Cite as
Sinclair User 75, Raffaele Cecco on Cybernoid (1988)
Original
https://archive.org/details/sinclair-user-magazine-075
sha256
e4c9a8ad13a2c38b33f89274c61fd4f6e2b14cada793fd6c7445a8a2166877ba
Archived
https://archive.org/download/sinclair-user-magazine-075/SinclairUser_075_Jun_1988_djvu.xml
Accessed
2026-11-06
Licence
© EMAP (at the time of publication); scan hosted by the Internet Archive
Credit
Raffaele Cecco, signed article in Sinclair User. Scan in the Internet Archive item "sinclair-user-magazine-075"; the pin is the item's OCR, as DjVu XML.
Notes
The programmer's own account of making the Spectrum Cybernoid, a one-page signed article on printed p. 85 (image n85); the same file as sinclair-user-075-1988-06, which cites the issue's other pages. The OCR is fair but misreads some words ("Cybemoid", "Save Rogers" for Dave Rogers).

Cited on

Claims (6)

Raffaele Cecco wrote in June 1988 that he and Andrew Hewson set out to take Exolon's best features, its big explosions and colorful graphics, improve them and put them into the Spectrum game Cybernoid, a game that plays differently. His design rule was "If something's worth doing, it's worth over doing!"p. 85 (image n84), Raffaele Cecco on Cybernoidp. 85 (image n84), Raffaele Cecco on Cybernoidp. 85 (image n84), Raffaele Cecco on CybernoidPostmortem
Cecco took the idea of many weapons from the games of the time but made each weapon work and look different. Selecting them with the joystick proved clumsy, so on the Spectrum each has its own key: 1 for bombs, 2 for mines, and so on.p. 85 (image n84), Raffaele Cecco on Cybernoidp. 85 (image n84), Raffaele Cecco on Cybernoidp. 85 (image n84), Raffaele Cecco on Cybernoidp. 85 (image n84), Raffaele Cecco on Cybernoidp. 85 (image n84), Raffaele Cecco on CybernoidPostmortem
For speed, the Spectrum game stores its sprite graphics already shifted to each pixel position, which lets many sprites move at once at 25 frames a second. To keep color clash down, the background takes color priority over moving sprites, which take the color of the background they cross.p. 85 (image n84), Raffaele Cecco on Cybernoidp. 85 (image n84), Raffaele Cecco on Cybernoidp. 85 (image n84), Raffaele Cecco on Cybernoidp. 85 (image n84), Raffaele Cecco on Cybernoidp. 85 (image n84), Raffaele Cecco on CybernoidPostmortem
Hewson commissioned Dave Rogers for the Spectrum game's main tune and sound effects. The sound routine runs fifty times a second, so the music plays throughout the game, and the sound's data and code take about 4K of memory.p. 85 (image n84), Raffaele Cecco on Cybernoidp. 85 (image n84), Raffaele Cecco on Cybernoidp. 85 (image n84), Raffaele Cecco on CybernoidPostmortem
In the Spectrum game, Cecco was proudest of the spinning Cybermace, which took him about 20 minutes to program: it follows a table of X and Y offsets from the ship, and as the ship moves its path turns elliptical, an effect he hadn't intended.p. 85 (image n84), Raffaele Cecco on Cybernoidp. 85 (image n84), Raffaele Cecco on Cybernoidp. 85 (image n84), Raffaele Cecco on Cybernoidp. 85 (image n84), Raffaele Cecco on CybernoidPostmortem
Cybernoid was written on an IBM PC with an assembler that sent the assembled program to the Spectrum over a parallel link; its graphics and maps were drawn on an Atari ST and converted to Spectrum data.p. 85 (image n84), Raffaele Cecco on Cybernoidp. 85 (image n84), Raffaele Cecco on Cybernoidp. 85 (image n84), Raffaele Cecco on Cybernoidp. 85 (image n84), Raffaele Cecco on CybernoidPostmortem