere on the internet that in June it’s the thirtieth birthday of Sonic the Hedgehog (making him only a couple of months younger than my brother, which is weird). This is due to his debut game, the appropriately-titled Sonic the Hedgehog, being first released on June 23rd. As such – and because I do love a good Tenuous Link – I’ve decided to dedicate this week’s list to Sega (also there was that Sonic livestream and announcement of new games, so I remain shockingly relevant).

I’ve got a funny relationship with Sega, largely because I’ve got a funny relationship with last century’s consoles in general. As I’ve said before, I never had a console growing up, and never really felt the need for one; I came from a computing background, playing on other people’s Spectrums and Commodores before getting my own Amiga and, later, a PC. And I stuck with it, and that was fine. But it does mean that, generally speaking, I have next to zero nostalgia for any game that came out on a Nintendo or Sega console (or Sony, for that matter). I could chew your ear off about Dizzy, or point-and-click adventure games, or Team 17, or Sensible Software, or RTS games, or FPS games, or whatever; but all these weird-looking Japanese platform games, or strange, unfamiliar RPGs? No idea. In fact, I remember learning what “Metroidvania” meant about five years ago, and literally saying out loud, “oh, so it’s like Flashback, then,” because I’d never played a (2D) Metroid or Castlevania game. Turns out they meant games that were, using the old Amiga Action terminology, “Arcade Adventures”. Now it makes sense.

Despite all this, I did actually play a fair few Sega games, as my cousins had a Mega Drive. So I’d get to have a bash at a fair few of them after school or whatever. This meant that, for a while, I was actually more of a Sega fan than a Nintendo one, a situation that’s broadly flipped since Sega stopped making hardware and Nintendo continued its gaming dominance. What all of this means, when strung together, is that I have a good deal of affection for some of the classics of Sega’s 16-bit heyday, but I don’t have the breadth or depth of knowledge you’d see from someone who, well, actually owned a console before the original Xbox. Yeah, sure, there are lots of games I liked back then; and probably quite a few that I still have warm nostalgic feelings for, even if they’re maybe not actually very good (Altered Beast, for instance, which I’m reliably informed was – to coin a very early-nineties phrase – “pants”, despite my being fond of it at the time). Therefore this list is probably going to be quite eccentric when compared to other “Best of Sega” lists. Especially because in the last couple of decades Sega has become a publisher for a number of development studios all around the world, giving support and distribution to the makers of diverse (and historically non-console) franchises as Total War and Football Manager. These might not be the fast-moving blue sky games one associates with Sega, but as far as I’m concerned they’re a vital part of the company’s history as it moved away from its hardware failures (and the increasingly lacklustre Sonic franchise) and into new waters. And just as important, of course, are their arcade releases, back in the days when people actually went to arcades (you know, I have multi-format games magazines at my parents’ house that are so old they actually review arcade games. Yes, I know!).

So, happy birthday, Sonic, you big blue bugger, you. Sorry your company pooed itself on the home console front. Sorry a lot of your games over the past twenty years have been a bit disappointing. But in a funny way you helped define the nineties, something that I personally don’t feel Mario quite did. And your film is better than his, too.

Crazy Taxi (Arcade, 1999): a simple concept – drive customers to their destination in the time limit – combined with a beautiful, sunny, blue skied rendition of San Francisco, giving you a gorgeous cityscape (back when driving round an open city was a new thrill), filled with hills to bounce over and traffic to dodge. A real looker twenty years ago, but its stylised, simple graphics haven’t really dated, feeling fittingly retro rather than old-fashioned or clunky. One of those games that’s fiendishly difficult to master, but its central hook is so compelling you keep coming back for more.

Sonic the Hedgehog 2 (Mega Drive, 1992): games have rarely felt faster, and even if the original Sonic’s opening stages are more iconic, overall I prefer the sequel. Sonic himself was one of those very-nineties characters who focused on a gentle, child-friendly form of “attitude”, and it bursts off the screen, his frown and impatient foot-tapping really selling it. the gameplay is sublime, the graphics still really pop, and the more complex stages contrast nicely with the pastoral opening. Plus it gave us Tails, the game industry’s own Jar Jar Binks, who I’ll always love because my cousin made me play as him all the time.

Medieval II: Total War (PC, 2006): I’ll be honest with you, this game is really the number one, I just feel weird listing “Best Sega Games” and then putting a fifteen-year-old PC strategy game at the top of the pile. But what can I say? I like turn-based PC strategy games, especially ones that let you go deep on genealogy and inter-familial relationships in medieval Europe. everyone knows the real-time 3D battles are cool – they made a whole TV show about them – but for me it’s the slow conquering of Europe that’s the highlight. Marrying off princesses, assassinating rivals, even going on ethically-dubious religious crusades… I just love it. I’ve not played many of the subsequent games in the franchise, but to be honest I like this setting so much I really just want them to make a third Medieval game.

Sega Rally Championship (Arcade, 1994): what, four games in and we’re back to racing? Well, Sega make good racing games I guess. And Sega Rally is just a really good racing game. Another one of those that was a graphical marvel on its release, it has a loose and freewheeling sense of fun and accessibility. Plus it was one of those games that revelled in its open blue skies, from an era when racing games in the arcades loved to dazzle you with spectacle – like when a helicopter swoops low over the tracks. I had a demo of this on PC, too, and I used to race that one course over and over again.

After Burner (Arcade, 1987): there are a lot of arcade games in this list, but when they’re as cool as After Burner, what can you do? This was a technological masterpiece back in the day: a huge cockpit that enveloped you as you sat in the pilot’s seat, joystick in hand. The whole rig moved as you flew the plane, and the graphics (gorgeous for their time) wowed you with their speed and the way the horizon shifted. I was, of course, utterly crap at it, and I seem to remember it was more expensive than most games, so my dad hated me going on it. But it was the kind of thrilling experience that seems harder to replicate nowadays.

Virtua Cop (Arcade, 1994): I used to love lightgun games in the nineties. This despite being utterly, ridiculously crap at them. I can’t aim; ask anyone. But they felt really cool and futuristic, and also you could wave a big gun around like you were RoboCop or something. Virtua Cop added to the fun with its cool 3D graphics. Whilst I’d argue Time Crisis was better, with a little paddle that let you take cover, Cop again leveraged those bright Sega colours to give us a beautiful primary-coloured depiction of excessive ultra-violence and mass death.

