[{"TitleName":"Captain Blood","Publisher":"Exxos","Author":"Barry Leitch, Chris Edwards, Didier Bouchon, Gavin Wade, Mick Hanrahan, Philippe Ulrich, Stephane Picq","YearOfRelease":"1988","ZxDbId":"0000810","Reviews":[{"Issue":{"Name":"Crash Issue 62, Mar 1989","Price":"£1.25","ReleaseDate":"1989-02-23","Editor":"Dominic Handy","TotalPages":100,"HasCoverTape":false,"FlannelPanel":"EDITORIAL\r\n[redacted]\r\n\r\nEditor: Dominic 'bye bye' Handy\r\nAssistant Editor: Stuart 'here I come' Wynne\r\nStaff Writers: Mark Caswell, Philip King, Lloyd Mangram, Nick Roberts\r\nContributors: Raffaele Cecco, Mel Croucher, Ian Cull, Mike Dunn, Paul Evans, Ian Lacey, Barnaby Page\r\nEditorial Assistants: Caroline Blake, Vivienne Vickress\r\n\r\nPRODUCTION\r\n[redacted]\r\n\r\nSenior Designer: Wayne Allen\r\nDesigners: Melvin Fisher, Yvonne Priest\r\nPhotography: Cameron Pound, Michael Parkinson\r\nProduction Manager: Jonathan Rignall\r\nReprographics Supervisor: Matthew Uffindell\r\nProduction Team: Robert Hamilton, Robert Millichamp, Tim Morris\r\n\r\nEditorial Director: Roger Kean\r\nPublisher: Geoff Grimes\r\nAdvertisement Director: Roger Bennett\r\nAdvertisement Manager: Neil Dyson\r\nSales Executives: Sarah Chapman, Andrew Smales, Lee Watkins\r\nAssistants: Jackie Morris [redacted]\r\n\r\nMail Order: Carol Kinsey\r\nSubscriptions: Denise Roberts\r\n[redacted]\r\n\r\nTypeset by The Tortoise Shell Press, Ludlow. Colour origination by Scan Studios [redacted]. Printed in England by Carlisle Web Offset, [redacted] - member of the BPCC Group. Distribution by COMAG, [redacted]\r\n\r\nCOMPETITION RULES\r\nThe Editor's decision is final in all matters relating to adjudication and while we offer prizes in good faith, believing them to be available, if something untoward happens (like a game that has been offered as a prize being scrapped) we reserve the right to substitute prizes of comparable value. We'll do our very best to despatch prizes as soon as possible after the published closing date. Winners names will appear in a later issue of CRASH. No correspondence can be entered into regarding the competitions (unless we've written to you stating that you have won a prize and it doesn't turn up, in which case drop the Sticky Solutions Department a line at the [redacted] address). No person who has any relationship, no matter how remote, to anyone who works for either Newsfield or any of the companies offering prizes, may enter one of our competitions. No material may be reproduced whole or in part without the written consent of the copyright holders. We cannot undertake to return anything sent into CRASH including written and photographic material, software and hardware - unless it is accompanied by a suitably stamped addressed envelope. Unsolicited written or photo material is welcome, and if used in the magazine is paid for at our current rates.\r\n\r\nTo DW and DH, thanks for all the good times!\r\n\r\n©CRASH Ltd, 1989\r\n\r\nISSN 0954-8661\r\n\r\nCover Design & Illustration by Oliver Frey"},"MainText":"The cloning game\r\n\r\nProducer: Infogrames\r\nVital Fluids: £9.95 cass, £14.95 disk\r\nAuthor: Ere Infomatique\r\n\r\nThe world is under siege from aliens, they linger everywhere, constantly attacking humans from their bases in Spectrums, arcade machines and even PC Engines. But programmer Bob Morlock has decided to stop them. He's programmed Captain Blood, a hero based on himself, together with a starship.\r\n\r\nBut when Morlock runs this program he is transformed into Blood, and soon under attack from Space Invaders. A quick hyperspace seems in order, but the drive unit malfunctions, creating thirty Blood clones, all with a portion of his vital fluids! So before taking on the aliens, Blood must first find all his clones. When the game starts 25 have been found and absorbed.