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Sunday, 10 May 2015

TV Review - Street Fighter: Assassin's Fist

What do video game movies and McDonald's breakfasts have in common? One you can only face when you're drunk and the other when you're hung over. I'll leave you to guess which one is which. Any Street Fighter fan who grew up in the 90s will remember the disastrous Jean Claude Van Damme movie. Superficially, it had lots of promise; it centred around Guile (played by JCVD) and his squadron of marines trying to take down Bison (played by the brilliant Raul Julia in his final role) and his Shadaloo organisation. Throw in Ming-Na as Chun Li (also on the hunt for Bison), Roshan Seth as Dhalsim, Wes Studi as Sagat and a young Kylie Minogue as Cammy and you'd be forgiven for thinking it had a solid mix of physical prowess and acting chops. However, much like the Super Mario Bros movie of the previous year, Street Fighter: The Movie was so poorly executed and deviated so far from the source material, that fans were bitterly disappointed. We had to wait decade and a half for the next live action SF movie, but sadly, Street Fighter: The Legend of Chun Li (starring Kristin Kreuk as Chun Li, Taboo off of the Black Eyed Peas as Vega and not much else) was even worse. That said, by its release in 2009, gamers were used to bad movie adaptations, not least because of a certain German director.

When Mortal Kombat and Silent Hill rank among the better movies based on video games, we gamers have had little reason be hopeful about any others. So I was pleasantly surprised by Street Fighter: Assassin's Fist, a budget web series, which made its way to Netflix earlier this spring. On seeing the mock posters for Assassin's Fist one thing immediately caught my attention: it showcased Ryu and Ken, who have been sorely under utilised in any previous live action translation. Before watching it I looked it up online and discovered it was made by the same team that produced the 3 minute short, Street Fighter: Legacy, about five years ago. I did watch the short when it first came out, but it subsequently escaped by memory. If you haven't already seen Legacy, you can check that out here. But while that short showed the team had some physical talent and decent special effects, it was by no means proof they could pull off an actual story. But by being careful and restrained, I think they have done the impossible: make an authentic Street Fighter series that isn't completely corny.

As stories go, Assassin's Fist is a stripped back, bare bones affair. I suspect this was done for reasons of budget, but necessity is the mother of invention, so the result is a focussed tale of Ryu, Ken, their master Gouken and his brother Gouki, who is seduced by the dark power of Satsui no Hadou and becomes the demon Akuma. Although there are a few other characters in the show — most notably the old master Goutetsu and his daughter, Sayaka — there are no other characters from the games. 

Gouken teaches the kids how it's done
The story begins in 1987, with Ryu (played by Mike Moh) and Ken (played by Christian Howard) learning the martial art Ansatsuken (Assassin's Fist) under the guidance of a middle-aged Gouken (played by Akira Koieyama) at a dojo in the remote Japanese countryside. The show spends a little time explaining how the two friends ended up at the dojo, under Gouken's care and training, before getting meaty with the plot. 

When Ken starts complaining about the lack of progress in their training, Gouken takes the young men to the dojo where he and his brother trained, under Goutetsu (Togo Igawa), decades earlier. Here Gouken begins to teach them how to produce a Hadou (those annoying fireballs cheap players lob at you constantly). Before long, Ryu's is outpacing Ken, much to the frustration of the American fighter. Then one day, in a boarded up room of this old dojo, Ken discovers a book that explains how to perform the Satsui no Hadou. Gouken is no fool and on seeing Ken's new technique, he realises the boy must have uncovered something that should have stay buried. 

Ooh-ohwa your fist is on fi-yer!