Two Point Hospital (PC, 2018): back once again to the point-and-clickers, with another PC game only nominally Sega. But I can’t ignore it. Taking what was best about Theme Hospital and updating it for the 21st Century, TPH is a darkly funny but enjoyably deep management sim, with cute chunky graphics and an easy-to-use interface (Daughter #1 is very fond of it). The console adaptations are good, too. I’d love to see where Two Point go next. Maybe to a theme park…?

Jet Set Radio Future (Xbox, 2002): I never had a Dreamcast. But I remember seeing the original Jet Set Radio – maybe on TV, maybe running on a demo pod in Toys ‘R’ Us or something – and being blown away. It was the first time I’d ever seen cel shading, and it was a revelation; just a beautiful technique that I didn’t think was possible, that made the game look like a living cartoon. Finally being able to play the sequel on my new Xbox was terrific, because the gameplay was excellent too: a fast-paced game of chaining together jumps and glides, in a city that was popping with colour and bursting with energy. Felt like playing a game made entirely of Skittles and Red Bull.

The Typing of the Dead (PC, 2000): The House of the Dead games were descendants of Virtua Cop’s lightgun blasting, but with zombies. Yeah, cool; I liked playing them at the arcades down at Teesside Park, in the Hollywood Bowl or the Showcase cinema. But playing this PC adaptation of the quirky typing-based spin-off was something else. A game where you defeat zombies by correctly typing “cow” or “bottle” or whatever as quickly as possible? A game that was simultaneously an educational typing instructor and also a zombie murder simulator? The fact that the characters are wearing Ghostbusters-style backpacks made of Dreamcast consoles and keyboards is just a seriously crazy detail, and the way the typing was integrated into the gameplay – harder enemies had longer words, for instance – was very well done. A bonkers mini-masterpiece.

Mario and Sonic at the Olympic Games Tokyo 2020 (Switch, 2019): the very fact that erstwhile cultural enemies Mario and Sonic would ever share a game at all is the stuff of addled mid-nineties fever dreams; like Downey’s Tony Stark sharing the screen with Bale’s Batman (or Affleck’s Batman, who the hell cares at this point). The main thing is, it’s still crazy to think about it, even if it’s just entirely ordinary for my kids, sitting their unaware of the Great Console Wars of the 1990s. Anyway, divorced of all that pan-universal gladhanding, the games are good fun, adapting the various Olympic sports with charm, making them easy-to-understand party games, often with motion control for the benefit of the youngs and the olds. I don’t remember playing earlier games extensively, but the soft-RPG trappings of the latest iteration are enjoyable, especially the retro-themed events and graphics. Earns a spot in my Top Ten for its historic nature, but it’s also thoroughly enjoyable in its own right.

Hey, wouldn’t it be funny if all those crazy internet rumours were actually true, and Microsoft did announce it was buying Sega this E3? This really would feel like a very timely and in some ways prescient list.

[dazstormretro]

Bored of Gaming? - Jan 1997

“Who loves orange soda? Kel loves orange soda! I do, I do, I do-oooh!" is an all time classic quote from a kids television show I had discovered around this time. The show in question was of course Nickelodeon’s Keenan and Kel which I would religiously tune into watch. Granted by January of 1997 I was eighteen years old, out of college and shouldn’t really have found this comedy duos tomfoolery entertaining but I didn’t care, I loved this show and from what I can gather so did many more people my age.

Other notable goings on which spring to mind around this period include Professional Widow by Tori Amos which was riding high in the music charts, one of my favourite films The Frightners staring Michael J Fox was selling well at the cinema and Chris Evans had left BBC Radio One to concentrate on his TFI Friday television program (man I loved that show).

My latest gadget was a Motorola Pager which I had received that Christmas from my parents. Prior to mobile phones becoming affordable owning a pager was the only convenient way to receive messages on the go plus you could swagger down the street thinking you looked cool. Now I was at the height of technology and could be contacted within minutes (as long as I had ten pence and access to a payphone!) Thinking about it that was actually the first Christmas in seven years that I hadn’t asked for anything video game related?

Having decided to take a year out before heading off to university most of 1997 consisted of making pizzas at my local Asda for minimum wage then spending that wage on going out, music and the occasional video game. My latest PlayStation purchase was inspired by that great summer of 1992 when I borrowed my cousins Amiga 500. One of the standout games which I couldn’t get enough of that summer was The Secret of Monkey Island and once completed I craved more point and click adventures. Over the next couple of years I would play through Full Throttle, Toonstruck and Indiana Jones and the Fate of Atlantis.

Fast forward to February of 1997 and after reading a glorious review I splashed the cash on a copy of Broken Sword: The Shadow of the Templar’s. Blasting demons in Doom and ragging around race tracks in Ridge Racer was all well and good but getting lost in the plot of a decent point and click adventure was defiantly a welcome change of pace.

Taking control of George Stobbart, an American tourist on vacation in Europe I set about my quest. After surviving a bomb attack outside a small cafe in Paris I was whisked away on an adventure which would take me to various locations around the globe eventually finding myself investigating the Knights Templar. For the time the graphics were extremely detailed and well animated plus having a fully voiced cast was quite novel coming off the back of the SNES.

Broken Sword was certainly a worthwhile purchase and kept me entertained during those long winter nights but as March rolled around my attention was once again distracted by Nintendo. On March the 1st following numerous delays and years of waiting the fabled N64 was finally available in the UK. Released alongside five titles which included the aptly named Mario 64 and and Pilotwings 64 the system was an instant sellout at £250 (plus another £50 per game).

I’m sure like with most previous consoles I would have been foaming at the mouth to get my grubby mitts on the system but at those prices I had to wait until the following year. One person who did purchase an N64 at launch was my mate Rob (probably with his student loan). Unfortunately Rob was still away at university so I was unable to marvel at Nintendo’s latest creation so it was back to my PlayStation for the time being.

The months past bye and if memory serves me correct I didn't purchase many new PS1 titles during this period. For the first time in my life I was working full time plus combined with a busy social life and girlfriends video gaming was put on the back burner. My PlayStation was now gathering dust underneath my TV and with home consoles becoming more powerful the arcade scene was basically dead. Sure there was the odd drunken night following a pub crawl when a group of us would get together and play Tekken 3 until the early hours of the morning but these were few and far between. Was I becoming bored of gaming?

The actual prospect of ‘growing out of video games’ was rather scary at the time having enjoyed them for so many years which in turn had produced so many wonderful memories, memories which had defined who I was. Luckily this was just a dry spell and my passion for video gaming would once again resume later that year.