\r\n\r\nWhen you takeover Morlock's quest the first thing you notice is the excellent presentation, clearly inspired by the movie Alien. Operating this biomechanic display is done by using Blood's hand to click on icons. Options include looking at the planet's surface (to detect missiles), blowing the planet up, hyperdriving to another planet, saving the game or launching an Oorxx biomissile. In the latter case the player is given joystick control of the missile as it zooms across a wireframe landscape towards a canyon. This is the only arcade section in the game and is impressive.\r\n\r\nAt the end of the canyon, an animated picture of the alien appears together with a scrolling strip of icons. When the alien talks icons appear which, by pointing at them, are translated into words. You can reply by selecting icons at the base of the screen. There is always an alien on the first planet, but with tens of thousands of planets and only a handful of aliens, it's vital you convince the first alien to give you the coordinates of other aliens. The basic idea is that you warp around the galaxy, talking aliens into giving you the locations of the clones. Some aliens will ask you to do favours for them, like destroying other planets, or taking them somewhere. And with a 45-hour time limit there's lots to do.\r\n\r\nWhile arcade fans will enjoy the planet-landing sequence, the icon communicating system is likely to be frustrating. Presentation is marvellous and given more time to get into the game I feel I could become really hooked. If you've the time and patience, this is an unique and demanding game which deserves serious consideration.\r\n\r\nPHIL 74%\r\n\r\nTHE ESSENTIALS\r\nJoysticks: Cursor, Kempston, Sinclair\r\nGraphics: well-drawn status panel and smooth wire-frame planet landscapes\r\nSound: fair 128K rendition of Jean-Michel Jane's title tune, varied ingame effects","ReviewerComments":["The first time I played this was on the Atari ST and to tell you the truth this version was not all that different. Some of the edge has been taken off the graphics, but the game's 'feel' has been perfectly translated and playability remains the same. The icon communication system is a bit strange though, with loads of icons, one even representing bananas! This is very off-putting at first but once you have learned the basic icons you can begin to speed the system up. Captain Blood will without doubt take some time to get into but if you can persevere it should be rewarding.\r\nNick Roberts\r\n76%","Captain Blood is one of those games you either love or hate. Personally I like it. If you play it in the dark you can really get into the unique atmosphere of the game. The version we played was the +3 disk game, and while apart from the music intro it was just one load, I don't know how it'll be crammed into 48K machines.\r\nMark Caswell\r\n79%"],"OverallSummary":"General Rating: A complex and innovative game.","Page":"63","Denied":false,"Award":"Not Awarded","Reviewers":[{"Name":"Phil King","Score":"74","ScoreSuffix":"%"},{"Name":"Nick Roberts","Score":"76","ScoreSuffix":"%"},{"Name":"Mark Caswell","Score":"79","ScoreSuffix":"%"}],"ScreenshotText":[{"Text":"Alien-like alien talking about reproduction and the planet Migrax."},{"Text":"Down in the canyons at the controls of a Oorxx biomissile."}],"BlurbText":[{"Text":"BLOOD PRESSURE\r\n\r\nTry to discover the locations of other aliens by saying CODE INFORMATION HELP.\r\n\r\nSave the game position regularly to maintain your progress.\r\n\r\nIf the planet has defence missiles, fly low or you'll be destroyed."