From 2010 to 2014 Richard Cobbett wrote Crapshoot, a column about bringing random obscure games back into the light. This time it was one of Indy's most unfortunate misadventures this side of Kingdom of the Crystal Skull.

Where to begin? Indiana Jones and the Fate of Atlantis is a godawful mess of a game by anyone's standards. It's ugly. It's boring. It's barely playable. What little plot there is gets buried instantly under the bad controls and embarrassingly poor puzzles. The interesting idea of being able to control two characters at once is utterly squandered by the fact that you won't want to spend a single second more than you have to in their company. And yet despite all this, when you mention Fate of Atlantis, you'll struggle to find anyone who doesn't have warm memories of it. They'll tell you it's one of Lucasarts' best adventures, with a great story and characters that deserved to be immortalised in an actual movie.

So what's going on? Simple. We're not thinking of that Indiana Jones and the Fate of Atlantis, which is indeed fantastic. No, we're playing Indiana Jones and the Fate of Atlantis: The Action Game.

Fate of Atlantis: The Action Game is an odd one—a cheap movie cash-in, only without the movie. It owe its existence to one, though. Indiana Jones and the Last Crusade was also split into two games—a SCUMM0based adventure by Noah Falstein, David Fox, and Ron Gilbert that wasn't great but did some interesting things, and a fairly generic cash-in platformer that didn't.

The Fate of Atlantis version took the form of an isometric action-adventure hybrid, but otherwise stuck to the stripped-down nature of movie ports at the time. The original adventure version was huge. The Action Game offered just six levels. The adventure featured a fun plot, with three paths designed around wits, fists, and Indy's new partner, feisty psychic Sophia Hapgood. The action game relies on the manual to tell you what you're doing and why. Most notably of all, at least on first glance, the adventure game actually has Harrison Ford's face on the cover, while the action game had to make do with a random guy in a fedora, plus a huge INDY logo to draw your eye away from the hideous artwork.

It's quite clear which of the two games Lucasarts gave a damn about. And in case you're wondering, yes, the Action Game does admit that it's based on the adventure, rather than pretending the two were equals.

You know you're in trouble from the start of the first level, which drops you into a Monte Carlo casino and promptly washes its hands of you. A few enemies wander around, occasionally shuffling over to punch you in the face for a bit, but just as quickly losing interest and getting back to more important daydreaming. If you punch them, sometimes they drop sweets. You can switch between Indy and Sophia at will, with the other in either 'stop' or 'go' mode, which lets them amble around on their own random walking and face-punching adventures. Indy starts off with his whip and his fists, while Sophia gets to gently kick people in the shins until they feign death in the hope that she goes away. If either character runs out of health, they get transported into a cell without even a door to stop them simply walking out, but of course they don't do that because that would be naughty and the Nazis might tell on them.

The best part of the game comes when a character talks to you. Instead of a line of dialogue, it just shows you a symbol - which you then have to look up on the grounds that Indiana Jones doesn't speak the local language and has no idea what they're saying to him. Hit a hotel guest for instance, and they scream "/" You promptly reach for your travel guide, flip to the relevant page, run your finger down the translations provided and discover to your amazement that "/" means "Do not hit the hotel guests." Genius.

Want to learn more Programmer Language? Here are some other handy phrases:

Circle Three-Bars - You can't leave without both a map and the Lost Dialogue

Triangle Hourglass - Tread not upon the Great Machine!

Circle Hourglass - Enough haggling! I have lost patience with you; go away for now

If you both survive and stay awake throughout the casino level, the next levels take you to a naval base, a submarine bay and an actual submarine. As with many arcade games of the era, the manual completely gives away everything that happens in the game. My favourite bit is this section, taken verbatim from the submarine level's description. Fun fact: the developers were called "Attention To Detail"...

"Find the periscope so you can steer the submarine to the islands... one of them has to be Atlantis!"

The greatest irony of Fate of Atlantis: The Action Game is that it's a million times duller than its supposedly non-exciting adventure version. What the real Fate of Atlantis lacked in tedious isometric face punching, it more than made up for with snarling enemies, its own arcade style fighting, funny situations, death-defying escapes and more. Its casino level involved tracking down your contact and having Indy dress up as a ghost to scare his pants off during a fake seance. Doesn't that sound like much more fun than punching easily distracted goons until they poo chocolate? The answer is yes.

Many of the problems with the game can no doubt be attributed to the number of platforms it was aimed at. The adventure game was fairly advanced for its time, and restricted to PC and Amiga. The Action Game on the other hand was ported over to Atari ST, Commodore 64 and ZX Spectrum as well, with the lack of text strings (not to mention capital letters) and input buttons smacking of developing for the lowest common denominator. That's still no excuse though. It's one thing to make a bad game to sucker people into spending money on something crap, but so much worse to distract them from the genuinely good game of the same name sitting only a couple of spaces away on the next shelf.

Needless to say, Lucasarts learned its lesson. Fate of Atlantis put an end to the "The Action Game" idea before it could infect the likes of Monkey Island or Grim Fandango, with future adventure games simply containing their own arcade sequences where necessary—from Full Throttle's fighting to Sam and Max's gimmicky asides. The real Fate of Atlantis went on to become a genuine classic of the genre, as well as the last dedicated Indiana Jones adventure. Future games took the Tomb Raider route instead, which seems only fair, even if they weren't necessarily what the original fans wanted.

Indiana Jones and the Fate of Atlantis is available on Steam.

The Action Game, oddly enough, is not.

Thanks to ESRGAN (that's Enhanced Super Resolution Generative Adversarial Networks), a variety of old games are getting a spit and polish. We've seen Morrowind, Final Fantasy 7, and any game with a pre-rendered PS1 background get the neural network makeover, with some impressive effects. Earlier this year, modder Red11BY did the same thing for the characters in Star Wars: Knights of the Old Republic, BioWare's 16-year-old RPG.

The mod includes new HD textures for every single NPC in KotOR, both human and alien, as well as HD textures for all the game's armor sets worn by the player-character, upscaled to a resolution of 2048x2048 thanks to ESRGAN.

It's a 3GB download, but it seems like a worthwhile addition if you're in the mood to replay one of BioWare's best games. You can download it from Nexusmods.

Thanks, DSOgaming.

