This morning, my email inbox greeted me with another announcement from Atari, explaining how excited they were that the VCS is “going into pre-production.”
I’m not entirely clear what this means, given that the normal understanding of the term “pre-production” would seemingly cover the entire history of the AtariBox project, given that nothing has gone into production so far.
Some more teaser images showing prototype hardware in various stages of assembly, and some explanation of the design/layout of the motherboard, apparently in response to the reaction to the first announcement where they showed an image of the motherboard, which lead to speculation about whether it was real, or complete, or might have been hastily created by a company that specializes in rapid turnaround in order to give Atari something tangible to show backers while they continue to delay more meaningful steps toward release of a product.
There’s some more information in Atari’s latest Medium article — it is capable of running both Linux and Windows (hardly surprising, given the AtariBox is an AMD x64 system); it will have a fan-based cooling system (to me this is disappointing news, as I would have hoped for a silent running system, but again not terribly surprising, given that most computers these days are fan-cooled); default RAM will be 8GB (2×4) and user upgradeable, some frankly boring talk about plastic injection molds… and they’re still working on the actual software that will run on the system, although they had teased something at E3, it’s not ready to run on this hardware yet. Which is really bizarre — if this AMD x64 system is capable of running Linux and Windows, and if they can tease the front-end that they’ve been working for on some type of computer system, then what’s so different about the AtariBox hardware that Atari can’t run it on the machine they’re designing it for right now? Why couldn’t they all along, every step of the way? Something is not right about their software delivery lifecycle if they can’t create builds that will run on their target hardware.
I guess if there’s one positive thing to take from this announcement, it’s that Atari are apparently stepping up the frequency of their announcements, which may be a good sign that they are actually making progress with bringing their vision closer to reality.
That is, however…
Today The Register is reporting that Rob Wyatt, the architect of the VCS, has quit the project, and claims that he hasn’t been paid in 6 months. It was reported earlier that Wyatt was starting a new project, and after Atari’s previous announcement, rumor boards were awash with speculation about whether Wyatt was still on board with Atari. Atari’s PR deflected questions about it, but it’s clear now that Wyatt is no longer working with Atari on the VCS project.
The Register’s reporting on this project has been very thorough and is to be commended.
Sadly it’s looking more and more like AtariBox has been smoke and mirrors, underfunded wishes, and — let’s be frank — lies, and appears to be increasingly unlikely to launch. And even if it does, there’s no indication that it will be worth buying, due to a lack of first-party exclusive game content.
After being stung recently and repeatedly for their lack of progress on the AtariBox project, Atari released their Big Announcement about the games that will be available on the console.
TL;DR, the announcement is very underwhelming. Atari is packaging a bunch of old classic games for streaming to your AtariBox. They’re not even doing it themselves; they’re partnering with another company.
That’s right, they still have ZERO new exclusive launch titles for this system. You know, the thing that tends to drive people to buy new systems? They still don’t have that.
Let’s be generous, the three word elevator pitch for this is: “Netflix for videogames”. Only, no Netflix Originals, just re-runs of games you’ve played a million times already, and already have access to through a variety of other platforms. If you aren’t lucky enough to have lived through most of the history of video games and have a library devoted to that history, you might find this enticing.
In a way, this is cool. For only about 25 years now, gamers have had to resort to piracy and emulation to play thousands of arcade game titles for free. Now, they can pay $10/mo + $350 for the console for the privilege of doing it guilt-free, albeit restricted to just those titles that are available through Antstream. And that’s something, isn’t it?
No, I know that sound sarcastic, but it really is. For only 25 years or so, the problem of preserving historic videogames has been ignored by the industry that created them, and was left to be solved by dedicated fans who recognized the importance of such an effort. But this was always an ethical quandary, and enthusiasts were forced into a dilemma: literally preserve history before it was too late and games were lost forever, and violate copyright for a bunch of outdated products that companies refused to continue to produce or make available in any format? Well now for just $10/mo our consciences can finally be clear. And our reward for this will be that only the games deemed worthy of preservation for their long-tail commercial potential will be preserved. Shut down the MAME project, everyone, and rejoice: we’ve won.
OK, ok, that’s unavoidably sarcastic, but it’s true. This service creates value by ripping the hard work of emulation preservationists, and by graverobbing what rightfully should have by now been the public domain, to provide games-as-a-service to you, so that you can pay for them forever, without ever owning them. Because in the new economy, ownership is theft. There’s literally no reason you would ever want to own anything anyway, this is a post-scarsity economy, after all.
Antstream itself kickstarted into existence in April of 2019, and, well, isn’t it telling that a physical “not-a-console” gaming system that kickstarted TWO YEARS earlier and STILL doesn’t have any exclusive launch titles lined up, kept silent about this deficiency for all that time, until fed-up backers had a mutiny about it on Reddit, and so had to run out and find something, anything, so they could claim that they will have games, and picks something that only became a thing this year?
It makes you wonder what the hell Atari have been up to for the past two years, apart from rendering the shell they’re putting their components into, and re-releasing the same empty hype announcement every 6 months or so. According to their Kickstarter page, Antstream have been developing their service for four years now, so the Kickstarter is more an effort to do viral marketing for the launch of the service rather than a no-product preorder like Atari’s VCS Indigogo was. Yet, if Atari had planned all along to make use of this service, and had to remain quiet about it all this time, one wonders why they couldn’t have said something around the time that Antsream launched their Kickstarter campaign. Why the need to remain silent for another 6 months?
Still unanswered: Is anyone actually developing any games that will run only on this system, so that there will be a reason to buy it? Any first party game development, at all? (Well, it’s a silent NO, that’s the answer.) Atari 2019 is a brand name only, not a developer of anything substantial. In trying to establish a platform, they’re leveraging the work of others and passing it off as their own. AMD for the hardware. Antstream for the content. Maybe there’s some internal work being done to create the GUI to do configuration management and launch apps, but that’s not exactly exciting, now, is it?
It’s worth mentioning that around the time Antstream announced itself — about a month before, actually — Google announced Stadia, and there’s literally no reason any of the games that you might have access to through Antstream couldn’t also be streamed to your screen through Stadia. Other than, I guess, some exclusive rights deal that would preclude availability on other platforms. But then, Stadia is still in pre-order, too. Sigh.
So for the time being we’re still safe from the future hell of games-as-service, that you can never own, and which will be preserved for all time only to the extent that a company decides to preserve them. Which is to say, any old versions will be superceded by the latest patch, even if earlier releases are historically relevant. And games that aren’t attracting sufficient interest will be dropped unceremoniously, and probably not many people will care, except the small audiences for games who really love those games even though they’re part of a small audience not big enough to be considered commercially viable. But who cares about them, anyway?
