Tag: Atari

21 years gone: remembering life as a 15-year-old Rush fan

For much of the past decade I’ve been systematically reliving my childhood. I’m not totally sure what stirred up this extended wave of nostalgia, but it may have something to do with the simple fact that I have vivid memories of things I did 20-plus years ago.

It started in 2002, on the 20th anniversary of my acquisition (as an 8-year-old second grader) of an Atari 2600. I went crazy back in that summer of 2002, buying up lots (as in, auction lots, on eBay) of the games I never managed to convince my parents to buy me as a child. In the end I wound up with over 350 games in my collection, counting duplicates, including a dozen copies each of Combat and Pac-Man.

This year I’ve been rekindling my middle school obsession with baseball. (Good timing, with the Twins in a new stadium and playing exceptionally well.) I went so far as to bid on a complete Topps 1985 baseball card set, but lost in the final bidding war I didn’t expect would happen. Back in the day I owned thousands of baseball cards, mostly from the 1984-1988 Topps sets, but ironically I sold the entire collection on eBay back in 2002 to fund my Atari collection. I should have had more foresight.

And then there’s Rush. My long-dormant obsession with the band I spent so much of high school listening to (when I wasn’t – ugh – reading Ayn Rand) had been renewed back around 2002 as well, when I played briefly in a Rush cover band in Atlanta, and then in 2007 with the release of their outstanding Snakes and Arrows album. But now I’m really beginning to relive the summer of 1989, when I was 15 and first immersing myself in the band’s already extensive back catalog.

I’m not sure what prompted the latest resurgence. It might have something to do with the great new documentary about the band, which I saw at the Riverview Theater last week. But as with my Atari fixation in 2002, it’s more like there’s just something in the air.

A friend introduced me to Rush during our freshman year of high school, right around the time A Show of Hands was released. That was my first exposure to their music. Or so I thought, until the Replay x3 DVD boxed set was released a few years ago and I suddenly remembered having seen the Grace Under Pressure concert special on MTV back in fifth grade. I know that concert video had a big impact on me (probably because with his New Wave hairstyle Alex Lifeson looked so much like Simon LeBon), but for some reason I never pursued the band further.

Anyway, back to 1989: I had just gotten my first job, bagging groceries for $3.69 an hour (minimum wage), and, flush with cash, I made frequent trips to the local ShopKo store. The store’s electronics and entertainment section was well stocked both with cheap Rush cassettes and cheap (probably bootlegged) PC games. I bought a lot of both that summer.

My first two Rush cassettes were A Farewell to Kings and Signals. Even all these years later, those are probably my two favorite Rush albums, because they had such an impact on my young ears. They were so different, it was hard to believe they were produced by the same band, just five years apart. And yet they were both so good, so unlike anything else I was accustomed to hearing on the radio or on MTV in the late ’80s. (You see, there was once a time when MTV played something called “music videos,” which were just popular songs set to music. They played them 24 hours a day. And it was good. But not as good as a then-12-year-old Rush album.)

Whenever summer comes along, I start to reminisce about the summers of my youth, especially the summer of 1989. I can see, hear, almost smell my bedroom back then, window open, cool breeze wafting in, “Xanadu” blasting out of my Panasonic boombox on a hissy cassette tape I purchased at ShopKo in the $3.99 cutout bin. (Hey, that was more than an hour’s wages!)

Why am I drawn back so strongly to that summer of 1989? I’m not sure, but I do know something about it that is strongly compelling. Even though I was working at the grocery store, that was still the last summer of my childhood. The next summer, I had my driver’s license, and everything changed. But back in 1989, I was carefree, virtually no responsibilities, and I could just sit in my room and listen to Rush and play Adventure Construction Set on my Tandy 1000 computer.

Maybe part of what reminds me of then is that in some ways, my experience during the summer now is more like 1989 than it has been at any point in my life since. I have plenty of obligations and responsibilities now — I’m married with two kids, mortgage, car payments, etc. But I’m a freelancer, working mostly from home. And like in 1989, I can sit at my computer in my bedroom, cool breeze wafting through the open window, and crank “Xanadu” up to 11. Only now it’s an MP3.

Plus ça change, plus c’est la même chose.

Oh wait, that’s from Hemispheres.

Limitations inspire design

What makes great design? Why did design seem to take such a wrong turn in the ’80s and ’90s? What has prompted a partial resurgence of “great” design in recent years? And why am I asking all of these highly subjective questions?