By the September of 97 another chapter of my life had begun, I was now a full time university student. Armed with a single suitcase which contained my clothes, music cassettes (including I’ll Be Missing You by Puff Daddy and Faith Evans which I played on repeat) and of course my PlayStation. My main reason for bringing the PlayStation were twofold. Firstly it would serve as a way to kill time until I found my feet in this strange new environment and secondly as a social magnet to hopefully help bring together the people who I would be living with. Turns out this was a good move and I soon found myself surrounded by like-minded people who shared the same interest in video games as I did. What better way to end a good drunken night out than getting together in a small cramped student dorm room whilst playing PlayStation with your fellow flat mates until the sun came up.

I have fond memories of those late night gaming sessions which shared many similarities to my couch co-op days growing up as a kid. This was of course pre-online gaming (unless you were a posh PC kid) so any multiplayer gaming happened under the same roof. Back in my Mega Drive and SNES days those shared gaming experiences of trying to beat Contra 3 in two player mode or taking on a mate in Street Fighter 2 were priceless. Unfortunately as we grew up those days seemed to be long gone but with the help of a few fellow students I was able to rekindle those happy times once more so I’m happy to report that couch co-op was still alive and kicking back in 97!

[1-highscore]

New high score on After Burner [Sega] (Amiga Emulated) by ransom 1,764,192 https://ift.tt/v0s6meA

[enchantedrhythms]

Interview with Mark “Turbo” Turner

Former Eastern Bloc records employee and resident DJ at the legendary northern techno club The Orbit has kindly taken the time to answer some questions and provide a mix for Enchanted Rhythms. Read the interview below and check out the mix on our Soundcloud.

So let’s start at the beginning of your musical quest, what was your entry into deejaying and music?

Breakdancing was my entry into music. In the 80s when breakdancing kicked off I was a popper and had a little crew. You’d hear the music whenever you went out, whenever you’d go out meeting other crews someone would have a mixtape. Hearing this music you’d be like, “Oh my god. This is amazing”,  and you’d be like, “where do you buy this shit?”  People go, “you can just buy it in like Virgin or HMV,” so I’d get my pocket money and get on the bus or train and go to Leeds.

Where were you based then?

Featherstone which is in West Yorkshire, just some little mining village. Like I say I’d get my pocket money, get on the bus or train, get to Leeds and I’d have enough money to buy a record.

What were the tunes you were dancing to?

Stuff like Egyptian Lover, people like Knights of the Turntables, loads of stuff on a label called Vintertainment, then GrandMixer D.ST, Celluloid, which was more arty New York-style stuff, always interwoven with people like Keith Le Blanc who did more of the big beaty dub stuff in the early days. Tackhead, people like that from the UK...just really industrial sounding drum shit with early repeat style sampling stuff. You could tell they’ve just got a sampler and are hitting the key going “ah-ah-ah-ah-ah”. Early roots shit like that, rough, not quantized. In that period it didn’t mean shit, it sounded like future music anyway. Labels like Music Specialist, Pretty Tony, the roots of electro, obviously things like Cybertron’s Clear. We were more into the West Coast stuff like I say, Egyptian Lover, all the Crew Cuts records, World Class Wreckin’ Cru which is obviously Dr Dre’s possy before NWA. All the Crew Cuts was fucking badass, stuff like Clientele Yella. In Straight Outta Compton (the movie) they don’t even touch on that vibe.

So how old were you then?

A teenager. I think I got a set of decks when I was about 14. I’m 46 now, so a long time ago. My first turntables were two identical belt driven Pioneer hi-fi turntables with no pitch and some crap Tandy mixer from Radioshack. What I would do is get Jocks magazine, which was a forerunner to DJ Mag, where they used to review records and include the BPM. I’d roll into a record shop like Crash Records in Leeds and give them a random list of things that were similar in BPM. The style didn’t really matter, just because I knew I could mix them on my set-up. After a while I got some Technics rip-off Soundlab decks, and after those it was just a matter of saving up and buying the real thing. After having belt-driven Soundlab turntables getting a pair of Technics is one of the highlights of your life. These solid pieces of kit where you can actually mix records night and day.

How did you get into House music?

My friends were getting into the early Chicago stuff and one of them had been buying all the old Trax Records and had started a little night in Wakefield. I went to this night and after starting hearing that I was like “what is this shit?”, Chicago, this 4x4 shit, this is the next phase. I mean there was a period where you’re like “I’m not into that”. It can be like you’re a little tunnel blind to what you’re into, no matter what it is. I had that thing where it had to be electro or hip hop, everything else was shit. But then going out and hearing one of my mates playing me this stuff I was like, this is even better than what I’m already into. From there on it was just house shit and hip-hop/electro on the back-burner.

From that things progressed, and the rave period came. We used to go to illegal parties, loads of little raves in warehouses. Discovered gear, speed, acid, party fuel. This music sounds wicked but with this shit it sounds even better. The whole rave period of the early 90’s, we did illegal parties. I got busted at one in Leeds at this big Guilderson Rave (The Love Decade) in 1990. I think it was the biggest mass arrest ever in the UK with like 800 and something people arrested. I was locked up for 9 hours totally wired in a police cell with some mad scouse guy in the cell next door banging on the wall going ‘Hey, Macca, where are you Macca’. After getting out the cell I had to get on the bus and go back to my Mum’s house and she is like “where you been”, and I’m like  “err, nowhere”.

At this party were you playing or just raving?

Nah, it was a guy called Rob Tissera who was playing and he actually got a 6 month prison sentence. He wasn’t the organiser of the party but as the DJ everything got put on his shoulders. Those little parties were the intro to the Criminal Justice Act. After that party they really booted in strong with that but we did another under a motorway bridge in Wakefield called Finger In A Matchbox. It was just two parts under the M1. We got a rig under there, played one record and all of a sudden the wires were cut and the police were there with a roadblock.

So they were waiting for you?

Yes, this was before social media but the word had got out. What we had done was created a escape route. On a lot of motorway bridges there is a route from one side to another, like a hatch, and we had all these candles down there. When the police came we banged the turntables into these bags and legged it down this tunnel where we laid low for 4 or 5 hours, whilst everyone else on the other side of the bridge were getting arrested. When everybody left we got back down to the car and then fucked off.

The aftermath of Finger In A Matchbox.

How did The Orbit start?