This then leads to a long sequence of flashbacks, where we learn how the young Gouken (played by Shogen Itokazu) and Gouki (Gaku Space) are taken in by Goutetsu, after their father is killed in battle. Like Ryu and Ken, Gouken and his younger brother are torn between their love for one another and their rivalry. This rivalry extends to also winning the affection of Goutestu's daughter, Sayaka (Hyunri Lee). When his older brother proves himself to be the better warrior and the more eligible bachelor, Gouki is lured towards the darkside of Ansatsuken and the poisonous effects of Satsui no Hadou. This story then takes up the bulk of the series, with us only occasionally checking in on the boys in the white and red jammies. Assassin's Fist was originally released online last May as a series of shorts, but for the Netflix version it has been turned into a 2½ hour movie. While I've not seen the serial, I suspect it probably works better in that format than as a movie. For example, we spend a long time in a cave in the woods, as Gouki slowly transforms into Akuma (played by Joey Ansah). This is an important part of the Street Fighter canon, but viewing these slower paced pieces of exposition as stand alone 20 minute episodes may be an easier way to digest them, rather than slowing down an entire movie with scenes where not much is said or done.

Akuma meditates in a cave for much of the film
Overall, the script and acting are fine; they are a step up from any original content cooked up by the SyFy channel and miles ahead of any Uwe Bollocks. Howard and Moh are not the best actors by any means, but the script (written by Howard and Ansah) does not demand too much of them. In many ways, the true stars of the show are Koieyama/Itokazu, Space and Igawa, who benefit from being allowed to act in Japanese. This mix of English and Japanese also lends authenticity to the series, which it might not otherwise have had. Most importantly for fans of the games, the combat is well choreographed, with many key moves well represented - even if the shoryuken looks a little silly. 

What about non-SF fans, will they enjoy it? Maybe my love for the source material is clouding my judgement, but I think they might. It compares well with many of the epic martial arts movies that emerged following Crouching Tiger, Hidden Dragon's release in 2000. So if you enjoyed that or films like Hero and House of Flying Daggers then you may well enjoy this too. The reason I say this is simple: at the heart of it all is a classic tale of love, rivalry, corruption and betrayal, which is are the cornerstones of so many other classic stories.


  • Tight, focussed story that does not stretch itself too far
  • Mostly great casting. Christian Howard's Ken is as good as I think we'll ever get.
  • Great choreography that does the game's action justice
  • Better acting than you might expect from a low budget web series
  • The most authentic Street Fighter story to date


  • The Gouken/Gouki flashbacks are a little long and may lose any non-SF fans along the way
  • Mix of languages may put off lazy viewers
  • Ken's hair piece


Proof stories from games can be translated to movies/TV series and an interesting look into the core backstory of Capcom's iconic series. The convincing combat, focussed script and competent acting mean that this really feels like Street Fighter. 

Anyone on Netflix can get to the series using this link:

Sunday, 29 March 2015

National Videogame Arcade opens in Nottingham

My home county of Nottinghamshire is primarily known for the legend of Robin Hood, as represented in countless movies, TV series and books over the decades and beyond. However, since 2006, Nottingham has been home to one of the UK's few gaming conventions, GameCity. And East Midlands as a whole has been home to many of the UK's greatest and most successful game developers, including Rare, Core Design, Free Radical Design and even one of Crytek's satellite studios. So it's no surprise that Nottingham was chosen to be the venue for the UK's first video game museum.

Called the National Videogame Arcade or NVA for short, the interactive museum has been created with the help of the GameCity organisation, various members of the UK industry and press, including Ian Livingstone, the founder of tabletop games manufacturer, Games Workshop, who are also based in Notts. It's an ambitious project, with games from every decade, ranging from modern console games to classic arcade machines (YES!) spread across five floors. But the NVA is trying to do more than let people play old games, it's hoping to elevate the industry and promote games as pieces of art, which can be good for head and body (under the right circumstances). With regular events, which include development workshops, this is exactly the kind of thing the industry needs.

