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Castles of Doctor Creep, The

Link Gamebase64 (Castles): http://www.gamebase64.com/game.php?id=1303
Link Gamebase64 (Dungeons): http://www.gamebase64.com/game.php?id=2400


Complete Title: The Castles of Doctor Creep
Software house: Broderbund
Year of Publication: 1984
Genre: Platform

We've just been transferred to Transylvania and the kind Dr. Creep offers hospitality in one of his mansions: a pity that very soon discover that the rooms are full of hostile creatures, traps and strange devices. The only idea that there is whale head to get out as soon as the castle of the evil doctor, can return home in one piece.

Like thousands of other games over the years, the plot is just an excuse to dive straight into the action and, reflecting a moment, even the background of the current products as a Quake or Serious Sam is just to shine originality, and certainly will never win a Hugo Award for science fiction.

This platform game with large elements of puzzle game is disturbing, yet compelling: the graphics are essential and ubiquitous in the black background seems to convey a vague sense of disquiet. One of the many titles in buckled pirate TCODC SIPE in magazines of the 80s, "lost in the dark" is certainly appropriate for an atmosphere dominated by silence: the sound effects are few in number and the music virtually absent. By a strange and perhaps unnecessary decision to design a few pieces of classical music are performed in Attract mode, but only after the main title appeared a second time.

Avatar that represents our vision reflects this frightened ego unconscious: we are small, insignificant, anonymous men drawn from the imagination of a preschooler, his head round the limbs and stylized (and a bit 'uncoordinated).

To find the output, represented by a door surrounded by a front-like a greek temple, we go through countless entries similar to the latter, with grates that open only by hostile onlookers KEYS, often placed in seemingly inaccessible places. Sometimes we also collect the huge keys, locks to be included in the corresponding color, there is nothing plausible or real nightmare Ed Hobbs. The platforms are connected by ladders and poles, the first passable in both directions, up and down, while the latter only allow you to get off.

Walking through the rooms, we will learn little by little to understand the complicated mechanisms that the doctor has invented to protect his property: among them affect our imagination now electrified balls da cui partono letali lampi, disattivabili solo mediante l'apposito interruttore, e teletrasporti “colorati”, che permettono di selezionare la destinazione.



Delle barriere a tempo ci impegneranno talvolta in frenetiche corse sgambettanti all'ultimo secondo, sperando di non rimanere bloccati per sempre: questo ci costringerebbe ad un vile e traumatico suicido rituale, da svolgersi mediante la pressione del tasto “restore”. Ancora, troveremo nastri trasportatori direzionabili a piacere, oppure botole che si aprono e chiudono con un curioso interruttore-semaforo.
Ben presto scopriremo che ogni meccanismo ha la possibilità di essere manipolato in qualche modo, perciò Manichaeism is not in this game / nightmare of Hobbs, and what is evil and can kill suddenly becomes manageable and may even save our lives. For example, this laser up to one second before flowed inexorably along the vertical ready to disintegrate in an instant, is now under our control and allows us to eliminate our enemies, mutandoci from victim to victimizer.

Enemies? Born to a sick mind that has seen too many movies at Universal we have an infinite number of clones of Frankenstein and the Mummy, emerging from dark crevices and niches in the head with the sole idea of \u200b\u200bhurting the little round-headed little man, Charlie Brown novel.

Playing in the couple's anguish is mitigated by a new cooperative mode, but only sometimes the atmosphere becomes almost unbearable, we observe non-Euclidean geometry as a Lovecraftian nightmare from which we would like to be woken up immediately. As it happens, Lovecraft is just the name of the last of the 13 mazes, the most difficult to deal with. In addition to these, Hobbes has wisely provided for an additional level tutorial uploaded at the beginning of the game, showing all aspects of the game itself, which we find in the advanced levels.

The nightmare with us until the end when, after discovering the exit and press the last button, our alter ego there winks and greets us warmly by the hand, until we fall asleep again and dream again Dr. Creep.

To appreciate this masterpiece, you have to overcome initial misgivings about the graphics and sound: in all sincerity I believe that the negative opinion expressed on Zzap! English (number 7, just a 65%) can also be attributed to excessive mentality "arcade" of Rignalla and associates.

a platform they were written by the thousands, but this is very special, both for the environment, but also for the interaction that exists between the various elements of levels, weapons, enemies and the protagonist / s. These should always be mixed in various ways to obtain the solution of the current room and go to successiva, e spesso verremo costretti a effettuare percorsi ciclici tra le varie stanze per ottenere ad esempio l'apertura di una sequenza di cancelli in successione. Magari possiamo contemporaneamente utilizzare i nastri trasportatori per bloccare delle mummie, mentre un laser da noi comandato può disintegrare un frankenstein e un teletrasporto azionato al giusto istante ci impedisce di fare la stessa fine. Difficile per me spiegare ogni situazione, che va vissuta come un'interessante ed ardua sfida per un cervello sempre più atrofizzato da anni di insignificanti FPS per Windows.

