Earlier this year, Broke Studio provided a physical release of The Echoes of Worlds, based on the Game Boy Studio project of the same name by TC Studio. It’s perhaps the most fiendish Game Boy release in recent memory, and I’m not just saying that because one of the many characters you play is a devil scrounging up coins in hell. This is a deviously difficult game, where even just getting across a small room can result in many, many deaths.

The Echoes of Worlds has a lot of charm. Our unnamed hero chases a mysterious portal jumping menace to try and recover his stolen cat, while his moocher of a best friend stays home and doesn’t really know what to do with himself. Every time you load up the game, we see what the moocher is up to before the action flips back to the hero. Annoyingly, the game keeps track of how many moocher cutscenes you’ve seen even if you start a new game.

Minor annoyances like this are unfortunately a fairly frequent presence in The Echoes of Worlds. Though the game does keep track of how many moocher cutscenes you’ve seen, it does not keep track of how many times you’ve spoken to characters at the police station hub world. This is important because you get skill points from reading every single dialog, but you’re forced to cycle through all of them before leaving the room, so instead of pacing yourself with the toxic office drama, you end up stuck with almost all of the exposition at the beginning of the game, through to a mostly uninterrupted stretch of gameplay leading to a mostly unsatisfying ending.

I might not have been quite so disappointed by the ending except for the fact that the characterization is so well done up until that point that the anticlimax is more than a little insulting. The game had teased all these mysteries and doesn’t really answer any of them. I did find myself wondering whether there was a better ending if I could 100% the game, but in the first place, there was no indication in or outside of the game that this was true. And in the second place, by the time I was finished with The Echoes of Worlds, I was more than a little sick of it.

The main gameplay problem revolves around the skill tree. For getting certain achievements in-game, you get skill points that make the game easier by offering extra lives or items or increasing how much money you can buy with the items. Special skills are very expensive and also tend to be the most useful. The trouble comes from the fact that getting skill points in usable quantities requires that you 100% every level, a task which is harder than it sounds because The Echoes of Worlds is a roguelite, which means you do not have control over which levels you play in the main game. They’re selected at random.

After a certain point, The Echoes of Worlds is unplayable without a hefty supply of skill points, and I had to replay Level 2 a lot in order to finally finish off the last stage and earn the majority of the unlockable skill points. By the time I finished Level 3, I was just grateful I had enough coins to unlock the checkpoint, so I didn’t need to try and 100% it too. I barely even played Level 4, I just abused the skill points I had to brute force my way to the end, an accomplishment thoroughly deflated by the lousy ending.

It’s a shame I can only really think of negative things to say about The Echoes of Worlds, because the game is genuinely a lot of fun. I loved the blend of platformer with roguelite. The worldbuilding is great, and the art is delightful. Unfortunately, none of these elements work well with the collectathon style of gameplay that The Echoes of Worlds ultimately treats as a core mechanic, and a skill system that’s clunky both in execution as well as just plain tedious to micromanage in the menus, a surprising contrast to the challenging, fast-paced gameplay that’s not unfair so much as it is unforgiving.

The post A review of The Echoes of Worlds appeared first on Old School Gamer Magazine.

We’ve featured a lot of Arcade to Amiga conversions/ports throughout the years, from the more recent Final Fight Enhanced to Super Xevious, Flying Shark and even Green Beret. Well if you’re looking for even more Arcade like updates on the site, then we have just been told by our good friend Tom, that AcidBottle together with JMD(Audio) is still working on the Arcade to Amiga game of Breakthru; A 1986 side scrolling shooter by Data East in which you must drive a military vehicle through enemy territory to rescue your PK430 aircraft.

Here’s what Mobygames says about the game which will need a beefed up OCS/ECS machine and a 2 button controller to play. “BreakThru is a 2D side-scrolling vehicle shooter. Your mission: race, jump, and blast your way through five levels (mountains, bridge, plains, city, and airfield) of enemy defenses to recapture the stolen jet fighter. A host of enemy soldiers, mines, vehicles, and aircraft will try to stop you, though. Oh yeah… and don’t forget to watch out for those rocket attacks and falling rocks!”