There weren’t any raves in West Yorkshire, you always had to travel. There were the Guilderson parties but everything was really was elsewhere, Blackburn, down south, Stoke, or Liverpool’s Quadrant Park, places like that. When the Orbit came along it was like there is a club where you can listen to all your favourite music and it’s 10 miles away. First night going there, I think it was Grooverider and Evil Eddie Richards. It was wicked, there were all the people you went out with everywhere else all over the country but you could just go to this party and go back to peoples houses afterwards. With the illegal raves it was just service stations afterwards, wired with a little bag with a change of clothes because you had sweated that much and you would stay there till about 11am. People were getting flats around the Orbit around this time, so we could go to the Orbit and then afterwards go to someone's flat.

Sounds better than service stations.

Well the thing with service stations is everyone got banned once they started getting wise to where all these people were coming from. At the service station they would have a roof that came all the way down to floor level and people would climb up on them and start dancing like crazy fools. They started closing the stations so you could get some petrol but you couldn’t go in.

How did you get involved playing at the Orbit?

The Orbit got so popular that they opened another club, so they had Osset and they opened After Dark in Morley. Some of my mates knew the guys that were running the Orbit so I gave them a mixtape and they let me have a set. I can’t remember who else was playing, DJ Sy or something, it was the hardcore period with Grooverider, Fabio, etc, people dressing up mental with Persil boxes on their head. We didn’t know but in After Dark there were loads of these little rooms and me and my friend Nidge, who I had hooked up with wandered up into one on a Saturday night and there was a DJ playing in there. We were like, what’s this? Nobody's ever told us about this. So we told Sean who ran the club that we would like to DJ in the backroom instead. So they chucked out the guy who was in there and I would bring two massive speakers and amp from a friend and some decks and we started doing the back room at the Orbit. It was hardcore and techno in the main room and we would play house shit in the backroom. As the backroom started getting popular we moved up into another room at the top of the club. That is where we started playing the more purist techno sound, it wasn’t really a chillout room. Downstairs, you would be getting the hardcore shit and upstairs we were smashing out early techno like Underground Resistance and all the Belgian stuff.

After a period Sean had gotten unhappy with all the happy hardcore clientele. So he approached a few people, for example Dave Angel, saying they want to take the club in a more techno orientated field. They asked for a list of names from someone already on the scene. Dave gave them loads of names like Sven Vath, all the Harthouse guys, Jeff Mills, Tanith, IQ, Westbam, Marco Zaffarano, we’d start getting the American guys like Mike Dearborn, DJ Skull all the Toronto boys, like Hawtin would be on a Plus 8 night, John Acquaviva, Mark Gauge as Vapourspace. With the UK lot, we had Sims, Oliver Ho, Ruskin, Surgeon, British Murder Boys, Mills played there loads of times, Laurent Garnier, everybody who's still on the techno scene today. We also started doing Reflex stuff, so we had Aphex Twin playing live and even on his Soundcloud page there is a track he did for the Orbit. It was wicked, but not everyone got it...some crazy long haired ginger guy lying down on an Amiga computer with a TV screen, smashing out Didgeridoo and shit like that.

Orbit flyer from 1995.

We had Wishmountain (Matthew Herbert), who used get dressed up in a suit and mime along to his tracks. He’d get on top of the speakers and get a trumpet out of his suitcase and do a crazy live set with shitty harmonicas. He did one thing with radios where he just sampled little bits of radio recordings and make tracks with it, it was wicked but not everybody got it. A lot of people were quite straight with what they want; repetitiveness, kick drums. We had a full Reflex night once with DMX crew, Cylob, and Aphex Twin deejaying. That night turned into a riot with the crowd throwing shit at DMX, we switched off the music and he was shouting back offering out the crowd. The crowd thought it’s gonna be Aphex Twin, it’s gonna be the shit. When he came on at the end he was playing Drum n Bass + 8 style, and people were going crazy, booing. I talked to DMX about it later on and he was like man, that night, one of the worst nights ever. It’s a night that always sticks out, not that it was shit music, just that the crowd weren’t ready for it.

What was the vibe like in there?

Atmosphere wise I’ve never been to a club anywhere like Quadrant Park in Liverpool in the early 90’s. It’s totally electric, hairs up on the back of your arms, everyone just dancing with their hands in the air all night long. It was the same with the Orbit, I think it might have just been a Northern thing. The more north you get the more people party hard. If you ever went to the Arches in Scotland, more north, more nutty, more hardcore, more up for it, more party! I’ve always found London more subdued, not pretentious but just always a bit tame, the North's always had it for me.

Liverpools Quadrant Park.

How often were you playing there?

Every week we had the back room which was originally the foyer where you came into the club. There were a lot of nights where I missed the big guests because I loved playing in the back so much. We’d just turn up and be like let's have a hip hop night and play hip hop all night or be like let's have a electro night and just play electro all night. There was no control in that room, you could play whatever. You’d get your friends to come along and get them deejaying. It got to the point where people just wanted to come to play the backroom. You’d get people who played the back room and you’d see next to their name on flyers “The Orbit”,and they should have put in brackets “The Backroom”. A lot of close friends say it was always about the backroom for them as well. We used to come in there, all night sitting in the corner smoking reefers, listening to you play whatever basic channel till whenever. We did book people in the back room as well, we had the Orb, Fat Cat and we used to get these guys if Sven (Vaeth) did a night called Aural Float, really good electronic artists who did stuff on his label. The backroom was my Nirvana.

Did you ever play in the mainroom?

I didn’t really, although when one of the guys Nigel left, they asked me to play in there. Thing is I didn’t buy that much techno, I’d buy UR and Mills stuff and that but obviously working in the shop (Eastern Bloc) I had a massive run on promos. I got a name for being the guy getting asked what I’m playing and it’s some white label promo that I can’t even remember the name of. The main room was mad. It opened at 8pm because it finished at 2am. So you’d start the night with some electro, some dubby Basic Channel shit and then it would just fill up so at 21.00 and you’d have techno skinheads on the dancefloor going “Come on, Come on”. I’d be like fuck it, and stick something on with a kick drum and they’d all be like “Yeaaaaaaa”. You couldn’t really take it as a warm up, you couldn’t really progress. You could do a hour of what you wanted but then all of a sudden it would change gear because you had such a short period of going out. Nowadays you can go out for days but at that period in time you only had till 2am so people just wanted to go out and have it. That’s where I got my name, but it was never my thing. I was into it but what I was playing wasn’t my true love, if you know what I mean. The backroom was me, the backroom was about how I expressed myself in what I played, in the electro shit or the house shit. I love techno but I’ll always go back to house and if you came and saw my records it would be mostly house or old electro shit. I’ve got techno but a lot of the techno from the period of the Orbit I found it a bit throw-away. So when the Orbit finished I saw those records as just tools to pay the man and got rid of alot of them. I’ve had a few deejay jobs where I’ve just bought things, you do, you buy shit and years later I look at it like what is that shit and I’m sure there are records that I’ve got rid of and I’m thinking shit, that is £100, £200. It’s not the fact that I still like it, just that I sold that for 1p or job lots for 100 records for £100.

