Resolution writes: "Let's be honest: Blackthorne has many flaws, most noticeably the frankly impossible-to-kill end-of-game villain Sarlac. And compared to the richly textured and realised world of a game like Donkey Kong Country, which was also released that year, the whole thing seems painfully one-dimensional and oddly restrictive. In fact, Blackthorne is perhaps a genuine contender for one of the last non-ironic, straight-up platformers that saw frustrating and infuriatingly circular gameplay as a virtue. It's an example of a more primitive time, when Lou Diamond Philips was considered Hollywood Box Office gold, Michael Barrymore and John Leslie were light entertainment royalty, and the music of Britpop was viewed as some kind of positive revivalist fun as opposed to the defiling of an already knackered musical blueprint by cynical, coked-up halfwits with Rickenbackers. And though we may look back upon this time with knowing smirks and embarrassed guffaws, there will always be a special place reserved in my heart for that roguish vigilante Blackthorne and the unforgettable land of Tuul."