Even if Antstream is great — no, especially if their service is great– it’ll be available on all platforms that its client can be ported to, there’s still no compelling answer to the question, why get an AtariBox?
Atari attempts to answer this by assuring us that:
Re-read that last sentence. You can stream Antstream’s exclusive AtariVCS content to any Antstream-capable platform, provided you have an Atari VCS account. My guess is that you’ll be able to get one of those without buying the AtariBox hardware, if not immediately then eventually. No word on whether that will cost a monthly subscription on top of whatever Antstream will cost.
But this leads me to wonder what’s up with Atari’s earlier announcement that the Atari Vault would be available to VCS owners? I mean, I don’t really wonder, because who cares. The AtariVault is on Steam and I can buy it and play it right now through my Steam account on my PC, and I don’t have to pre-order and then wait 3 years for some outdated low end PC in a pretty case to do it, either.
But lets say I did decide to wonder. Well, is the Atari Vault still going to be part of the picture, or did they just shitcan it and replace it with a subscription-based streaming service?
Oh, and there’s a picture of their motherboard. Suck on that, haters! I bet everyone who doubted that AMD Ryzen board could have an Atari Fuji logo custom silkscreened onto its PCB are all eating crow now!
Well, it’s something, anyway. Not enough. But at least it’s something.
Update from the Register… It’s sad that this is the reality but it’s about exactly what I expected, and have been warning the public about since the crowdfunding campaign pitch.
Don’t give these people money until they have a product. Promises and hype are nothing. Shame on the people who continue to abuse the Atari name for continuing to string gullible fans along with so little evidence of any actual work happening toward delivering on the vision they pitched over 2 years ago.
Meanwhile, in the real world, Collectorvision’s Phoenix console is shipping in October, and was announced after Atari first announced the AtariBox concept. The Phoenix not only plays ColecoVision games through a cartridge slot, it also has an FPGA core to play Atari 2600 cartridges as well. It’s not trying to be a next-gen console or a brand reboot for a dead company, but it exists, it works, it plays classic games with incredible fidelity to the original hardware, and I’ve touched one.
Atari made another announcement about their upcoming console, formerly known as the AtariBox, today. They are now taking pre-orders, through their website, as well as GameStop and Wal-Mart, and expect to be shipping orders in early 2020.
I went to Atari’s website, AtariVCS.com, to see what other information I might find about upcoming game titles, and found… no further information.
Well, nothing beyond what they’ve already announced months ago, about making old classics available through the “Atari Vault”. Which, given the existence of 9 previous generations of Atari Flashback consoles, which have sold for less than a third of what the Atari VCS will sell for, doesn’t make me feel too excited. The “Atari Vault”, which seems to echo Disney’s marketing with the “Disney Vault” of old re-releases that they would only put out once in a while, to ensure demand for them when they did, isn’t really an apt metaphor, considering that Atari IP has constantly been repackaged and made available with every generation of new hardware, from the NES to Now. This is simply the latest such repackaging.
Atari have a section of their site devoted to game developers, with an email link for interested developers to contact Atari for more information about developing for the system.
I make games, so I tried sending an email to their address, firstname.lastname@example.org. The email bounced.
Not a great sign. Even if there are developers interested in working with Atari on games for the new system, they can’t contact them, because their email server isn’t configured correctly.
Something tells me that if they can’t even be bothered to verify that their mail server is working before they launch their website, they aren’t exactly doing the best job with running the company.
It may be that this is simple incompetence on the part of whoever set up the site and didn’t bother to test critical functionality, and this will be corrected quickly. Or it may be that they didn’t bother setting up their email server correctly because they don’t have a product, or are so far behind in having a product ready that they’re not really able to field inquiries from would-be developers.
It’d be rather surprising if this were true; it’s one thing to scam backers on Indiegogo, but GameStop and Wal Mart would certainly file expensive lawsuits if Atari failed to come through with a product, wouldn’t they? One would expect so. But I think unless Wal Mart and GameStop actually advance any money to Atari, they wouldn’t have any reason to do so. Pre-orders don’t always mean that the product gets released after all, and retailers don’t have any control over that. Products often get canceled and delayed, and it’s almost a routine thing these days. Being partnered with two major retailers really doesn’t mean anything for Atari’s credibility. If Atari did end up failing to deliver and canceled the new Atari VCS console, GameStop and Wal-Mart already have returns departments that would reimburse customers. Meanwhile, they can sit on the money and allow it to collect interest from now until release day.
As usual, until Atari does more than show digital renderings of the case and controllers, and actually show working hardware, and announce a game lineup that is more than just repackaged old content, there’s no reason to recommend anyone buy this console. While I’d love to see the Atari of Old return and become a vibrant and relevant force in the industry again, the Atari of Today isn’t that company, and hasn’t yet shown the world anything to get excited about yet, a few pictures notwithstanding. I’m still skeptical that Atari is capable of successfully launching a new console in 2020.
To have any hope of being successful, Atari needs to bring exclusive new games that provide a compelling, refreshing vision of what their original intellectual property could have become if it had continued to be developed and evolve from the 1970s to the present day.
Their one title that they announced when they first pitched the AtariBox concept to crowdfunders about a year ago, Tetris 4K, was released last year — on other consoles. Consoles that actually exist. No other titles have been mentioned. Atari only makes vague statements about “talking with developers about some exciting things” and that they “can’t reveal more information at this time.” That’s hardly confidence-inspiring.
So, Atari, where are the developers? Where are the games?
From what Atari have been able to tell us about the upcoming hardware, it is a generic AMD x64/Linux machine with their branding and front-end, and will run games that run on standard Linux. Which means, a pretty big library, potentially, right out of the starting gate, but also means little reason to expect any games released for the Atari VCS will be exclusives that would draw gamers to buy the hardware. And why own an AtariBox if you can buy the same games for the conole(s) you already own?
This isn’t the first time I’ve heard of an old computer system being hacked in such a way that its program doesn’t use any RAM. Several years ago, I saw a talk by someone who had done something similar on the Commodore 64. They eschewed storing any data in RAM by using the CPU registers and directly accessing other hardware components such as the controller ports, and were able to make a working program that used no RAM at all.
It’s truly amazing what can be done under such constraints.
I think, in appreciating the accomplishment of projects like this, it’s easier to understand my relative “disappointment” in learning that Champ Games had used a 32-bit, 70MHz ARM CPU in their Galaga cartridge to augment the VCS system, rather than figured out some way to get the game to run on stock (or minimally extended, as some later contemporary releases for the VCS were) hardware.
I regret that it sounded as though I thought that the game itself was disappointing — far from it, it’s amazing, easily one of the best ports of an arcade game to the platform that’s ever been produced. And the technical accomplishment of getting the ARM CPU to mesh with the much slower Atari hardware is likewise amazing, in a different way. But knowing what’s possible to do with zero RAM, for a moment I thought that just maybe someone had figured out a way to squeeze all that performance and graphics into a standard Atari cartridge.
