The Game: On a somewhat fantastic voyage into the human body, you’re in a tiny ship (presumably with Martin Short along for the ride) on a mission to blast diseased cells out of the bloodstream. Naturally, it’s not as easy a task as it sounds; the cells split into smaller cells when you zap them, and you have to clear even the tiniest remnants off the screen before advancing to the next treatment. (Arcadia, 1982)
Memories: As with several of the earliest cassette-based games for the Supercharger add-on, Suicide Mission clearly owes a debt to an existing game that had already been released on the 2600. However, the prognosis is a bit grim here; this is a rare case where the game’s designers should made very sure that their game was an improvement on what came before. As both games suffer from severe sprite flicker, Asteroids comes out as the obvious winner here.
The Game: It’s a cold warrior’s nightmare! Enemy submarines glide silently through the seas below, but the only ordnance available isn’t of the guided variety. From a destroyer on the surface of the ocean, players have to carefully drop depth charges; taking out enemy subs will depend on timing and sheer luck. Failing to take out enemy subs – and wasting depth charges – will result in a deadly sinking feeling… (Sega, 1982)
The Game: You’ve got a mobile paddle and – well, frankly, balls. But you don’t have a lot of balls at your disposal (am I the only one becoming a little bit uncomfortable discussing this?), so you have to make the best use of them that you can to knock down the rows of colorful bricks overhead. In some games, there may be other, free-floating balls trapped in “cavities” in the bricks, and setting them loose will mean you’ll have several balls – and not all of them necessarily yours, disturbingly enough – to handle. Missing one of your balls – and we all know how painful that can be – forces you to call another ball into play. Losing all of your balls, as you’ve probably guessed by now, ends the game. So, in essence, Super Breakout is a metaphor for life from the masculine perspective. (Atari, 1982)
The Game: A lone space pilot is faced with the impossible task of fending off an entire alien invasion force single-handedly. Colliding with either the aliens or their decidedly unfriendly fire costs the player a ship. Clearing the screen of aliens only reveals a further wave of extraterrestrial killing machines. (Tigervision, 1982)
The Game: You are Tron, a lone video game warrior pitted against three other enemies with much greater armament. You can take a number of hits before you’re “de-rezzed” out of existence, but those hits can pile up pretty quickly. By throwing your disc at certain portions of the arena wall and changing them to the same color as your on-screen character, you can make tunnels for yourself – not unlike the side tunnels in Pac-Man – handy for escape or ambush. (M Network [Mattel], 1982)
The Game: Players pilot a ship trapped in a maze of vertically stacked level, teeming with aliens who are all deadly to the touch. The good news is that the ship has an inexhaustible supply of ammo. The not-so-good news is that the bad guys have an inexhaustible supply of bad guys. Players have to keep the ship from colliding with the enemy, while shooting at the enemy and watching out for split-second opportunities to grab any bonus items that may make a fleeting appearance. Just one word of caution: the prizes turn into smart bombs if you wait too long to go pick them up. (20th Century Fox, 1982)
The Game: You type! It talks! And occasionally you have to throw the damnedest misspellings at it to get it to say the simplest words. And despite the back of the box claiming that it “plays fun games,” it’s much more likely that it’ll just make some fun (and weird) sounds. (Magnavox, 1982)
The Game: Your Vanguard space fighter has infiltrated a heavily-defended alien base. The enemy outnumbers you by six or seven to one at any given time (thank goodness for animated sprite limitations, or you’d be in real trouble!). You can fire above, below, ahead and behind your ship, which is an art you’ll need to master since enemy ships attack from all of these directions. You can’t run into any of the walls and expect to survive, but you can gain brief invincibility by flying through an Energy block, which supercharges your hull enough to ram your enemies (something which, at any other time, would mean certain death for you as well). At the end of your treacherous journey lies the alien in charge of the entire complex – but if you lose a life at that stage, you don’t get to come back for another shot! (Atari, 1982)