}],"TranscriptBy":"Chris Bourne","ReviewScores":[{"Header":"Presentation","Score":"82%","Text":""},{"Header":"Graphics","Score":"78%","Text":""},{"Header":"Sound","Score":"70%","Text":""},{"Header":"Playability","Score":"74%","Text":""},{"Header":"Addictive Qualities","Score":"73%","Text":""},{"Header":"Overall","Score":"76%","Text":""}],"CompilationReviewScores":[]},{"Issue":{"Name":"Your Sinclair Issue 41, May 1989","Price":"£1.6","ReleaseDate":"1989-04-17","Editor":"Teresa Maughan","TotalPages":92,"HasCoverTape":false,"FlannelPanel":"Editor: Teresa 'You're Fired' Maughan\r\nArt Editor: Catherine 'Head in Bucket' Higgs\r\nDeputy Editor: Matt 'Hi It's Mattie' Bielby\r\nProduction Editor: Jackie 'I Want It Yesterday' Ryan\r\nStaff Writer: Duncan 'What Time Do You Call This' MacDonald\r\nDesigner: Thor 'No Worries' Goodall\r\nEditorial Assistant: David 'Yo' Wilson\r\nTechnical Consultant: David McCandless\r\nContributors: Marcus Berkmann, Richard Blaine, Ciaran Brennan, Jonathan Davies, Mike Gerrard, Sean Kelly, Catherine 'Nosebag' Peters, Peter Shaw, Rachael Smith, Phil South, Ben Stone\r\nAdvertisement Manager: Alison Morton\r\nAdvertisement Executive: Stephen Bloy\r\nAdvertisement Director: Alistair Ramsay\r\nProduction Manager: Judith Middleton\r\nAdvertisement Production: Katherine Balchin\r\nMarketing Manager: Bryan Denyer\r\nPublisher: Terry Grimwood\r\nFinance Director: Colin Crawford\r\nManaging Director: Stephen England\r\nChairman: Felix Dennis\r\n\r\nPublished by Dennis Publishing Ltd, [redacted] Company registered in England.\r\nTypesetters: Carlinpoint [redacted]\r\nReproduction: Graphic Ideas, London\r\nPrinters: Chase Web Offset [redacted]\r\nDistribution: Seymour Press [redacted]\r\n\r\nAll material in Your Sinclair ©1989 Felden Productions, and may not be reproduced in whole or in part without the written consent of the publishers. Your Sinclair is a monthly publication."},"MainText":"Exxos\r\n£9.95 cass/£14.95 disk\r\nReviewer: Sean Kelly\r\n\r\nEek, it's the spooky Captain Blood, brave explorer of the galaxy, setting out on a mission which would make even T'zer cry. There's a huge galaxy ahead of you (you're Cp'n Blood you see) and your task is to destroy five 'Numbers', (clones of yourself) from which you'll suck enough body fluid to continue your life without dying. Yuk!\r\n\r\nYou begin the game near to an inhabited planet, which is lucky. Cos most of the planets in the game are merely a set of co-ordinates with randomly generated terrain and no life forms at all. Anyway, having found this planet you're now faced with three options. You can either send an OORX to photograph the planet surface, (this will show you if the planet has any defence systems), destroy the planet (kaboom!). or send an OORX baby to the planet surface to seek out any lifeforms.\r\n\r\nSeeing as it's in your own interest to find a 'number', it's best not to destroy the planet, but to send your OORX into check it out. Besides, if you don't you'll miss out on one of the best bits of the game, the 'Flying Over The Planet's Terrain' sequence.\r\n\r\nThis is one of the most impressive sequences in the game, and screenshots cannot do justice to the visual impact of the terrain moving towards you, rising and falling as you swoop and soar over the surface in search of either a defence system or life form.\r\n\r\nOnce your OORX is under way, if the planet has a defence system, lines will emerge from both sides of the screen, which means that you have been detected. When these lines meet in the middle, your OORX will be destroyed. So if you're detected, flying low and slow will give protection, but it does take time to get anywhere, and I found the best policy was to zoom along until the detection lines got close to each other, and then to dive low and stop for a moment or two while they 'lose' you.\r\n\r\nOn reaching the end of a valley, you will be presented with a 'photograph' of the surface. If the planet is uninhabited, this is all you'll get, and it's time to find another. But if, joy of joys, you have stumbled on an inhabited planet, the occupant appears in a box on screen, and you can now engage it in 'conversation'.