But really, there’s no reason to judge one of these projects as superior to the other. They should both be appreciated. One accomplishes something through extreme minimalism, and is beautiful in that way. The other accomplishes something through an extraordinary joining of old and new technology, and is beautiful in its own right.
Atari announced updated designs for their joystick and gamepad peripherals for the AtariBox (now called the Atari VCS) today. Allegedly, these are about to go into production soon, but are still subject to change and are not final.
I have to admit, I do like the design of the joystick, and wouldn’t mind owning one if they ever do get manufactured, assuming they will work with generic PC systems and aren’t tied exclusively to the AtariBox console.
One neat thing about the joystick that they revealed is that the stick will rotate, enabling play of paddle type Atari games. This answers a long standing question I’d had about whether/how the new system might support paddle games. I don’t know that this will feel as good as the old-school paddled did in their day, but it’s good that they’re at least supporting them. As well, it means that spinning stick arcade games, like the Ikari Warriors series of top-down run-n-gun games, might be decent to play with a stick like this.
The joystick will also have rumble and LED lighting features. Wireless, it will be powered by lithium ion battery, with a life of about 15 hours per charge. No word on how easily replaced the battery pack will be, or if replacement batteries will be available. I wouldn’t count on it, although of course it should be possible to hack them and replace with any third party battery of the correct spec, which is what I imagine owners will have to do once these things are a few years old and no longer can hold a charge.
The gamepad, I’m less interested in, as it seems less special, not different enough from an XBox gamepad to be worth buying. Since Xbox gamepads are already very good, the AtariBox gamepad would need to outshine it in some way to be worth my attention. I haven’t seen any indication that it might.
If these start shipping, and the initial reviews are good, I’d order a pair, but I’m still wary enough about the reputation for the current company using Atari trademark that I don’t want to go in on a preorder.
I have seen some of Champ’s other Atari 2600 homebrew projects, and they’re very impressive. They did a version of Scramble which is virtually indistinguisable from the arcade, which is an incredibly impressive accomplishment on hardware as limited as the Atari 2600.
Galaga is a classic arcade game, one of the most successful of its era, and can still be found in bars and arcades all over. It was one of my favorite arcade games as a kid, and I’ll still drop a quarter in one when I find one and have some time to kill.
I owned the Atari 7800 port of Galaga, and was glad I could play a version of it at home, even if it wasn’t quite exactly the same experience as playing the arcade version. What Champ has come up with, from what I can see in their video, it appears it feels closer to the arcade than the 7800 port, although the graphics are slightly inferior to the 7800 version.
Here’s a preview video showing the game in action and talking about some of the technical details:
As a Galaga fan, I really want a copy. As a game developer, I’m impressed with the effort and execution it takes to get a game looking and playing this good on such limited hardware. It simply shouldn’t be possible on an Atari VCS, which only has 5 hardware sprites plus backgrounds, and nowhere near enough CPU or memory to handle all the complex movement that is required to accurately re-create a Galaga experience.
How do they do it? Well, I asked them. And they were nice enough to answer: they build a cartridge with an ARM CPU in it, and it augments the Atari’s built-in hardware, and this is how they’re able to create games that are vastly superior to what should normally be possible with the 2600 console alone.
My response to this was disappointment, and I said as much. But I think it came off the wrong way and more than one person jumped on me for saying something negative about what is otherwise an exciting project for fans of the Atari and of Galaga. No one was particularly brutal toward me, but the creators behind the project were a bit nicer than their fans, and engaged with me and we had an interesting conversation on the philosophy of homebrew, and how their technology works. I want to thank them for that, and for creating such great games for the Atari 2600 in 2019, and keeping the system alive more than 40 years after it launched. I have a copy of Scramble and am really looking forward to playing Galaga and Zookeeper (another favorite classic arcade game) when they’re ready.
So, first things first, from a gamer’s standpoint, the only thing that truly matters is the game experience itself. It doesn’t matter what technology is inside of it, or how amazing, complicated, or messy the engineering is. The only thing that matters is the experience you have when you play the game. If it’s fun, if it’s polished, it’s a good game. End of story. And that’s exactly why I’m excited about buying a copy of this when it’s ready for release.
Now, as to my disappointment. At first I thought I was seeing something impossible, and I was really keen to hear how they had managed it. The solution of adding an ARM to the system architecture of the VCS is fine, nothing wrong with it. But it’s not amazing. My disappointment was from the vantage point of the programmer, who was mind-boggled at how this team had managed to get so much performance out of a 6507 CPU backed by 128 bytes of RAM. Well, they didn’t. They bolted on a 70 MHz ARM CPU, and got it to talk to the rest of the system, and while that also requires some neat engineering, it’s not magical in the way that somehow figuring out how to get 3x Zilog Z80’s worth of performance (which is what powered the original arcade Galaga machines) out of a MOS 6507.
That’s really all I meant by what I said. I don’t consider it “cheating” to augment the console hardware by packing in additional chips on the ROM cartridge circuit board. This was done back in the day, and was very necessary in order to extend the life of the Atari. All cartridge-based consoles that had a market life of more than a few years needed to use such tricks in order to keep their hardware competitive and relevant as computer technology doubled in speed every year.
The only real difference is that these augmentations were done using chips that were comparable (or at least within 1 generation) of the capability of the original hardware. They truly did augment the system. Whereas, with a 32-bit ARM CPU, you really could build a system around that chip alone, and do more than you could by interfacing it to a 40-year old Atari system architecture that forces it to slow down and work within the constraints of its design. I mean, with a 70MHz 32-bit ARM CPU, it should be possible to do an arcade-perfect emulation of the original arcade hardware, or if not then to certainly come much closer to that than what you can get by running the I/O and video drawing through an Atari VCS. So, rather than the ARM augmenting the Atari, the Atari is kindof bringing down the ARM. This doesn’t matter if you’re nostalgic for the Atari and like the feel of a CX40 joystick in your hands and the crude graphical style just barely possible with the 6507-driven TIA. If you don’t know or don’t care about the engineering, it just looks and feels like the best damn Galaga port you could imagine, running on an Atari 2600, and actually quite a bit better looking than anything you would have thought possible if you did know the system’s capabilities.
But really, it’s almost all due to the ARM chip’s capabilities, which are many times the power of the rest of the system.
I suppose one could take an Atari 2600 controller, put a wifi chip in it, and have it interface with Google’s Stadia console-in-the-cloud, and run Assassin’s Creed, downsampled and graphically degraded, through the Atari, as well. And… actually hell yes, that would be cool as fuck. I want to buy that too. But it’s a different kind of cool to hook an Atari up to a cloud supercomputer platform than it would be to somehow squeeze Assassin’s Creed into 4 KB of ROM, if that were even possible.