The Game: As intrepid (and perpetually happy) adventurer Winky, armed only with a bow and arrow, you’re on a treasure hunt of the deadliest kind. HallMonsters try to stop you at every turn, and their minions guard the individual treasures that lie in the rooms of the maze. You can kill the smaller creatures (though their decomposing remains are still deadly to touch), but the HallMonsters are impervious to your arrows – and you’re lunch. (Coleco, 1982)
The Game: Trapped in a maze full of HallMonsters, you are adventurer Winky, on a mission to snatch incredible treasures from hazardous underground rooms inhabited by lesser beasts such as re-animated skeletons, goblins, serpents, and so on. Sometimes even the walls move, threatening to squish Winky or trap him, helpless to run from the HallMonsters. The deeper into the dungeons you go, the more treacherous the danger – and the greater the rewards. Just remember two things – the decomposing corpses of the smaller enemies are just as deadly as the live creatures. And there is no defense – and almost never any means of escape – from the HallMonsters. (Coleco, 1982)
The Game: You’re the pilot of a lone fighter ship, screaming down the trench-like, heavily armed confines of a spaceborne fortress, on a mission to find and destroy the Zaxxon robot – the most heavily guarded of all – at the heart of the structure. (Coleco, 1982)
The Game: You’re the sole space fighter pilot penetrating a heavily-armed, mobile alien fortress. If you can survive wave after wave of fighters and ground defenses, you’ll have the opportunity to destroy the Zaxxon robot at the heart of the complex. (Coleco, 1982)
The Game: The constant struggle between cat and dog requires a great deal of concentration. Two players can play, or one player can control the dog while the CPU makes moves as the “Microcat.” Each animal drops a piece into the playing field, trying to line up four pieces horizontally, vertically or diagonally, or trying to keep the other animal from lining up his four pieces. Whoever lines up four pieces first wins the game. (Phillips, 1982)
The Game: Players control a single laser cannon responsible for defending several planets who don’t seem to be able to look out for themselves. The cannon squares off against an alien mothership which deploys its own fleet of attack ships to destroy those planets. Good news: the planets are protected by a force field spanning the bottom of the screen. Bad news? The aliens can shoot through it, exposing the row of fragile planets as they scroll across the screen like shooting gallery targets. Worse news? You can’t defend all of them forever. (Games By Apollo, 1982)
The Game: It’s pretty straightforward…you’re zipping along in your Formula One race car, trying to avoid other drivers and obstacles along the way while hauling a sufficient quantity of butt to win the race. (Coleco [under license from Sega], 1982)
The Game: Ever had a sweet tooth? Now you are the sweet tooth – or teeth, as the case may be. You guide a set of clattering teeth around a mazelike screen of horizontal rows; an opening in each row travels down the wall separating it from the next row. Your job is to eat the tasty treats lining each row until you’ve cleared the screen. Naturally, it’s not just going to be that easy. There are nasty hard candies out to stop you, and they’ll silence those teeth of yours if they catch you – and that just bites. Periodically, a treat appears in the middle of the screen allowing you to turn the tables on them for a brief interval. Sierra On-Line, 1982
The Game: You control a round creature consisting of a mouth and little else. When the game begins, you’re given about two seconds’ head start to venture into the maze before blobby monsters are released from their cages and begin pursuing you. As you move, Munch Man leaves a trail in his wake; you advance to the next level of the game by “painting” the entire maze with that trail. (Texas Instruments, 1982)
The Game: You control a space patrol fighter cruising over the surface of a planet. Alien attackers swarm on the right side of the screen and strafe you, and you must get out of the way of their laser fire and return some of your own; the more enemy ships you allow to safely leave the screen, the more you’ll have to deal with when they re-enter from the right side of the screen. Avoid their fire, avoid colliding with them, and avoid slamming into the ground, and you might just live long enough to repel the invasion. (Texas Instruments, 1982)