Fino ad un po' di tempo fa Ed Hobbs aveva le proprie pagine web su Aol in cui parlava anche della creazione di T.C.O.D.C., ma adesso non sono purtroppo più presenti. There was also news of the development of a Windows remake of this game, never completed, but maybe it's better this way, better than the magic of this little gem remains confined to the ram of the old Commodore 64.

To play is strongly recommended the excellent version made by the group Remember, or the slightly more dated of Cyberpunx. In a fit of nostalgia you might as well pull out of mothballs the old record broken by Blade Runner, but perhaps it is no exaggeration. There is also a sequel "apocryphal" imaginatively called Dungeons of Doctor Creep, made from 85 types of Quarksoft, linked to the "cracking scene" at the time. As for the level design and structure of puzzles, the original version, however, is undoubtedly the best.

Andrea Packages

NOTE: This review originally appeared on Still Alive n.6

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Mr. Mephisto



Gamebase64 Link: http://www.gamebase64.com/game.php?id = 5055

Full title: Mr. Mephisto
Software House: Euro-Byte
Year of Publication: 1984
Genre: Platform

The life and history of the first software company to Commodore 64 are always shrouded in mystery: the news and information is scarce or null and void, and tend to get lost in the distant past of computing, including amateur, independence and new ideas. The Euro-Byte

English is certainly part of this group: its (few) products are reminiscent of the "space" G-Force, which licenses the music of his best feature, and the mediocre clone of Pac Man-titled Grab-a-Crab, so called because of the "nice" place with the ghosts of anonymous crabs. In the midst of these games altogether negligible in the vast park of the Commodore 64 software, certainly stands out the presence of Mr. Mephisto, planned in 1984 by Dave Lucas.

the image will set us in a dream: in an anonymous suburban cinema, the Roxy, is about to go on the air a movie, maybe one of those double features morning ("double bill") so dear to Stephen King, through which the youth of that time could enjoy two visions, Series B and preferably high horrorifico and sci-fi content, in exchange for the price of a single ticket.

representation which will see through the press of the fire is a terrifying nightmare in which the protagonist will have to go into an initiatory path, which will lead you from Hell to Paradise. The echoes of Milton's Paradise Lost we echo in our ears while we little men scurrying, we groped to rise from damnation to bliss.

Our enemies sono ancora i classici demoni dell'immaginazione, che coi loro forconi e code appuntite ci tolgono una vita al minimo tocco. Essi sono astuti, anticipano ogni nostro percorso e ci costringono a repentini movimenti del joystick, per calibrare ogni spostamento e collisione.

Ogni livello è dominato da una serie di piattaforme orizzontali collegate da strane scale mobili infinite che sembrano partorite da un paradosso escheriano. La nostra missione in ognuno dei sei livelli è giungere ad una delle porte situate sul lato superiore, evitando i diavoli che ci minacciano e raccogliendo degli oggetti lungo il nostro cammino; gli artefatti che serviranno a ricostruire la nostra santità perduta sono tipiche icone del mondo angelico, halos, Bibles and harps, and will also be useful to activate some mechanisms, in addition to simply increase our score.

Only one of the doors is in fact the right one, the others are just evil traps that force us to restart the entire route: often just to open the gate that leads on to the next we will be forced to make dozens of attempts to probe each wall or floor in search of secret passages.

The fifth level is particularly difficult in this sense, since the platforms and stairs are also invisible and are revealed only to our first pass, forcing us to route a "trial and error," trying once again the right via di salvezza.

Questo schema conduce allo "scontro" finale con una grande entità demoniaca, forse Lucifero in persona, che protegge l'ultima porta per la libertà. In realtà l'abominevole mostro è meno pericoloso di quanto possa sembrare a prima vista, e ci basta scoprire l'ennesimo pulsante segreto per ottenere finalmente le chiavi del Paradiso e l'apertura del cancello mistico.

Un coro angelico ci circonderà pervadendoci di beatitudine, ed allora ci innalzeremo verso il cielo in un crescendo musicale, per poi approdare alla visione divina... e poi tristemente ricominciare dall'inizio del primo livello in un ciclo infinito, come spesso accade in questo genere di giochi, immersi in un'eterna Zona del Dusk.
The graphics of this game is average with the style and technique of 84, while the soundtrack is nothing special and only a couple of classical pieces and a loop at low frequency before disturbing and annoying then, during the various phases of the game.

play and progress in Mr. Mephisto is damn difficult, given that the protagonist is always slower than the demonic adversaries, and it is perhaps not responsive to the movement of the joystick. We often make of furious tour de force calculated pixels to collect the item or enter the right door, because times are tight and the screen is always full of enemies, this will lead to many attempts failed, causing frustration that heavily affect longevity.

The pros of this product may well be found that often creates an unhealthy atmosphere in the mind of the player, for a global taste and originality of the setting, allowing more to be Mr Mephisto vintage men still remembered by the gamers in their thirties to 8 bits.
The flames of hell, crackling and shifting, are a constant presence in the bottom of the screen and a small part of visual spectacle to: undulating and hypnotic in their rhythm, perhaps trying to remind us all that basically we have a little private hell to be feared and avoided.

Andrea Packages

NOTE: This review originally appeared on Still Alive n.7