Links :1) Discussion 

The post Breakthru – An Amiga port of a Data East Arcade game is still coming to the Amiga appeared first on Old School Gamer Magazine.

A legendary 1980s franchise has returned to the Commodore 64 with the release of Impossible Mission 3. This surprise sequel that has been eagerly awaited for sometime in the C64 community, is a massive collaborative effort. It is presented by Psytronik Software in association with Epyx Games, LLC, Code 10 Digital, Retro Games Ltd, and ICON 64. The title revives one of the most celebrated game series in C64 history! As noted by the team “The third game in one of the most famous C64 games series of all time is finally here!”

Players step back into the shoes of Agent 4125. Your objective is to stop the sinister Elvin Atombender and his robotic army. Players must use strategy and stealth to infiltrate a brand-new enemy headquarters and dismantle Atombender’s latest evil plot. The game features a massive 512K of game packed into one cartridge file, new gameplay mechanics, robots that can be shot with an EMP gun, explosives to destroy damaged scenery, 3D lift effects, over 30 speech samples, animated intro and end sequences, and finally it’s PAL and NTSC compatible for the C64,C64 Mini, Maxi and Ultimate.

CREDITS:

• Design, GFX + Speech by Trevor Storey
• Code by Stuart Collier
• Additional Cartridge Support by Mike Robertson
• Packaging Desiged by Trevor Storey
• Playtesting by Trevor Storey, Louie Dimovski, Jason ‘Kenz’ Mackenzie
• Special thanks to Darren Melbourne
• IMPOSSIBLE MISSION is © Epyx Games, LLC.

The post Impossible Mission III – Could this be the next C64 hit for 2026? [OUT NOW] appeared first on Old School Gamer Magazine.

Project, which he calls “a tribute to the foundational and beloved 8bit classic Temple of Apshai (1979).”

Old School Gamer Magazine: How did this project begin?

Van: I guess it began in spirit with the original Temple of Apshai by Automated Solutions in 1979, that I loved as a kid on the Apple ][+ and later C64. That credit goes to the great Jim W. Connelly of game dev legend. Hope to meet him someday, so I can thank him personally.

Fast-forwarding to today, Webshai began a few months ago as a Claude AI experiment in design-driven development. Im a life-long old-school career programmer, but the sudden and recent AI revolution has made code-writing skills obsolete. I’ve been “vibe-coding” as the kids call it now, on another much larger project when I needed a break.

Ive always wanted to pay homage to the classics that inspired me, so I wrote every note and observation about old Apshai that I could think of, into a design doc to see how well Claude could execute purely on a detailed vision. It was an experiment in new alternative workflows.

Old School Gamer Magazine: What makes it special?

Van: Originally I intended to make no enhancements, just a functional clone written from scratch for the web. But web accessibility is the first point-in-favor, I suppose. The most fundamental change. Just browse and go – no signup, no download, no friction.

Also, it’s genuinely roguelike – people abuse that term today, to the point that they clearly don’t know (or dont care) what it even means. But Webshai is the real deal (largely because Im also in love with Nethack, the direct descendant of the original Rogue). Instead of the original 4 static levels of Apshai (or 12, if you include the also-great Upper Reaches and Curse of Ra sequels), Webshai has a procedural level generator.  I defined 7 tiers with their own visual themes, tile sets, and monsters, 4 levels per tier, for 28 levels total.  Each level larger with more rooms than the level before it.

And even that was an arbitrary cap. With more art, I could offer 100 levels. 1,000 levels. I will, if I get enough players to justify more development.

And these are generated for each user, uniquely. No two users will see the same dungeon.

And yet yours wont change, so you can still memorize YOUR levels (NetHack is a cold-hearted bitch on that issue – new game? WHOLE new dungeon again!) same as we did when playing the original.