If he had somehow teleported the Statue of Liberty, and then brought it back, or if he had somehow made the Statue of Liberty disappear, how awesome would that have been? Whether by real “magic” or by some super-advanced technology that no one else had yet heard of, that would have been beyond amazing. It would have changed the world we lived in, in untold ways. But it didn’t. He just set up some elaborate rotating stage, hid everything behind curtains for over an hour while everything was being moved into position.
Eight year old me was captivated by the idea of a giant statue disappearing and reappearing, whether through magical or advanced technological means. A couple years later, though, I was old enough to realize it wasn’t “real” magic, and that it was some kind of “cheap” trick (well, relative to the cost of really doing it, anyway), and wasn’t as impressive as I had thought, and as a kid you really hate being lied to, you hate being fooled. It makes you feel embarrassed and dumb, and you want to hide the fact that you ever thought it was cool.
So for a long time after that, I kindof had this grudge against David Copperfield, and stage magic, and whenever I’d see someone pulling off some sleight of hand or optical illusion trick, I’d get annoyed and impatiently insist that magic is bullshit, and refuse to be impressed by it, because I wasn’t some fool. For maybe a year or two, I had believed that we were on the cusp of a Star Trek-promised future, with instant teleportation, or at least invisibility shields. That would have been so cool. But no, we didn’t get that.
Well, now that I’m 43, I’m back to being impressed at how convincing an optical illusion David Copperfield could create with just some lights, scaffolding, cranes, and a rotating stage that moved slowly and gently enough that an entire audience didn’t notice they were moving. Even if the entire trick required the cameras filming it to be positioned just right. That still took some serious engineering effort, and even for as limited as the result was as compared to true invisibility or teleportation, when you realize all the work and planning that had to go into it, that’s still pretty damn impressive — just in a different direction completely than I had been (mis)lead in the first place.
So this is what I meant by “disappointed” when I found out that Champ Games puts an ARM CPU in a cartridge and through some impressive engineering hacks gets it to talk in sync with the console and run a game that blows most other Atari 2600 cartridges away. Sure, the game is impressive and it’s certainly going to be fun to play. On the other hand, a ARM CPU is in a different “weight class” from a typical ROM cartridge with perhaps a little extra RAM or a sound chip soldered onto the board. This isn’t to take anything away from the experience of the game, or the technical wizardry required to build it.
But it’s a bit like putting a 1000cc engine into a go kart and then winning a go kart race with it against a bunch of stock go karts. It’s still a pretty cool project to put a 1000cc engine in a go kart, but when you find out that’s why that kart was so much faster than the others, it’s hard not to be a little disappointed that the secret wasn’t some method of suping up a 50cc lawnmower engine to get the performance of the 1000cc engine. And then you realize that the chassis of the go kart really limits how much performance you can actually get out of that 1000cc engine, compared to something engineered to get the most out of it, like, say a state of the art motorcycle chassis, transmission, wheels, etc. And then the super kart seems, well, it seems pretty fun still, but kinda wasteful of the potential of that engine.
When it comes to chip enhanced ROM cartridges, I think it’s fair to say that, at least from an engineering standpoint, once you get to the point where the enhancement hardware is not only more capable than the console itself, but is actually held back by the restrictions imposed by having to interface with the console, such that you’re exceeding the console’s limits, but not able to push the expansion hardware anywhere close to its limits, you’re at a cutoff point. While it’s entirely possible to create an awesome game experience this way, you’re really at a point where you’re well beyond the capabilities of the console, and the console is holding you back. At that point, you might as well engineer a new system.
The only practical reason not to engineer a new system would be if the existing install base for the obsolete console is still a viable market; the work it takes to establish such an install base with a next-generation system is considerable. But this is a business consideration, not an engineering consideration. And business considerations aren’t less legitimate than engineering considerations, but obviously businesses do at some point make the decision to roll out a new generation of console hardware. Which is why we’ve had several of those in the intervening 40 years.
And of course, there’s nothing wrong with doing it “just to do it”, in the way mountaineers climb the tallest mountain they can find “because it’s there”.
Update: ROMs for Galaga are now available for download.
Yeah, they’re still at it. After about a year of relative silence from the VCS project, the other day they made a Big Announcement, which is that they are delaying the project to late 2019.
Surprise! No, not really. Everyone pretty much called this before they finished their initial round of crowdfunding.
But, so as to be able to spin this delay as a positive thing, they are changing the hardware specs to a more powerful system. Still not world beating hardware by any means, not that it ever needed to be. And more is always better, I guess. But I don’t think the actual hardware is all that relevant to this product. Really, it’s just taking a commodity small form factor AMD64 architecture system, and putting it in a nice looking case that evokes the classic, original Atari VCS. Basically, Atari can place an order with AMD to produce the boards and chips, and install them in custom designed cases that they can pay an injection mold company to manufacture, and pay someone else to assemble them.
Atari’s real job is to focus on the software, the operating system, user environment, and the games. Especially the games. And their announcement was, again, suspiciously silent on these topics.
We know the OS will be a linux distribution, with some kind of customized desktop environment designed to provide a good user experience as a game console.
We know that they will include some emulator(s) to enable playing of classic Atari-era games. We know that there are already dozens of platforms that already do this, so while it’s nice, and to be expected, it doesn’t seem to me that this is a compelling reason for anyone to buy an Atari VCS. Atari Classics have been repackaged and resold on every platform for decades, since the NES and Game Boy. While keeping these games around and still available is great, if you already have them on an older system, Atari have to do something extra-special to make them compelling to consumers to make them want to buy them again, like online leaderboards, social media integration, video streaming integration, something. And we’ve heard nothing about it for about two years since they made their crowdfunding goal.
We know that Atari wants to provide modern reinterpretations of classic Atari games. Apart from Tempest 4K, we haven’t heard anything. And Tempest 4K is already out, and has been for about a year now, on the PlayStation 4 and other platforms. Non-exclusive updated classics will not move units. Why would anyone spend $300 on yet another console when they can just buy the game for a console they already own?
We also know they’re supposed to be shipping modern reinterpretations of the classic Atari CX40 joystick, a modern-looking gamepad with Atari aesthetics, and (one would hope, but I have yet to see anything about this) some kind of paddle controller, but there’s been no mention of these either.
So, another year has gone by, and Atari just announces that they’re revising the hardware specs, before they even got the original hardware specs out the door. And we still have no idea what’s going to run on this system, beyond vague “It will run Linux” and barely anything, really next to nothing, about the actual games. Which is the whole reason anyone buys a game console, to play the games.
This is sad, and exactly what I expected from the beginning.
I would have really enjoyed a resurgent Atari with new games based on classic IPs, too.
