Arch Rivals is a classic arcade-style sports game that was released in 1992 for the Sega Genesis console. Developed and published by Midway Games, this game brought the intensity of street basketball to the gaming world. With its over-the-top graphics and gameplay, Arch Rivals stood out among the other sports games of its time.
The premise of the game is simple: players control a team of two street basketball players competing against each other to score the most points. Unlike traditional basketball games, Arch Rivals allowed players to perform exaggerated moves such as jumping super high and shoving, punching, and even tripping opponents. These actions added an element of humor and fun to the game, making it stand out from other sports games of the era.
One unique feature of Arch Rivals was its use of voiceovers. To add to the comedic nature of the game, players can hear their characters talking trash to each other during gameplay. This added an immersive element and made players feel like they were truly on the street court competing against their opponent.
Another standout aspect of Arch Rivals was the variety of characters available to play as. Each team had their own distinct personalities and playing styles. From the scrappy and quick Vinnie to the powerful and slow Abdul, players could choose a team that best suited their gameplay style. This added an extra layer of strategy to the game, as players had to choose their characters carefully to compete against different opponents.
In addition to the standard street basketball mode, Arch Rivals also offered a tournament mode where players could compete in a series of matches against increasingly challenging teams. This mode allowed players to unlock secret characters and courts, adding to the replayability of the game.
The graphics of Arch Rivals were also ahead of its time, with vibrant and detailed character models and courts. The game also featured a dynamic camera that followed the action, adding to the excitement of the gameplay. The fast-paced and arcade-style soundtrack also added to the overall experience, making players feel like they were truly in the thick of the street basketball action.
This soccer game offers 32 national teams to play, with no player names displayed. Shown from a slightly tilted third-person side perspective, players can play an exhibition match, a full tournament, or take on a human player in the 2-player exhibition mode. Different teams are ranked by speed, offense and defense, and different team formations can be selected.
The gameplay is very basic: players can pass, shoot, face and a third button is used to switch players. In the options menu, you can disable fouls and offsides, you can determine the amount of time per half and there is a radar and a minimap to follow the other players. The European edition is endorsed by Ryan Giggs and the game uses a password system to continue the tournaments.
After the Nakajima Satoru F1 Grand Prix, Varie produced another racing simulator using the license. This time, races are contested from a first-person view, mimicking the Monaco Grand Prix. The car configuration can be modified before taking to the track.
There is a Time Attack mode, which allows you to go for the fastest possible lap time on any of the game's 20 circuits (which include all 16 tracks from the 1992 Formula 1 season), as well as a full season mode, with qualifying and the race itself. The time can be customized in Time Attack mode, but is chosen randomly in Grand Prix mode, while you can only choose one of the D-level teams (the 4 weakest of the 16) in Grand Prix mode, but you can drive for McLaren, Williams and others in Time Attack.
1992, the year George Foreman's KO Boxing was released on the Genesis. Made by Beam Software Pty., Ltd. and published by Flying Edge, Inc. this sports game is available for free on this page.
The Master System and Game Gear versions of George Foreman's KO Boxing are fairly identical to the other versions in concept, but there are some notable changes. The game is an adaptation of the Master System title James 'Buster' Douglas Knockout Boxing, not to be confused with the Genesis title of the same name, which is totally different.
As with the other versions, players step into the shoes of George Foreman to contest a series of boxing matches against different opponents to win the championship belt. Compared to the other titles, these versions have new opponents and show the boxers sideways. Players can move left or right in the ring to avoid punches. Other moves include blocks and left and right jabs that can be varied into jabs and crosses. Bouts can last up to ten rounds and, when a regular or technical knock-out does not occur, the winner is based on jury points, provided between rounds. During knock-out phases, no buttons need to be pressed to bring the boxer back to his feet. At the beginning of the game, a slow or fast speed can be selected for the game.
In each match, the player's boxer can use three super punches. They must be charged and unleashed when approaching an opponent. It sends them straight to the back of the ring, a dangerous area as it is easy to keep hitting the ropes. Health recovers slightly during the intermission and after each match won the player receives skill points that are distributed across three traits. Two-player matches are supported.
NBA All-Star Challenge features one-on-one basketball with NBA players from the 1991-1992 season. There are five different game modes: a single game, a free throw competition, a 3-point shooting contest, a H. O. R. S. E. competition and an individual tournament. You can choose from 27 players (one from each NBA team), including Michael Jordan, Larry Bird, Patrick Ewing, Karl Malone and David Robinson. Each mode can also be played by two players.
In 1993, the Genesis received a run-and-gun adaptation tied to RoboCop 3, arriving at a moment when movie licenses still found eager audiences in living rooms. Players step into the role of the cybernetic law enforcer as he pushes through industrial backdrops, warehouse corridors, and gritty streets redesigned into sidescrolling stages. The action echoes the film’s blend of relentless pursuit and mechanical menace, though the game’s structure focuses less on cinematic beats and more on continuous momentum. Enemies appear in dense clusters, forcing quick lateral movement and steady trigger discipline.
Combat is built around classic beat them up sensibilities, with a punchy firearm feel suited to short enemy engagements. You move across the screen, fire to suppress threats, and also rely on close range contact when foes crowd your hitbox. Weapons and power-ups shape moment to moment decisions, rewarding players who pause long enough to grab upgrades rather than sprinting forward blindly. Boss encounters stand out because they demand pattern recognition, not just frantic shooting. Their attacks create windows for retaliation, turning the fight into a timing exercise.