It feels like you can't move without falling over yet another piece of Star Wars-related news this week, and today is no different. In a recent interview with MTV, Lucasfilm's President, Kathleen Kennedy, spoke about the likelihood of Star Wars: Knights of the Old Republic getting some sort of big screen adaptation.

The interview, which took place at this year's Star Wars Celebration, saw MTV's Josh Horowitz, broach the subject with Kennedy. "You know, we talk about that all the time," Kennedy said. "Yes, we are developing something to look at. Right now, I have no idea where things might fall, but we have to be careful that there is a cadence to Star Wars that doesn't start to feel like too much."

You can check out a clip of the interview, below—the KotOR bit starts at 1:28:

So no, we really don't know what Lucasfilm is planning to do—if anything—with Star Wars: Knights of the Old Republic but maybe it's waiting for the dust to settle following the slew of recent news before hitting us with the next Star Wars announcement. 

Thanks, Game Informer.

Few adventure games actually feature much adventure. It’s a curious name for this, the most languid and cerebral of genres. But Indiana Jones and the Fate of Atlantis is a rare exception. Like the movies that inspired it—and the adventure serials that inspired them—it’s an exciting adventure in the truest sense. And it’s remarkable how they managed to squeeze this much energy out of a pretty standard point-and-click adventure game. 

The myth at the heart of this original Indiana Jones story is, as the title suggests, the fabled lost city of Atlantis. In 1939, on the eve of World War II, Indy finds a mysterious Atlantean artefact in the vast, unorganised collection of the college he teaches at between expeditions. The discovery of the object serves as the game’s comical prologue, where a bumbling Indy stumbles through the college archives and leaves a trail of destruction behind him. 

But, as is often the case at the beginning of an Indiana Jones story, the artefact is cruelly snatched away from him by Klaus Kerner, a pistol-wielding agent of the Third Reich. The Nazis have taken a special interest in the Atlantis myth, in particular a mystery metal called orichalchum that is said to generate an incredible amount of energy—energy the Nazis want to turn into a nuclear weapon. And so Indy embarks on a dangerous quest to stop them, because as we know from The Last Crusade, he really hates Nazis.

Despite coming out well before some of LucasArts’ most famous games, Fate of Atlantis is one of the most innovative point-and-click adventures it ever released. There’s the IQ scoring system, which awards you bonus points if your solution to a puzzle is particularly imaginative. And some of the puzzle solutions are randomised too, making the game surprisingly replayable. But my favourite feature, which also adds to its replayability, is how the game is split into three distinctly flavoured paths: Fists, Wits, and Team. 

Early in the game Indy teams up with Sophia Hapgood, a selfprofessed psychic medium who claims to be in contact with the spirit of an Atlantean king. The pair were romantically involved once upon a time, and their relationship is similar to those of his female companions in the movies—more playful and sarcastic than romantic. Sophia has definite echoes of Marion Ravenwood. She’s tough, resourceful, and quick-witted, regularly putting Indy in his place. It’s refreshing (and surprising) to see a strong female character like this in a game, especially one from the early 1990s. 

If you choose the Team path you’ll spend the rest of the game with Sophia, solving puzzles together, trading barbs, and occasionally taking control of her. For me this is the most enjoyable way to play the game, simply because the interactions between the two characters are so much fun. The dialogue is sharp and funny and some of the puzzles involving both characters are well designed. But if you’d prefer to go solo, the Wits path sees Indy chasing Atlantis on his own, with trickier puzzles and, of course, less dialogue. You’ll visit many of the same locations in both paths, but they feel quite different.

One of the most entertaining puzzles is found on the Team path, where Indy and Sophia try to steal an artefact from a snooty French professor by staging a séance. While Sophia conjures up the spirit of her Atlantean king, Indy combines a bedsheet, a flashlight, and a creepy mask to scare the professor out of the room, leaving the object behind. Meanwhile, on the Fists or Wits paths, you get involved in a car chase with some Nazis to retrieve the item. That’s more exciting, granted, but the séance is a great character moment. 

Then, finally, there’s the more action-focused Fists path, which is the one I would avoid—if only because it forces you to endure the game’s abysmal fighting minigames more often. While the opportunity to punch Nazis in a game is always welcome, actually beating someone up in Fate of Atlantis is a chore. You use a combination of key presses and mouse clicks to block and strike at different angles, but enemies are difficult to read and the controls just feel clunky and unsatisfying. However, some fights can be bypassed by solving puzzles, which in turn earns you more IQ points. 

One of the game’s greatest strengths is capturing the pulpy adventure feel of the films, but within the fairly rigid confines of a 1990s point-and-click adventure. One of the ways it does this is by never lingering in one location for too long. In the first couple of hours you’ll have visited New York City, Monte Carlo, Iceland, Guatemala, and the Azores. The changing scenery makes for an energetic, fast-paced game, helped by the dynamic iMuse soundtrack, which deftly incorporates John Williams’ iconic score.

It looks fantastic too. The art is pretty low resolution by modern standards, and even compared to other LucasArts adventures released only a few years later. But each country Indy visits has a rich and distinctive atmosphere, tied together by a tastefully understated colour palette. Whether you’re exploring the frozen, overcast plains of Iceland, a bustling Algerian marketplace, or a Nazi U-boat, every location is rich with detail and personality. The character animation is wonderfully lively and expressive too, perfectly capturing the scrappy, rough and tumble action of Spielberg’s movies.

But there are times when the game slips hopelessly into 1990s adventure game absurdity, which dampens the feeling of being Indiana Jones somewhat. One puzzle involves peeling some chewed gum off a school desk then sticking it to the bottoms of your shoes. Why? To walk up a coal chute, of course. I tried to imagine Indy doing this in the movies, but my brain simply couldn’t process it. But for the most part the puzzles are pretty logical and in keeping with the tone of the source material, particularly the ones involving activating ancient, arcane mechanisms and other such archaeological antics. 

As well as the aforementioned fighting system, there are some other, equally as maddening minigames. One involves flying over the desert in a balloon that is an absolute nightmare to control, and if I never have to play that part again in my life I’ll be happy. Luckily these are used quite sparingly and most of the game is in the classic adventure game mould: exploring, talking to people, combining items, and so on. This is about as vintage as point-and-click games get, with the classic verb buffet taking up half the screen, and an inventory that’s constantly filled with seemingly useless items. 