My fascination with design first took hold in the early ’80s, and was largely attributable (along with my love of technology) to my experiences with the Atari 2600. I became obsessed with package design and logos, and I also became obsessed with the art of low-resolution, pixilated on-screen graphics.

My interest in “current” video games tapered off as the ’90s wore on, especially when the 3D polygon-based era began. All the new games just seemed ugly and stupid, even though, in an obvious way, they were more complex and more graphically detailed than the Atari games I loved as a child. Simultaneously, my fascination with logos and package design waned as both seemed to just get more obnoxious and overloaded with swooshes and swirls and gradients and shadows and beveled edges and all of the other excesses technological advances made possible.

I’ve wondered for a while what it was about blocky, bitmapped video game graphics that I found so aesthetically appealing. And, in much the same way, what it was about package design from the ’50s, ’60s and ’70s that just seemed so right to me, even though they were a lot simpler, and made using much cruder technology, than what was happening in the “now.”

Finally, I realized it was limitations that were the key to the great designs I admired so much. The designers were up against strict limits to what was possible. Mastering these earlier, more difficult techniques required years of practice and experience. And butting up against those limits to produce something of quality required real creativity. This realization led me to the axiom:

Great design happens when designers’ creativity exceeds the limitations of the technologies they use.

Once I understood this, suddenly it made sense to me why so many of the low-budget shareware games I’d seen for the Mac over the years looked and felt like crap to me, even though on a surface level they were clearly more advanced than those old Atari games: it’s easy to create a game on a modern computer, using modern graphics software and object-oriented programming languages. You don’t have to have any particular skill or knowledge to do so. But, because it’s so easy to do passably, it’s much harder to do really well.

Pitfall! and Super Mario 64: Yes, strangely, I really do prefer the one on the left.

Atari 2600 programmers needed an immense amount of knowledge of the intricacies of the system, and the tricks to exploit its extremely limited, but quirky, technical capabilities. You didn’t get into programming games for the Atari 2600 unless you knew what you were doing. Well, OK… there was plenty of shovelware in the system’s later years, but the ratio of good to crap was much higher among the 700 or so games released during that system’s lifetime than it is for the tens of thousands of mostly worthless games currently available for the iPhone.

So then, what is it that has caused — to some extent — “great” design to re-emerge in recent years, even as technology has advanced even faster than before? I suspect it’s due to a reawakening among designers to the merits of the earlier ways of doing things. Letterpress, for instance, has experienced a massive resurgence of popularity lately. “Retro” design is popping up everywhere. Perhaps it’s just that the hipsters are taking over the world, but I think this renewed awareness of what made mid-century design so great has led to designers re-imposing those limitations on themselves. Technology has advanced far enough now that there’s almost nothing that can’t be done, including recreating the limitations of earlier analog technologies in the digital realm. Think of things like Hipstamatic for the iPhone: it takes your iPhone’s digital photos and makes them look like something from an old point-and-shoot camera from the ’60s. Or look at the background design on Web Designer Wall, a visual style that saw a surge in popularity about a year ago but that’s inspired by watercolor and ink techniques that were especially popular in the ’60s. Or look at video games like The Legend of Zelda: Wind Waker (among others) that brought a cel-shaded animation style to 3D polygon-based video game design.

These are just a few examples off the top of my head of modern designers imposing limitations on themselves to inspire their designs, now that technology no longer forces those limits directly. If you can do anything, it’s hard to do anything well. It’s too easy to get lazy or to simply lack direction and focus. In the past, technological barriers forced designers to focus. Now, they have to do it for themselves. Fortunately, that’s starting to happen.

Panic’s “Atari” game art, framed and hung at Room 34 HQ

The other day I mentioned the super-cool watercolor-and-pencil game art Panic recently commissioned as part of a reimagining of their Mac software as early ’80s Atari 2600 games.

I ordered both the reproduction game boxes and the art prints, and they arrived just four days later (i.e. yesterday). They look amazing. As recommended by Panic, I headed out to IKEA this morning and picked up a couple of Ribba frames. The art prints were specifically designed to fit perfectly into these frames. I contemplated getting frames for all four of them, but at $20 a pop it seemed a bit much. So I went with two, for the two Panic programs I actually use (Coda and Transmit). It was just as well, anyway. Since they’re so big, two is all that fit on the wall above my desk!

The photo below shows Room 34 HQ, now graced with these fantastic looking prints. This wall was blank for months, and I had just been thinking I really needed to hang something up there, when these prints became available. The timing was perfect and I couldn’t be happier with the results! (Unfortunately the photo probably reveals, more than anything else, the limitations of the iPhone camera, especially indoors at night. I had every light in the place turned on but this was the best I could manage.)

panic_at_room34

Holy. Freakin’. Crap.