Visually, the cartridge leans into sharp character silhouettes and readable enemy shapes, a smart choice for fast gameplay. Backgrounds, while not always lavish, are packed with cluttered detail that makes the stages feel populated and dangerous. Sprites scale well for a 16 bit system, and animation frames keep RoboCop moving with convincing weight. The color palette favors bruised industrial tones, which suits the dystopian mood without turning the screen into a muddy blur. When the action intensifies, the visuals remain clear enough to support accurate dodging.
Audio does important groundwork here. The sound effects hit with satisfying punch, especially for gunfire and impact moments, while the music favors energetic, industrial rhythms. Tracks tend to loop, as was common at the time, yet the arrangement stays catchy and functional, pressing forward even during repetitive segments. Voice snippets are sparse, but when present they add flavor rather than distraction. Overall, the mix supports the pace of the game, encouraging players to keep advancing instead of waiting for long recovery windows.
As a result, this Genesis title feels like a tight action checklist rather than a deep narrative adventure. Its strengths lie in straightforward controls, dependable enemy readability, and boss fights that test reflexes with a hint of strategy. It did not reinvent the genre, but it delivered a movie tie in with credible challenge and solid presentation. For many retro players, it remains a memorable example of early 90s licensed design: flashy enough to satisfy fans of the franchise, yet built on gameplay fundamentals that still hold up during quick sessions.
Roger Clemens is known by some as the greatest pitcher in baseball history. In Roger Clemens MPV Baseball players play a standard 9-inning baseball game in Exhibition mode and a full regular season including the World Championship Playoffs can be played in Regular Season mode. While playing in Regular Season mode the player can view the progress of their chosen team using the in-game calendar which displays all games.
Players select a fictitious team from the following groups: National West Division: San Francisco Quakes, Los Angeles Apaches, Cincinnati Big Cats, San Diego Suns, Houston Mustangs and Atlanta Condors.
National East Division: Chicago Swords, Montreal Lumberjacks, New York Buffalos, St. Louis Commandos, Pittsburgh Panthers and Philadelphia Generals.
American West Division: Oakland Bashers, Seattle Pioneers, Minnesota Hounds, California Waves, Texas Cowboys, Chicago Red Birds and Kansas City Kings.
American Division East: Toronto Bears, Boston Hornets, New York Rebels, Detroit Wheels, Milwaukee Marshals, Baltimore Eagles and Cleveland Tomahawks.Each team has a set of players that make up the team, each with their own skill level and statistics which, like the teams, is fictional in addition to Clemens himself being on the Boston Hornets team.
By controlling the pitcher, the player can control the speed and spin of the pitch, as well as the pitcher's position at the plate. The pitcher can also prevent the opponent from stealing a base, which can be seen through windows showing the positions of all base runners. When controlling the batter, the player has to time the hit to hit the ball so that it is not a balk or a foul, or has the option of not batting in case of a 'balk'. The player may also steal a base while batting. After batting the ball, the game enters fielding mode, where the camera changes to a lower view than the normal 45-degree angle (the fielder gets smaller as he moves away from the camera). The player then controls the closest fielder to catch or catch the ball and throw it to the selected base. There are many different camera angles that the game selects based on the location of the ball. The camera can be on the left, center or right side of the field, in the infield or outfield position, and all cameras can move to follow the ball.
The player can use a password to save his progress in Regular Season mode. An exhibition match can be played in two-player mode with the use of two controllers.
Smash T.V. arrived on the Sega Genesis in 1991, turning the chaotic premise of its arcade ancestor into a brisk home-console shooter. The hook is delightfully blunt: you are thrown into a lethal television set where every corridor is a money funnel and every enemy wave is content for the broadcast. From the first moments, the game pushes frantic movement, constant firing, and quick route decisions, so the action never settles into a calm rhythm.
Gameplay unfolds in a sequence of arena rounds filled with gun-toting foes, bouncing hazards, and surprise miniboss-style threats. You scan the screen for threats, then weave between barrels, walls, and cover-like structures while dragging your crosshair across narrow openings. Weaponry plays a key role in how you survive. You can find upgrades such as rapid-fire options, heavier guns, and limited-use specials that change how you clear rooms. Coins and bonuses matter because they translate directly into resilience and firepower, which makes risk-taking feel rewarded rather than reckless.
Controls on the Genesis version are tight enough to support its frantic pace. Rapid direction changes are essential, since enemy paths are designed to punish players who commit to one lane for too long. The two-player option adds extra pressure and extra pleasure, because coordinating aim while juggling friendly overlap creates a different sort of tension than solo runs. Even when you share a chaotic space, the game still encourages each participant to chase their own set of targets and power pick-ups.
Visually, the overhead perspective sells the sense of being trapped inside a set piece. Spritework stays readable amid the clutter, and explosions look snappy rather than muddy. The presentation leans into the tongue-in-cheek theme with flashing indicators, urgent prompts, and an almost circus-like lighting scheme that makes the slaughter feel like a scheduled event. Audio complements the mood with punchy drum-driven music and weapon sounds that cut through the frantic noise.
This cartridge is remembered less for polish and more for personality and speed. It rewards practiced patterns, but it also welcomes improvisation when the room layout throws you off. If you like run-and-gun arcade energy on a home system, Smash T.V. remains an enjoyable artifact of early 1990s action design, still capable of delivering that rush of survival through sheer momentum.
1993, the year Spider-Man / X-Men: Arcade's Revenge was released on Genesis as well as Game Gear. Made by Software Creations Ltd. and published by Flying Edge, Inc. this action game is available for free on this page.