Fate of Atlantis is easy to get running on modern PCs thanks to its availability on digital platforms such as Steam and GOG. Just make sure you hit Alt+S when you start the game on Steam to disable the pixel smoothing filter, which is enabled by default. If you’re into adventure games you absolutely should play this. The randomised elements, IQ system, and multiple paths through the story set it apart from more straightforward adventure games of the era. The story and characters are engaging, the music is superb, it’s brilliantly paced, and it’s better than Kingdom of the Crystal Skull.

Remember Apeiron—that ambitious fan reworking of BioWare's Star Wars: Knights of the Old Republic made in Unreal Engine 4? Yeah, Lucasfilm has shut it down. Sad but expected news, I suppose. 

Taking to Twitter, the project's Poem Studios published a cease and desist letter issued by Lucasfilm, alongside the following message: "It's with a great sadness that I'm posting today; I recently received a letter from Lucasfilm instructing Poem to end production on Apeiron. After a few days, I've exhausted my options to keep it afloat; we knew this day was a possibility. I'm sorry and may the force be with you."

Sent to project lead Taylor Trotter, the following letter outlines Lucasfilm's admiration of Poem's "affection and enthusiasm" for the Star Wars franchise, before stressing its objection to "any unlicensed use of Lucasfilm intellectual property."

Lucasfilm underscores the fact it is the "exclusive owner of all intellectual property rights in and to the Star Wars major motion pictures, games and any other Star Wars content," and that references to Knights of the Old Republic could be "misleading to the public and [are] likely to create confusion as to whether it is affiliated with Lucasfilm."

At the time of writing, the Apeiron website is still live (as noted above, Poem has till October 15 to shut it down). Once that goes, this in-game footage will presumably follow. Till then, check out what might have been:

May the fourth be with you! Here's a highly ironic picture of Richard Dean Anderson from Stargate SG-1, etc. You know the deal by now: this is arbitrarily Star Wars Day because of a pun on the date, and not because this day actually has anything to do with Star Wars (the 1977 movie was released on 25 May). Time to fill our houses up with discounted vinyl junk in the shape of Yoda. 

Still, don't let my light cynicism stop you from hoovering up some classic (and not-so-classic) Star Wars games for less this weekend. Pretty much all the major digital storefronts are running sales themed around a galaxy far, far away. Steam has its complete collection of Star Wars games available as a bundle for about $76/£55, and big discounts on individual games too. You'll find deals at Humble Bundle and Fanatical, too.

GOG is running a similar sale, and its selection of Star Wars classics is pretty impressive these days, particularly after the addition of Episode I: Racer. Just looking at all of that old Star Wars promo art makes me want to reinstall every Jedi Knight game and play them all weekend. Fingers crossed GOG rescues Battle for Naboo next. 

Origin, meanwhile, has new Star Wars Battlefront 2 for $24/£22, which isn't a bad price for an impulse purchase of a 63%-rated FPS, although I haven't returned to the game since the recent progression overhaul and I wasn't the biggest fan of the campaign, where in one level Luke Skywalker hits some bugs with his lightsaber for ages. It's worth noting that Star Wars: The Old Republic is also running a double XP event through to 11 May. 

If you want some guidance on the best Star Wars games on PC, check out our handy list. You should then look at our worst Star Wars games list, where I complain about the shortcomings of Shadows of the Empire, a game I actually love and have completed ten times. 

Some online stores give us a small cut if you buy something through one of our links. Read our affiliate policy for more info.  

Being evil in an RPG is no easy feat. Not only do you need the stomach for it, but developers aren't always the best at making evil choices feel as nuanced and satisfying as their morally righteous counterparts. It's rare for a game to present you with a decision so evil that it actually upsets you, but there is also an undeniable joy in being a monstrous jackass—even if your reason for detonating a dormant nuke in the middle of a small town is just for the lols.

That's why we forced some of our writers into the confession booth to finally fess up about their favorite evil decisions in PC gaming. It's some pretty dark stuff—from smothering babies to forcing someone to murder their lifelong best friend—but if you've got a kink for the chaotic, here are our picks for some of the most sinful choices we've made in games. 

Tyranny - Hush little baby 

To be fair, Tyranny is an RPG that has no real shortage of evil choices to be made—you do murder millions of people in the introduction alone, after all. But later in the story, Tyranny trades mass murder for one decision that is hauntingly terrible. See, to undo your overlord's Edicts that, like magical natural disasters, are tearing apart the land, your character must help fulfill certain contractual clauses. When you first venture to the Blade Sea, that clause is killing the last of its traitorous ruling family. At first this seems like a pretty easy task after you besiege the castle, corner the Regent Herodin and make ready to end his life. But after he is dead, the edict remains mysteriously intact. It's then revealed that there is another heir—a child born out of love between Herodin's son and the kidnapped daughter of your commander, Graven Ashe.

It's a hopelessly complicated situation made even more complicated by the fact that the mother, Amelia, will die to protect her child. But if the child lives, the Edict of Storms will continue. True to developer Obsidian's great storytelling lineage, there's a few different ways to handle the decision. But if you're the ruthlessly pragmatic type, you can simply kill Amelia and then smother her child in its crib. Or if you're a real monster, you can force one of your unwilling companions to do it for you, probably subjecting them to a lifetime of guilt and self-loathing. Whichever way you go about it (or however you might justify it) smothering babies isn't exactly heroic.— Steven Messner

Fallout 3 - The Big Bang

The big, obvious one from Fallout 3 is such a grand moment that it's almost impossible to resist. I blew up Megaton for two reasons: one, I wanted a nice apartment in Tenpenny Tower, where I could have a little break from the depressing nuclear post-apocalypse and chill with my robot butler. Secondly, the layout of Megaton is really annoying, and needlessly tricky to navigate compared to other locations in Fallout 3. It had to go, really. I activated the nuke and watched that baby go off. I regret nothing—it's still one of the most shocking and exciting moments from any game in the last ten years. — Samuel Roberts

Dishonored - Lust for vengeance 

Despite being an assassin, Dishonored rightly punishes wanton murder and instead encourages players to seek their vengeance through more creative means. Each kill pushes the city of Dunwall closer to complete chaos, so finding an alternative is necessary if you hope to ultimately rid the city of evil and corruption. Instead of murdering the pope, for instance, you can brand him with a mark of shame and force him to live out the rest of his life as a beggar. It's poetic justice at its finest—except in the case of Lady Boyle.