Otherwise, it’s primarily a nostalgia play.

Lastly, all my games are web-based. I love the ease of accessibility and delivery for the players – just browse and go. No bloated 50 gazillion derpabyte download to install.

And no risk of malware in those binaries – a problem occurring with increasing frequency, particularly in the low-budget indie market.

Don’t get me wrong, I have an embarrassingly large and venerable library of purchased games on Steam. Steam is, generally speaking, fabulous. But I wont even download indie games from Steam until the binary has been vetted by others.  And I *do not* install binaries from Itch. No hate, I applaud what they’re trying to do, but I do not trust their content creators.

And I don’t build Windows binaries. I bear an admittedly pathological hatred for Microsoft in general, and Windows in particular, both as a user and a developer. The Web is my rejection of all-things Microsoft, and of Apple as well. They work overtime to control us, limit our options, and force us into their walled gardens. The web is freedom.

Old School Gamer Magazine: Who’s the core audience?

Van: Well so far, nobody. Figure in an era of global virality, if you cant earn a following via simple word-of-mouth popularity, you’re doing something wrong. You either stand out, or you die.  Blending in,is not an option.

So thus far, I have no players. But I only dropped the open beta of Webshai maybe a week ago. Now Im looking for my first players.

Old School Gamer Magazine: Who are you trying to reach?

Van: The only crowd that I expect will really care – us 40-something/50-something old timers. To the kids these days, the old games just look primitive. Which is fair – they ARE primitive. But if you grew up on Apshai, you were left wanting more. At least I was.

Old School Gamer Magazine: Why does the preservation and homage of this era of games mean something to you?

Van: Two reasons, I think:

1 I was there, I lived it, these are the relics of my formative years, and represent some of the best times. Many a survivor of the torments of childhood, emerges from that battlefield with a guiding light. Something that led them through the darkness. For me, gaming was an HUGE part of that.

2 Those were the frontier days. The developers from that era, didn’t have game engines. They didn’t even have utility libraries. Often they didn’t even have pixels! And there were definitely no standards, no patterns. We didn’t even use the WASD UI pattern for steering yet! So what they made, was raw. It was feral. It was almost random.

And it was ground-breaking. Those early devs went out into the frontier, the wild, and they built.. whatever, whatever they could with whatever they had! And they built a whole new world and a new industry, and invited us to follow, to join them in something they called “home computer gaming” – when us users were still barely learning what a “home computer” even meant!

Old School Gamer Magazine: Why is this all important to you?

Van: That’s a surprisingly important and heavy question. Why do we game? Of what value is it? Sometimes I wonder if what I do – I was an off-and-on big-studio game dev for 35 years – is even meaningful, or just a waste of time. With all that’s wrong in the world, what do I contribute? Video games? That’s it?!

I don’t farm to grow food. I don’t build homes. I don’t heal the sick. All I do is provide entertainment.

Then I remember that 2nd grader, just 8 years old, introduced for the first time to Temple of Apshai, and I remember how a world of magic and fantasy and adventure and wonder opened up before me like an endless landscape.

And I remember, we aren’t just animals. We need more than food and shelter and our health. We need entertainment. And specifically, entertainment that challenges. That invites us to explore. 

Interactive entertainment is the next level, beyond books and movies (both of which I still cherish). Interactive entertainment let’s us be the hero, instead of some Hollywood actor having all the fun. It’s the ultimate storytelling, because we get to *tell OUR story*. Not have someone else’s story told to us, whilst we imagine ourselves as the protagonist.

And Ive done this – trying to design games, build games, and empower people to tell THEIR stories – since I was a little kid. Even before computer gaming, when tabletop D&D was all the rage.

Old School Gamer Magazine: Anything else you’d like to add?

Van: Credit where credit is due:

Half the sound FX in Webshai, were done working with Claude AI tuning programmable oscillators by ear to recreate the classic C64 sound.  The other half, was my sound artist/musician girlfriend Elisa Berlin of Noise Complaint (and who has a boss cameo in level 4 of the Catacombs tier).