What sort of size were the rooms?

1200 capacity in the main room and on a busy night that would be full. The backroom was about 100. One of the problems with my room was that we didn’t even have proper speakers. I used to bring some little speakers every week in the back of the car, proper DIY style. I had to plead with the club to get some big speakers and when they finally got them, they just gave me a stack of gear and were like, there you go. I had to wire everything up and figure out crossovers myself. When I installed them it was the best thing ever. The club didn’t see the backroom as a financial thing until a bit later. Unfortunately the speakers didn’t last long, we rinsed them out and blew them up!

What happened to the Orbit?

It wound down because the minimal thing came along and people got into different things. The clientele were shrinking and the new audience weren’t going for the 135-140 BPM techno stuff. So in 2003 the Orbit closed. The last night we had Ruskin and Surgeon. We didn’t even announce it was going to close we just had the last night and it just ended, and that was it. 

Tell me about Player.

When the Orbit was still going it had a studio upstairs and Sean who ran the club was thinking about starting a label and asked us if we wanted to get involved. It was me, Jon Nuccle and Mike Humphries who put stuff out on a techno label called Red Seal, and another guy called Ignition Technician. It was just a little collective. We named each release Player 1,2,3 and so on, it was never about who had made each one. That was a hard thing to push because it had no identity, it was just a label. We just had some fun making tunes, cut and paste shit, sample whatever, just put it out. That mentality, just fun, no seriousness to it, we just wanted to do something different. We styled Player on UR 003 and just that UR way of doing things. We didn’t wear masks because we didn’t have press shots but the records were just a track, no info, maybe just a email address on it and that was the way if anybody would get in touch with us for licensing etc. A lot of people liked the Player stuff at the time. I think it was because it was different and we didn’t push the fact who we were. We were invited down to Radio 1 to do a mix by DJ Fergie. The thing with the Player stuff is it was fast but it still had that cheeky house vibe to it. One of the best ones was Ignition Technician did Player 3 that starts with the Jeru The Damaja bit from Playing Yourself. The first two releases had been kinda back-burners but when that came out, that just smashed the label into another level.

We did Player 8 called Zilcho which is one of my favourite Player records because it’s just a house cut-up of Rick James’ Give It To Me Baby, it’s a Beltram remix. We asked Joey to do a remix of Player 8 and he said you know what I’ve just done a version of that track (Give It To Me Baby) without even hearing yours, so he sent that back and we put it out. It was a lot of money, about £3000 for this remix but at the time the label was paying for itself and we all thought Joey Beltram was a god. Joey Beltram putting out a release on our label, you can’t get better than some stuff.

We did a remix for Billy Nasty but he never put it out, one of Gaetek old tracks. We did quite a few things that never got released. What happened was people heard certain tracks of ours and they wanted us to recreate it for their remix, but then we’d do a remix and it would be like this hip-hop, cut-up, pumped-up, big shearing 909 thing, and they’d be like we don’t really want that. They’d email back saying ‘we don’t like that’. Well, we’re not going to do another. We’ve just spent days doing that, that’s it. We’d just put it out ourselves, what you gonna do about it? We’re from Yorkshire and you’re from Italy or whatever. I think we fell out with some people. There were some stories going around that it was going to kick off if they came to play the Orbit. Not sure where it all came from but we had this backstory going on that we were all bad boys and that it would all kick off if you messed with the Player squad. Well it wasn’t true, we were just pussycats just putting out records.

What Happened To Player?

We had 28 releases as well as remix EPs, so about 35 releases in total. We were distributed through Intergroove, who were a massive distributor. As well as Beltram we had Adam Beyer, Mark Broom, Ben Sims all doing remixes for us and people like Derrick May and everybody playing it. The label for a while was massive, but it was that period you could sell shit, loads of records. People now press 300 records, back then we’d sell out of 1200-1500 copies in a week. Thing was with all these distribution companies everybody had these P+D deals, you never had pay any money out. You sent them your new tracks, they pressed it for you and then they recouped the costs back from your sales. But what happened was all these companies were taking on so many labels that they couldn’t recoup the costs back and then all these distros started going bankrupt. We started moving the label from distro to distro but they kept going bankrupt. We’d put a record out with one, it’d go bankrupt and we wouldn’t see any money, move to another, same thing. So we thought, we’re not putting anymore records out. The label finished in 2003 when the club shut.

Check out the Player Bandcamp where you can find vinyl, digital and merch.

Eastern Bloc Records former location on Oldham Street.

  How did you end up working at Eastern Bloc?

Eastern Bloc opened a shop in Leeds in 1995. This guy Pete Waterman wanted to make a little entity to rival HMV and he bought-out a lot of underground shops. He bought Flying, Scott and Scooby’s shop, Shindig up in Newcastle, Unity Records in Liverpool and he bought Eastern Bloc Records. I was originally just buying records. I used to visit Eastern Bloc in Manchester from the early 90s, once a month, wazin a full month’s wage and be skint until the next month. I’d say to Jon Berry who still runs Eastern Bloc now, “If you ever have a job going, I’ll pack my job in and I’ll come and do it any time” and so when the Leeds shop opened I was in there doing the House buying. Nidge who DJ’d at the Orbit did the techno buying.

That was the period when Relief had just kicked off, Ron Trent's Prescription records, all that shit, so musically wise it was amazing time. When deliveries would turn up it would be like ‘Have you heard this fucking Paul Johnson shit?’ or this new Chez Damier shit or this new thing on Strictly Rhythm, you would just be buzzin’. Now everything has been invented, and it’s a case of re-inventing things, just changing it, say slightly changing the production style of it, then there were still things to come, so when things turned up I’d be like, I’ve not heard this shit before, this is the future shit. Obviously the Dance Mania shit and some of the UK stuff like early Pepe Braddock coming out, people like Motorbass and the good French stuff, obviously Daft Punk coming out, when the Daft Punk Homework album came out I’d be like fuck me, I’d play the album in the backroom of the Orbit all night. Same with a lot of shit like Basement Jaxx, when they first dropped they were totally different to anything. It wasn’t ghetto but that Atlantic Jaxx shit they used to do with a dub influences with big wobbly sub bases. Man, I’ve got a crazy Bassment Jaxx collection, so big. Never got rid of them because I love that vibe. They're not very good these days, same with Daft Punk... but back in the day.