I love Panic, Inc. They make two of my indispensable web developer software tools: Transmit and Coda. And they have a great attitude. Their founder is a cool guy. And now, to top all of that off… they’re Atari freaks.

Oh man. I love this. I have a few quibbles with some of the details of their fake screenshots — things that aren’t actually possible (as far as I know) with the technical limitations of the Atari 2600. But it’s no matter. I absolutely love this stuff… it’s even better than the Venture Bros. Season 3 DVD art. Check it out:

Panic Atari art

On knowing your target market, and knowing when you’re in the target market

Venture Bros. Season 3I’ve never really watched Venture Bros. on Adult Swim, although I’ve long suspected that I might like it if I gave it a chance.

That suspicion was heightened tonight as I perused the DVDs at Target. To any average person, this cover design may fall somewhere between inexplicably weird and just generally poor. But to me, and to many other 30-somethings like me, it grabs you by the eyeballs and drags you over to pick it up. So authentic! Did they carry it over on the ba– oh holy crap, they did! Fake ’80s video game screenshot and all!

Yes, the package design for the Venture Bros. Season 3 DVD set is a faithful — no, absolutely dead on — reference to the classic package designs of late ’70s/early ’80s box designs for games from the Atari 2600. Or, to speak more accurately to the time period of the designs, the Atari Video Computer System. The solid, garish box color; the font; the overall layout; the watercolor collage art. It’s all vintage ’70s, vintage Atari, 100% perfect. They even faithfully reproduced (graphically, not physically) the fact that the boxes were always already smashed when you bought them at the store.

If you’re not familiar with those box designs, here are a few reference points for you (from AtariAge):

Vintage Atari game boxes

(And yes, since you’re wondering, I did go out of my way to pick six of the lamest Atari games I could think of.)

Scott’s All-Time Most Tremendous, Stupendous, Never-Gonna-Endous Top 11 Atari 2600 Games (Because 10 Just Wasn’t Enough)

“Friends may come and go, but enemies accumulate.”
—Thomas Jones

OK, that quote really has nothing to do with any of this; I was just Googling for a quote and that came up. Although I suppose the same may be said of Atari 2600 games, at least in the hands of a restless collector. Pitfall II may come and go, but Pac-Man and E.T. accumulate.

Whatever.

This isn’t the first and it probably won’t be the last, but once again it’s time to rate the best of the best, and so without further ado (and minimal clichés), I present my top 11 classic Atari 2600 games, as determined objectively by tabulating my subjective reviews on this very website. Please bear in mind that my scoring scale is not that finely graded, so there are in fact several ties, which (thanks to the Romans and the various forebearers they ripped off) normally benefit Berzerk at the expense of Yars’ Revenge, but here I’ve leveled the field by arbitrarily imposing rankings among the tied games according to my fleeting whims.