This capitalist is the financier behind many of Dishonored's villains and is rightly deserving of justice. But Dishonored's non-lethal way of dealing with her is pretty abhorrent. During the Lady Boyle's Last Party mission, Corvo can choose to simple murder Boyle (and her lookalike sisters) or instead deliver her into the hands of a creepy-ass stalker named Lord Brisby who, in addition to confessing his love for her, promises to make her disappear forever. While his suggestion is vague, it's just insidious enough to make me believe that handing Lady Boyle over is little more than human trafficking. That, by knocking her unconscious and letting Lord Brisby have her, I'd be condemning her to a life of sexual slavery at the hands of this creep. I mean, I get it, she's a terrible person and absolutely deserves punishment—but I think we can all agree that this is a bit much.— Steven Messner

Splinter Cell: Pandora Tomorrow - No questions asked  

Okay, obviously this isn’t an RPG, but I’ve pulled rank in order to include it because it’s such a juicy moral dilemma. What, dear reader, would you do if your boss ordered you to shoot someone—and only gave you a second to decide. Luckily for Steven, that’s not a situation I’m ever likely to be in. But for Sam Fisher, double-tapping a colleague is all in a day’s work. So it goes when midway through Pandora Tomorrow you step into one of those elevators with a mesh door. Suddenly you get a call from your handler, Lambert. “Fisher, we need Dahlia Tal dead. Kill her.” The elevator starts moving. “Don’t think, just do it.”

To this point as far as you’re aware Tal is an undercover agent in the Israeli secret police who’s been helping Fisher infiltrate a terrorist base, and has been portrayed as the kind of entirely sympathetic ‘goody’ NPC you expect from the series. The game barely gives you a second to make the call—I shot her, as did the guy in this video—and afterwards I remember feeling something close to actual actual shock.

If I’m being honest, there was also some exhilaration that the game had thrust such a horrendous decision on the player with zero foreshadowing. Brilliantly, at least in terms of design, if you kill Tal you don’t get any explanation as to why it was necessary. Whether or not I’d made the right decision was just about all I could think about for the rest of the game.

A quick trip to Wikia now reveals that Tal was in fact planning the ol’ switcheroo on Fisher, and had a team of snipers waiting to ambush him outside the facility. If you decide to let her live, Lambert gives you a bollocking and explains the deal with the double cross. It always disappointed me that although subsequent Splinter Cell games also came with tough decisions, none felt as startling as that murderous phone call. It’s also a pity that Pandora Tomorrow doesn’t appear to be on GoG or Steam currently. Time for a stern talk with Ubisoft.— Tim Clark

Knights of the Old Republic - Do as I command 

Playing the Dark Side in Knights of the Old Republic was way more fun, but this bit was twisted. Towards the end of the game, as you take on the mantle of the Sith and confront your party about their allegiances, things get pretty heated. The purehearted Mission Vao wants to redeem you, while her loyal wookiee friend Zaalbar is stuck in an impossible situation. He has a life debt to you, but loves Mission dearly. What's the most evil possible thing you can do, in this situation? Use Force Persuasion to convince Zaalbar to stab, strangle, or shoot Mission to death, while she shouts "It's me, Big Z! Noooo!" I don't think that's how the life debt is supposed to work.— Wes Fenlon

Planescape: Torment - I have no body and I must scream 

Planescape is full of potential bastardry, from selling your companions into slavery to, well, everything involving Deionarra. But in the Nine Hells of Baator there's an especially memorable moment. The Pillar of Skulls is where sage souls whose lies resulted in someone else's death are punished by being turned into chattering heads trapped in a column of flesh for eternity. The heads trade their knowledge for sacrifices, and know things you can't learn anywhere else. 

This is where you discover that one of your companions, a wisecracking floating skull named Morte, is an escapee of the pillar who has been trying to atone for his sin by serving you. Knowing this, you can put him back into the Pillar of Skulls in return for which it will answer one question. I don't know if shoving the first friend you make in the game back into a mass of bone and putrid flesh for eternity in trade for some information counts as Lawful Evil, Chaotic Evil, or Neutral Evil but whichever it is you are a dick for doing it.— Jody Macgregor

Fallout 2 - All is fair in love and war 

Fallout 2 was the first game I can recall where you could be truly evil—like, really, really evil. If you, like me, ended up sleeping with Miria (or her brother Daven), you'd be forced by her father into a shotgun marriage, straddling you with a completely useless companion. If you're truly evil, you can make the best of a bad situation and profit in the process. If you head over to The Hole or New Reno, you can pimp off your spouse for some extra caps or, if you encounter trappers, have Miria earn you some gecko skins by doing the dirty. That's probably not what her father intended to happen when he forced you to marry her.

Even worse, if you tire of any of your companions (and you don’t just let them get killed in a fight), you can sell them into slavery and be rid of them forever. ‘Losing’ Miriam to Metzger in The Den was my eventual choice, and when I happened to return to Modoc and mentioned what happened to her father, Grisham, the old geezer had a heart attack. RIP, dad, and thanks for the shotgun wedding.

— Jarred Walton

When considering the best Star Wars games, it's clear that the saga has had its ups and downs on PC. During the '90s and early '00s, LucasArts had a lot of hits, particularly with games that were targeted at using a mouse and keyboard or a joystick—these were the days when Star Wars games would launch just on PC, instead of every single console, too. And honestly, based on recent experience, it was a better time for fans of games based on Lucas's iconic films. It's hard to envision EA making a new X-Wing with just PC players in mind, for example. Then again, Jedi Fallen Order is perhaps the most promising Star Wars game in years, as a singleplayer-only Jedi action game. 

While a previous version of this list was in a numbered order, here we've revised that so we can fit in more of our favourites. Among this bunch you'll find brilliant dogfighting games, first-person shooters, Jedi duelling and even an RTS. If you're looking for some not-so-good Lucasarts tie-ins, which are still loveable in their own right, check out our list of the worst Star Wars games. 

Of course we have Star Wars games on the brain at the moment due to the recent release of Respawn's Star Wars Jedi: Fallen Order. Since we didn't get code for it before the review embargo, we're still busily working our way through it to see if it can gain a spot on the following list. May the Force be with it.