\r\n\r\nYou do this by using a Planetary Phrase Book which contains such useful phrases as 'Where is the Post Office?' No, actually you use a set of around 120 icons each representing one word, which are translated from Iconese into English when you point to them. But it proves to be an unrewarding and cumbersome exercise for several reasons.\r\n\r\nFirstly, only about a quarter of the icons can be seen on screen at one time, and with so many to grasp, it's kind of impossible to remember what words you can use to communicate with, and after several hours play, I still couldn't get to grips with it. The aim of conversation is, I suppose, to get lots of useful information which will point you to the right planets to begin your search for the 'numbers. But as communication proved difficult, the playability of the game was dramatically reduced.\r\n\r\nThis is a very difficult game to accurately review. In a sense, it's an adventure disguised as a pseudo-Elite strategy style game, and consequently seems to defy pigeon-holing. The graphics (and sound on the biggie versions) are excellent, and the presentation of the game is straightforward and easy to use. Though if you've got to spend several hours communicating to get anywhere, you only get to appreciate the quality of programming intermittently!\r\n\r\nOnce the icon communication system is grasped, then I expect that real progress could be made in the game, and zapping round the galaxy in search of the clones could have the campaigning appeal of, say, trying to reach Elite status, or solving a massive adventure.\r\n\r\nI doubt, however, that there are many gamesters', zappers, strategists or adventurers who are willing to put the long preliminary hours in, simply to get properly involved. This is reflected in my mark, but those who chose to persevere might find an intelligent strategy game lurking here.","ReviewerComments":[],"OverallSummary":"Curious game, proving difficult to get to grips with, but which might benefit from perseverance.","Page":"40","Denied":false,"Award":"Not Awarded","Reviewers":[{"Name":"Sean Kelly","Score":"68","ScoreSuffix":"%"}],"ScreenshotText":[{"Text":"Here is your little red droid exploring a planet. Flying low avoiding detection by the planets defence system. But watch out for those mountains!"}],"BlurbText":[{"Text":"ICON DICTIONARY\r\n\r\nYes, I will go down to shops for you Matey!\r\n\r\nNo, I won't do that sort of thing, especially on our first date!\r\n\r\nI want a choccy bar!\r\n\r\nYou're going to buy it for me, Alien-face.\r\n\r\nWot's Luke Skywalker doing here?"}],"TranscriptBy":"Chris Bourne","ReviewScores":[{"Header":"Life Expectancy","Score":"62%","Text":""},{"Header":"Instant Appeal","Score":"60%","Text":""},{"Header":"Graphics","Score":"90%","Text":""},{"Header":"Addictiveness","Score":"58%","Text":""},{"Header":"Overall","Score":"68%","Text":""}],"CompilationReviewScores":[]},{"Issue":{"Name":"Sinclair User Issue 85, Apr 1989","Price":"£1.6","ReleaseDate":"1989-03-18","Editor":"Graham Taylor","TotalPages":100,"HasCoverTape":false,"FlannelPanel":"Meet the groovy aprils guys (and girlie)\r\n\r\nGRAHAM TAYLOR (Editor)\r\nHistory: Graduated from the Vienna Conservation at the age of six, studied under Serlioz and then joined the Southend Philharmonic.\r\nPlays: Stairway grand piano and kazoo.\r\nInfluences: Karlheinz Stockhausen, James Joyce, Timothy Leary and George Formby.\r\nHobbies: Erecting satellite dishes, wrestling with cats and cleaning weeds from the goldfish pond.\r\nMessage: \"In an indeterminate universe, only the subjectivity of the ovserver maintains the dualism of the animus. Orright?\"\r\n\r\nJIM DOUGLAS (Deputy Editor)\r\nHistory: \"Elvis Costello came up and spoke to me once in the queue in the Wimpy. He said, 'Push off ya git, I was in front of you'.\"\r\nPlays: Saxophone (actually he jogs about in the background holding a sax and looks moody).\r\nInfluences: Mickey Rourke in 9.5 Weeks (\"Now there's a bloke I can identify with\".)