You can check out YouTuber Xyphoe's look at the NVA's opening day here:

For more information, head over to

Thursday, 12 February 2015

Nostalgia Trip - Hunting High Scores

Completing the story mode of some sprawling adventure game is like finishing a long book; there is a sense of triumph and closure that you just don't get from watching a movie or TV programme and it's one of the many reasons why I've always felt a strong connection between the act of reading and the act of gaming. However, back in the days of arcade gaming, even if there was a story mode, it was really all about the high score, destroying enemies in as an efficient a way as possible and getting your three letter moniker on the electronic leader board (MTW in my case). If you were at the top, those three letters were like planting your flag, staking your claim. With those three letters you were saying, "I am the best!" It was an open invitation for all comers to try to topple you and even if you didn't know who belonged to a particular name, seeing your initials above theirs was a tiny bit of a rush. If you were a regular at an arcade, you might even see the same names appearing on the leader board of your favourite game. But of course, nothing could be better than beating a friend's high score, both in direct competition or just beating their score when they weren't around, knowing they'd get a nasty surprise next time they played.

My earliest memories of competing with friends for high scores were on a trio of games back in the mid-80s. There was Irem's Jackie Chan beat 'em up Kung-Fu Master, Konami's Olympic mini-game collection Hyper Sports and at number 1 by a considerable margin, an oft-forgotten shoot 'em up by Tekhan called Star Force

Star Force's highscore board
Yet again, these were games I played on holiday in Caister-on-Sea. As I met up with the same friends for several years in a row, the rivalries continued year-in-year-out, with the games changing every few years. Other games that sparked similar rivalries included Taito's bat-and-ball space epic Arkanoid, macho light gun blaster Operation Thunderbolt, pop culture phenomenon Teenage Mutant Ninja Turtles and Atari's stunt simulator Hard Drivin'. The latter was a difficult one for me as an 11 year-old, as I was trying to compete with my brother and brother-in-law, both of whom were a decade older. Talking of my brother, I still have vivid memories of people gathering around him while he played 1942. While he never finished it, he was one of the best players in that little seaside arcade. 

It wasn't just the arcade. At home, my friends and I would compete on our 8-bit computers and consoles, though very few games stored the scores between sessions. Of course, there was always the risk that either you or your friend would go off in a off if you beat each other at your favourite game you got for your birthday.

High scores go legit

While arcade gamers the world over competed for high scores, in Iowa in the early 80s, Walter Day had plans to take it one step further. After opening his own arcade Twin Galaxies, Day set about collating high scores from hundreds of different arcades, as well as organising contests at his own venue. Then in February, 1982, he released his records as Twin Galaxies National Scoreboard. Throughout the 80s through to the early 2000s, Day and his black and white striped referee jersey, came to symbolise serious arcade competition play and official high score record keeping. If you thought you were good, it was the high scores on the Twin Galaxies' database you had to beat.

Then in 2007, two independent films brought Twin Galaxies to the attention of the whole world. Chasing Ghosts: Beyond the Arcade was very much a celebration of Day's work as a national record keeper, but then just months later, King of Kong: A Fistful of Quarters portrayed Day and his organisation as corruptible and dishonest, pandering to the whims of celebrity gamers.

In 2013, Twin Galaxies appeared to have folded, only to be resurrected the following year by American TV personality Jace Hall. Now, the organisation mixes its origin as gaming record keeper and competition organiser with a combination of sport commentating and Twitch's live streaming of gameplay. You can check out their YouTube channel at:

Evolution of the high score

For a while, outside of retro gaming and a few throwback games, chasing high scores lost its popularity. Online games, such as Quake and Counter Strike had no need for running high scores, just a kill count from match to match, while adventure games from Half-Life to Ratchet & Clank did away with scores altogether.

Then, in 2005, Microsoft launched their new games console, the Xbox 360, which included a new feature called Achievements. They were integrated into every game, including downloadable Xbox Live Arcade games, and offered players numeric rewards when they activated certain triggers. These triggers could be something mundane like finishing a level or beating a boss, something repetitive like getting 50 headshots or having 10 match winning streak, or something just plain stupid, like jumping off a bridge into water without dying or putting masks on zombies (a real achievement in Capcom's Dead Rising).