Republic Commando 

This light tactical FPS is one of the most enjoyable games to come out of the Clone Wars/Revenge of the Sith era, which is mostly remembered for disposable PS2 nonsense like Racer Revenge and Bounty Hunter. While Republic Commando looks a bit rough these days, it's refreshing to see that era of Star Wars executed with the right adult (but not too serious) tone. If the prequels were more like this, you might even have enjoyed them. 

After an extremely effective opening sequence where you watch the creation of your clone captain in first person, you're put in control of a squad of clone specialists. You can order them around with simple presses of the F button, prodding them towards highlighted parts of the environment to blow things up, converge on a single enemy, or take control of an area. With decent dialogue and voice acting, too, it's still easy to recommend now. 

The neatest touch, which I've heard everyone bring up when discussing this game, is the comical windscreen wipe effect on your helmet that kicks in whenever its gets dirty or damaged. 

—Samuel Roberts

Empire At War

It wasn't the most radical, in-depth or interesting RTS around back in 2006, but it's nonetheless as close as an official Star Wars game has got to capturing the magic of the saga's space and ground battles (better than Force Commander did, anyway). Petroglyph's Empire At War even has multiplayer again these days, after the developer switched it back on in September. 

If one sci-fi multimedia series isn't enough for you, check out Andy's recent feature where he pitted the ships of Star Wars against those of Star Trek in a brilliantly detailed mod, then try it out yourself. 

—Samuel Roberts

Rogue Squadron 

When Rogue Squadron landed on GOG, I played through over half of it in one night. It’s still a brilliant shooter, featuring every Rebel spaceship with their own differences in sound design and feel (except the poor old B-Wing). 

In the late '90s I was obsessed with Star Wars games—I think I still have a PC Gamer demo disc containing only Star Wars game demos that I played again and again for about two years—and Rogue Squadron is weirdly one of those titles considered an N64 game before a PC game, even though it came to PC first in North America. I only ever played it on PC, and for someone watching the Star Wars Special Edition VHSs every day in 1999, Rogue Squadron blew me away. That’s partly because of the level of fan service employed in setting some levels in familiar locations (or some you heard in passing, like Kessel) or having the Millennium Falcon turn up halfway through a mission, but also because it’s so simple an arcade shooter that it's aged pretty well.

Rogue Squadron, I suspect, was created to emulate Nintendo's brilliant Star Fox 64, with planets represented as little hubs and most completable in the space of about ten minutes. It's a really easy game to get to grips with in terms of the way each Rebel craft moves, and it was nice counter-programming to the X-Wing series if you weren't always in the mood for a sim experience. The only thing that drove me insane about Rogue Squadron is that its two best levels—and surely a reason to buy the game for most people—were the Death Star trench run and the Battle of Hoth, both of which were hidden bonuses that had to be arduously unlocked by collecting gold medals. They should've been the first missions in the game! 

Though Rogue Squadron didn’t have the Battle of Endor (which is okay because X-Wing Alliance did that brilliantly and makes more sense in a sim style), this was a very complete-feeling game for players who particularly love the space and ground battles of Star Wars. It’s got some fun Expanded Universe bits, the Millennium Falcon as an unlockable and even patched in the Naboo Starfighter from Episode I, back when The Phantom Menace was more promising-cool-thing than pop culture atrocity.

I regret that that LucasArts didn’t bring its sequel, the stunning GameCube shooter Rogue Leader, to PC (is it too late for this to happen? Capcom is porting its console back catalogue to PC—no reason LucasArts shouldn’t do it), and it’s sad that Factor 5 is no longer around to create more games in the series. It seems like a waste to let the series die when it’s such a good representation of a major part of Star Wars.

Also recommended—but not good enough to be on this list because there are no X-Wings in it—is the similarly angled Battle For Naboo, which for my money would’ve been a way better addition to GOG than the weaker Star Wars Starfighter. That was the third best Prequel Trilogy game after Racer and Republic Commando. Hopefully it happens someday. Rogue Squadron fans would lap it up, I’m sure, but for now this remains the best you can get on PC.

—Samuel Roberts

Knights of the Old Republic

Knights of the Old Republic's success comes down to a single smart creative decision. By setting their story thousands of years before the events of the films, BioWare neatly removed themselves from the complex and contradictory state of the expanded universe in the early noughties. Given the freedom to do more or less what they wanted, they were able to build a Star Wars RPG that made that galaxy far, far away feel fresh again.

This was an era when Star Wars fiction was frequently tripped up by its addiction to iconic characters and set-pieces. The original Knights of the Old Republic demonstrates that repetition can actually be a good thing if it's sufficiently well executed. The plot is, after all, built from familiar parts—easy-going smugglers and their lifebound wookiee companions, deadly battlestations, young Jedi learning about the Force.

Knights of the Old Republic works because it drills deeper into these ideas than anyone had for a long time, capturing what made those original moments special in the first place. I'm pretty sure that Revan moment was the most surprised I'd been by a Star Wars story since the first time I saw The Empire Strikes back, even though the two reveals are structurally equivalent to each other.

This, incidentally, is the key to understanding the difference between KOTOR and its sequel—the former is an intelligent reconstruction of familiar Star Wars notions, while the latter is an intelligent deconstruction of them. That's perhaps a tangent too far. The point is: this series represents a high point for developers investing serious thought into their Star Wars stories. You should play it for that reason.

—Chris Thursten

Star Wars Galaxies

Star Wars Galaxies should have been one of the most important MMOs ever made. It had the ambition and the credentials for it—one of Ultima Online's lead designers creating a fully-3D persistent world where everything was driven by players. A ground-to-space simulation of the Star Wars universe with player houses, player cities, player ships, player factions. It's the dream that currently powers Star Citizen, and it almost saw the light of day a decade ago. I'm still a little heartbroken that it didn't. SWG sits near the top of the list of my personal games of all time, and I'm still angry about the way it all panned out.

This was an extraordinary game for roleplayers. The chance to just live in a totally open, totally customisable simulation of the Star Wars universe was an irresistible one, and when it worked, it worked wonderfully. I feel like Roy Batty at the end of Blade Runner saying this, but man—I've seen things you people wouldn't believe. I've played through Star Wars stories that you'll never get a chance to because they only existed because of the power SWG gave its players. I've taken down a rival bounty hunter in a duel in the streets of Bestine. I've flipped an Imperial gunboat upside-down so that the fleeing spy manning the top-mounted railgun can get a clear shot at the A-Wing on our tail.