11. Ms. Pac-Man (Atari, 1983)
By now, mocking Atari 2600 Pac-Man is about as tiresome and unsatisfying as playing it apparently was back in 1982 (although, to be honest, being a little too young for arcades at the time, I didn’t know any better and I loved it). Atari quickly (although perhaps not quickly enough) remedied the situation with this 1983 follow-up. I never actually owned it as a kid. (My parents reasoned that I already had Pac-Man so why spend another $40 on what they — oh, so sadly — perceived as the same game.) But I played it at friends’ and neighbors’ houses enough to know that it rocked. Frankly, I find the whole dot-gobbling, ghost-dodging premise a little unsatisfying these days, but the game is still an undeniable classic, and an excellent translation of the arcade game for the 2600′s already aging capabilities.
10. Space Invaders (Atari, 1980)
Let’s be honest — this is what put the 2600 on the map. (Well, this and Basic Math, of course.) It’s a classic take on a classic game concept and, at least for us non-purists, actually improves upon the arcade original with color graphics and more intense gameplay.
9. Circus Atari (Atari, 1980)
This is an odd one. I never owned it as a kid, never played it as a kid, and judging only by the “screenshots” (or artists’ renditions that used to pass for screenshots), never wanted it as a kid. But it came into my collection in the early 2000s and I was immediately hooked. This is Breakout with a (slightly sadistic) twist. It’s a lot more fun to watch the clown go splat than to watch your ball disappear into oblivion, I’ll say that much. The unique challenges posed by the addition of gravity and the ability to somehow instantaneously flip (and, for that matter, slide) your seesaw, along with the possibility of bonus lives when you clear the red balloons, adds to the excitement. Hands down the best paddle game made by Atari.
8. Berzerk (Atari, 1982)
Sure, there are no robotic voices calling you “chicken,” but this is still an awesome (in the most ’80s sense of the word) home rendition of the challenging arcade classic. The tension is palpable as you race futilely from room to room in an endless electrified maze. I think even as an 8-year-old, I somehow understood that this game was hinting at a much better future (for video games, at least… not necessarily for hapless space explorers).
7. Yars’ Revenge (Atari, 1982)
Sure, it’s a horrible version of Star Castle, but that’s why it’s not called Star Castle. This is apparently a love-it-or-hate-it kind of game, but the love-its seem to predominate. My enthusiasm for this game has always been heightened by the fact that I found it in a closeout bin at Kmart for $1.99 in 1985, the first video game I actually bought with my own money. The incessant, brain-melting drone… the relentless creep of the Qotile’s missile, and the unpredictable onslaught of the dreaded Swirl… this is definitely one of the classic “zone-out” games.
6. Asteroids (Atari, 1981)
The first Atari game to boast a staggering 8 kilobytes of program code, Asteroids brought the classic arcade action home. Sure it was a bit easier than the arcade version, and the crisp white vector graphics were replaced with flickery colored blobs, but it was still the kind of game you could keep your eyes glued to for 6 hours straight, which (along with Space Invaders) slowly drove mothers everywhere insane with its Jaws-esque minimalist soundtrack.
5. Keystone Kapers (Activision, 1983)
Often overlooked in the company of its other Activision platform game brethren, this game has always been one of my favorites. It has a great quirky theme, excellent (by contemporary standards) graphics, and solid engaging action. Unfortunately it was released on the eve of the legendary market crash of 1984, so it went underappreciated (much like another pair of outstanding Activision platform games, Pitfall II and H.E.R.O.)
4. Frogger (Parker Brothers, 1982)
And my vote for best arcade conversion on the 2600 (apparently) goes to Frogger! While it doesn’t quite look like the arcade version, it does look good (certainly as good or better than the version on the supposedly superior Intellivision), and the gameplay is outstanding. Certainly Parker Brothers had a great concept to work with in this classic Konami arcade game, and they did a great job of bringing the experience home. No Atari collection is complete without this game, and fortunately, since its as common as dirt, few collectors have to suffer that embarrassment. (Even if the label’s missing.)
3. Kaboom! (Activision, 1981)
The ultimate twitch game of all time. There has never been another game like Kaboom! and there never will be, at least until console manufacturers bring back the paddle controller. Even then it may not be possible, because for all of its limitations (and they are myriad), one thing the Atari 2600 really had going for it was its unique and somewhat peculiar (once you begin to understand why it works this way) ability to move on-screen objects incredibly quickly in response to the slightest controller movements. No system before or since has been as good for this purpose, and no game took advantage of it better than Kaboom!
2. Solaris (Atari, 1986)
In the days when a complete, commercially-released game could still be designed and developed from scratch by one person (and even start out as a hobby project), Solaris stood out for its incredible depth, complexity, and quality. I was absolutely in awe of this game when I first discovered it in the late ’80s, and I still hold it in high esteem today. It doesn’t hold up quite as well anymore just because it’s so close to an NES game that it makes me long for something on a newer and more powerful system, but that doesn’t change the fact that it is clearly in the top 5 (if not top 2) Atari 2600 games of all time.
1. H.E.R.O. (Activision, 1984)
For me, there is one perfect Atari 2600 game, and this is it. It has a great concept, decent graphics, it’s easy to learn but challenging to master, and it has a surprising amount of depth and replay value. It’s a game ahead of its time, in that it feels like the majority of the platform-type games that dominated the NES a few years later, and yet it does all of that on hardware that was originally designed 8 years earlier to play games like Pong. Amazing.

Honorable Mention

For those of you who are asking, “But what about ?!?!” The following great games just barely missed making it to the list:

Cosmic Ark, Jr. Pac-Man, Midnight Magic, Moon Patrol, Pitfall II: Lost Caverns, River Raid, Stargate, Super Breakout, Warlords

The Mysterious and Elusive Sears Exclusives

The small town where I grew up had a fairly limited selection of available cartridges for the system, even when I acquired mine, at the peak of the innocent, naive, pre-crash frenzy, in May of 1982. Kmart and the small Kay-Bee toy store in the local mall were pretty much the only places you could go for this crazy new technological marvel, the home video game.