\r\nHobbies: Ignoring Sam Fox in Stringfellows (\"I hate fat bimbos\")\r\nMessage: \"Never trust women\".\r\n\r\nALISON SKEAT (Production Editor)\r\nHistory: Auditioned for Bucks Fizz' new girlie - was laughed off the stage.\r\nPlays: Triangle and with certain other members of the band.\r\nInfluences: Bananarama (they're so talented) and her mate Kelly who was in the Stu Stu Studio Line advert.\r\nHobbies: Picking up Greek/Spanish/Italian male tourists outside the Hippodrome (\"I'm very cosmopolitan me\").\r\nMessage: \"Always keep your dancing knickers ironed\".\r\n\r\nTIM NOONAN (Art Editor)\r\nHistory: Lead chair chucker at Milwall v Luton.\r\nPlays: Drums and the silly fellow.\r\nInfluences: Lager and vindaloo.\r\nHobbies: Getting thrown out of pubs/clubs/salvation army hostels.\r\nMessage: \"I'll 'ave you John, you're well aat of order\"\r\n\r\nCHRIS JENKINS (Contributor)\r\nHistory: Born on the planet Zob, came to earth in 1960 and has been trying to absorb our strange culture ever since.\r\nPlays: Synths that make widdly widdly noises, Japanese woodflute and zither.\r\nInfluences: Klaus Schultz, Tangerine Dream, Kraftwek and various other German hippies.\r\nHobbies: Trying to get Sabrina to notice him in Stringfellows.\r\nMessage: \"Phasers on stun, sequencers armed and pump up the volume\".\r\n\r\nAdventure: The Sorceress\r\nZapchat: Jon Riglar\r\nTechnical: Andrew Hewson, Rupert Goodwins\r\nContributors: Tony 'saucy' Dillon, Chris 'whingey' Jenkins\r\nAdvertisement Manager: Katherine 'top girlie' Lee\r\nAdvertisement Executive: Martha Moloughney\r\nAd Production: Emma 'choccy face' Ward\r\nPublisher's Assistant: Debbie Pearson\r\nPublisher: Terry 'location unknown' Pratt\r\nMarketing: Clive 'starless and bible black' Pembridge\r\n\r\nPhone: [redacted]\r\nFax: [redacted]\r\nEditorial and Advertisement Offices: [redacted]\r\n\r\nThis Month's Cover: Brian Talbot\r\n\r\nPrinted by Nene River Press, [redacted]\r\nDistributed by EMAP Publications Ltd.\r\n\r\n©Copyright 1989 Sinclair User ISSN No 0262-5458\r\n\r\nSubscription Enquiries: [redacted]\r\n24 Hour Order Line: [redacted]\r\nBack Issues: Back Issues Department (SU), [redacted]"},"MainText":"Label: Infogrames\r\nAuthor: Ulrich & Bouchon\r\nPrice: £9.99/£14.99\r\nMemory: 48K/128K\r\nJoystick: various\r\nReviewer: Chris Jenkins\r\n\r\nMaybe it's too much garlic. Maybe it's that awful wine they drink (by the way, I have it on good authority that the French DETEST Piat d'Or). But whatever the explanation, the French write really strange games. Captain Blood should win the Prix Internationale de Strangeness, it's so strange.\r\n\r\nLet's look at the plot. The game appears to take place in the imagination of Bob Morlok, a junk sci-fi author whose alter ego, Captain Blood, is the greatest coin-op player in the world. Morlok himself taking part in a computer game where Blood is split into umpteen clone copies. As a result, his original body is disintegrating fast; to restore it, he has to search out his clones and steal their vital fluids. Blood's spaceship is a biomechanical organism complete with a machine intelligence and a number of Oorxx space fish. These Oorxx can be used as scout ships, missiles and probably dishwashers. The mechanism of the game is a bit like those ancient Star Trek strategy games; you navigate around the galaxy landing on different planets searching for clues to the whereabouts of your clones. The main screen display shows Blood's claw-like hand, which you move around the screen stabbing at the appropriate control buttons. To start off you select the planet view screen and go for a landing. This sequence involves you navigating through a cleverly-depicted vector graphic mountain scene until you reach the end. It's not very challenging though, especially if you choose not to fly at full speed, so after several landings the whole thing gets a bit dull. Having landed, you should be presented with a graphic of a grotesque alien. Your job is to communicate with him in order to obtain clues. The communication system is ingenious but long-winded. A menu of icons appears at the bottom of your control panel. Each represents a single word, and is translated at the side of the screen. You must string symbols together, check them with the translator then transmit them to the alien in the hope that he'll come up with a useful clue, like SWEAR SWEAR TAKE ME TO PLANET ASCODA THEN I TELL NUMBERS SWEAR HUMAN.