The Game: You’re a frog who has a hot date with the princess in the castle. But in order to reach her, you’ll have to cross four lanes of jousting knight traffic – avoiding the knights’ horses and lances – and then you’ll have to cross the moat on the backs of snakes and alligators, all without ending up in the drink when they submerge. (There’s also occasionally a lady frog you can hook up with en route to the castle; apparently this whole thing with the princess doesn’t have any guarantee of exclusivity.) When you reach the castle, you can hop into any open window, but if you see a pair of lips in that window, that’s where the princess is. (Romox, 1982)
The Game: Hellish flying demons try to formation-dive your well-armed, devil-fryin’ vehicle at the bottom of the screen. Each time you knock one of this gargoylesque beasties out of the sky, they drop a piece of a bridge you must drag over to the appropriate spot on the screen. When you’re close to completing the bridge, the Prince of Darkness sends in some heavier artillery – a spooky floating demon head who spits fire at your cannon – to do away with you. Once you’ve toasted the flying meanies out of the sky and cross the bridge, it’s time to do battle with Satan himself. (CBS Video Games, 1982)
The Game: The coast of 19th century China could be a dangerous place – pirates lay in wait for passing (and relatively defenseless) ships, and that’s just the obvious danger. The buyer’s and seller’s markets in dry goods, weapons, silk and opium could pose just as much of a hazard to an independent trader’s finances. And then there’s Li Yuen’s protection racket… (Avalanche Productions [designed by Art Canfil], 1982)
The Game: Up to two players control light cycles that leave a solid light trail in their wake. The object of the game is to trap the other player by surrounding them with a light trail that they can’t avoid crashing into – or forcing them to run into their own trail. Coming into contact with a light trail, either yours or the other player’s, collapses your own trail and ends your turn. The player still standing at the end of the round wins. (“Ivan”, circa 1982)
The Game: A party of up to four adventurers descends into the depths of a dungeon to recover their kidnapped king and find his magical orb. Along the way, the band of intrepid adventurers will have to fight off everything from packs of wild dogs to evil creatures determined to bring the quest to an early end. (Texas Instruments, 1982)
The Game: You are standing in an open field west of a white house, with a boarded front door. There is a mailbox here. (Infocom, 1982)
The Game: You are a frog. Your task is simple: hop across a busy highway, dodging cars and trucks, until you get the to the edge of a river, where you must keep yourself from drowning by crossing safely to your grotto at the top of the screen by leaping across the backs of turtles and logs. But watch out for snakes and alligators! (Coleco, 1982)
According to the Guinness Book of World Records, the Commodore 64 still stands today as the best selling computer of all time. Its revolutionary graphic and sound chips combined with an insanely affordable price propelled the Commodore line of computers into the history books. Its 15,000+ game library didn’t hurt, either.
The Game: Players control a caterpillar, hungrily navigating a twisty maze of twigs and branches to eat leaves. Sometimes the player’s caterpillar will have reached a dead end, but this is not revealed until the leaf covering that dead end is consumed. Other insects swarm around the caterpillar, trying to catch and eat it for themselves. At the beginning of each “life” the player can press a button, giving the caterpillar a brief bug-zerker rage, allowing it to eat its enemies for a change, but this change is short-lived; special flowers must be consumed to regain the ability. Once all of the leaves have been eaten in an entire maze (which takes up more than a single interlinked screen), a “home” appears, into which the caterpillar must be successfully guided for transformation into a butterfly. Then the player is given a new caterpillar to guide and a new maze to navigate. (Valadon Automation [under license to Iti S.A.], 1983)
The Game: Your friends (wait a minute, I’ve never seen these people before in my life!) are venturing through treacherous deserts, unfriendly villages, and a variety of other inhospitable settings. Armed with a crossbow – controlled with a fancy light gun mounted on the arcade cabinet – your job is to pick off any threats, be they nasty critters, falling projectiles, snipers, or what have you, and allow your friends to pass safely. (Exidy, 1983)