The Atari VCS was not known for its audio capabilities, yet it had a distinctive sound all its own, thanks to the chip known as the TIA, or Television Interface Adaptor. The sounds it was capable of making were pretty primitive, and mostly harsh. Buzzes, rumbles, and static dominate its sound palette, adequate for crudely simulating the sound of explosions, gunshots, running machinery, and things like wind and crashing waves. It was capable of making some bleeps and pew-pew laser sounds, too.
The majority of the games released for the Atari 2600 did not have proper background music. BGM didn’t come into its own until Nintendo released the NES in the US, about 8 years later. Most games were so limited in their ROM size that they simply could not include proper background music, although many games included at least a short looping audio background, or introductory music. Later cartridges sometimes overcame these limitations by including additional sound chips, such as the POKEY sound chip.
Pitfall II: Lost Caverns
Perhaps the best audio of any Atari 2600 game, and certainly the best at the time of its release. Pitfall II contained a full soundtrack, with dynamic changes to the background music, which changed in response to in-game events such as finding a treasure or touching an enemy. This was a true innovation and seemed years ahead of its time.
Music is a key mechanic in this early platform adventure game. During the search for the Flame Spirit — a mostly-invisible, flickering entity that you must find in order to appease the Skull Spirit who guards the Crown that is the object of your quest — a musical score plays, and its volume is a key to finding the Flame Spirit. The song gets louder as you get closer to it.
Later, when you obtain the crown, a chiptune arrangement of Grieg’s In the Hall of the Mountain King plays, which creates tension and excitement as you now have to race to the top of the mountain with the Crown.
Moon Patrol featured a full background music track, one of the earliest games to do so.
Has a background music track.
Contained a musical interlude between levels that was based on the bass line from the band’s hit single, Don’t Stop Believing.
Features musical interludes between levels and during certain game events. The musical pieces are digital arrangements of classical music pieces.
Another game which had one of the earliest background music tracks. The music responds to the events in-game, in a few ways: if you stop moving, the music will sortof pause and play a somewhat annoying tone that is intended to get you to move again; if you die, the music interrupts and plays a death music; when the level is down to the last enemy, the music speeds up. The Atari 2600 port does a reasonably good job of re-creating the music on the Atari’s much more limited audio hardware.
Raiders of the Lost Ark
Adapted the theme music by John Williams from the movie.
E.T.: The Extra-Terrestrial
The title screen features a tune adapted from the movie theme.
The song Popeye the Sailor Man is played when you grab the spinach power-up, and signifies the length of time that the power-up is in effect, giving you the strength to beat Bluto.
JS Bach’s Tocatta and Fugue in D Minor made this arcade tunnel shooter especially memorable. The Atari 2600 port adapts this music for the more-limited console hardware, but does a surprisingly good job with it, considering these limitations.
A musical introduction kicks off the game.
An adaptation of the Kingsmen’s Louie, Louie is featured on the title screen and throughout the game.
Frogger uses 3 or 4 different tunes for its background music, and they are catchy.
Star Wars: The Empire Strikes Back
If you avoid getting hit for a length of time, the Star Wars theme music plays, signifying that the Force is with you, and that you are temporarily invulnerable.
Stargate uses audio for cues to alert the player of off-screen actions. When a Lander (enemy) captures a human, a “yelping” sound is heard to alert the player that they are in need of rescue. The player can use the radar scope at the top of the screen to spot the Lander who has a human, and fly to their location to attempt the rescue. If the player is nearby the Stargate and flies into it, they will be teleported to the location of a human in danger, if there is one.
Star Trek: Strategic Operations Simulator
ST:SOS plays a few notes that will be familiar to viewers of the TV series.
Yar’s Revenge doesn’t feature a background music track, but does have a throbbing, pulsating hum, and a great explosion sound effect, both of which contribute significantly to the mood.
Adventure is commonly regarded as one of the best games on the Atari 2600, and is certainly a top original title for the console. Out of all the games released for the system, this one stands out as being the one that best represents what was unique to the system.
A great introduction
It’s also a fantastic example of game design, with a built-in tutorial. Super Mario Bros has been recognized as having an excellent introductory level for teaching the fundamental concepts of the game, but Adventure did this just as well a good five+ years earlier, with game variation 1. Intended to be an easy difficulty version of the game, suitable for young children, it also works as a way to introduce the gameplay basics to new players of any age.
In Game 1, you start out in front of the Gold Castle, right in front of the gate.
This communicates to the player that this is your home base. The castle is locked, but the Gold Key is conveniently right there on the screen. Since the key and the castle are the same color, this communicates a strong clue that the key must unlock the castle. Since there’s an item in the starting room, and that item is usable in that very room, every basic element of the game is present on the first screen, so the player has the opportunity to learn the game immediately, before they start wandering and get lost.
If the player grabs the key and opens the castle, very likely they will enter inside, where they will find the Sword. The player may drop the Key by pressing the button, but more likely will run to the Sword and pick it up, and in so doing discover that picking up one item drops an already-held item. Either way, the player learns an important aspect of the core mechanic of the game, carrying an item.
This rewards the player for exploring, and for solving a simple puzzle with one of the objects found in the Adventure world.
If the player doesn’t enter the castle, regardless of which direction they explore, they will run into one of the two dragons: left, and they will encounter the Yellow dragon, and right, they will run into the Green dragon.
Without the sword, either encounter forces the player to run away, or be eaten — unless the player is carrying the Gold Key, in which case the Yellow dragon will flee from him.
Whichever is the case, something unique and different happens — thus demonstrating to the player that the inventory of items found in the game each change the game in distinct ways.
This is enough to encourage the player to experiment with each item they find in the game, in order to discover all the possibilities. But some of the most interesting special item properties in the game are introduced right away.
If the player has the sword, what happens will depend on the difficulty switch position, and the orientation that the sword is held.
If the right difficulty switch is set to A, dragons will flee from the Sword. If set to B, the dragons attack the player fearlessly.
If the player is positioned such that the sword is between him and the dragon, the outcome is almost certain victory for the player as the charging dragon runs straight into the sword and dies. Thus, the game teaches the player how to kill dragons in a basic, direct way.
Otherwise, the combat can get exciting, as the player must dodge and move to touch the dragon with the Sword.
It’s also possible that the first-time player may press the fire button, thinking this is necessary to use the sword for attack; if so, they will discover that the button serves only to drop the currently held item, and now they will be defenseless! They may need to run away, or dodge around the dragon, and in so doing, may discover that the sword can kill dragons with a touch, regardless of whether the sword is in the player’s hand or not.
In other variations, roaming dragons can and will often randomly encounter the player, coming at him from any angle, and this is good practice for such situations.
Again, the game design subtly hints the player toward the more exciting combat — the Sword sprite is always positioned with the hilt to the left, blade to the right. Despite the fact that the player can pick up the Sword (or any of the items) from any direction, most new players will instinctively grab the sword by the hilt-end, which will put the player in front of the sword when they encounter either dragon, making for a more challenging and more interesting combat.
