Super Mutt
A caped, superhero dog battles his way across a city skyline, with a soundtrack that borrows shamelessly from Rossini.
By 1988, four years on from Manic Miner, the Spectrum's software was routinely doing things the launch-era machine's designers never imagined. Raffaele Cecco's Cybernoid for Hewson Consultants is one of the clearest showcases of that late-era leap: a mechanical, trap-laden ship shooter that looks and sounds like a different generation of hardware entirely.
You pilot a small ship through industrial, hazard-filled levels, shooting enemies, collecting bonus items, and dodging environmental traps that kill on contact. Shields absorb a limited number of hits before your ship is lost outright, and Hewson's house style of unforgiving, precision-demanding difficulty is present throughout — this is not a game that goes easy on you.
The sprite work is clean and clash-free, animation is smooth by Spectrum standards, and the 128K version's AY-chip soundtrack is a world away from the simple beeper tones of the platform's early years. It's a genuinely impressive technical package, and a useful reminder of how much headroom skilled programmers eventually found in hardware that seemed fully tapped out years earlier.
Gorgeous to look at and thoroughly unforgiving to play. A high point of the Spectrum's late-80s technical peak, best approached with patience and low expectations for your first dozen ships.
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A caped, superhero dog battles his way across a city skyline, with a soundtrack that borrows shamelessly from Rossini.
Eight mercenaries, eight full personnel dossiers, and a roster-building screen with more narrative ambition than most of its budget-shelf contemporaries bothered with. Whether there's a mission behind it is a question this review, in good conscience, cannot answer.
Dan lands his airship on Dr. Blitzen's hideout to steal the plans for a Death Ray — eight sticks of dynamite, a lot of falling, and Mozart's Rondo Alla Turca standing in for a soundtrack.