By the end of the 1980s, Ocean Software had become one of the British video game industry’s most recognizable specialists in turning movies into computer games. The company had already worked with major licenses such as Platoon and RoboCop, and its developers had learned an important lesson about adapting films. A successful movie game did not necessarily have to reproduce an entire film. Sometimes the better approach was to identify the scenes audiences remembered and build individual pieces of gameplay around them.
Few Ocean releases demonstrated that philosophy as clearly as The Untouchables.
Released for home computers in 1989 and based on Brian De Palma’s 1987 film, The Untouchables did not settle on a single style of play. Instead, Ocean constructed a collection of action sequences built around warehouse raids, bootleggers, Chicago gunfights, the famous railway station confrontation, a hostage situation, and the final pursuit of Frank Nitti. The finished game moved through six levels, often changing the player’s perspective and objectives completely from one stage to the next. Ocean’s original manual openly promoted that variety, promising six action sequences built around Eliot Ness and his campaign against Al Capone.
The result was one of Ocean’s most celebrated film adaptations of the era. It was praised by much of the British computer press, reached the upper reaches of the Christmas sales charts, survived long enough for a budget rerelease, crossed the Atlantic to the Nintendo Entertainment System, and eventually gave its name to a substantially different Super Nintendo game.
Its history also reveals how complicated licensed game development could be in the late 1980s. Ocean had a major Paramount property, memorable scenes, several development teams, and ambitious plans, yet its artists could not simply reproduce every movie star they saw on the screen. Developers worked across machines with radically different capabilities, different teams interpreted the same design, and some of the people who created the game later remembered the project as both impressive and exhausting.
Ocean’s Movie License Formula
Ocean Software’s rise during the 1980s was closely tied to licensed properties. Rather than treating movie games as secondary products, the Manchester company increasingly made major film licenses part of its identity. Gary Bracey, who joined Ocean during the middle of the decade and became central to its development operation, later recalled overseeing the expansion of the company’s development department while also helping secure important movie deals.
By 1989 Ocean had enough confidence in that strategy to promote The Untouchables as one of its most ambitious projects. A surviving contemporary release sheet announced versions for the Amiga, Atari ST, IBM PC compatibles, ZX Spectrum, Commodore 64, and Amstrad CPC, while emphasizing that Ocean and Liverpool developer Special FX were cooperating on the project. The same document placed the game in a lineage that included Platoon and RoboCop.
What made The Untouchables especially suited to Ocean’s style was the structure of the movie itself. De Palma’s film offered a collection of highly visual confrontations that could be separated into discrete game situations. Instead of attempting to transform the entire story into a conventional platform game or scrolling shooter, Ocean chose memorable scenes and treated each almost like a small arcade game of its own.
Bracey later explained that the developers discussed which sequences would translate best and deliberately pursued a multi-style design. According to the retrospective account published in Retro Gamer, Paramount largely allowed Ocean to determine how the game would play, although the company faced restrictions concerning Kevin Costner’s likeness. The design team consequently concentrated on the movie’s situations and atmosphere rather than attempting a straightforward digital recreation of its actors.
That decision shaped nearly everything that followed.
Turning the Film into a Game
Even Ocean’s prerelease material shows the design evolving. An early promotional document described five major arcade-style sequences: the warehouse bust, border raid, alleyway shootouts, railway station confrontation, and rooftop duel. The completed game’s manual, however, advertised six levels. The railway sequence had effectively become two separate challenges, with the station gunfight followed by a tense hostage confrontation.
The first section placed the Untouchables inside a warehouse connected to Capone’s bootlegging operation. The player had to fight through gangsters while collecting evidence and pursuing bookkeepers connected to the organization. This was not simply a matter of reaching the right side of the screen. The evidence itself mattered, tying the arcade action to the larger idea that Ness was assembling a case against Capone. The manual even described an indicator directing the player toward evidence when it appeared.