The sprites were all generated on PixelLab.ai – I can’t draw a decent circle to save my life.

Tile art, all procedurally generated by Claude.

Likewise, the code was written entirely by Claude AI. I only take credit for the design and architecture of that code. Ive been developing for the web for the last 25 years, with 15 of those in Javascript.  This would have taken me AT LEAST 6 months to build by hand, but with AI it took just 6 weeks. Though admittedly it became a very back-and-forth process after the initial generative pass. Anyone who thinks using AI for game dev is equivalent to pushing some magickal do-it-all-for-me button, should try that sometime.

The post Old School Gamer Magazine Exclusive: Inside new C64 Temple of Webshai Project appeared first on Old School Gamer Magazine.

In the end though the story remains the same.

If you’re looking for a casual and simple game of baseball to play with your friends, “RBI Baseball 16” is for you. If you want something with a little more pizazz and sizzle, then you’re a Show person. In the end, the comparisons made between the two titles are unjust ones as they are two entirely different dishes, for gamers on two different diets. Trying to convert someone to one side over the other just isn’t going to happen. In order to truly enjoy “RBI Baseball 16” you either have to have to travel back in time, granted you could find a flux capacitor (Ask a Cubs fan, they’ve tried that before, but it didn’t work out so well.) or just play. Don’t whine that it’s not pretty, just play.

With no play-by-play and advanced batting stances or pitching motions, “RBI Baseball 16” can feel vanilla to many Millennial gamers. Those that remember the heyday of the NES however will find it old-school in approach and void of distractions. Although it’s got a glitch or two here and there and requires you to revert back to your retro gaming mindset of time-based hitting and fielding, once you reset you can quickly get into a game and have a decent time.

All in all, the team at MLB have continued to polish the gameplay engine and add things that players want to see like dives, double-switches and great looking ballparks. Those that have become fans of the series will see the visual and gameplay improvements and enjoy the new rosters in a way much different than gamers of a AAA series, who expect the wheel to be invented all over again every year.

With gameplay as simple and straight ahead as this, there’s no need to. Without the bells and whistles of the competition, “RBI Baseball 16” is still a solid game of America’s pastime that ultimately caters to more fans of the sport than “The Show.”

Pros:

Simple to Pick Up and Play: Much like the Nintendo and other retro games it gets its inspiration from, “RBI Baseball 16” can be played by just about anybody. With no complex button sequences or crazy HUD to master, anyone can just jump right in.

Beautiful Parks: While the visuals on the players has been purposely toned down and the game mechanics are simple, the parks in “RBI Baseball 16” are gorgeous. From the dynamic lighting and atmosphere, you always get the feeling you’re playing in a different park.

Cons:

Stripped Down Gameplay: While it’s obvious what these guys are going here and things like play-by-play aren’t needed, it would have been nice to have authentic stances and pitching, or at least a few differences between players. At this point, it’s hard sometimes to realize who’s at the plate because many players look similar and their stances are all the same.

Final Thoughts:

For what it is, a throwback baseball game, “RBI Baseball 16” is playable and can be, with the right people, enjoyable. But with a lack of overt sexiness and bells and whistles, hardcore baseball fans will obviously look to the show for a more complete next-gen offering.

The post Retro Review: RBI Baseball 16 appeared first on Old School Gamer Magazine.

If you’ve never heard of the original Xibalba, that’s not too surprising. The 2014 browser game from Phobos Lab is a weird little artifact of its era, a chonky retro styled Doom clone premised around the Mayan underworld. The blocky aesthetic exists alongside Oculus Rift functionality, allowing players to immerse themselves in the weirdly blended aesthetic of New World iconography, nineties era first person shooters, and the spooky ambient music of Andreas Lösch. ModRetro’s decision to bankroll a Nintendo 64 version of this game adds another level of eerie recursion to the whole concept, creating a demake that feels like a delightful, disturbing trip from a parallel universe.

