https://jesperjuul.net/text/gameplay_es/

If you are interested in my thoughts on the field, and in me summarizing my own history, this is a great piece.

It is an honor but also disorienting to have reached the advanced stage of looking back on my career. Didn’t I just start (checks watch)?

Here is the direct link to the interview.

On the occasion of my new book Too Much Fun: The Five Lives of the Commodore 64 Computer, I am writing 

It wasn’t all great. The Commodore 64 came with glaring, everyday gnawing flaws that Commodore never fixed:

• The tape drive was slow.
• After a series of unfortunate events, bugs, bug fixes, workarounds, and last-minute botches in the production process, the C64’s disk drive was not slow, more like glacial.
• C64 BASIC lacked proper commands for dealing with the disk drive, and even seeing the contents of a floppy involved the LOAD “$”,8 command, erasing the current program in memory.

The 1985 Final Cartridge was your solution to these flaws, creating a new tape format, speeding up the disk drive, adding new BASIC commands and utilizing the function keys (F7 to show the floppy directory).

In today’s parlance, Final Cartridge was a monumental quality of life upgrade. You could already do almost everything without the cartridge, but the cartridge made life easier and faster, allowing you to quickly shuffle between disks, make copies, modify programs, or just load games faster.

Final Cartridge’s additional features also accommodated technically minded user:

• A machine code monitor for reading and modifying the program in memory.
• A reset button.
• A “freeze” button (in later iterations) for ostensibly backups, or even saving your game progress in games that lacked suck a function.
• Better printer support.

How could you make the disk drive faster? You might expect that the bottleneck was reading and writing the floppy disk itself, but that was already plenty fast. The bottleneck was communicating the data over the cable between the C64 and the drive. The disk drive could be sped up because the 1541 disk drive is a small computer of its own, and because there are disk commands for sending small programs to the drive. A fast loader like Final Cartridge thus sends a program to the drive with a faster “protocol,” a faster way to send data between computer and drive.

Did the Final Cartridge make the C64 everything it would have been with more development time and a higher price? Perhaps, but there was a joy in plugging in the cartridge for the first time, making your computer faster, nicer, and more enjoyable.

Which cartridge did you use?

Coming Jan 3^rd: Object #10 – You are invited to a Demo Party

It is real: I am thrilled to announce that my new book, Too Much Fun: The Five Lives of the Commodore 64 Computer is out today on MIT Press.

Too Much Fun is a book about two central mysteries. First, why is the best-selling Commodore 64 computer absent in many computer and video game histories, and what is the influence of its games from SimCity to IK+ to Paradroid? Second, why did this early computer, destined for a shelf life of just a few years, live so long, and end up being produced from 1982-1994?

Writing Too Much Fun has been an incredible journey with twists and turns. I’ve interviewed Commodore engineers, played the games, read the magazines, learned to program the machine again, and connected with new and old friends on the demoscene. All this just as the Commodore 64 is experiencing a renaissance with new games, operating systems, hardware, and events!

Full of interviews, surprising anecdotes, and color illustrations, Too Much Fun tells an epic story of the C64. Too Much Fun is for anyone interested in computer or game history, in how devices can be made to live longer, and for anyone who had, or didn’t have, a Commodore 64. I hope you’ll enjoy it.

How to get the book: Too Much Fun is available as ebook, from your local independent bookstore, MIT Press, or your favorite online retailer.
The book’s support site has extra material, ads, videos, source code, and emulators. https://www.jesperjuul.net/c64/

*

Official description: The surprising history of the Commodore 64, the best-selling home computer of the 1980s—the machine that taught the world that computing should be fun.

The Commodore 64 (C64) is officially the best-selling desktop computer model of all time, according to The Guinness Book of World Records. It was also, from 1985 to 1993, the platform for which most video games were made. But while it sold at least twice as many units as other home computers of its time, like the Apple II, ZX Spectrum, or Commodore Amiga, it is strangely forgotten in many computer histories. In Too Much Fun, Jesper Juul argues that the C64 was so popular because it was so versatile, a machine developers and users would reinvent again and again over the course of 40 years.

First it was a serious computer, next a game computer, then a computer for technical brilliance (graphical demos using the machine in seemingly impossible ways), then a struggling competitor, and finally a retro device whose limitations are now charming. The C64, Juul shows, has been ignored by history because it was too much fun. Richly illustrated in full color, this book is the first in-depth examination of the C64’s design and history, and the first to integrate US and European histories. With interviews of Commodore engineers and with its insightful look at C64 games, music, and software, from Summer Games to International Karate to Simons’ BASIC, Too Much Fun will appeal to those who used a Commodore 64, those interested in the history of computing and video games and computational literacy, or just those who wish their technological devices would last longer.

Endorsements

“Jesper Juul has provided a long-needed addition to the Platform Studies series. It’s a wonderful book, as readable as it is informative.”

Jimmy Maher, author of The Future was Here: The Commodore Amiga

“A beautiful, sincere, and rich account of everything that makes this influential computer so special to me: that unique punk stew of technology, creativity, culture, people, and zeitgeist.”