The second section moved the action to the United States and Canadian border. Armed with a Tommy gun, the Untouchables confronted bootleggers and attempted to destroy barrels of illegal liquor. The perspective and rhythm were different from the warehouse, reinforcing the idea that The Untouchables was a collection of related action scenarios rather than one mechanical formula stretched across several backgrounds.
The third stage took the squad into Chicago’s streets and alleys after learning that Capone’s accountant was attempting to escape. Gangsters appeared in ambush positions as the Untouchables fought toward the railway station. The player had to deal with enemies while managing ammunition and defensive positions, producing one of the game’s most visually distinctive sequences.
James Higgins, who programmed the Spectrum version, later remembered the alley section as his favorite, largely because of how it looked. His recollection is important because Higgins did not remember the project itself with uncomplicated nostalgia. He described The Untouchables as a difficult production that seemed to continue for an extremely long time, yet he also remembered the effort the developers made to polish its presentation through music, transitions, and newspaper-style interludes.
The Railway Station
If there was one sequence Ocean almost had to include, it was the railway station.
De Palma’s station scene had become one of the film’s defining moments, combining a gunfight with a baby carriage rolling dangerously down a staircase. Ocean attempted to convert that cinematic tension directly into gameplay.
According to the original manual, Ness begins the sequence helping a woman with her baby’s pram when Capone’s men arrive with the accountant. Gunfire erupts, the carriage begins moving down the steps, and the player must simultaneously protect Ness, fight the gangsters, avoid innocent civilians, and keep the baby from being killed. The status display even tracked both Ness’s energy and the baby’s condition.
It was an unusually literal attempt to transform a movie set piece into player-controlled action. Instead of using the film merely as visual decoration around a standard shooter, Ocean tried to reproduce the problem at the center of the scene.
The idea also illustrates why The Untouchables could be impressive and frustrating at the same time. Each new level required the player to understand another set of rules, and the game could be unforgiving about mistakes. Higgins later admitted that the station section was among his least favorite parts of the versions he worked on.
Yet its inclusion mattered. The developers were trying to make players remember the film while playing the game, not merely recognize the title on the box.
One Shot and a Rooftop
The fifth section reduced the action dramatically. A surviving gangster grabs Capone’s accountant and threatens to kill him. The player receives only seconds to take the shot and must hit the gunman without killing the hostage.
It is a small sequence compared with the warehouse or alley battles, but separating it into its own stage gave the final game six distinct sections rather than the five major situations described in some early promotional material.
The final level then moves to the courthouse rooftop. By this point the evidence against Capone has been gathered, but Frank Nitti remains at large. The game sends the player after him for a last confrontation that ends, if successful, with Nitti falling from the roof. Once again Ocean was using a recognizable part of the movie as an interactive climax rather than inventing an unrelated final boss simply because the medium expected one.
Together, these sections gave The Untouchables an almost episodic structure. One level might resemble a run-and-gun action game, another could function like a shooting gallery, and another demanded the protection of the baby carriage. Newspaper-style transitions helped bind the different pieces together and reinforced the game’s stylized vision of Prohibition-era Chicago.
James Higgins and the Spectrum Version
The surviving Spectrum manual credits James Higgins with programming, Martin McDonald with graphics, Jonathan Dunn with music, and Jon Woods as producer. It also carries Paramount’s copyright notice, making it one of the clearest surviving primary documents for the original release.
Higgins’s later recollections add an important human side to those credits.
He remembered The Untouchables as probably his first Spectrum project and said the Spectrum served as the lead version before the design was moved quickly to the Amstrad CPC. That required him to learn techniques associated with scrolling and the Spectrum hardware while working on a large licensed project. He did not romanticize the experience, calling the development painful and remembering the fear that the project might go badly enough to cost him his job.
At the same time, the finished product contains evidence of how much attention was being paid to presentation. Higgins specifically remembered the ragtime music, scene changes, titles, and newspaper headlines. Those touches were not necessary for the basic mechanics, but they helped make six different game sections feel like parts of the same gangster story.