It certainly helps that Dominic Zablewsky seems like a genuinely sweet and enthusiastic guy. As he tells it in the game’s instruction manual, Xibalba was mostly just a demo for his JavaScript game engine, and not even a “real” game in and of itself. Building it up to something worthy of the fifty-dollar asking price required, among other things, that Zablewsky rewrite the entire game in the C programming language. This is the kind of ambitious task a programmer takes on only if they have genuine passion and curiosity, and Zablewsky’s enthusiasm bleeds through every one of Xibalba 64’s seventeen levels.

What really sells this title as something special is how despite the sheer sense of scale of this world, we ultimately know surprisingly little about it. The story as outlined in the instruction manual is vague and cryptic. So is the opening crawl that prefaces each level, eerie, ominous poetry about the nameless protagonist’s descent into this world, culminating with an equally strange encounter with a god and a ray of light.

We never really do find out what exactly was going on, causing the entire text to read like a nightmarish fever dream. Even Zablewsky’s flawed English goes a long way to maximizing the vibe. It’s not always entirely clear what certain technical instructions mean, for example, but in a game this simple, there are only so many ways to interpret them. Who’s telling us these instructions anyway? The shamans? The tree monsters? The robots? A disembodied voice somewhere? Not knowing just makes it that much creepier.

Even getting lost is just an excuse to take in some of the details, trying to figure out what exactly is going on with this worldbuilding. One of the few technical flaws I noticed in this game was a lack of a map. Although I realized upon further consideration this was a deliberate choice to maintain the immersion, and it works wonders. Especially with the lights out, I consistently felt as if I was wandering through a deeply unsettling place. That I was using a small collection of high-powered weapons to blow up every other living or mechanical thing I found down there just contributed to that sense of unease.

The actual gameplay of Xibalba 64 is nothing new, not just compared to Xibalba but relative to Doom clones in general. In some ways it’s beneath the capabilities of the M64. There’s no vertical shooting for example. Again, though, the simplicity of the overall game design is what makes it much easier to focus on the smaller details. This isn’t a game about shooting monsters, even if it’s difficult to finish any given maze without killing everything in the level. It’s a game about being tested, or judged, by who or what, it’s hard to say.

This as much as anything else nails the retro gaming experience. Why do we play games at all, really? Why play Nintendo 64 games instead of titles on new, shinier consoles? It’s not just the nostalgia factor, it’s about that spiritual connection with other fans. Zablewsky nails that vibe long before the end credits, expressing immense appreciation to the Nintendo 64 homebrew community for all their help in getting him to figure out how to make this game work. Whether as the disembodied prologues or just the guy who uses the end credits to write in little hearts directed to his fiancé, Zablewsky is a real person, and Xibalba 64 is his genuine labor of love.

Not to suggest that the main value of Xibalba 64 is its connection to Zablewsky. There’s a lot of replay value in here, from extra difficulty settings to loads of secrets and cheat codes. This isn’t even getting into the multiplayer options, from a co-op mode in the main campaign to a four-player bug hunt or, for that real nineties magic, a deathmatch to the last person standing, with enough options to change up gameplay to keep it spicy without being overwhelming. This is the kind of game you can play at parties. Nerdy parties, perhaps, but Xibalba 64 is the kind of game that makes you proud to be a nerd. It just feels really considerate, right down to the bevy of customization options.

The post Testing the M64: Xibalba 64 appeared first on Old School Gamer Magazine.

With the release of the M64, most hobbyists concern themselves with the technical aspects of the machine. How does it compare to the Analogue 3D, or original Nintendo 64 hardware? Worthwhile questions to be sure, but I prefer to try and evaluate the console on its games and how they play. To start out, let’s take a look at Xeno Crisis, one of ModRetro’s four inaugural launch titles for the console. As is the case with the Chromatic, ModRetro isn’t just releasing hardware, they’re also publishing physical software that we can buy in cartridge form and own forever, instead of being tied to an online account.

