#txk

For the uninitiated, Jeff Minter’s Tempest games largely follow the format of the original vector arcade game, but with a layer of psychedelic visuals and audio, alongside a few new powerups and nuances. Gunplay takes place across several “webs”, with geometric enemies advancing up the columns, and new variations gradually being introduced. Enemy behaviors and web design tease out dynamic situations, and managing present and near future threats becomes a chaotic pleasure.

There’s a tactical layer to managing this chaos. Enemies can be allowed to loiter on the rim of the web if needed. They can be eliminated by “leaning” one leg of the clawed ship into their lane, but the slow movements needed for this makes letting them accumulate a serious danger. They’ll also block the path to much needed powerups that climb the web, so managing them is critical to giving yourself space to operate. These powerups increase fire rate, allow a life saving jump above the web in order to fire safely down at enemies on the rim, or spawn an intelligent drone that seeks out enemies.

Tempest 4000 closely follows that template. On the surface it could be mistaken for the canceled TxK PC port, but upon closer examination provides a very different vibe. TxK was the series at its cleanest and most vibrant; Tempest 4000 is aggressive and murky. The color palette is darker, the music has a slight edge to it, with a cacophonous rhythm created by its sound effects.  This is enhanced by the ability to go into a powerful state of invulnerability by obtaining the “BEAUTY” powerup. It provides a powerful tool for clearing the board, and brings with it heavy audiovisual distortion that makes it harder to parse and encourages aggression.

It feels incredible, especially when you begin to dial in and get into the zone. Something you’ll have to do, since it quickly ramps up in difficulty. Tempest 4000 performs the impressive feat of building on the structure of the original game in a way that makes it feel modern, if not exactly contemporary. In the process it manages to communicate the appreciation that Minter feels for the design of the original game, while providing its own intoxicating vibe. 

If I’m honest though, I sort of prefer TxK’s approach better. There’s just something about the energy and positivity of it, and the way its clean lines and colors grace the screen of the Vita.