It all seemed innocuous at first, but achievements had a couple of tricks up their sleeves that were quite unlike the world had seen before. Firstly, the points you earned from achievements were aggregated across all of the games you played as your "gamerscore". With full price games offering 1000 achievement points, it was possible to get gamerscores in the hundreds of thousands, much like a typical high score. Secondly, the whole world could see your gamerscore and what games you'd played to earn them. Now the contest wasn't between you, your mates and the locals, it was between everyone who owned a 360, no matter where they lived in the world. High scores had evolved and for a period during the late 2000s, people went gamerscore crazy. There were even online forums springing up where people could not only boast about their gamerscores, but also exchange tips on getting elusive achievements. It became so popular, both Valve and Sony retro-fitted similar (but no where near as successful) systems into their games platforms.

Microsoft continued to develop the system themselves with their current console, the Xbox One, but the general consensus is that gamerscore hunting peaked with the last generation.

Full circle

So where is the humble high score now? Well, it's probably more popular now than it has been for 20 years, thanks to the increased popularity of retro-gaming. Not only are old gamers, such as myself, able to go back to games they loved, but new gamers are getting to experience these high score driven games for themselves. It seems to me that this is most apparent in the popularity of Far Sight Studio's Pinball Arcade on tablets and phones. Pinball has always been about the pure pursuit of high scores and Pinball Arcade has high scores that automatically feed into an online database. You can check them out for yourself here:

But whether you are trying to beat your friends or strangers online, ultimately a high score is also a challenge to yourself. Much like your personal best time in a marathon or the amount of weight you can bench press, beating your own high score means one thing: you're getting better at the game itself.

Thursday, 1 January 2015

Happy 2015

Happy New Year! Again, an automated message from me, as it's my little girl's birthday today, so we're in Cardiff for the Doctor Who Experience. Just hope I get to Jenna Coleman — I mean Peter Capaldi, yes, the Doctor. Ahem!

Anyway, I'm sad to say this marks the end of Arcade Throwback's scheduled publications. I've been running this site for 4½ years, but I no longer have enough free time to work on the site regularly and even my Classic of the Month feature has been slipping. A quick look at the archives will show in 2014 my post count was a third of what I'd posted in previous years — and my post count for 2015 is going to drop again. I've already dropped my other regular features and this year I am going to stop writing Classic of the Month as well. There are still a few arcade games I'd like to talk about, so I will replace the monthly feature with an ad hoc one called Nostalgia Trip, which I can use to discuss both random games and random arcade memories. I've actually gone back and tagged up some older articles that already fit that description, so the tag is already well populated. I still have plans for one or two Brief Histories, so the site will be updated every once in a while, just not routinely.

Believe me when I say this is purely out of necessity. I have other projects in progress that unfortunately have to take precedence over Arcade Throwback. You can read about those on my technical and creative writing blog I did have plans for other monthly features, but I know I won't find the time to do them justice.

I'll still be tweeting and retweeting from @ArcadeThrowback, so please follow (or keep following) me, as I still love talking to fellow retro gamers. I will also announce my sporadic posts through Twitter and my Facebook page. In the mean time, enjoy the rest of your holidays and I hope 2015 is a great year for us all.


Sunday, 14 December 2014

Classic of the Month - Pong

Design:Allan Alcorn

Last month I talked about the game that, for me, represents the beginning of the end for arcade gaming. This month, for my final Classic of the Month, I'm going to talk about the game that was the beginning of my love affair with video games — and yes, it really is Pong! I really am that old!

I was born in May 1975, by which point video games had just got a foothold in arcades. Before then, arcade games consisted of mechanical devices, such as shooting galleries, one-armed bandits, shove penny games and of course, pinball machines. That all changed in 1972, with Atari's Pong, a table tennis game designed and built by Al Alcorn and Nolan Bushnell. The first Pong machine was sited at Andy Capp's Tavern, a bar popular with students in Sunnyvale, California. The game was a huge hit. Legend has it, a few weeks after being installed, Bill Gatiss, the owner of Andy Capp's, complained the machine had stopped working. When Alcorn opened the machine to check it, money started pouring out of it — it was stuffed with more quarters than it could handle.

