Showing posts with label Timothy Dalton. Show all posts
Showing posts with label Timothy Dalton. Show all posts

Saturday, 18 July 2020

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Don't think. Just let it happen.

The Living Daylights represents the first of Timothy Dalton's outings as superspy James Bond aka 007. No, wait, don't switch off just yet. Domark - in 1987 - produced a licensed 8-bit game to accompany the movie's release and together... erm... they serve to remind us that there are better James Bonds, better James Bond villains, better James Bond movies and better James Bond games. Still, there are a few highlights; Bond and Kara Milovy sledging down a snowcapped Bratislavan mountain on her instrument of choice (a cello), and the couple's precariously daring 11th-hour jeep-ejection from an in-flight cargo plane loaded with opium, right before its spectacular crash into a rockface and subsequent explosion.

Neither of which feature in the third-person action game of the same name. It's a lot like Operation Wolf, except Bond is on view so we get to see him aim his selection of weaponry whilst running and ducking across various landscapes mirroring the movie.

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Saturday, 4 July 2020

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Darling, I give you very best truck

In Timothy Dalton's final outing as MI6's most notorious superspy, James Bond is pitted against ruthless central American drug lord, Franz Sanchez, sparked by a vicious attack on CIA friend, Felix Leiter, and his fiance. Licence to Kill (1989) is memorable predominantly for representing Bond's defection to the dark side post-resignation, supervillain Robert Davi's pet iguana and the volatile HGV chase finale that leaves everyone dripping with leaked fuel, singed and hot under the collar.

True to form, Domark secured the game conversion rights, creating an officially licenced adaptation for all the popular 8 and 16-bit platforms of the era. Quixel took on the development duties, cobbling together a top-down arcade-action title comprised of a variety of (mostly vehicular-based) mini-games mirroring the movie's principal explosively dramatic set pieces. I attempt to connect the dots between the two mediums, assessing how accurately the small screen iterations reflect their source material.