Xeno Crisis is on-brand for ModRetro in that Xeno Crisis is a retro throwback title made by an Indie developer, Bitmap Bureau. But it’s off-brand for the M64 in that Xeno Crisis isn’t a throwback to the crude 3d modeling that defined the fifth generation of console gaming. Xeno Crisis is a top-down room-to-room shooter game with arcade sensibilities much closer to the fourth generation. Designed for the Sega Mega Drive (Bitmap Bureau is an English company after all), Xeno Crisis looks fantastic in the 16-bit style. But it doesn’t exactly push the limits of 64-bit hardware.

And to be entirely frank, Xeno Crisis warrants a bit of a re-evaluation at this point. Coming out in 2019, it’s nearly old enough to be a retro game in its own right now. With new games on older platforms being less of a novelty now, its flaws are that much more glaring. The lack of native save files, for example, particularly rankles as one of the Nintendo 64’s few advantages over its CD based competitors was save batteries. Even if you argue that the difficulty curve of Xeno Crisis, and the whole gameplay tradition it represents, should eschew the very concept of save files, I can think of no good reason why this version of the game doesn’t at least save the high score. There’s almost certainly a save battery on the cartridge that just isn’t being used.

On the topic of difficulty too, Xeno Crisis is too tough for its own good. The problem is less that the game is particularly unfair so much as the enemies are unreasonably tanky. Xeno Crisis is borderline unplayable unless you make a point of getting the weapon power up upgrades as quickly as possible. If you don’t, even on the second level, every room becomes a marathon because it just takes too long to kill anything such that soon there are a dozen enemies breathing down your neck. With the ones that have projectile moves, the game feels less like an action shooter and more like a bullet hell, which isn’t the best genre to play with friends.

For what it’s worth, Xeno Crisis does play better with a friend, as the added firepower goes a long way to preventing enemies from quickly amassing an outrageous numerical advantage on the field. The revival mechanic is also much appreciated as a way to keep less skilled friends in the game when they keep dying. Annoyingly, this mechanic doesn’t function in the boss rooms. It would be no more overpowered there than it is anywhere else and serves little purpose except to force your teammate to watch as you struggle to survive the boss’s attack pattern long enough to achieve marginal damage against its huge health bar.

Cheat codes might have helped, but I couldn’t get the Nintendo 64 ones I found online to work. Incidentally, they really should have been in the manual anyway, and that’s such an obvious asset to having a physical edition I’m honestly surprised they weren’t in there. While there is an easy mode accessible from the options menu, it doesn’t help as much as you’d think either, because the creators of Xeno Crisis don’t seem to quite understand why the game is hard. An extra hit point and slightly less spread on certain attack patterns doesn’t help that much with overwhelming numbers of tanky enemies. Xeno Crisis badly needs to even the scales with more firepower. Despite featuring a bevy of special weapons that do just that, the drop rates for them are quite low. Annoyingly, the game will often provide useless medpacs or grenades.

It also rather awkwardly forces the player to empty their guns at the end of a room instead of giving them a free reload, or else they run the risk of running out of ammo at the beginning of the next room with the ammo pack more likely than not spawning in a place overrun by enemies that can’t be killed owing to the lack of bullets. This isn’t even a critique of the difficulty, it’s just a basic quality of life improvement. A similar one would be displaying the bullets, grenades, and hit points of the space marines when the game is paused, instead of making this yet more information that’s all too easy to lose track of in the ongoing chaos.

From what I can tell, despite Xeno Crisis being a ModRetro branded rerelease, this is just the 2019 version of the game that Bitmap Bureau themselves released on Nintendo 64 cartridges a few years back. It’s possible that there’s a contractual reason why ModRetro wasn’t allowed to modify Xeno Crisis, although it’s disappointing in any case because it would only take very few tweaks to significantly improve this title to a genuine party game. Even something as mildly ambitious as upping the coop play cap from two players to four players would upgrade Xeno Crisis from a mere gimmicky rerelease to a genuinely impressive update that warrants the fifty-dollar price tag. The Mega Drive might not have been able to handle that much action, but the M64 certainly could, and again, one of the central features of the Nintendo 64 was making a big bet on four player couch co-op play being the future of gaming.

