The Game Boy’s third sound channel does something the other three cannot: it plays a waveform you supply. Channels 1 and 2 are pulse generators locked to four duty settings. Channel 4 is a linear-feedback shift register producing noise. Channel 3 — the wave channel — reads from a 32-entry table of 4-bit samples that…
Pac-Man’s four ghosts are not a single enemy rendered in four colors. Each one runs a different targeting routine, and those routines are simple enough to describe as arithmetic on tile coordinates. The differences are what make the maze feel like it contains four distinct pursuers rather than one swarm. This article is about the…
In 1985, a cracked copy of a Commodore 64 game often began with a screen that had nothing to do with the game. A border flashed, a scrolltext announced a group handle, and a few sprites bounced to a two-channel tune. The cracker had removed the copy protection and inserted a signature. That signature was…
How Elite Fit an Entire Galaxy into 22KB: The BBC Micro Compression Architecture That Made Procedural Narrative Possible The BBC Micro Model B shipped in 1981 with 32KB of RAM and a 2MHz 6502. Elite, written by David Braben and Ian Bell across roughly two years and released in September 1984, used 22KB of that…
Hardware hacking, for the 1977–1999 game platforms this site covers, means working at the boundary where software meets physical silicon: reading undocumented opcodes, tracing cartridge bus timings, dumping mask ROMs, and rebuilding video and audio pipelines from die shots and logic-analyzer captures. It sits next to reverse engineering, emulator development, FPGA reimplementation, and preservation. The…
The BBC Micro Model B shipped with 32KB of RAM. The MOS 1.20 operating system ate roughly 10KB of that for its framebuffer, DFS filing system, and interrupt vectors. That left Ian Bell and David Braben about 22KB of contiguous address space — from $0E00 to $8000 — to fit an entire universe: eight galaxies,…
Scanlines are the visible horizontal gaps left when a CRT draws only every other row of a frame, and they are not a cosmetic filter. On 15 kHz displays tied to NTSC or PAL timing, the electron beam paints 240 or 288 active picture lines per field, leaving dark space between them. For anyone studying…
When we talk about fonts in video games, we are not talking about typography in the modern web sense. We are talking about letterforms burned into ROMs, squeezed into 8×8 pixel grids, and drawn by hand on graph paper before being converted to hexadecimal. These fonts are the visual voice of the machine. They tell…
When we talk about retro game graphics, the conversation usually lands on sprites, scrolling backgrounds, or the number of colors on screen. But there’s a quieter, more stubborn element that shaped the look of an entire era: the font. Not the TrueType files we drag into a modern engine, but the hand-drawn, tile-mapped, memory-tight letterforms…
The Pixel’s Voice: How Video Game Fonts Were Forged in Silicon and Memory Maps Before a pixel could speak, it had to be counted. In the guts of a retro game console, a typeface wasn’t some art director’s whim—it was a negotiation with the machine. Every letter on screen was a three-way arm wrestle between…
The Jetpac Decision: Six Characters on a Cassette Inlay In 1983, Ultimate Play the Game — the studio that would later become Rare — released a shooter called Jetpac for the ZX Spectrum. Six characters. The game sold over 300,000 copies in the UK and became one of the most recognized titles on the platform.…
Pick up an old Atari 2600 cartridge or flip through a stack of Famicom boxes, and you’ll notice something right away. The cover shows a sprawling sci-fi epic—chrome-plated warriors, exploding galaxies, a hero with a jawline that could cut glass. Then you boot the game, and you’re staring at a few blocky sprites on a…