Gary Penn, editor of Zzap!64; inaugural Games Media Legend; author of Sensible Software 1986–1999; Creative Director at DMA Design

“In this standout contribution to the Platform Studies series, Juul illuminates the overlooked career of the Commodore 64 home computer by integrating the perspectives of hardware designers, marketeers, game programmers, demo creators, and retrocomputing enthusiasts.”

Thomas Haigh, lead author of ENIAC in Action and A New History of Modern Computing

“As someone who has a wealth of knowledge on this subject, this book is ‘highly recommended reading,’ so do not hesitate—just buy this book and rejoice.”

David John Pleasance, musician, former Managing Director, Commodore UK, author of Commodore: The Inside Story

Scheduled book talks

• December 5th at Videojogos’24.
• December 12th at MADE in Oakland CA.
• Jan 30th at Dansk Datahistorisk Forening.
• Feb 7th online at ROMchip.
• Feb 20th at New York University Game Center.
• Feb 25th at CMS/W at MIT.
• Mar 27th at Subotron, Vienna.

Turning on the Commodore 64 launches us into a comforting interface in dark and light blue colors. It is a machine where interface, programming, and housekeeping take place using the same BASIC programming language. We can type immediate commands such as:

?10+20
30
READY.

BASIC (Beginner’s All-Purpose Symbolic Code), originally developed by John Kemeny and Thomas Kurtz at Dartmouth College in the early 1960s, was designed to make computing universally accessible, at first for Dartmouth students. BASIC became a central platform for games in the 1960s and 1970s, and David Ahl’s book BASIC Computer Games (1973) compiled and distributed the games made in computer labs on paper, the only viable form of mass-market program distribution of the time. One central early aspect of Commodore 64 culture was to type in pages and pages of programs from manuals, magazines, and books.

I think a core joy of programming is that we can make the computer do sustained work for us. The Commodore 64 User’s Guide coming with the machine encourages us to make a program printing “COMMODORE 64”, but the text was almost always the user’s name.

10 PRINT “HELLO!”:GOTO 10

Try making your own 10 PRINT program on the book’s website:

https://www.jesperjuul.net/c64/history/#obj2

Coming November 15th, Object #3: “We Promise You Won’t Use the Commodore 64 More than 24 Hours a Day” – Commodore 64 ads

I will post more as we get closer to the publication date.

https://mitpress.mit.edu/9780262549516/too-much-fun/

Handmade Pixels is about the history of (the idea of) indie games, and these 2017-2018 interviews provide a window into the thinking at the end of the 20-year time span the book covers.

Here is my interview with Sam Roberts, festival director of IndieCade, where we discuss IndieCade and film festivals, the meaning of indie, and the fear of missing the Next Big Thing.

https://www.jesperjuul.net/handmadepixels/interviews/roberts.html

https://www.humblebundle.com/books/inside-gaming-mit-press-books    

“The Game of Video Game Objects: A Minimal Theory of When We See Pixels as Objects Rather than Pictures.” In Extended Abstracts of the 2021 Annual Symposium on Computer-Human Interaction in Play. CHI PLAY ’21. https://www.jesperjuul.net/text/gameofobjects/ 

We’ve discussed immersion (for and against), but I argue that we’ve overlooked a much more fundamental question: Why and when do we think of pixels on the screen as objects, rather than as pictures of objects?

During the pandemic, I built a game for exploring this question and wrote an accompanying essay. This extends my previous paper Virtual Reality: Fictional all the Way Down (and that’s OK).

The game presents a series of game objects, and asks the player to consider their status:

1. When would you describe something as an object, rather than a picture?
2. When do you think of it as the type of object it represents – like a rock or a lamp?
3. And when would you argue that an onscreen object is the type of object it claims to be, such as a calculator?

The conclusion is not just that games and VR are cultural forms (obviously), but that we judge game objects based on what we are trying to use them for, and game worlds are always designed for particular kinds of uses. And we know this. There thus can be no universal metaverse, only different worlds built for different purposes.

From the abstract:

“While looking to the future, we have overlooked what is right before us. With new technology, haptics, rendering, virtual reality, we have spent much energy discussing immersion and presence, thinking sometimes about current technology, but often about a hypothetical perfect experience or future perfect technology.

In this, we have forgotten something rather fundamental: How do we in the first place decide to see a group of pixels on a screen as an object to which we have access, rather than as a picture of an object? This paper explores this question through a playable essay. At first, we may think that we will identify anything interactive as an object, but the playable essay demonstrates that this is much more complex and pragmatic, and that this identification has three steps – identifying pixels as an object rather than a picture, reasoning about the object as a specific type of object (such as a ball), and identifying it as a real instance of a type of object (such as a calculator).”

Thanks to IVD at The Royal Danish Academy, Nick Montfort, Stefano Gualeni, Pawel Grabarczyk, Dooley Murphy, and Jan-Noël Thon for comments; to Andrés Cabrero Rodríguez-Estecha for visual design; Stephane Bersot for the calculator asset. The project was made with Unity3D and Low Poly Game Kit by JayAnAm.