Star Wars Galaxies was killed by two things: balance problems and its license. The former is something that should have been handled with far more care, and the latter is something that shouldn't have been a problem at all. When the game was conceived, Star Wars was a place—somewhere you could set an MMO. By the time the game matured, Star Wars had become a set of symbols, and the game was ripped apart by the need to cram as many of them into it as possible. Iconic 'theme park' worlds. Collectible movie trinkets. A little button at the start that lets you be a Jedi by clicking a picture of Luke Skywalker. All of this was utterly contrary to the spirit of the game SOE originally set out to make, but it can't take away from how many wonderful experiences I managed to have before it all fell apart.

I think I'm still angry about it, guys. Wait, no. I'm definitely still angry about it.

—Chris Thursten

Jedi Knight 2: Jedi Outcast

Jedi Knight 2's lightsaber mechanics are important not only to the history of Star Wars games, but to multiplayer gaming on the PC in general. This was the game that established a passionate, competitive community dedicated to the concept of the one-on-one melee duel. Jedi Academy expanded and improved many of these ideas, but Jedi Outcast was there first. Without it, gaming would be much poorer—Blade Symphony wouldn’t exist, for one thing.

This was the first game to make duels feel like duels—acrobatic contests between two skilled combatants using deadly weapons. Most Star Wars games still get this wrong, treating sabers like regular swords. Jedi Knight 2 made the weapon in your hand feel hot, lethal, precarious. Each contest with Dasaan's dark Jedi was imbued with a sense of danger.

A note of praise, too, for the campaign. Early-noughties Raven shooters were a staple of my adolescence, reliably exciting action-adventures with colourful characters and great set-pieces. Jedi Knight 2 is among their best work, particularly the sense of mounting power it encourages. You start off without a lightsaber, crawling through vents and blasting Stormtroopers a la other Dark Forces games. By the end you're a force of nature, culling whole squads at a time as a blur of Force power and hot blue light. Well worth revisiting.

—Chris Thursten

Knights of the Old Republic 2: The Sith Lords

Knights of the Old Republic 2 is the quintessential Obsidian Entertainment RPG. The successor to a Bioware game, developed at a frenzied pace in only a year and a half, littered with cut content to hit its release date, and at times (like, a lot of times) utterly crippled with bugs. Even playing KotOR 2 years after its initial release, with a forum-brewed concoction of bug fixes and content-restoration patches, it's quite possibly the buggiest game I've ever completed. And yet it's brilliant, in spite of all those issues.

Here's Knights of the Old Republic 2's dirty little secret: it's not very good at being Star Wars. At least, not the classical film Star Wars of unambiguous heroes and villains, where the light side of the Force is always right. Lead designer Chris Avellone took Star Wars to the darkest place it's ever been. The Jedi are imperfect. The Sith are nuanced—manipulative, intimidating, but obviously scarred and broken in human ways that led to their downfall. Your mentor Kreia spends much of the game criticizing the Jedi, and she always speaks about the Force in shades of gray. Knights of the Old Republic 2 is the rare Star Wars game—really the rare video game, in general—that will show bad things happening to characters even when you try to help them.

Kreia is the key to KotOR 2's greatness, a character who is clearly haunted, bitter, manipulative, and yet right in so many ways. Avellone and the rest of Obsidian reexamined Lucas's galaxy through the lens of Kreia's ideology, and it's probably the most thoughtful take on Star Wars we'll ever get.

Even when bugs stopped me from progressing, when save files refused to load, when the ageing battle system left me frustrated, I had to push on to read just one more line of dialogue. It's simply the best Star Wars story ever written, buried in a game that only works right about half the time.

—Wes Fenlon

Jedi Knight: Jedi Academy

Jedi Academy grants you far more freedom than its predecessors. There's a bit of BioWare to the way you pick between different identities for your character at the start, the way you move through the campaign by choosing missions from a list of options, the way your alignment to the light or dark sides hangs off a mixture of large and small decisions.

Starting you with a lightsaber from the get-go, this game is all about mastering a combat system with a remarkably high skill ceiling. There are multiple types of saber, including Darth Maul-style double-sabers, dual sabers, and increased depth for single-saber fighting. It's a little messier than Jedi Outcast as a consequence, but far more stylish. I played this game to competition dozens of times between 2003 and 2005 because it felt so good to carve new paths through each level. I treated it as an opportunity to direct my own Star Wars movie, each run of moves just as important for their aesthetic value as their combat effectiveness.

Despite the aging engine it still holds up remarkably well—landing a heavy blow after a wall-run feels amazing even now. I can't believe it's twelve years old, and it's even stranger that the series ended here. No Star Wars game has done lightsabers this well since. It's crazy, when you think about it—fourteen years since the last time a developer rendered the series' most famous weapon in an interesting way. People who were born the month Jedi Academy came out are now almost too old to train as Jedi! If Jedi were real. I understand that they are not.

—Chris Thursten

Star Wars Battlefront 2

Old Battlefront 2 is a bit of a mess. But what a joyous, silly, damn fun mess of a game it was. Where most Star Wars games cast you as a Jedi or a heroic pilot, Battlefront and Battlefront 2 finally had the good sense to make you just another trooper on the ground, a lowly Stormtrooper or rebel soldier with a good old fashioned blaster at your side. There's something sublime about that: Battlefront is the rare chance to feel like you’re playing inside the Star Wars universe, rather than carving out a new destiny.

It plays like a goofier Battlefield, with floaty jump physics and battles that were more chaos than calculated strategy. AI enemies are nothing but stupid cannon fodder, and yet they’re so satisfying to mow down in droves. It’s hard not to love a Star Wars game that unabashedly gives you every toy you could ever want to play with. Sure, jump in an AT-ST! Sure, play as a wookie with a bowcaster! Sure, ride a tauntaun across the surface of Hoth. Oh, you want to be a wampa? Yeah, hell, why not.