If the right Difficulty switch is set to A, dragons flee from the Sword. Otherwise, they will directly charge the player. If the player is carrying the sword on the side the dragon approaches from, the combat is usually over quickly, as the dragon impales itself on the sword, and is slain.
But if the dragon flees, the player will have a much harder time slaying it — it will take a bit of luck for the player to enter the room positioned in such a way to have a chance at reaching the dragon with the Sword before it runs away. It’s very difficult to do this. One tactic that is effective is to walk near the edge of the screen, such that the Sword is actually off the edge of the screen, then wait for the dragon to approach near, and then attack.
If the player encounters the Green dragon, they will find the Black Key, which the dragon guards. The dragon guards the key, which is positioned on the left side of the screen, so will always charge the player from the left when the player enters the room from the top of the screen.
If the player runs away, the Green dragon will not give chase, as it is programmed to guard the black key, and will stay on the same screen as the key. This gives the player the ability to flee and return to the room repeatedly, and try several approaches to dealing with the dragon.
If the player grabs the Black key before running off, he will be pursued by the dragon.
If the player encounters the Yellow dragon first, the dragon will chase the player from screen to screen, as the dragon does not have an item to guard. But if the player happens to be carrying the Gold Key, this will scare the Yellow dragon off. If the player has entered the castle and grabbed the Sword, the Yellow dragon will approach the player at a slow, deliberate pace, and attempt to eat the Player. If the player is grabbing the sword by its “hilt” side, the player will be to the left of the sword, and this will cause the dragon to trigger its bite attack before it runs into the sword and becomes slain. Thus, the player will learn a) how the dragon moves and attacks, b) that the dragon is temporarily invincible while it in its bite attack mode, but also temporarily fixed in place, and c) that the dragon is dispatched by the Sword by touching it.
If the player is grabbing the sword from its right side, he may slay the dragon directly, without triggering its attack; in this way the player discovers that the sword is lethal regardless of its orientation. Later, the player may discover that the sword is always lethal to dragons, even if it is not in the player’s hand! This is perhaps surprising, but it is highly useful knowledge once discovered, as the player may run around the sword while carrying another object, and lure a pursuing dragon to run into the sword, killing itself.
Once both dragons are dead, the game is easily winnable. The player simply has to take the Black Key to the Black Castle, unlock it, retrieve the Chalice, and bring it back to the Gold Castle, and the game is over.
In order to do that, however, the player must first solve the blue labyrinth. The labyrinth is illogical — it is comprised of 6 screens of interlocking passages which cannot be mapped onto a Euclidean plane.
When you try, certain pathways overlap others, creating a bizarre, confusing maze. The maze is actually fairly easy to traverse, but how the different screens connect to each other don’t quite make sense — space here is warped, somehow.
There are several pathways through the labyrinth, but only one will take you to the Black Castle; the rest all reach dead ends.
However, due to the placement of the Bridge, there’s a second possible way through the labyrinth. In the first room of the Blue Labyrinth, there are four branching paths: left is the true path through the Labyrinth; right is the secret Bridge shortcut, and the middle two paths loop around to connect to each other, returning the player to the start of the maze.
So, regardless of the direction chosen by the Player, they’ll either a) quickly loop back to the start of the labyrinth, where they can start over without a lot of frustration or risk of getting hopelessly lost, b) go left and make their way through the labyrinth to discover the Black Castle, or c) go right and discover the Bridge shortcut, and a shorter path through the Labyrinth to the Black Castle.
This again shows good design, by demonstrating to the player a) how the Bridge functions, and b) a reward that shows how the Bridge can provide an advantage to the Player, thus demonstrating its value. It’s likely that the player will inadvertently touch the Bridge as they pass over the wall, and thus discover that the Bridge may be picked up like any other object, and that its portability makes it even more useful.
When the Player discovers the Black Castle, they’ll probably know immediately what the Black Key is for, and if they don’t have it with them, will know from their experience in the first screen that they will need to go back to retrieve the Black Key in order to proceed. If the player has yet to encounter the black key, their previous experience with the Gold Castle will have taught them that this Castle must also have a Key that will open its gate, found somewhere.
Upon unlocking the Black Castle, the Player enters into a room where they discover the Magnet. It’s common for players to drop the key upon entering the castle, perhaps in order to retreat and grab the Sword, which they may have also brought with them, just in case there is another dragon to fight — and if they do drop the key, they’ll immediately discover what the Magnet does: attract other objects.
The Player may pick up the Magnet and interact with it, dragging it around as it slowly attracts the key to follow it about the room. This invites the Player to see what else the Magnet will attract. (It works on all the other items in the game, but not the dragons or the Bat.)
When the player proceeds to the last room of the Black Castle, they’ll find the Chalice. From here, all they need to do is bring it back to the Gold Castle, and they win the game. There’s nothing in the game to tell the player that they need to do this, but it is provided in the written instructions pamphlet that comes with the game.
Otherwise, the purpose and use of the Chalice is mysterious. The Chalice is unlike the other items in the game, in that its color flashes and shimmers. This makes the Chalice stand out as a special object, and probably more likely for the player to pick it up, even if they skipped reading the instructions and don’t know what to do with it. Since it flashes a golden color, that may be enough of a clue to the player that they should bring it to the Gold Castle, as they did with the Gold Key.
Once the player knows what to do, they can complete Game 1 in a minute or less. Even without knowing what to do, it’s likely that a first time player can complete the quest in just a few minutes.
The tightness and self-teaching design of Game 1 of Adventure is nothing short of impressive. Considering how early this game came out in the life of the system, the degree of refinement present in the level design is amazing. As obvious and intuitive as the placement of the objects and dragons is, we must recognize that these were the result of deliberate design choices, and that any other arrangement would have made the introductory level of the game less inviting, less intuitive, and less fun.
Game Variations 2 and 3 introduce the player to a larger world, with a third castle (White), and two Catacombs (in the Black Castle, and en route to the White Castle). The White Castle itself adds another Maze, and in total the world has about doubled in size.
The Epic Quest
Game 2 is the canonical full Adventure experience. You have to visit every castle and use every item in order to complete the quest. This game introduces the Bat, which appears on the start screen, and swipes the Sword which appears where the Gold Key was in Game 1.
The timing here is tight enough that it must have been deliberate — try as you might, there’s no way to beat the Bat to the Sword. It will get there just barely ahead of you no matter how fast you can get there.
Another thing about this introductory encounter: the Bat continues in a straight line, continuing to wrap from bottom to top of the screen in an endless cycle, which lasts until the Player either leaves the room, or touches the Bat or the Sword.