There had been electronic games displayed on a monitor and controlled with buttons and dials before Atari's Pong and there's a lot of debate about whether Bushnell plagiarised Ralph Baer's designs in those early days, but however you look at it, Pong is the game the established video arcade games as an entertainment medium. All too often when people talk about Pong, what they end up talking about is those halcyon, but controversial, days at Atari, before they were first taken over in the late 70s. There are the tales of lawsuits, drug use on company premises, Steve Jobs working for Bushnell while he and Steve Wozniak built their first Apple computers and more, but all of that stuff is well documented. What I want to talk about is Pong as a video game.

Full disclosure time, I've never played an original Pong arcade machine, because by the time I was old enough to enter an arcade (around 1984), Pong was ancient history. However, I played one of the many (and there were a great many) home Pong clones. In fact, my earliest memory of playing any kind of video game was a machine called (generically) TV Video Game 5 in 1. My brother-in-law gave it to me when he moved on to home computers and it became my first video game system (the word console seems too generous for such a basic a machine). As its name suggests, it included five variations on the Pong theme, from the original two bats and two-players, to a version with both bats at one end and a wall at the other, which was Squash, to a four bat, two-player version generously called Ice Hockey and even a single-player mode called Handball. Like all of those early machines, the TV Video Game was controlled using paddles with variable resistors (or rheostats) that connected via 2.5mm jack plugs. I mainly played this Pong game with my brother-in-law, who, despite being 13 years my senior, was generous enough to let me win every now and then.

Like he real Pong, the idea was as simple as it gets. A square white block bounces around a black court, with various white lines representing the edges, the centre net and the players, who had to knock the square block hither and thither in an attempt to get it past the other player and score a point. However, as simple as was, it still contained everything that makes gaming such great fun: direct, intense competition between two players, each trying to out-do the other. It's the same formula that worked for countless other Pong and tennis games, as well as fighting games, racing games, sports games, flying games and military simulators. The number of players and the intricacies of each game may vary, but that kernel of competition and skill remains in all video games.

As my simple TV Video Game system demonstrated, Pong could be easily adapted into other games and mine wasn't the only one to do so. Atari themselves adapted the game to create Breakout and in thousands of homes across America, the Magnavox  used the same building blocks as the basis for a dozen different "games" for their Odyssey console (the world's first console, based on Ralph Baer's designs). The idea lives on today, not such in the countless tennis games on the market, but also retro-inspired games, such as Bit.Trip Beat.

There are a lot of video of Pong on YouTube, but this is the only one I've found of a Pong arcade machine in its natural habitat, an arcade — something I've not seen myself. Plus it has a Jo Garcia in it, so you know — blokes!


Saturday, 15 November 2014

Classic of the Month - Tekken

Genre:Beat 'em up/Fighting

Capcom's Street Fighter II: The World Warriors couldn't have been much bigger and it spawned countless clones, but it also ignited the fighting game genre just as traditional 2D, sprite-based games were on the wane and new technology was pushing gaming into exciting new territory. While there were plenty lacklustre imitators (Fighter's History, I'm looking at you!), there were a few that stood out from the pack. SNK's triple threat of Fatal Fury, Art of Fighting and King of Fighters were a cut above the rest, for example.  Fatal Fury, in particular, used the Neo Geo's superior sprite scaling add an extra dimension to the genre, by allowing players to fight on different planes. Then along came Midway, with their digitized sprites and their ultra-violence. Mortal Kombat gave us a taste of video realism (as laughable as that sounds looking at it now), which terrified parents and Daily Mail readers at the time. Then, in 1993, Sega released Virtua Fighter, a 3D fighting game that used the same kind of polygonal graphics previously only seen in racing and flying games. The sense of space was greater than Fatal Fury, the animation was far more realistic than MK's muddy digitised combatants and, if you were patient, you would find the combat itself was deeper and more technical than Street Fighter II. It was, however, a little pedestrian, lacking any of the fantastical that made other fighting games such silly fun. Then a year later, Namco hit back with Tekken, which used the same kind of technology as Virtua Fighter, but had more eccentric and detailed characters, more attractive environments, more explosive combat and a control scheme that (to me at least) suited 3D combat far better than just having kick, punch and block buttons.