The limitations of the Spectrum also shaped how players experienced the game. The 48K version loaded in multiple sections, with players remaining on a level until it was completed before loading the next portion. On the 128K system, the first three levels could be loaded together before additional data was required. The original manual devoted substantial space simply to explaining how the cassette and disk versions should be loaded, a reminder of how different a multi-section game could feel in 1989 compared with later cartridge or optical-disc releases.
The Commodore 64 Team and the Problem of Movie Stars
The Commodore 64 version had its own development personnel. Surviving credits identify John Meegan as programmer, Stephen Ian Thomson as graphics artist, Jonathan Dunn and Matthew Cannon with music, and Jon Woods as producer. Bob Wakelin is associated with cover artwork in surviving C64 records.
For Thomson, The Untouchables became one of his favorite Ocean projects.
He later recalled that the team pushed itself to experiment with ideas that were still relatively new. Yet one obstacle had nothing to do with processor speed or available memory. The developers faced restrictions on reproducing the movie actors’ likenesses. Thomson remembered having to alter character artwork late in development and said he still managed to slip a Costner portrait into part of the presentation.
In another retrospective recollection, Thomson connected the likeness problem to alternative artwork created by Bob Wakelin. His comments show the peculiar limits of movie licensing during this era. Ocean possessed the rights to create a game based on The Untouchables, but that did not automatically mean the artists could freely reproduce every performer’s face.
That distinction helps explain why a licensed game could closely reproduce the events of a movie while appearing less exact when it came to the people involved.
Special FX and the 16-Bit Versions
The move from 8-bit computers to the Amiga and Atari ST gave the developers more room to improve the audiovisual presentation, but it did not mean that Ocean simply copied one finished version onto stronger machines.
Special FX handled the 16-bit development. Programmer Ian Moran later explained that the basic game had already been planned for the 8-bit machines when the Special FX team visited Ocean in Manchester. They returned with the design, storyboarded the conversion, and began adding graphical details and platform-specific features.
Moran and Frank Robinson divided the six Amiga levels between them. Moran remembered taking the border, alley, and rooftop sequences, while Robinson handled the others. The levels were sufficiently self-contained that much of each could be created independently, with connecting code managing loading, scoring, and the newspaper sequences between them.
The Amiga and Atari ST were also developed separately rather than treated as identical machines. Moran recalled wanting to take advantage of the Amiga’s larger display possibilities, additional colors, smoother scrolling, and stronger audio capabilities. His surviving softography credits the Amiga version to Robinson and Moran for code, Andy Rixon and Karen Davies for graphics, and Keith Tinman for music.
That recollection also explains why credits recorded in early Ocean publicity do not always perfectly match the personnel associated with finished versions. The project evolved while multiple teams were working on it.
Moran later admitted that the first stage was probably too difficult. The problem was familiar to developers long before formal usability testing became standard. After playing a section hundreds or thousands of times during production, the creators could lose their sense of what a new player would find reasonable. At Special FX, Moran joked that if the boss could complete something, it was considered easy enough.
Selling the Chicago Underworld
Ocean marketed The Untouchables aggressively.
A January 1990 advertisement in Computer & Video Games placed the game’s six action sequences at the center of the campaign and filled much of the page with favorable comments taken from contemporary reviews. The advertised price was £9.99 for the Spectrum, Commodore, and Amstrad versions, £19.99 for Atari ST and PC compatibles, and £24.99 for the Amiga edition.
That pricing reflected the home computer market of the period, in which the same licensed title could exist simultaneously as an inexpensive cassette game and a considerably more expensive 16-bit disk release.
Ocean also benefited from extraordinary magazine exposure. Sinclair User made The Untouchables its November 1989 cover game and included a playable demo on its accompanying tape. The magazine promoted it as an especially successful movie conversion, giving Ocean something more valuable than an advertisement alone: readers could actually try part of the game before buying it.
