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Picture the great DOS-platform-pantheon of the early ’90s: at the summit perch the immaculate Commander Keen episodes, Apogee’s brash Duke Nukem barreling through soda-spill keyboards, and Epic’s neon-loud Jazz Jackrabbit limbering up for 256-color footraces. Way down on a creaky, half-forgotten step of that temple sits Gateworld: The Home Planet, a side-scrolling shareware curiosity in which Captain Buzz Klondike, yes, an interstellar prospector named like an ice-cream […]

Step inside the shrine of serious computer wargaming and a grey-bearded acolyte will eventually press a single 3½-inch disk into your palm. Boot it, he whispers, and dare to marshal a million cardboard corps. That disk is Gary Grigsby’s War in Russia, a design so devoted to authenticity it makes you convert Soviet railways one hex

Some protagonists arrive in glossy power-armor, some lug plasma rifles the size of bass guitars, and some, well, some are sentient eggs wearing boxing gloves. That alone might pigeon-hole Dizzy: Prince of the Yolkfolk on the “bizarre” shelf, yet its design soul is as classical as a Greek myth (if Zeus had scrambled offspring). Underrated or overrated? If you

Some videogames knock politely; Doom kicks the door off its hinges, stomps in with a shotgun the size of a Buick, and redecorates the foyer in EGA crimson. Is id Software’s 1993 opus bizarre or classical? (Both: picture a Bach fugue scored for chainsaw and MIDI bass.) Underrated or overrated? Ask the “it’s just Wolfenstein in space”

Is DinoPark Tycoon an eccentric relic or a straight-laced classic? (Trick question: it’s a lemonade-stand spreadsheet wearing an inflatable T-rex suit.) Underrated or overrated? If you grew up on RollerCoaster Tycoon, it looks downright prehistoric; but for a generation of U.S. school-lab kids who met compound interest courtesy of a smirking cartoon hadrosaur, it’s basically the Rosetta Stone