Battlefront 2 added hero characters to the original game, and sure, they’re crazy unbalanced. But who doesn’t want to Force-sprint across a map as Obi-wan Kenobi and slice up a bunch of droid troopers? How could you say no to landing a fighter inside an Imperial Star Destroyer, fighting your way through its corridors, and destroying it from the inside? Battlefront 2 is the most unabashedly video gamey Star Wars game of them all. Revel in its silliness.

—Wes Fenlon

TIE Fighter

In every possible way, TIE Fighter was a space jockey's dream. It took the formula established by X-Wing and polished it to a perfect shine with glorious graphics and audio, an exciting variety of ships, and a multi-layered narrative wrapped in an overload of Star Wars bombast. You even got to fly with Darth Vader himself!

But its real genius—the element that transformed it from a great starfighter sim to an unforgettable Star Wars experience—was the way it convincingly turned one of sci-fi's most famously evil empires into a force for good. By portraying the Galactic Empire as a bulwark of peace, order, and good government standing fast against a band of violent, lawless terrorists—and playing it completely straight—it pulled me in: I was blowing Rebel ships into radioactive space dust, and I was the hero. Sure, there was some shadiness going on around the edges, but the greater good was always served.

The instructions came in the form of a pseudo-novella entitled The Stele Chronicles that humanized not only the lead character, young Maarek Stele, but also many others, like his friend Pargo, who signs up to be a stormtrooper, and the fatherly admiral who guides him through the early stages of his career as a pilot. The strategy guide took it even further, painting a picture of Imperial life as one of camaraderie, heroism, practical jokes, and, sometimes, emotionally-wrenching losses. I wasn't fighting for the Empire simply because the game forced me down that path—I was doing it because I wanted to. It was the right thing to do. And I loved it.

—Andy Chalk

X-Wing

While it wisely didn't try to ape the events of the movies beat by beat, the first LucasArts Star Wars game was still filled with enough familiar sights, sounds, and details to make you feel thoroughly connected to the fiction. It was exciting to do the stuff the characters yelled about in the movies, like diverting power to the shields and weapons, not to mention activating the hyperdrive at the end of every mission. You got to dock (in cutscenes) with familiar ships like the Mon Calamari Star Cruiser, and were able to fly A-Wings and Y-Wings, which never got much screen time in the films (though, honestly, I really only ever wanted to fly an X-Wing).

While you couldn't look around with the mouse, there were tons of different cockpit views to toggle, including one where you could look back at your trusty R2 unit. Hang on back there! Between missions you "walked" around (doors would slide open when you moused over them) and got mission briefings from the same weird old guy that prepped the pilots who took on the Death Star. It all went a long way toward making me feel like a real rebel pilot engaged in a campaign against the Empire.

At the time, the iMuse (interactive music) system had only been used in adventure games, but it was put to stellar (ha) use in X-Wing. Events such as the arrival of enemies and allies were coupled with dynamic musical cues, giving the soundtrack a real cinematic feel. X-Wing's sequel, TIE Fighter, may ultimately have been the superior game, with a better campaign and more interesting story (and that blessed ‘match target speed’ key) but at the time, X-Wing gave me exactly what I was looking for: a blend of exciting arcade shooting and enough fiddly flight simulator options to cover a keyboard.

— Chris Livingston

Episode 1: Racer

Episode 1: Racer was the first racing game I ever played that felt fast. I mean truly fast. As in, if you lose focus for too long, your mindset quickly deteriorates into “Oh my god oh my god oh my god, don’t crash, turn faster, oh god what’s happening” before you hit one too many walls, lose an engine, and drift slowly to an explosive stop. The glorious thing about that level of speed is it emulates exactly how I imagine podracing would feel. To me, podracing is on the very short list of good things that came from the Star Wars prequels—along with Darth Maul, Jango Fett, and this moment—so for the game version to get it so right was pure ecstasy.

Racer didn’t just stop at the speed—it gave you complete control over your pod. You could overheat your engines to boost, push your nose forward to gain speed midair, tilt your pod sideways to make it through small gaps—or attempt to and crash into the wall anyway as I often did—and sacrifice speed to repair an engine mid race. Basically anything you saw Anakin do in the movie, you could do to your pod during a race, but without having to eventually become a Sith lord. Racer gave you all of the detail of the film without the burden of its storyline, instead placing you in the shoes of a generic racer working your way up the ranks of the podracing circuit.

Spare parts, upgrades, and even pit droids were all available to buy for any of the 23 possible pods you could unlock. Racer had an immense and, frankly, surprising amount of customizability and detail for a licensed game, especially one based entirely on a 15 minute scene from the movie. But LucasArts managed to incorporate every single thing from that scene to make podracing feel like podracing. It feels fast, dangerous, and fun as hell. The music matches the intensity of the races, and each new track is like exploring a different piece of the Star Wars universe.

Even since Episode 1: Racer’s release in 1999, few racing games have matched the amount of depth and speed it offered. Sure, other games let you unlock new cars to customize, but going around a track doesn’t offer the same adventure as dodging rocks on Tatooine, and cars can’t go nearly as fast. Whenever I think fondly back on Racer, I remember the speed first and foremost. I remember how awesome it was to finally unlock that racer who had beaten me a dozen times, and how dangerous it felt to be racing at all. And I remember how glad I am that they made the prequel trilogy, if for no other reason than this game came out of it.

— Tom Marks

Dark Forces

Before I ever played Dark Forces, I remember reading the gorgeously illustrated, captivating Dark Forces: Soldier For the Empire, in which Imperial-turned-hero Kyle Katarn infiltrates the Death Star to steal the battle station's schematics. This was a revelation to ten-year-old me: that a new story could tie into the events of the Star Wars films, with a character who felt vital to this universe.

When I found out Katarn was the star of Dark Forces, well, I naturally had to play it. That story is the real legacy of Dark Forces: it spawned the Jedi Knight series and its own cast of characters that weaved in and out of the films and the rest of the (now noncanonical) Expanded Universe. Dark Forces helped prove that there were compelling stories to tell outside the films in Lucas' galaxy far, far away. And it let you shoot a ton of Stormtroopers in 3D, which was way novel in 1995.

— Wes Fenlon

It sounds weird, but being able to jump, crouch, look up and down, and walk around in multi-level maps was pretty exciting at the time, and it helped Dark Forces feel less like the Doom clone it easily could have been. The main appeal for me, though, was that instead of shooting a bunch of demons and monsters I'd never met before, I got to shoot Star Wars men I'd been familiar with for years.