Because the Player has learned the value of the Sword, very likely they will try to grab it and fight the Bat for control of it. The screen wrapping behavior of this initial encounter invites and practically guarantees that this will happen. The Bat is programmed to win these contests, thwarting and frustrating the player.
This teaches the player everything they need to know about the Bat, immediately: the Bat steals the item you need.
Best case, you can grab the Bat, and carry it with the sword until the Bat either drops the sword, or picks up another item. If the player does manage to grab the Bat, capturing it, sometimes it can struggle free, often at the wrong time.
Going to the right, where in Game 1 you found the Green dragon guarding the Black Key, you’ll encounter the Catacombs that lead to the White Castle. In the Catacombs, you’ll find the Yellow Key, the Bridge, and in the room South of the White Castle, the Magnet. The Green Dragon is wandering nearby, and will likely encounter the Player in a situation where the Bat has dropped the Sword, and picked up one of the other items.
If you’re lucky, you may dispatch the Green Dragon in the catacombs without much trouble, but it’s just as likely that you’ll get stuck in the catacombs without the Sword, which is very dangerous — especially prior to learning how to navigate the catacombs. If you can, kill the Green Dragon as quickly as possible, but if you lose the sword, try to grab the Gold Key and run for it so you can at least get the Gold Castle open. The Green Dragon will always guard the Magnet or the Black Key, so you can use the Magnet to “trade” for the Gold Key so he’ll ignore you while you run to the Gold Castle and unlock it.
The White key is found in the Blue Labyrinth along the path to the Black Castle, and inside the White Castle is the Yellow Dragon, and the Black Key. If you’re new to Game 2, you’ll probably head up the familiar path to the Black Castle, and discover the White Key here.
You’ll need to run with the White Key to unlock the White Castle, then come back with the Sword so that you can face the Yellow Dragon and slay it. If you can, once you open the Gold Castle, go back and grab the other items in the game and bring them to the Gold Castle. The Bat does not enter the Gold Castle ordinarily (he will only be found there if you grab him and drag him there yourself) so anything you store in the Gold Castle is generally safe from the Bat randomly picking it up and moving it somewhere.
If you can, put the Sword in the Gold castle for safekeeping, and then go unlock the White Castle, run back to retrieve the Sword, and return to the White Castle and slay the Yellow Dragon. The White Castle’s maze is divided into two interlocking sections. To get to where the Black Key is, you’ll need the Bridge.
Once you have the Black key, you’re ready to take on the final challenge. Take the key to unlock the castle, then return to the White Castle and grab the Sword, and return to the Black castle. You’re about to face the Red Dragon, who is the fastest and fiercest of them all. He guards the Chalice in the catacombs of the Black Castle. All you have to do is kill him and take the Chalice. Fighting this dragon in the tight confines of the catacomb is tricky, but not too difficult. Just keep the Sword between you and the Dragon.
Once the Dragon is defeated, there’s nothing left to threaten you; run back to the Gold Castle with the Chalice and win the game.
The way this variation is laid out guarantees the player will take the longest path through the game, and experience all of it. It’s well designed from that standpoint. The Bat’s mischief can greatly lengthen the time taken to complete this quest. It’s very common for the Bat to grab the item you need right when you are about to use it, and leave you with something you don’t need, or even bring a live Dragon to eat you! If you’re accustomed to the layout of Game 1, you’ll probably spend a lot of time exploring the Blue Labyrinth, where you’ll find nothing of value, only dead ends. But by exploring the new catacombs area, you’ll quickly find most of the items in the game, and it’s just the chance interactions with the Bat, and the risk of being caught without the Sword when a Dragon draws near that can lengthen the game.
The randomness of the Bat makes Game 2 somewhat different each time you play, but the initial position of the items is always the same, and the order in which you must unlock the castles always is the same. So playing this variant repeatedly doesn’t offer a lot of replay value. Even so, the random element introduced by the Bat still gives this variation a decent amount of replayability.
The Random Remix
Game 3 randomizes the starting position of every item in the game. There are a few constraints, of course: no key can be locked in its own castle (although, there is a bug, by which the Gold key can sometimes start out locked in the Gold Castle, rendering the game unwinnable), the Chalice never can start in the Gold Castle, but otherwise everything is random. It can happen that you start out getting attacked by all three Dragons immediately, with no Sword in sight to save you. You’ll have to explore everywhere and anywhere to find the Chalice, and the items needed to get to it.
This is my favorite variation of the game. It’s the most replayable, because every time you play you’ll have to figure out where things are and which ones are needed in order to unlock the Gold Castle and retrieve the Chalice — the only two things in the game that you must do to win. Everything else is optional. And due to that fact, it’s often possible to complete the quest more quickly than is possible in Game 2.
Once the Dragons are killed, the Player is safe. This frees him to explore the game and experiment. The Bat can get annoying, but it’s fairly easy to grab it, run to one of the castles, and lock it inside.
At this point, Adventure becomes a sandbox game. You can play around with the items and figure out all kinds of things to do with them. Mainly this means playing around with the Bridge and Magnet. The Bridge may be placed at various walls, and you can even try to use it to cross the boundary of a room that is normally blocked by a solid wall. This sort of, almost works — you can see into an adjacent room this way, but not quite enter into it.
It’s an interesting discovery that you can carry the Bat into a castle, run out quickly, locking the gate behind you, and never have to see the Bat again. The insight that characters can’t exit a locked castle may be learned by the fact that in Game 2, the Yellow Dragon never appears in the game until you unlock the White Castle. Since that is the case, the Yellow Dragon must have been confined in the White Castle. Might this work with the Bat also? It does!
It’s interesting that the designer took the time to make the castle gates both open and close. It would have been simpler and easier to make the key-open event a one-time thing, and for the gate to remain forever after open. But doing this would have made the keys one-time use items, with no further purpose once used. Being able to control the gates and lock things in castles makes the game more interesting, by giving the player an additional way to interact with and control the game world.
It’s also possible to gain this insight by locking a Key in its own Castle. It’s possible! To do this, you need to touch the open castle gate with your Key, which causes the gate to lower. If you drop the key in the doorway, as the gate lowers, the Key will disappear, apparently into the castle. Now behind the locked gate, the key and anything else inside that castle is forever locked, inaccessible to the player evermore. (This can render the game unwinnable.)
Experimentation is at the heart of what makes Adventure special.
Eventually, through much trial and error, but more likely through reading about it or being shown by someone who knows, you may discover the famous Easter Egg, the hidden room with the Dot, which is used to access a secret room where the author’s name is hidden.
Items with purpose
One of the great aspects of Adventure is how full of purpose every item and character in the game is. The items in the game give the player the capability to do anything they might need to do, and give the game’s design a sense of completeness. There’s nothing missing, and nothing obvious to add.