Your Sinclair was similarly enthusiastic. Jackie Ryan and Matt Bielby noted that the game had been visibly worked on and refined during visits to Ocean, and their final review awarded it 94 percent. The same review emphasized that the game followed recognizable scenes from the movie across six levels.
The Spectrum reviews were remarkably strong across several magazines. Computer & Video Games gave it 85 percent, Crash 94 percent, Sinclair User 95 percent, The Games Machine 95 percent, and Your Sinclair 94 percent. The C64 edition also performed extremely well in the specialist press, including a 96 percent score from Zzap!64 and another 96 percent from The Games Machine.
The 16-bit versions produced somewhat more varied scores, but they were still generally well regarded. Zero awarded its reviewed version 93 percent, while later Amiga coverage included scores such as 87 percent from Amiga Format and 90 percent from Zzap!.
The critical response did not mean every reviewer or every later player loved every section. The shifting mechanics and difficulty could be divisive. What the reviews demonstrate, however, is that The Untouchables was not treated merely as another disposable licensed product when it arrived. Much of the contemporary British press regarded it as one of Ocean’s stronger film conversions.
A Christmas Hit
The game also appears to have translated critical attention into significant commercial visibility.
Ukie’s preserved 1989 Christmas software chart places The Untouchables at number six in the United Kingdom, behind Chase H.Q., Batman: The Movie, Ghostbusters II, Paperboy, and Turbo OutRun.
The chart says as much about Ocean as it does about The Untouchables. Ocean published five of the top ten titles that Christmas: Chase H.Q. at number one, Batman: The Movie at number two, The Untouchables at number six, RoboCop at number eight, and Operation Thunderbolt at number ten.
For a company whose reputation had become increasingly connected to licenses and arcade conversions, Christmas 1989 represented an extraordinary concentration of successful releases.
The Untouchables did not disappear immediately after its initial run either. Ocean’s budget label, The Hit Squad, rereleased the Spectrum version in 1991 for £3.99, compared with the original £9.99 price recorded by preservation archives. Contemporary magazines reviewed the cheaper edition again, with Your Sinclair still awarding it 92 percent in 1991.
The C64 rerelease likewise received renewed magazine coverage, including a 95 percent rating from Zzap!64.
For a movie game tied to a 1987 film, that continuing presence demonstrated unusual longevity.
The Untouchables Comes to the NES
The game’s next significant life came on Nintendo hardware.
The Untouchables reached the Nintendo Entertainment System in the United States in January 1991, with Special FX credited as developer and Ocean as publisher. A Japanese version followed through Altron later that year.
The NES release retained the central identity of the earlier game. Ocean’s description continued to advertise the warehouse, border raid, alleyway battles, railway confrontation, and rooftop action, demonstrating that the console version belonged to the same basic adaptation of the De Palma movie rather than being a completely new interpretation of the property.
The importance of the NES version is partly geographical. The Untouchables had begun as a game shaped by the British and European home computer market, where the ZX Spectrum, Commodore 64, Amstrad CPC, Atari ST, and Amiga defined much of Ocean’s audience. The NES gave the design a more direct route into the North American console market.
Nintendo’s own Nintendo Power included the title in its contemporary ratings coverage in early 1991, evidence that the game had moved beyond its original British computer setting and into a very different retail environment.
The Super Nintendo Game Was Something Different
Then the title returned one more time, but the 1994 Super Nintendo version needs to be treated separately from the 1989 game.
Ocean’s SNES The Untouchables was not simply an upgraded version of the Kevin Costner film adaptation. It was connected to the 1993 television revival of The Untouchables, which starred Tom Amandes as Eliot Ness and William Forsythe as Al Capone. Preservation databases identify the SNES game as an Ocean-developed and Ocean-published release from August 1994 and distinguish it from the earlier movie-based editions.
The structure was familiar, however. Once again the developers used several kinds of action rather than settling on a single mechanic. Five assignments included an over-the-shoulder shooting sequence, warehouse action, a side-scrolling dock battle, a top-down courthouse mission, and a final confrontation involving Capone. Newspaper-style storytelling again connected the missions.
