Have you played Lumo yet? You probably should, as it's splendid, and a love letter to a genre and style that, for many of us, defines the moment we fell in love with games. And that style is this style: isometric graphics.
Though isometrics can most commonly be seen these days as throwaway map screens, for a time it was the go-to default for anybody who wanted to go: "Look what we can do!".
Because, y'know, why not... here's a brief history of isometric graphics in the 1980s.
Though isometrics can most commonly be seen these days as throwaway map screens, for a time it was the go-to default for anybody who wanted to go: "Look what we can do!".
Because, y'know, why not... here's a brief history of isometric graphics in the 1980s.
ZAXXON (1982)
These days Sega is best remembered for its own abject idiocy, which has obscured most of its considerable achievements, like Louis XIV trying to hide his weird bum smell with the juice of an orange. Among those achievements is no less a thing than this a thing: Zaxxon, the first ever isometric video game.
For some reason, I never played it, only ever seeing pictures of it in magazines, or lusting after the tie-in board game in my mother's catalogue. To my formative eyes, I could scarcely comprehend its 3D-ish visuals. Space Invaders suddenly looked very dated. The speed at which video game graphics were advancing gave many of us the "bends".
For some reason, I never played it, only ever seeing pictures of it in magazines, or lusting after the tie-in board game in my mother's catalogue. To my formative eyes, I could scarcely comprehend its 3D-ish visuals. Space Invaders suddenly looked very dated. The speed at which video game graphics were advancing gave many of us the "bends".
Q*BERT (1982)
Gottlieb's Q*Bert was typical of its era, in that it wasn't quite like any other video game. Designers at the time were experimenting with the very idea of what a video game could be - and Q*Bert is testament to that.
To wit: it is a game starring a foul-mouthed, flaccid, gingery whimsy, attempting to change the colours of an isometric pyramid, while being pursued by snakes, orbs, and purple menaces. True fact: the game was developed under the working title "Snots and Boogers".
To wit: it is a game starring a foul-mouthed, flaccid, gingery whimsy, attempting to change the colours of an isometric pyramid, while being pursued by snakes, orbs, and purple menaces. True fact: the game was developed under the working title "Snots and Boogers".
CONGO BONGO (1983)
Sega reworked its Zaxxon hardware for Congo Bongo - a sort of isometric take on Donkey Kong, with a touch of Frogger lobbed in. Despite being a flop in the arcades, it was ported to numerous home systems, with mostly terrible results.
The Atari 2600 version was notably shocking - the very definition of trying to force a heavily protesting Shakin' Stevens inside a traffic bollard.
The Atari 2600 version was notably shocking - the very definition of trying to force a heavily protesting Shakin' Stevens inside a traffic bollard.
BLUE MAX (1983)
Released for the Commodore 64 and Atari 8-bit, Blue Max was essentially a WW1 shoot 'em up with delusions of Zaxxon. It can also boast the accolades of being the first isometric game on a home system, and having being designed by a man named "Bob Polin".
ANT ATTACK (1983)
Oh yes. This is when isometric really took off.
Sandy White's Ant Attack turned many heads when it arrived on the ZX Spectrum. With its open world, choice of playing as a male or female character, and survival horror undertones, it was progressive for more than its visuals. Its empty, ruined, city location was also properly creepy in a way that few games manage these days.
Sandy White reused the game engine for the very similar Zombie Zombie. Unfortunately, by that time, White was left alone on the dance floor, waving his arms and shouting "Look at me, everyone! Look at my funny moves!", while everyone else descended on the buffet.
Sandy White's Ant Attack turned many heads when it arrived on the ZX Spectrum. With its open world, choice of playing as a male or female character, and survival horror undertones, it was progressive for more than its visuals. Its empty, ruined, city location was also properly creepy in a way that few games manage these days.
Sandy White reused the game engine for the very similar Zombie Zombie. Unfortunately, by that time, White was left alone on the dance floor, waving his arms and shouting "Look at me, everyone! Look at my funny moves!", while everyone else descended on the buffet.
KNIGHT LORE (1984)
Most of us remember where we were the day we read about Knight Lore. For many, it was a seismic shock akin to the assassination of JFK, or the day The Pope slithered out of a chimney. The screenshots seemed too good to be true... and yet they weren't.
Famously, Knight Lore was completed and ready for release prior to Ultimate's Sabrewulf - but the company held it back, for fear its next gen visuals might damage sales of Sabrewulf. They knew they had a hit.
Looking upon it now, it's unrelenting to play, and thoroughly punishing... yet those graphics remain trouser-discoloringly extraordinary.
