Games developed by Binary Vision Ltd.
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Musicolor
In the autumn of 1992 the CDTV library welcomed a bold experiment titled Musicolor. The game blends puzzle play with musical traversal, inviting players to coax harmony from a grid of glowing hues. On the surface it resembles a rhythm game, yet it refuses to be simple arcade fare, instead offering a meditative challenge where each move nudges tempo, tone, and shade into a cohesive melody. The interface sits inside the cramped space of the CDTV remote and a TV screen, but the feeling is cinematic, as if painting with chords.
Players manipulate colored blocks in a dance of touch and timing. Each stage presents a mosaic that responds to the chosen tune; lining up colors to match a repeating motif unlocks the next scene. The control feels tactile, a little imprecise on the original hardware, yet forgiving enough to encourage exploration. Scoring relies on rhythm adherence and the elegance of pattern alignment, rewarding accuracy with brighter palettes and longer musical phrases. The challenge scales without apology, demanding both ear and eye to synchronize.
Visuals ride on a restrained palette, crisp edges, and a glow that suggests motion rather than smoke. The game leans into abstract geometry rather than literal imagery, with spirals, lattices, and tiles that pulse in time with the notes. A soft, synthetic soundtrack underscores the neon aesthetic and occasionally swells into a warm chorus when a level is mastered. The audio-visual integration is not merely garnish; it shapes how progress feels, turning every correct arrangement into a small triumph.
Development came from a modest studio that believed multimedia could fuse play with listening. The release window placed Musicolor among a handful of titles showcased on CDTV as a proof of concept for interactive art. Critics noted ambition more than polish, praising the concept while lamenting rough edges and occasional control lag. Yet those same critics argued that a title this brave revealed what early CD players might become: a space where music and logic intersect in color.
In present times Musicolor survives as a curio from an era of experimental hardware. It is cherished by collectors who prize the daring premise over flawless execution. As a cultural artifact, it hints at a lineage that would later energize experimental rhythm games and color-based puzzles. The game invites retrospective admiration for its audacity and its stubborn refusal to settle for familiar triumphs on a consumer device that was still learning what interactive media could become.
Stifflip & Co.
Count Chameleon recognizes the importance of the game of cricket to the power of the British Empire, and knows that a simple Rubber Beam to thwart the bouncing ball is all that is needed to end his power. The player controls the team of Viscount Stifflip, Professor Braindeath, Colonel R G Bargie and Miss Primbottom, who try to stop him.
Most of the game is icon-based, and allows you to switch between the four characters at will. The control options are described in vulgar English terms, so instead of talking to the characters, they are referred to as 'Chinwag', and the fights are referred to as 'Fisticuffs'. These are a key aspect of the game, as they require quick reactions and correct move selection, especially as using the low blow too often results in the character being annihilated.
Wicked
Wicked was a groundbreaking game released in 1989 for the Commodore 64, a home computer system that was wildly popular during the 1980s. Developed by Binary Design and published by Electric Dreams, Wicked was a unique and immersive gaming experience that captured the hearts and minds of players everywhere. With its vibrant graphics, challenging gameplay, and engaging storyline, Wicked quickly became a fan favorite and solidified its place in gaming history.
What set Wicked apart from other games of its time was its intricate story. Players were thrust into the shoes of a young apprentice wizard on a mission to save their master from the clutches of an evil sorcerer. The game took players on a journey through mysterious lands and treacherous obstacles, all while facing off against daunting enemies and solving puzzles. The game's nonlinear gameplay allowed players to uncover new secrets and discover alternative paths, making each playthrough a unique and exciting experience.
One of the most impressive aspects of Wicked was its stunning graphics. The game pushed the boundaries of what was possible on the Commodore 64, with bright and colorful environments that brought the world of magic and wizardry to life. The attention to detail was remarkable, with each level and character intricately designed to add to the immersive experience. From the intricate wizard robes to the menacing dragons, the game's visuals were simply breathtaking.
But Wicked wasn't just about impressive visuals and a rich storyline. The gameplay itself was intense and challenging, keeping players on the edge of their seats. As players progressed through the game, they had to use their wit and quick reflexes to overcome obstacles and defeat enemies. The game's controls were smooth and responsive, making it a joy to play. And with over 100 levels to conquer, Wicked provided hours of entertainment for players of all skill levels.
The game also featured a memorable soundtrack, composed by legendary musician Jonathan Dunn. The music seamlessly blended into the gameplay, creating an atmospheric and immersive experience. Each level had its own unique theme, adding to the game's already impressive depth. The sound effects were also top-notch, adding an extra layer of immersion to the game.
Wicked was met with critical acclaim upon its release, with many praising its innovative gameplay, stunning visuals, and captivating story. The game was even awarded the prestigious Golden Joystick Award for the best 8-bit computer game of 1989. It quickly became a must-have for Commodore 64 owners and is still regarded as one of the best games on the system.