The personnel were also largely different. Surviving SNES credits identify Robert W. Tinman with programming, Keith Tinman with music and sound effects, Ivan Davies with object and level work, Brian J. Flanagan with additional visual and level design, and Gary Bracey in management.
In other words, the Super Nintendo title belonged to the same Ocean tradition and used some of the same design vocabulary, but it represented another adaptation of The Untouchables, not merely the final port of the 1989 computer game.
Why The Untouchables Worked
There is a reason The Untouchables remains interesting beyond nostalgia for Ocean Software.
It demonstrates one of the central problems of licensed game design. A film gives developers characters, settings, music, imagery, and a ready-made audience, but movies are not games. Watching Eliot Ness climb the railway station steps while a baby carriage rolls toward danger is suspenseful because the audience cannot control what happens. A game has to turn that tension into rules.
Ocean’s answer was to keep changing the rules.
The warehouse became an evidence hunt. The border raid became a gun battle against bootleggers. The streets became an ambush. The station required the player to protect the carriage while fighting Capone’s men. The hostage sequence demanded precision rather than constant firing. The rooftop became a final pursuit.
That variety could make the game difficult and occasionally uneven, but it also allowed Ocean to preserve more of the film’s identity than it could have achieved by placing Ness into six nearly identical platform stages.
Even the game’s presentation contributed to that goal. Newspaper transitions, period-inspired music, detailed loading screens, and changing graphical viewpoints attempted to make the player feel as though one scene was leading into the next. Higgins remembered those details as deliberate attempts to add polish to a difficult project, while later developers such as Moran and Thomson described the unusual amount of work involved in realizing the design across different machines.
The Legacy of Ocean’s Untouchables
The Untouchables arrived during an extraordinary period for Ocean Software. In the span of only a few years, the company turned movie and arcade licenses into some of the most visible games in the British market. The danger in that strategy was obvious. A famous title could sell a mediocre game once, but it could also damage a publisher’s reputation if players repeatedly felt they were purchasing the name instead of a worthwhile experience.
With The Untouchables, Ocean largely avoided that trap.
The contemporary reviews were unusually strong, the game reached number six on the 1989 UK Christmas chart, and its budget rereleases continued receiving positive coverage two years later.
More importantly, the development history shows that the people making it were not simply attaching movie graphics to an existing game. Higgins wrestled with the Spectrum version. Thomson dealt with likeness restrictions while trying to push the C64’s artwork. Special FX reconstructed the design for more capable 16-bit hardware. Ocean’s planners selected scenes because they believed those scenes could become different kinds of gameplay.
That approach makes The Untouchables a revealing example of late-1980s licensed game design. It was a movie adaptation built from fragments, with each memorable scene becoming its own challenge and each computer receiving an interpretation shaped by its hardware and development team.
More than three decades later, its strongest historical value may be found there. The Untouchables captures a period when adapting Hollywood to video games was still an experiment, when six scenes from a gangster film could become six different games connected by a title screen, a newspaper headline, and the idea that the player had become Eliot Ness.
For Ocean Software in 1989, that was enough to make Chicago playable.
Sources & Further Reading
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Ocean Software Ltd. “The Untouchables.” Advertisement. Computer & Video Games, no. 99, January 1990. https://electronicsandbooks.com/edt/manual/Magazine/C/Computer%20And%20Video%20Games%20UK/ComputerAndVideoGames099-Jan90%20c20120217%20%5B100%5D.pdf
Rand, Paul. “The Untouchables.” Computer & Video Games, no. 96, November 1989, 58–59. https://www.zx-spectrum.cz/zxsr/zxsr.php?id=5520
Ryan, Jackie, and Matt Bielby. “The Untouchables.” Your Sinclair, no. 47, November 1989, 70–71. https://www.zx-spectrum.cz/zxsr/zxsr.php?id=5520&mag=2
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