The plot of Tekken, such as it is, tells the story of the King of Iron Fist tournament. Organised by Mishima Zaibatsu, a giant multinational company with questionable ethics, headed (at the time) by Heihachi Mishima, who is also the game's final boss. You take control of one of eight combatants, each of whom had their own reasons for taking part in the competition:

  • Kazuya Mishima - Heihachi's son, who used the Mishima form of Karate, like his father. In this first game Kazuya was a heroic character, although this changed drastically in later instalments.
  • Paul Phoenix - A hot headed American and rival to Kazuya, who fought using a form of Judo.
  • Marshall Law - The obligatory Bruce Lee clone, who fought using Jeet Kune Do.
  • Nina Williams - Tekken's "sexy" female assassin, who fought using a combination of Koppojutsu and Aikido.
  • King - A massive Mexican luchador in a jaguar mask (although you'd be forgiven for thinking it was his actual head).
  • Yoshimitsu - a samurai or maybe a ninja. I'm not really sure, but he does turn up in the alternative universe of Soul Calibur, so maybe he's a robot or a time traveller?
  • Michelle Chang - A Chinese girl, in native American garb, who fights using a combination of Xin Yi Liu He Quan and Baji Quan.
  • Jack - a Russian military robot, who wildly pummels his opponents then poses, macho man style.

I'll be honest, of all those different martial arts the only ones I recognise are Judo, Karate and wild pummelling. And you'd be hard pressed to tell the difference playing this first game, due to the primitive nature of the graphics engine. 

After picking a character you had to fight your way through the remaining seven, then a unique rival, before you could face Heihachi. The unique (non-selectable) rivals were a great addition and gave players an incentive to try out all eight fighters - though getting to each fighter's rival would take a hell of a lot of practice (and a lot of coins).

Between the hard hitting combat and having control over each limb independently, Tekken was a thrilling game back in the day and at the time, I preferred it to Sega's offering (although by VF4 my opinion had changed). During the course of the arcade sequels, Namco did what all fighting game developers do: add more characters and more crazy. The storyline got more and more ridiculous, with people being thrown into volcanoes, people sprouting demon wings and pandas and kangaroos getting in on the action. Despite being a big Blanka player on Street Fighter, it was the addition of characters like Roger the kangaroo that put me off the series overall. Although I have played the first five games and Tag Tournament, for me the early games were the best - in particular Tekken III. Nonetheless, the series is still going strong on home consoles, thanks to games like Tekken 6 and Street Fighter X Tekken.

There is debate about how and when the arcade scene started to die. While most commentators agree arcades were defunct by the end of the 20th century, some that say the scene had been on the decline since the mid-80s and others say the mid-90s. I'm one of the latter, having seen just how big arcade games became with the release of games like R-Type, Street Fighter II, Mortal Kombat, Time Crisis and Sega Rally. However, if you asked me what game marked the beginning of the end, I would honestly say Tekken — not because it was a bad game (it wasn't, it was great) but because Namco's close ties with Sony and their brand new PlayStation console closed the gap between home and arcade gaming more ever before. Sure, the Neo Geo AES and MVS essentially had the same hardware, but who do you know that owned an AES? Exactly, but I bet you either owned a PlayStation or knew someone who did. There was less than 5 months between the arcade and PlayStation releases of Tekken; the PlayStation version was so good, so close to the arcade that you'd really have to be paying attention to notice the differences. And little things like slightly lower resolution textures and the loss of animated character select screens paled into insignificance compared to the ability to unlock rival characters on the PlayStation version. Add in other Namco 3D arcade hits of the time, like Ridge Racer, Soul Edge and Time Crisis, as well as near-perfect conversions of arcade hits from the likes of Taito, Capcom, Midway, Konami and even SNK, and you had, for all intents and purposes, a home arcade machine. So with me winding down the Classic of the Month feature, it seemed apropos to talk about the game that was, for me at least, the thin end of the wedge that lead to the obsolescence of the arcade machine. At the time, we were all too excited to play as Kazuya, King and Marshall at home, in our bedrooms, on our 14" TVs, to realise what having so many "arcade perfect" conversions at our finger tips really meant to the future of the arcade machine.