We didn’t have a Sears store anymore, its vacant anchor space in the sparkling new North Main Street commercial district (which has since become a grayed, decaying industrial district) having recently been filled by the town’s exciting new Kmart store. (More recently, the space, long abandoned by Kmart’s migration to the town’s sparkling new 18th Avenue commercial district — and now drastically renovated in an abominable and already “dated” 1990s architectural style — has become the home of the world-renowned Spam Museum.) As a result, I had no idea that Sears had its own version of the Atari 2600, complete with repackaged versions of Atari’s games, plus a few exclusives. (Even at the tender age of 8, however, I was already well-aware of the bizarre practices of Sears, Roebuck & Co. of selling products only under its own brands, even if those products were — as with the Sears Video Arcade — simply those of other manufacturers with new brand decals attached.)

I remember well my first encounter with a “Sears exclusive” Atari cartridge. At the time, I was deeply engrossed in the enticements of the game catalogs Atari shrewdly packed in with each cartridge sold. And in my insular little world, I was convinced that, thumbing the pages of the catalog, I had the entire library of games for the system at my fingertips. The concept of third-party games was wholly unknown to me, awaiting my discovery of the wonder of wonders, Activision, at the neighboring larger city’s Musicland store. The infallible comprehensiveness of the game catalogs I had studied and memorized had only recently met its first challenge, when I acquired a dusty, back-of-the-rack copy of Video Olympics, packed with an old (two whole years old, old!) catalog that featured two discontinued games: Flag Capture and Surround. “How can this be?” my 8-year-old brain wondered. “If they made these games, why would they stop selling them?” My childhood obsession with Atari taught me not only a love for electronic gadgetry and a modicum of hand-eye-coordination, but also some valuable lessons about graphic design and marketing, which have actually been somewhat useful in my adult career.

Anyway, as I was saying, I remember well my first encounter with a Sears exclusive. It came on the heels of the experiences outlined in such prolonged manner in the previous paragraph. As a child, I spent my days at my grandparents’ house while my parents were at work — a distinct advantage of living in the same town as one’s grandparents. Their next-door neighbors had 5 kids, the youngest of whom was a girl two years older than myself. She and I were close friends for many years. Thus it was that I was in these neighbors’ basement rec room, playing some of their Atari games I did not own (“Football,” for some reason, stands out in my memory), when I discovered something that shook my Atari worldview to its very foundations:

Steelplechase.

“Wha– wha– uh… what is this?” I wondered, perhaps aloud. An Atari game, but yet, not quite an Atari game. A strange artifact from an unknown world. Unfortunately, my 8-year-old attention span, already becoming frayed by another recent invention (MTV), was insufficient to sustain the intrigue. Oh yeah… and then I actually played the game. Not terrible, but… well… ehh…. Nothing to get that excited over. It was promptly long-forgotten.

My second encounter with a Sears exclusive came about 8 years later, in high school. All of my friends had, in the late 1980s, packed their Atari consoles away in a dark, musty corner of the darkest, mustiest closet they could find in their respective homes, to be replaced by the latest and greatest, the Nintendo Entertainment System. I never got a Nintendo. (In fact, I still don’t have one today… but it’s not for lack of trying.) I did covet the system many times, however, playing Super Mario Bros., Castlevania, Gauntlet, and the rest on their systems during junior high and high school sleepovers. Meanwhile, I kept the Atari flame alive, fanned by two marvelous, recently-acquired games: Solaris and Yars’ Revenge. The latter, a classic long-missing from my collection. Simple, to a fault. But oh-so addictive. The former, a wonder. Truly an impressive achievement for the system, and good enough to sustain me in my delusion that my Atari was just as good as that stinkin’ Nintendo crap my friends all had. Plus, I never had to give my cartridges the infamous “blow job” to get them to work, either! (Nothing X-rated here, folks… if you’ve ever spent any time playing a Nintendo Entertainment System, you know exactly what I’m talking about.)

One day in high school, one of my traitorous, Nintendo-loving compadres informed me that his parents were having a rummage sale (known to those of you in various other parts of the country as a “garage sale” or a “yard sale” or a “see how much money I can get for all this old crap I don’t want anymore sale”). He also informed me that he was planning to sell all of his old Atari cartridges at it, although he’d let me have first dibs on any of them that I wanted. I can’t remember now if he actually expected me to pay for them or not. But I am inclined to think he did. What the hey… I was rakin’ in the big bucks as a grocery bagger at the time, and he was unemployed, trying to earn enough scratch to buy the latest iteration in the “Mega Man” series, so why not help a chum(p) out?