Mark in Eastern Bloc, Manchester December 2016. 

  UK garage also started arriving in the late 90’s. With UK garage there was a lot of shit and there was a lot of good shit. I used to be a quiet lover of it, just take the odd ones like all the Ice Cream stuff and Social Circles. Most people that worked in the shop hated it, but I think they hated it because of the clientele. There wasn’t really a garage scene in Manchester, that was always about London, so you’d have Garage Nation, Sun City, all these nights down there. You’d get countless bad boys rolling into the shop as we’d stock all the tape packs and do tickets for the events. Some were cool as fuck but a lot of bad people used to roll through the shop. It was one of the most hardcore environments to work in for a while, in a good way but also it could be in a bad way. We used to get a lot of garage nicked. You’d give piles to people on a busy saturday and you’d be like where has that pile gone! We also had threats of violence, threats of getting shot up. There was this time where some guy asked us to save some tickets for Garage Nation but they had accidently been sold. This guy is coming in going “do you know who I am, I’m gonna come back and shoot this place up, I’m gonna get my knife.” So he’s there threatening one of my mates in the shop whilst I’m on the phone to one of the promoters from Garage Nation asking if they can sort out some guest lists for the guy. I’m like to the guy chill I’ve got the guy from Garage Nation on the phone here you can have a word with him. We evaded some kick-off moments but it could have become quite hairy in the shop.

You can be a bit of a nobhead working in a record shop and I’m sure a lot of people thought that I was a nobhead working in a record shop. Thing is, working in a record shop it’s got a persona sometimes and when people come into the shop they know there is a persona so they act with a persona as well. It’s gets to that point where it’s just people trying to outsmart each other, “have you got this”, “have you got that”, “have you heard this shit”. Just because you work in a record shop doesn’t mean you hear everything. Someone will roll up and be like have you heard that, and you go no, then they would be like what do you mean you haven’t heard that. I ain’t heard but I’ll look into it. I could just say I’ve got 1000 records down there that you haven’t heard. In the record shop it’s like a mates thing, you become like this little gang, and you have private jokes with each other. You try not to get the customers wowed up but sometimes it used to happen. I’m not saying we were nasty, not nasty, but funny nasty, just banter. We had cheeky slogans and little one liners like “Have you had a taste bypass?” or “Did you leave your taste at home today?”. It was always banter, just tongue in cheek. Thing is after working in a record shop I really don’t like going in record shops anymore, just because I can’t handle that me being there. Phonica is one of the worst ones, I just want to go in and look at the records behind the counter and the guy in there is going “what you into mate” and I’m like “I’m just having a look mate”, I’ll say, “I’ll have that, that, that and that” and then he’s like “Are you sure you don’t want me to play you some more stuff?”. Even though they might be doing their job, pulling shit out for people and turning me onto something new. That is a good thing about working in a record shop, you always wanted to turn somebody on to something that you loved in the shop. Sometimes everybody in the shop would love something and then this guy would go “oh I don’t like it”, everyone would be like “what you talking about mate, it’s fucking brilliant, what's your problem.”

What is your show on KMAH?

It’s called WERD. With the show, KMAH were after different genres to cover and someone put my name forward for electro. I really like that kind of outlet, because it’s not about mixing records it’s about playing records. On some of my shows the flow works perfectly and the tracks aren’t even mixed together. I don’t even like talking on the radio, sometimes I’ll say hello. I usually get people writing me asking me the name of the records so I just put some voice overs telling people what they are. The show has been really good, like I say, it’s been a outlet for something that I don’t really get chance to play. As we were discussing before, electro is like the new techno, people over the last year have got more into the show than when it first started. When I was living in Berlin for a bit I was in the Record Loft and some guy overheard me talking to Ben Williams who used to work in there about KMAH and he came over and went “oh yeah KMAH that’s a fucking wicked radio have you heard that Mark Turner guy he plays some wicked electro”. I was like “oh yeah man it’s a good show”. I didn’t say like, that’s me. It was nice to hear some random guy who was into it. You know it’s not a massively listened to show compared to some others on the station but that doesn’t matter to me, so long as people appreciate it. Same with my soundcloud page. I don’t advertise the fact that I do mixes and shit. My friend Will (Arnaldo) will be like I’m going to share that mix for you. Obviously because he has a big following that opens it up and it gets some more people listening to it. With the DJ thing I’ve never really seen it as a career. I’m sure with the Orbit I could have pushed it and took it as proper career but I never did it for that reason. You know you meet people who are so focused on becoming this DJ and deejaying here and there. It puzzles me sometimes how much these people want to go down that path. I mean I’ve done it, I’ve travelled places and deejayed in other countries. I liked playing in the club but you’re basically by yourself, you’re not with your friends, you’ll be in a hotel room by yourself usually waiting another day for the plane to come and I was like I’m not into this shit. I’d rather work in a record shop and go to the club on weekend to play some tunes, just do that. I’d get people coming in the shop who you can see in their eyes the hunger was there, and I’d watch them develop into these career hungry deejays, but that were never my thing. People say I could have taken it that way, but it never interested me whatsoever. I’d rather just have a chilled life on the back-burner, just buying records and doing the odd mix here and there.

How big is your collection?

Thousands, thousands, thousands, thousands and thousands. I ain’t counted them. 10,000? 8,000? I don’t know. The thing is with record collections it doesn’t matter how big they are. Anyone can have a big collection, it’s about having the quality within that collection. You can buy a job lot of 10,000 records but it’s only gonna look good on your shelf. As soon as you start pulling things out and playing people shit it’s going to be 15 rachmaninoff albums. The records that I have kept I don’t have in any sort of order. People go “why don’t you have them in sections”, and I don’t, I just like doing it where you pull a record out and think “that’s a tune, I’ll just put that on”. When you pull it out maybe it’s not going to go physically, it’s not the correct BPM or anything, but that is me and that is my record collection. Maybe one day I will put it in order but, but maybe just favourite labels, that way i’ll know where to go to get them for example Dance Mania. That is one of those labels that I absolutely just adore. I’ve got a lot of Dance Mania records I have a thing where I buy one a week and if I miss a week then I have to buy two, and so on. If I went a month I’d have to buy 5.