Keys unlock Castles, and there is one key per Castle. They give the player something to find and something to do in order to access parts of the map that are locked when the game begins. They give the Dragons something to guard (or flee): The Yellow dragon runs from the Gold key; the Green dragon guards the Black key, and the Red dragon will guard the White key.
The Dragons exist to create danger and tension for the player, something to dread, to fear, to overcome, and defeat. They make Adventure be a game about more than simply exploring.
The Bat exists to give the game randomness that makes the game world feel “alive” as the Bat randomly moves items around the world, which would otherwise only move if the Player moved them. The Bat is a mischievous and frustrating enemy, who cannot be killed, but may be dealt with by locking it in a castle. The Bat makes the Dragons more dangerous while they’re alive, since it can take the Sword or bring a Dragon at an inopportune time. But the Bat’s randomness also means that it can sometimes aid the player, by taking a threatening Dragon away, or dropping a needed item that the player had trouble finding. This redeems the frustrating aspect of the Bat, to a degree, and makes it an entertaining character.
The Sword gives the player a way to defeat the dragons.
The Magnet gives the player a way to grab items that are stuck in walls, or otherwise inaccessible, making it much less likely that the player will get stuck in an unwinnable situation due to a trapped object that they cannot reach.
The Bridge serves a similar purpose to the Magnet, in that the Bridge can enable to Player to get around dead Dragons that may block narrow paths. But the Bridge also has several specific purposes: A) To enable a short-cut to the Black Castle by Bridging over the dead-end of the right branch of the Blue Labyrinth; B) access the inner chamber of the White Castle maze, necessary to complete the quest in Game 2; C) to reach the hidden room in the Black Castle labyrinth, where the Dot is hidden, necessary to unlock the now-legendary easter egg and find the secret screen with the creator credits.
The Chalice gives the player a goal, and something to do to give the game an ending. The existence of the Chalice makes the game about more than merely exploring, more than merely slaying dragons. It gives the player a quest and a purpose, a way to win, and an ending to the game.
Speculating on a Sequel
Adventure has been a frequent target of homage for homebrew and hacks and indie game developers. I don’t know how many projects I’ve seen over the years that took direct inspriation from Adventure, but I can recall a Quake mod from 2002, and unofficial sequels for the Atari 5200 and Atari Flashback system, a pair of homebrews called Evil Magician Returns and Evil Magician Returns 2, and certainly others too obscure for me to find with a quick search.
I’ve played some of them, and of those that I have played, I have found them to be lacking in some way — they just don’t feel as good as the original, for various reasons. Either they offer more of the same, without offering enough new, or they attempt to update the graphics in ways that spoil the utter simplicity of the original graphics. The graphics weren’t really the point of the original — the Player is represented by a simple square pixel, after all — and so I would like to see a sequel that focuses on gameplay, but retains the graphical style and overall feel of the original, but adds new items and new areas to explore.
Making it my own
I think anyone who loved the original has probably thought about what they’d want in a sequel. So in that spirit, here’s my proposal for how I would extend the original game. Perhaps I’ll try to program it at some point.
My idea is more like a “Game 4” variation of the original than it is an Adventure II. A “Game 5” variation would be a randomized version of the game with all of the elements from Game 4, much as Game 3 is a randomized version of Game 2.
Here’s what I would add:
There are three empty rooms in the area (Marked 1, 2, 3 in the map below) where the White Castle is found:These feel like unfinished, purposeless rooms in Adventure. This is where I would extend the world map. I would replace these empty rooms with entrances to new mazes that lead the player to new areas of the game. Perhaps I’d have all three entrances lead to three inter-twined mazes, which require the use of the bridge to go between them. The Brown Key would be hidden somewhere in this new maze. The exact details of the maze aren’t shown, but the maze would occupy the empty region shown in the map detail below, with the new Brown Castle somewhere in there, perhaps where indicated… but possibly not.
I’d add at least one new castle, but probably just one, found at the other end of one of the mazes. The existing castles are White, Black, and Gold; the new castle would be some new color. Which color? It should be a color that is possible with the Atari 2600, and not already in use as a Castle or Dragon color, or a color that is close to one of those colors. This rules out Green and Red, Yellow, Black, and White. Probably a good color for a fourth castle would be Blue, or Brown.
I’d add a new Dragon. The existing Dragons are Red, Yellow, Green. The new dragon should be a color that is possible with the Atari 2600, and not already in use as a background or Dragon color. This rules out: Black, White, Gold, Yellow, Green, Red, and Blue. I’d also avoid Purple, since that’s the color of the Bridge.
The trick with the colors is that the Atari 2600 can only produce 128 distinct colors in NTSC, as shown by this chart. While the RGB color space isn’t exactly gamut compatible with what the Atari 2600’s TIA chip generated, this is close enough for our purposes. There are only 16 hues to choose from, and we don’t want to pick something too close to what’s already in use. This may not be exact, but my best guess as to which colors are already reserved in Adventure is as follows: There’s a lot of possible colors still available, but many of them are too light or don’t contrast well enough. But a purple, green, aqua, or brown would seem to be the best candidates. Brown seems like a good choice for a Castle, or Blue, while an aqua or orange shade seems like the best choice for a Dragon.
Spider (New Character). The spider’s purpose is to create Webs. Like the Bat, the Spider is black. The Spider cannot be killed. Can he be picked up and carried? I haven’t decided — probably not, just to make him different from the Bat. The Spider lurks in the Brown Castle, spinning webs inside, making the catacombs inside the Brown Castle more challenging to get through. When the Brown Castle is unlocked, the Spider is set free, and can roam about the rest of the world.
Webs are obstacles which slow the player down, but do not block him. Webs will stick fast to any Object in the game, so that they cannot be moved, will not be attracted by the Magnet. When the Player is holding the Sword, he can cut through the Webs, so moves at normal speed. Cutting the web destroys it, freeing up any trapped objects so that they can once again be picked up and carried, or moved by the magnet. Dragons ignore Webs, and are not impeded by them. The Bat can pick up a web and move it to another part of the world. The Bridge can be used to navigate over webs without being slowed down.
New item: The Torch. The Torch serves to light up catacombs areas, making them easier to see in when present. It can also be used to destroy Webs, by touching them. The Torch will destroy Webs whether or not the Player is holding it, and the Torch will light up a catacomb maze whether or not the Player is holding it. The Bat may pick up the Torch. The Torch is found in one of the new maze areas in the game. This maze area is very dark, and has the shortest catacomb sight radius yet, when the Torch isn’t present.
Anyhow, this idea isn’t quite fully formed, particularly in terms of the map. But as a general sketch of a concept for an extended “variation 4” game, I think it’s got potential. I think the Torch and Spider give the game new features that have purpose, without wrecking the balance of the existing items.
Who knows if I’ll develop it — it’d definitely be a challenge to build.