I remember a few of the specific games I got in the deal. Cosmic Ark and Maze Craze were a few of the most anticipated in the bunch. And then there was this oddity called “Strategic Space Combat Game.” At least, that’s what I thought it was called, because the end label was missing. My friend informed me that it was actually called Stellar Track, and that it was one of his favorites. (The similarity of its title to “Star Trek” did not occur to me at the time.) Without an instruction manual, and in the days before all such information was archived for the ages on the Internet, the game was essentially useless to me, however, and to this day I have not given it more than a few cumulative, lifetime minutes of my attention.

I went on with my life… went to college, got married, moved to California, got a job, moved back from California, got another job, etc. etc. The Atari followed me in my many and varied journeys, and eventually acquired a companion/rival when I added an Atari 7800 to my collection in 1997. Somewhere along the way, my childhood interest in the numbering sequence of Atari’s games, and the mystery of CX2614 and CX2617 was answered. (Ah… of course, I thought, when I learned that those unused slots had been reserved for Steeplechase and Stellar Track respectively.) But there was still a nagging question, deep in the cavernous recesses of my brain: What of CX2647?

In May 2002, nearly 20 years to the day after I had first gotten my Atari 2600, I was introduced to the wonders of the AtariAge website. To be sure, I was disappointed that it bore no relation to the old Atari Age magazine from days of yore (although that disappointment was tempered recently when high-res scans of every issue of the rag were added to the site’s extensive archives). But the breadth and depth of information on the site was simply mind-boggling, and I pored over it exhaustively for days on end.

And at last, the mystery was solved. Submarine Commander. The missing piece!

I just recently added Submarine Commander to my collection. Having finally picked up Steeplechase sometime in mid-2002 (along with a newer, intact picture label copy of Stellar Track), I can now say that my collection of the Sears exclusives — all three of them — is at last complete.

But, being a naturally inquisitive soul, as well as an über-geek who delights in irrelevant minutiae, some unanswered questions linger:

  • Why were these 3 games released in Sears stores only?
  • Did Sears have an agreement with Atari to produce “Sears exclusives?”
  • Did Atari think these 3 games were too weak to be released under their own label?
  • If they were so bad, why did they bother to release them at all?
  • Why didn’t Star Ship meet a similar fate?

New Adventure Easter Egg Discovered!

Most loyal fans of the Atari 2600 game Adventure are well aware of the game’s famous “Easter egg” — if you bring an invisible dot to a certain screen and place another object in the same room, you can move through a barrier into a secret room with a self-congratulatory message from programmer Warren Robinett.

But few players of the game know that this is really just the first part of the Easter egg!

If you bring the enchanted chalice with you into the secret room (a gift for Mr. Robinett, to show your appreciation for his brilliant game), then proceed to the entrance of the white castle, you will see the rest of the Easter egg.

You see, Mr. Robinett’s motivation for the Easter eggs in this game stemmed from Atari’s reluctance to give its game designers adequate credit for their hard work. (After all, it was the designers of the games who were directly responsible for Atari’s financial success, but proportionate compensation for their efforts would’ve eaten into the corporate fatcats’ stock bonuses.)

It is widely known that Mr. Robinett was only paid his paltry salary of $22,000 in 1978 for designing Adventure, a game that went on to sell one million copies, thereby earning Atari $25,000,000. But as far as the public (and Atari’s management) was concerned, games were cranked out by mindless machines, not painstakingly crafted by computer programming geniuses who managed to pack elaborate and engaging game concepts into a meager 2 kilobytes of code.

It was this lack of respect and recognition that led some former Atari programmers to start their own company, Activision — the first third-party software maker. Every Activision game boldly proclaimed the designer’s name right on the cartridge label, as well as a photo and gameplay tips from the designer in the instruction manual.

But those unfortunate game designers back at Atari were left to find other ways to get their well-deserved recognition.* Many resorted to Easter eggs containing their names or initials, inspired by the bold work of Mr. Robinett.

And now, at last, you can see the full Easter egg from Adventure. While Atari’s executives laughed all the way to the bank in light of this game’s resounding success, Warren Robinett, game designer and computer genius, left Atari to pursue… other opportunities. And his dragons did as well.

Adventure White Castle

* Yes, I know Warren Robinett designed Adventure before Activision was founded, and he had already left Atari by then. But this entire article was all just a set-up for the visual joke anyway, so back off!