Is that just dance mania?

Yes I’ve always got to buy a Dance Mania record a week.

How many do you have then?

Couple of hundred. I’m getting close but I don’t think I want all of them because some of them are forgettable. The crazy thing is the really expensive ones are not the best ones. It’s one of them labels, I know because I buy them, that it’s so overpriced for what it is. I like the fact they reissue them. It doesn’t piss me off if something gets reissued that I have already got because it’s another copy, I’ll buy the reissues because they are 7 quid. Some of them aren’t very good pressings, some of them are good pressing but just pulled off the original vinyl, which isn’t such a good pressing. That is the beauty of Dance Mania when you play it out, it’s raw shit. There is going to be a crackle, there might be a jump in the background there might be a “schrich-schrich-schrich” sound but that doesn’t really bother me. I just love Dance Mania. Same with Relief and all that Chicago vibe. I just like the ghetto vibe. I don’t know what it is, maybe it ties in with a working class background. I wont say I was under deprived but where I grew up it was a bit ghetto. I find it the same with garage and bassline, it’s music from the suburbs, it’s working class shit. You listen to that Chicago shit and you know it’s just kids of the street on their little tape decks and their cheap little 909. DJ funk and all them kinda guys, from the hoods or wherever. I just love the rawness. It’s not done on a Neve desk it’s done on a fucking Tascam 4 track tape recorder. I just love the raw shit but I also love the really expensive sounding Dance Mania, the older ones that sound more classy. Obviously it changed from being a hip house kinda label, Chicago house, nice vocal shit, then merged into this wo-down ghetto sound with Slugo and D-man. From the old classic shit to the newer stuff, I love it. I’d love to own them all but I won’t cry if I can’t get some overpriced anthems. Well it’s not even anthems, the crazy priced ones seem to be ones that they didn’t sell fuck all of so they probably just destroyed them and they are really bad pressed.

You mentioned before you’re working on some production stuff, run us through that.

I’ve been working on some stuff over the last few years, it’s only recently started taking shape. The style is just like my record collection. When I make music I don’t just switch the computer on and be like this is going to be a 4x4 track at 120 BPM. I’ll start with something, maybe a drum pattern and decide it’s not 120 so turn that into 110 BPM, so whatever comes from that. I’ve been working with a guy called Heinz Kammler in Rotterdam who’s originally from Greece. Hopefully something will come out in the next year but we’re in no rush to put stuff out. What we have been doing is timeless so if it comes out in 2 years time it’s still gonna sound fresh. When I play it to people they say, that’s different, people say it’s garagey but it’s, I dunno, you can’t blow trumpets about your own music. I make music and I think it’s ok but I’ll play it to someone and they think it’s brilliant. That’s the thing a lot of people when they make music they think it’s alright, then they send it to someone and that person things, wow this is the shit.

I’ve got a little ambient project as well called Ecodintun that’s more kinda soundtracky. I can’t really say what sort of style it is, it’s over processed, moody stuff. There is a track already out on soundcloud. It’s like a big 10 minute epic. One of my friends grandma died and he was really depressed, I did this music and was thinking this is really depressing but I sent it him anyway and he was like “oh man, that just uplifted me and made me feel loads better”, so I just put it out there. I’m just plodding away taking things easy. Music is my love number 1 but I’m not a producer. I’m a DJ / record collector or record collector / guy who plays records. I’ve never considered myself a DJ. I’m a guy who buys records and plays records to people. If 1 person appreciates something that I’ve played on a night then I’m happy. If the full crowd is appreciative then that’s even better. If I’ve changed someone's way about thinking about things musically or if I’ve turned them onto something new that is great. Miles out of Hate, he said to me once he came into the backroom of the Orbit and someone was mixing Basic Channel’s Phylyps Trak II with Kraftwerk’s Tour De France and he said from that night onward my music taste just changed. He asked if that was that Jon playing that and I was like, nah that was me. Just that little thing can change someone. It’s not boasting, but if you can steer someone towards something musical through your influence or turn them onto another route and then they have then taken that on to a career that it’s a very nice thing to think that you have influenced people, even if no one said thank you. If you were to die tomorrow it’s nice to think that you have influenced people and given something to the world, a bit philosophical but you know I don’t go out there for me to make money or be this trademark DJ, I just go out to play good music to people. I’m a music appreciator and I hope that people I play music to are appreciators. Sometimes you go to a night and people are there just to get smashed but there is a group of people there for the love of the music. A lot of people go out, it’s just a part of growing up. Might be at uni going out in a collective, or into this for so long it’s just a thing. Some people are like I’m into Dubstep then 2 years later you talk to them and they're into guitars or whatever, that was just a fad. You see with a lot of people, music is just a fad for them. There’s a lot of people as soon as they discover music that is it for the rest of their life.  Which is nice when you meet younger people and you talk to them and they have that same vibe what you had, 20 or what years ago. Buzzing about things or buzzing about old things coming up to you going like “aw man have you heard this shit by whatever” or old electro shit by Egyptian Lover, or anything like that and I’m like “yeah I’ve got it mate”, and they're like “brilliant”. There is nothing better than that.

To accompany the interview Mark has also mixed the latest Fruitcast, listen below.

  More from Mark:

WERD Show on KMAH

Soundcloud

Mixcloud

[retrocgads]

USA 1990

[nostalnerd]