Famously, Knight Lore was completed and ready for release prior to Ultimate's Sabrewulf - but the company held it back, for fear its next gen visuals might damage sales of Sabrewulf. They knew they had a hit.
Looking upon it now, it's unrelenting to play, and thoroughly punishing... yet those graphics remain trouser-discoloringly extraordinary.
MARBLE MADNESS (1984)
While Ultimate began wooing home gamers, back in the arcades, Atari's Marble Madness was happening: a game in which the player controlled a marble using a trackball.
Being released in the wake of the US video game crash of 1983, the unique control method was a result of Atari's intended refocusing on games which offered distinctive control systems. All I remember is it being impossible, and wishing I hadn't wasted my 10p. Adjusting for inflation, I could've bought a small bungalow for that.
Being released in the wake of the US video game crash of 1983, the unique control method was a result of Atari's intended refocusing on games which offered distinctive control systems. All I remember is it being impossible, and wishing I hadn't wasted my 10p. Adjusting for inflation, I could've bought a small bungalow for that.
HIGHWAY ENCOUNTER (1985)
Released for most home computer systems at the time, but debuting on the Spectrum, Highway Encounter was another Zaxxon-flavoured shooter, which is perhaps best remembered for the vehicle you controlled. Suffice to say, it remains a mystery why the developers weren't sued by Terry "Mr Daleks" Nation, given its scarcely-disguised "pepperpot" vehicles.
PAPERBOY (1985)
Another Atari game with a unique control system - in this case, the handlebars of a pedal bike - Paperboy needs little introduction, for gamers of a certain age. Typically for the era, the hardware had been recycled. In this instance, from the breastbone of a blue whale (the controllers used for Atari's Star Wars game).
NIGHTSHADE (1985)
Following Knight Lore, Ultimate Play The Game continued to develop its Filmation isometric graphics engine, unveiling Filmation II with Night Shade. Though it introduced scrolling to the firm's trademark isometric visuals, its impact was lessened - coming on the back of the Knight Lore-ish Alien 8.
By the time its follow-up Gunfright was released later that year, the market was beginning to tire of Ultimate's peddling of the same wares. You know: like a friend you have who once made a good joke, and now won't stop repeating it.
By the time its follow-up Gunfright was released later that year, the market was beginning to tire of Ultimate's peddling of the same wares. You know: like a friend you have who once made a good joke, and now won't stop repeating it.
FAIRLIGHT (1985)
Demonstrating conclusively that Ultimate no longer had the monopoly on ZX Spectrum isometric games, Fairlight was one of many similar titles released in the wake of Knight Lore, which built on the genre. See also The Great Escape, Movie, Amaurote, and La Abadia del Crimen, whatever that was.
BATMAN (1986)
The cover artwork of Jon Ritman's Batman game was somewhat misleading. The gorgeous airbrushing by Bob Wakelin failed to hint at the stunted homunculus you'd actually be controlling. Nevertheless, the game was well received - managing to refresh the isometric genre with a subtle adventure game element, puzzles, and - amazingly for the era - continues.
How Batman-y was it though? Frankly, about as Batman-y as somebody playing the role of Macbeth while dressed as Batman.
How Batman-y was it though? Frankly, about as Batman-y as somebody playing the role of Macbeth while dressed as Batman.
HEAD OVER HEELS (1987)
The second game from Jon Ritman and artist Bernie Drummond, Head Over Heels remains fondly remembered - and is likely the highpoint of isometric visuals for the ZX Spectrum.
The complex gameplay - the player controlled two characters, who could come together to combine their abilities - was tough as nails. However, it also delivered on the promise of the genre in ways which others failed to match. It was, from this point, mostly downhill.
The complex gameplay - the player controlled two characters, who could come together to combine their abilities - was tough as nails. However, it also delivered on the promise of the genre in ways which others failed to match. It was, from this point, mostly downhill.
WHERE TIME STOOD STILL (1988)
Being released by Ocean at the scrag-end of the ZX Spectrum's dominance - and only for the Spectrum 128k - Where Time Stood Still was also available on the Atari ST. Inspired by the works of Arthur Conan Doyle and B-movies, it dropped a group of contemporary characters into a prehistory lost world.
It was, perhaps, a last hurrah for 8-bit isometrics. The following year, Peter Molyneux's Populous would do a lewd and mocking dance at its funeral.
It was, perhaps, a last hurrah for 8-bit isometrics. The following year, Peter Molyneux's Populous would do a lewd and mocking dance at its funeral.
RSS Feed