To finish this month's instalment, here's someone playing through Tekken as Kazuya.


Tuesday, 21 October 2014

Creepy Classic of the Month - Centaur

Design:Jim Patla (table), Paul Faris (art)

There are things from your childhood that will stay with you your whole life, memories that sit deep inside your subconscious and are never forgotten, even if you cannot instantly recall them. Some of these memories may be significant — the death of a grand parent or some achievement at school — but some will be trifling. For me, one of the latter memories is the dark Gothic art work for Bally's pinball table, Centaur. I did not know the name of the table, only the backboard art, with the H.R. Gigar-esque design of the part demon, part motor cycle, wielding a battle axe and the leather-clad rock chick riding him. It scared me and made me think the people playing the table must be dark, malevolent types, but it fascinated me all the same. It was only when Farsight Studio's converted the table for their Pinball Arcade platform that my memories all clicked into place. As soon as I saw it I had to play it and I found that beyond the scary art is a brilliant pin. Since then I've played the table a lot, but I still find Paul Faris's art work a little creepy, so I had to make it my Halloween classic for 2014.

The stark, dingy art work of the backboard and sides carries over on to the playfield, which is one of the gloomiest ever made; everything is black, white and red. If you play on a table with dim or faulty bulbs, it can be quite difficult to see anything at all. Like many tables from the early 80s, Centaur has primitive synthesized sound that, although basic, only adds to its eerie atmosphere. As you play the table instructs you to "Destroy Centaur" and says the names of the table's various features as you enable them.

Key to success in Centaur are the table's O.R.B.S. drop targets, which can initiate multi-ball mode in a number of ways. Drop all four targets and you'll lock a ball for multi-ball. Drop the targets in order and you'll both lock a ball and trigger a multi-ball at the same time. To initiate the multi-ball you have to hit the captive ball in the chamber on the top left and knock down another series of drop targets, until eventually you hit the release target to launch the locked balls. However, it takes considerable skill to do this, which is why the table is such a beloved classic. Thankfully, that's not the only way to get multi-ball on Centaur and in fact it's possible to "lock" balls without ever having a ball go out of play, thanks to a clever trap-door launch mechanism under the shooter lane.

I used to think nudging was kinda cheating, but here it is encouraged in the game's design. There are small, rubber notches on the outlanes, which, if you rock the table just so, will bounce the ball back into play, preventing it from draining.

This table is too early for DMD, so it has 7-bit displays for the scores. This means that unlike later tables the amount of direction the player gets from the backboard is limited. Thankfully, as well as its famous synthesized voice commands, the game also makes clever use of colour-coding. with different coloured bulbs showing the player which targets trigger which features. For example, a green light in the top right hand corner indicates that the target behind can be used to reset the green drop targets below.

Playing it today, Centaur may look basic, with no ramps, multiple tiers or even spinners. However, its multifaceted multiball mechanism makes it every bit as rewarding as many more intricate-looking tables. The video below shows a beautifully restored Centaur table in action, which looks brighter than a normal table thanks to the LEDs that have been used to replace the original bulbs.

And this video, by the brilliant Todd Tuckey of TNT Amusements, explains the rules brilliantly.

I still vow to own a pinball table one day and while it's likely I'll opt for a newer, more reliable Stern, Jersey Jack or Heighway table, when it comes to classic pins, Centaur is very high on my want list.

And as a final note, if you're looking for more Halloween games, Pinball Arcade has recently added Phantom of the Opera and Bram Stoker's Dracula, to go along with Centaur and its other spooky tables, such as Haunted House, Gorgar, Class of 1812, Monster Bash and both Elvira tables.