\r\n\r\nIf you try navigating around the galaxy without any clues, you'll inevitably end up on uninhabited and useless planets. Your one consolation is that you can blow them to bits, though this doesn't add much to the game.\r\n\r\nThere are some brilliant ideas in Captain Blood, let down by a terrible novella-style manual which doesn't properly explain what on earth you're supposed to be doing, and a repetitive gameplay which obviously doesn't have all the graphic sophistication of the original Amiga and ST versions.\r\n\r\nAlthough the Jean-Michel Jarre music on the 128K version is suitably boppy, I don't think 48K players will get much out of the game, especially since it's been slightly cut down to fit in the machine.","ReviewerComments":[],"OverallSummary":"Baffling, interesting, strange, confusing, French... er game.","Page":"41","Denied":false,"Award":"Not Awarded","Reviewers":[{"Name":"Chris Jenkins","Score":"69","ScoreSuffix":"%"}],"ScreenshotText":[],"BlurbText":[],"TranscriptBy":"Chris Bourne","ReviewScores":[{"Header":"Graphics","Score":"78%","Text":""},{"Header":"Sound","Score":"62%","Text":""},{"Header":"Playability","Score":"65%","Text":""},{"Header":"Lastability","Score":"64%","Text":""},{"Header":"Overall","Score":"69%","Text":""}],"CompilationReviewScores":[]},{"Issue":{"Name":"ACE (Advanced Computer Entertainment) Issue 21, Jun 1989","Price":"£1.5","ReleaseDate":"1989-05-04","Editor":"Graeme Kidd","TotalPages":132,"HasCoverTape":false,"FlannelPanel":"Future Publishing [redacted]\r\nTelephone [redacted], Fax [redacted], Telecom Gold 84:TXT152, Prestel/Micronet: 0458 74011\r\n\r\nEditor: Graeme Kidd\r\nReviews Editor: Bob Wade\r\nStaff Writers: Steve Jarratt, Andy Smith\r\nProduction Editor: Damien Noonan\r\nConsultant Editors: Jon Bates (Music), Brian Larkman (Graphics)\r\nAdventure Editor: Steve Cooke\r\nContributors: Tony Takoushi, Zog\r\nArt Editor: Trevor Gilham\r\nProduction: Diane Tavener, Claire Woodland, Vivien Dean, Naomi Steer, Louise Cockroft\r\nAdvertisement Manager: Simon Stansfield\r\nAdvertising Sales Executive: David Lilley\r\nPublisher: Kevin Cox\r\n\r\nCover by Steve Dillon\r\n\r\nSUBSCRIPTIONS\r\nAvon Direct Mail [redacted]\r\n\r\nSPECIAL OFFERS\r\n(Christine Stacey) [redacted]\r\n\r\nCOLOUR ORIGINATION\r\nSwift Graphics Ltd, Southampton\r\nD P Graphics [redacted]\r\nCover by Bath Graphics\r\n\r\nDISTRIBUTION\r\nSM Distribution [redacted]\r\n\r\nPRINTING\r\nChase Web Offset [redacted]\r\n\r\n© FUTURE PUBLISHING LTD 1989\r\n\r\nNo part of this publication may be reproduced in any form without our permission.\r\n\r\nKind regards to EMAP eejits"},"MainText":"Exxos, £9.95cs, £14.95dk\r\nST version reviewed Issue 7 - ACE rating 887\r\n\r\nIt's been a long while coming, but the Spectrum interpretation of Infogrames' (now Exxos') Captain Blood has finally landed. Apart from the inevitable cosmetic differences, the game remains the same: thankfully, the arcade planet landing sequence is well represented and the adventure aspect remains intact. In fact, the only real drawback of this (and other) 8-bit incarnations, is the lack of mouse control for which the game was primarily designed.","ReviewerComments":[],"OverallSummary":"","Page":"78","Denied":false,"Award":"Not Awarded","Reviewers":[],"ScreenshotText":[],"BlurbText":[],"TranscriptBy":"Chris Bourne","ReviewScores":[{"Header":"Ace