Sega 32X Story | Nostalgia Nerd

Sega 32X Story | Nostalgia Nerd The Sega 32X, also known as the Genesis 32X, Mega Drive 32X and Super 32X is a plugin device for the Sega Mega Drive / Sega Genesis, which propelled the 1988 16 bit console to a lofty 32 bits of undeniable POWERRRR. It was released in 1994 to help compete both with the Super Nintendo and super consoles such as the Atari Jaguar, Amiga CD32 and 3DO. In this video we will follow its story from conception to demise, and find out just what went wrong and what went right for the Sega 32X Add-on. Many thanks to Slope's Game Room for lending his voice; https://www.youtube.com/user/djslopesroom and Ashens for lending me his Sega 32X box & carts; https://www.youtube.com/user/ashens ** For exclusive videos, mystery boxes and other rewards, please consider supporting me at; http://ift.tt/1G1tQwy ** ☟Sharing☟ If you wish to share this video in forums, social media, on your website, *please do so*! It helps tremendously with the channel! ☟Subcribe☟ https://www.youtube.com/user/nostalgianerdvideos?sub_confirmation=1 ✊Support Me! ✊ *Please consider supporting the channel on Patreon*: http://ift.tt/1G1tQwy Visit my eBay Shop: http://ebay.to/1QQpYyy Buy From Amazon (Amazon give a small commission to my affiliate account): AMAZON UK - http://amzn.to/2sTOsRW ★Join me on Social Media★ Twitter: http://www.twitter.com/nostalnerd Face: http://ift.tt/1FW5Yry Instagram: http://ift.tt/1ICdsDl Web: http://ift.tt/1M1XeRs ★Equipment★ Lumix G6 with Vario 14-42mm Lens Nikon D3200 with 40mm Macro Corel Video Studio Ultimate X9 Corel Paint Shop Pro X6 Blue Snowball Microphone ♜Resources♜ Reference; http://ift.tt/2GrUMrm http://ift.tt/2rPceTf http://ift.tt/2GuDc66 http://ift.tt/2rRDzUQ http://ift.tt/2GsQQXa http://ift.tt/1hL1yIr Videos; http://ift.tt/2GuDf1M (UK 32X Release date) Sonic 4 assets: https://www.youtube.com/watch?v=4eYgIgRmm4M RDPH Games: https://www.youtube.com/channel/UChFl7z2OzH-5WGy1EKkKgTg Sonic Mars demo: https://www.youtube.com/watch?v=u7IRF7xG6M4 1994 Summer CES (DigitalNeoHuman): https://www.youtube.com/watch?v=-j1f9SVEDw8 1994 SCES (BiffsGamingVideos): https://www.youtube.com/watch?v=ZgeF6mCtDe0 Full Sega Summer 1994 Promo: https://www.youtube.com/watch?v=-s26weytmoU Sega 32X Tech Demo: https://www.youtube.com/watch?v=pOWZbydnlZE Sega Neptune Recreation (In MegaDrive 32X Style) by PorlZilla: https://www.youtube.com/watch?v=AHzlmP_8LX8 / http://ift.tt/2rRSU85 BG Music by Stefan Netsman, Daniel Gunnarsson, Emil Axelsson, Gunnar Johnsén, Anders Bothén & Raynie. Final 2 tracks are from Mortal Komat (Mega Drive Edition) and Super After Burner (32X Edition). If you believe I have forgotten to attribute anything in this video, please let me know, so I can add the source in. It takes time to make these videos and therefore it can be easy to forget things or make a mistake.

[tonosgratis]

Videojuegos 2 Politonos

Commodore Amiga

First Samurai

(1991)

Second Samurai

(1993)

¡¡Bienvenidos a Tonos-Gratis!!

"The Story so far... The Demon King descends from his mountain domain to you, the First Samurai and your master..." 

[El Rey Demonio desciende de su dominio de montaña hacia ti, el Primer Samurái y tu maestro...]

El texto continua...

Con unas imágenes estáticas muy bien diseñadas, con un eficaz texto de presentación, y con esta increíble música daba comienzo The First Samurai.

ESCUCHAR TONO FIRST SAMURAI:

DESCARGAR TONO

Es probable que las imágenes no nos sorprendan demasiado, sin embargo, estamos seguros que esta música te ha dejado perplejo.

Tu maestro y tú, meditando... queda mucho por hacer

First Samurai  es un videojuego de acción y plataformas ambientado en el antiguo Japón en el que, gracias a nuestro conocimiento de las artes marciales y del uso de diferentes armas, tendremos que derrotar al malvado Demon King. Esta propuesta fue desarrollada por el estudio británico Vivid Image en 1991 para el potentísimo Commodore Amiga y el resultado fue excelente. El equipo de Vivid Image contó con la inspiración de Raffaele Cecco en la programación, de Teoman Irmak en el apartado gráfico y con Nicholas A. Jones en el apartado sonoro, un ilustre ingeniero que ha colaborado como programador o diseñador en multitud de videojuegos tan importantes e históricos como Equinox, Exolon, Vixen, Cybernoid 1 y 2, Stormlord, Smash TV, Alien 3, Earthworm Jim 1 y 2, o la saga NBA; y que ha puesto sonido y música a títulos como After Burner II, Rampage, Xevious, Stainless Steel, Three Weeks in Paradise o Hebert's Dummy Run. Por último, destacar que se hicieron adaptaciones o ports para Atari ST (1991), Commodore 64 (1992), DOS (1992) e incluso para Super Nintendo (1993).

La versión para SNES no estaba mal y contaba con un apartado musical bastante decente... pero no tan bueno como el de AMIGA

La secuela de First Samurai no se hizo esperar mucho ya que en 1993 al mismo equipo de Vivid Image se le añadieron nuevas personalidades para confeccionar una segunda entrega de la saga Samuari titulada:

SECOND SAMURAI

Esta secuela fue publicada por Psygnosis, no como la anterior que fue publicada por Image Works, un sello procedente de Mirrosoft, que a muchos os traerá dulces recuerdos de un clásico eterno: TETRIS

Al final de First Samurai, el "Rey Demonio" fue capaz de huir retrocediendo en el tiempo, así que el nuevo objetivo de nuestro héroe será perseguirlo viajando hacia atrás en el tiempo. Diez nuevos niveles a recorrer nos esperan y a diferencia del original, cada uno de ellos se divide en subniveles que culminan con un jefe final.

Fijaros en el gesto "mágico" de la mano...

Más de lo mismo pero con más contenido y algunas novedades interesantes completan una digna segunda parte para Commodore Amiga. El apartado sonoro se reparte entre Raffaele Cecco, el recién incorporado Mevlut Dinc y con las melodías de Brian Marshall, otro programador y músico que ha colaborado en juegos como Prodigy, Street Racer y en la saga Lemmings.

ESCUCHAR TONO SECOND SAMURAI:

DESCARGAR TONO

Second Samurai solo heredó una adaptación para la Sega Megadrive/Genesis en 1994.

Esta versión no sorprendió a nadie pero contaba con nuevas melodías compuestas también por Brian Marshall

Terminamos este homenaje deseando que "alguien" se acuerde de esta saga y se anime a desarrollar un Third Samurai. Hasta pronto.

HISTORIA DE LOS VIDEOJUEGOS

Texto: Gelosoft

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USA 1990

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UK 1990

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UK 1990