This particular version of Xeno Crisis is one of the better ones, incidentally, if only because it takes advantage of the goofy yellow C buttons to allow players to easily shoot in a different direction than the one they’re facing. Despite eight direction movement being standard, I often found myself wishing Xeno Crisis only had four directional movement since the roll move, essential for getting out of danger, almost always defaults to diagonal movement even when using the control pad. This might just be an issue of the M64 Pro Controller being too sensitive for its own good. Whatever the cause, more controller customization options would have gone a long way to improving Xeno Crisis, a game that’s good for what it is, but could have been genuinely great with just a bit more polish.

The post Testing the M64: Xeno Crisis appeared first on Old School Gamer Magazine.

There’s one type of genre that I loved playing in the arcades and more so on my home console, and that is the shoot em up genre! You know the type, enemy waves coming at you at all sides, your ship blasting across the landscape with adrenaline flowing as you try to survive and wipe them out. Well there’s one such game that I have fond memories of, and that was Namco’s 1982 vertical scrolling arcade shoot em up game Xevious. A game that I not only played and loved back on the Amstrad CPC, but it was one of those games that I also have fond memories of playing with my dad when I was a kid. So why is this game getting a mention? Well, read on and find out for more ;).

• Programming & SFX: Nemo
• Graphics & Design: Richard Gatineau (alias TotO)
• Music Tools: Julien Nevo (alias Targhan)

The post Xevious 128k – Arcade classic Xevious gets a 128k edition for the Amstrad CPC via Easter Egg appeared first on Old School Gamer Magazine.

For 229.99 USD, the M64, which also comes in a variety of colors, has full compatibility with the original 64 and supports video output up to 4K. Wired and wireless updates also plan to add new features to the console. As well, new games are planned for the console as well.

As per their development blog on June 26, ModRetro showed the arduous testing they put the console through before release, which they believe makes the M64 something special.

Are you planning on picking up the M64? What games would you play on it first? Sound off in the comment section below.

The post M64 Now Available From ModRetro appeared first on Old School Gamer Magazine.

It’s time to have an Amiga party as throughout the Commodore Amiga Facebook they are celebrating  the ‘International Amiga Day 2026’ for May 31st, which celebrates over 30 years of Amiga fun! The retro community want to keep the Commodore Amiga name alive and what better way to do that than an anniversary to the day dedicated to that great system with all the games being played, and hardware being used from the A500 to the A1200, to the CD32 to the A4000. If you lived during that era of gaming then it was one of the greatest moments in our retro history.

In 2014 when the party came to be, it turned out to be a global event with people from all around the world turning on their retro systems either to play them once more from their childhood or just to give them a new look with a mod or retrobright. However with fantastic news came sadness as the original creator Dragon “Gyu” Gyorgy sadly passed away at the beginning of 2015. He was both a friend to me and to many others, so with this news, lets not just celebrate the Amiga but celebrate the great Dragon Gyorgy who was the inspiration behind the original Amiga day.

On Amiga Day do any of the following Amiga activities:

• – You must switch on at least 1 Amiga computer.
• – You must run at least 1 Amiga game (emulator is accepted).
• – You must „whiten” a yellowed Amiga.
• – You must give your non-working Amiga to a technician, who can make a working machine out of the non-working ones. Lather on the reborn working Amiga must be donated.
• – In case you are a technician you must make at least one Amiga working from non-working Amigas.
• – If you have an Amiga T-Shirt, you must wear it.
• – If none of the above you can make a photo of yourself with an Amiga and share it with your friends on any social networks.
• – Or whatever Amiga related activity you like…

The post International Amiga Day – The day has come to celebrate the Amiga! appeared first on Old School Gamer Magazine.