Rating","Score":"863/1000","Text":""}],"CompilationReviewScores":[]},{"Issue":{"Name":"The Games Machine Issue 18, May 1989","Price":"£1.5","ReleaseDate":"1989-04-20","Editor":"Roger Kean","TotalPages":108,"HasCoverTape":false,"FlannelPanel":"EDITORIAL AND HEAD OFFICE\r\n[redacted]\r\n\r\nEditor: Roger Kean\r\nFeatures Editor: Barnaby Page\r\nStaff Writers: Robin Hogg, Warren Lapworth, Robin Candy\r\nEditorial Assistants: Vivien Vickress, Caroline Blake\r\nPhotography: Cameron Pound, Michael Parkinson (Assistant)\r\nContributors: Mel Croucher, Don Hughes, Marshal M Rosenthal (USA), John Woods\r\n\r\nPRODUCTION DEPARTMENT\r\n[redacted]\r\nProduction Manager: Jonathan Rignall\r\nSenior Designer: Wayne Allen\r\nReprographics Supervisor: Matthew Uffindell\r\nDesign Assistants: Yvonne Priest, Melvin Fisher\r\nProduction Team: Robert Millichamp, Robert Hamilton, Tim Morris, Jenny Reddard\r\n\r\nADVERTISING AND ADMINISTRATION DEPARTMENTS\r\nEditorial Director: Roger Kean\r\nPublisher: Geoff Grimes\r\nGroup Advertisement Director: Roger Bennett\r\nAdvertisement Manager: Neil Dyson\r\nAdvertisement Sales Executives: Sarah Chapman, Lee Watkins\r\nAssistant: Jackie Morris [redacted]\r\nGroup Promotions Executive: Richard Eddy\r\nMail Order: Carol Kinsey\r\nSubscriptions: [redacted]\r\n\r\nTypeset by the Tortoise Shell Press, Ludlow and on our Apple Macintosh II running Quark Xpress 2.0. Colour origination by Scan Studios [redacted]. Printed in England by Carlisle Web Offset [redacted] - a member of the BPCC Group. Distribution effected by COMAG, [redacted].\r\n\r\nCOMPETITION RULES\r\nThe Editor's decision is final in all matters relating to adjudication and while we offer prizes in good faith, believing them to be available, if something untoward happens (like a game that has been offered as a prize being scrapped) we reserve the right to substitute prizes of comparable value. We'll do our very best to despatch prizes as soon as possible after the published closing date. Winners names will appear in a later issue of TGM. No correspondence can be entered into regarding the competitions (unless we've written to you stating that you have won a prize and it doesn't turn up, in which case drop Viv Vickress a line at the PO Box 10 address). No person who has any relationship, no matter how remote, to anyone who works for Newsfield or any of the companies offering prizes, may enter one of our competitions.\r\n\r\nNo material may be reproduced in part or in whole without the written consent of the copyright holders. We cannot undertake to return anything sent into TGM - including written and photographic material, hardware or software - unless it's accompanied by a suitably stamped, addressed envelope. We regret that readers' postal enquiries cannot always be answered. Unsolicited written or photographic material is welcome, and if used in the magazine is paid for at our current rates. Colour photographic material should be 35mm transparencies wherever possible. The views expressed in TGM are not necessarily those of the publishers.\r\n\r\n©TGM Magazines Ltd, 1989\r\nA Newsfield Publication ISSN 0954-8092\r\n\r\nCover Design and Illustration by Oliver Frey"},"MainText":"Spectrum 48/128 Cassette: £9.95, Diskette: £14.95\r\n\r\nThe Alienesque H.R.Giger-inspired organic spacecraft console doesn't lose too much to the translation to monochrome and, although grainy, the 3-D canyon sequences are effective. Hyperspace and planet-destruction graphics sequences are disappointingly crude, but Jarre's Zoolook music is enjoyable enough and so's the overall gameplay. Unfortunately, Captain Blood is showing its age now.","ReviewerComments":[],"OverallSummary":"","Page":"37","Denied":false,"Award":"Not Awarded","Reviewers":[],"ScreenshotText":[],"BlurbText":[{"Text":"ATARI ST: 74% TGM007"}],"TranscriptBy":"Chris Bourne","ReviewScores":[{"Header":"Overall","Score":"68%","Text":""}],"CompilationReviewScores":[]}]}]