Stormtroopers, Imperial officers, probe droids, Gamorrean guards... we got to have blaster battles with all of them, a dream come true for fans of first-person shooters and Star Wars. We even got to fight Boba Fett, who was waaaaay OP, by the way. He'd dodge around in the air like a hummingbird on cocaine, soaking up damage and flinging an inexhaustible supply of missiles in your face. We weren't ready for that. We were expecting the dumb, lame Boba Fett from the films, the moron who deliberately landed right next to a dude holding a glowing laser sword and attempted to shoot him from six inches away. The Boba Fett who was defeated by a pat on the back. That guy.

— Chris Livingston

I love the hell out of this game and its sprawling, often confusing levels and lovely-feeling guns. My dad got stuck in the sewer level with all the dianogas for ten years. In some ways, he never really left it.

—Samuel Roberts

The secret best: Star Wars Screen Entertainment

Okay, sure, Dark Forces, TIE Fighter, blah blah. We know they're great. But the greatest Star Wars game is obviously Star Wars Screen Entertainment, a 1994 "CD-ROM including different A New Hope-thematic options to use as screen savers."

The thrilling screensaver options included an infinite opening text scroll (with customizable text!!), a (likely poorly animated) Death Star trench run, and a bunch of Jawas being annoying. There were also glacially paced space battles. What's not to love?

If you want to own the greatest Star Wars interactive media product of all time, you can find a used copy on Amazon for the bargain price of $1.95. It will almost certainly not work on any computer made after the year 2000.

—Wes Fenlon

Come on, Wes, we all know Yoda Stories is the secret best.

—Samuel Roberts

Update: Kotaku's Jason Schreier has now entered the fray with a KOTOR counter-rumor, stating that his understanding is that BioWare Austin "played around" with a new KOTOR prototype, but "it hasn't been greenlit and is not currently in development." He believes that the bulk of the Austin studio is actually working on the company's new IP, which Robertson also touched on in a Patreon post, that's expected to be revealed at E3. 

Robertson now thinks that he "misheard some of the Austin stuff," and thus "may have misspoke about it," he told the site. "There’s also the element that I had no notes in front of me and just sort of rambled on from memory. I did not expect these few select statements to blow up (oops). I’m used to having the opportunity to just release follow-up notices on the Patreon with any updates and corrections. My bad there." 

"Let me clarify that I don’t think KOTOR’s a current project. From the same people I learned about Dylan from, I did hear that they prototyped a KOTOR revival at Austin a while back. I believe it may have evolved into something else since then or fizzled out since then. I’m still confident Austin is doing something Star Wars related though and I’m confident in that." 

That's quite a turnaround from stating unambiguously that "BioWare Austin is working on Knights of the Old Republic... something," and I should probably emphasize—again—that all of this is entirely unsubstantiated and subject to change, and may even be completely wrong. Such is the nature of rumors.

Original story:

Here's a rumor, courtesy of industry insider guy Liam Robertson, that BioWare Austin, which was originally created to develop the Star Wars: The Old Republic MMO, is now in the early stages of work on a new Knights of the Old Republic game. Robertson revealed the info, based on his anonymous sources, as part of his Patreon-exclusive podcast last week, the good bits of which were then shared with the rest of us by The Star Wars Game Outpost. 

“I’ve learned now that [BioWare Austin is] pretty much now exclusively working on Star Wars games and they’re going to be doing that for the indefinite future,” he said. “What they’re currently working on right now—and I have this on good authority—is a sort of remake/revival of Knights of the Old Republic. I don’t know when this is set to come out, but it has been in development for a little while now.” 

The game apparently began as a remake of KOTOR but has now evolved into its own thing, although what exactly that "thing" will ultimately be isn't nailed down yet. Roberston described the project as "sort of like wiping the slate clean," in order to embrace the new Star Wars canon. 

“I don’t really know how that game will end up,” he said. “I’ve heard that it isn’t exactly a remake anymore, but it started as a remake/revival. Now it’s kind of going from that blueprint in sort of its own original thing. I guess we’ll see what that turns out to be, but they are prototyping it right now.” 

It's a thin rumor, definitely, but even so it seems like a pretty good bet. EA now has exclusive rights to Star Wars videogames, a license it no doubt wants to utilize as much as possible—and what better way to flex that muscle than with a new KOTOR? Let us also remember that Drew Karpyshyn, the senior writer on the original KOTOR, left BioWare in 2012 but returned in 2015. What's he up to these days?   

Karpyshyn said in a separate tweet that despite being back at BioWare for well over a  year, he did not work on Mass Effect: Andromeda. Interesting, no?

Another day, another promising player-made remake of a big-budget developer's game gets shut down. Hardly surprising nowadays, but it's always a shame to see such ventures being forced to close—especially when being distributed for free. The Indiana Jones and the Fate of Atlantis Special Edition project is the latest to bite the dust, after its creators were "politely" asked by Lucasfilm to cease development of their ambitious remake. 

"Our mission is to create a remake of this legendary game after more than 20 years, which nobody has attempted yet," says the creators' missions statement on Facebook of the remaster, which also promised high definition digital artwork, new animations, new music, new sound effects and new voiceovers. 

Before Lucasfilm's intervention, the Fate of Atlantis Special Edition team had crafted a fully-functioning demo—which can still be downloaded on the game's site, but is set to be removed come Sunday, March 5.    

Taking to its Facebook page to break the bad news, the game's team said: 

"We have been asked politely by a new promoted Lucasfilm Head of business development person to stop developing and distributing Indiana Jones and the Fate of Atlantis Special Edition demo. We will remove the downloading buttons from our website this Sunday (5th March 2017). We have been told that Lucasfilm don't want to share the Indy license with anyone right now, so we came up with other solution and we will see if that is going to work for them."

The game's creators don't go into detail regarding their proposed compromise, however do suggest they have "proved [their] skills" to Lucasfilm, and that it's "now up to them if they change their minds and start [supporting] independent developers."

The post continues: "Whatever the response will be, We are extremely proud of what we have done, it has been a great fun, we will love this project forever and we thank you all who participated or support us during this 'long-term, free-time' development… This is not the end of this project and this is not the end of any fans projects. Big companies need to understand that: 'All things come to him who waits.'" 

Cheers, Kotaku UK.