My name is Jesper Juul, and I am a Ludologist [researcher of the design, meaning, culture, and politics of games]. This is my blog on game research and other important things.
At the Royal Danish Academy we have an open call for PhD projects, and yes, it could be game and design-related.
The Royal Danish Academy hereby invites pre-qualification proposals for the 2025 call “PhD education outside the universities” (DFF – The Danish Independent Research Fund).
The 2025-call will be announced by DFF in June. We expect to be allowed to support up to three proposals. Only proposals for academic research within architecture, design or conservation will be taken into consideration.
The deadline for pre-qualification applications is May 15 2025 at noon.
Selected applicants are expected to engage in collaboration with a supervisor and the administration of the Royal Danish Academy when preparing the full proposal for DFF.
How players evoke personal and subjective meanings through a new theory of player response.
In The Well-Read Game, Tracy Fullerton and Matthew Farber explore the experiences we have when we play games: not the outcomes of play or the aesthetics of formal game structures but the ephemeral and emotional experiences of being in play. These are the private stories we tell ourselves as we play, the questions we ask, and our reactions to the game’s intent. These experiences are called “readings” because they involve so many of the aspects of engaging with literary, cinematic, and other expressive texts. A game that is experienced in such a way can be called “well-read,” rather than, or as well as, “well-played,” because of the personal, interpretive nature of that experience and the way in which it relates to our reading of texts of all kinds.
The concept of the “well-read game” exists at the convergence of literary, media, and play theories—specifically, the works of Louise Rosenblatt’s reader-response theory, Brian Upton’s situational game theory, Tracy Fullerton’s playcentric design theory, and Bernie DeKoven’s well-played game philosophy. Each of these theories, from their own perspective, challenges notions of a separate, objective, or authorial meaning in a text and underscores the richness that arises from the varied responses of readers, who coauthor the meaning of each text through their active engagement with it. When taken together, these theories point to a richer understanding of what a game is and how we might better value our experiences with games to become more thoughtful readers of their essential meanings.
The final object: In the very first post of this “History of the Commodore 64 in Twelve Objects” series, I talked about the Commodore 64 itself – the iconic beige machine. Since then, I have explored ten other objects, from games and floppy disks to cartridges, BASIC programming, music, magazines, and even a paper invitation to a demo party.
It is now 43 years since the Commodore 64 was introduced at the 1982 Consumer Electronics Show. Amazingly, it went on sale the same year as the first CD player.
The C64 is now a historical device, but its story isn’t over. Users and developers are still finding new uses for it. When I started writing Too Much Funin 2022, the charts for best demos and best games on CSDb and Lemon64 were dominated by old releases. Today, most top spots belong to new creations. There is a real resurgence of activity on the Commodore 64.
There also is a culture of Commodore 64 hardware experimentation. For my final object, I choose Swedish hardware hacker and musician Linus Åkesson’s 2022 Commodordion. It is a charming, musical, technically impressive, and obviously absurd project, making an accordion by combining two C64s connected by a bellows constructed from floppy disks.
Åkesson’s work exemplifies the continued fascination with the C64. It is about discovering new tricks and properties of the C64, Amiga, and other hardware, it is about programming expansive and minimal demos, making new hardware. Here the hardware is sometimes musical instruments used for musical performances.
Of course, the C64’s resurgence is also fueled by the availability of high-quality emulators. As I discuss in Too Much Fun, you can now experience the C64 without needing the original hardware. But this easy access makes projects like the Commodordion even more appealing, a way to connect with the physicality of the machine and experience it in a completely new way.
What song is the Commodordion playing? Ragtime tune Maple Leaf Rag by Scott Joplin, which has its own C64 history as music for excruciatingly difficult game China Miner.
The Commodordion symbolizes how exploring the Commodore 64 today is not just nostalgia. The C64 makes us think about forgotten pasts, re-evaluating our current relationship to technology, and blending ideas from different eras to create something entirely new.
Thank you for reading
Jesper Juul
Copenhagen, January 2025
The final boss in Turrican II for the Commodore Amiga (source)
By 1991, the Commodore 64 was waning as a commercial platform – yet games were still coming out, especially in Europe. There had been little reason to expect that the C64 would be produced for so many years, and Commodore had assumed that the Commodore Amiga would be the replacement.
Launched as a professional computer in 1985 (Amiga 1000) and later as a consumer model in 1987 (Amiga 500), the Amiga was technologically in a completely different league. Designed by Jay Miner and the team behind Atari’s 8-bit computers, the Amiga had a faster CPU, digitized sound, a graphical multitasking OS, and a graphics system geared towards hires, multilayered and fast-moving graphics.
Where the original 1990 Turrican was a C64-first release, Turrican II was released in 1991 for the Amiga and later for the C64, PC, and other platforms. According to interviews with developer Manfred Trenz, Turrican II development started on the C64, but this platform apparently was no longer the primary focus. In this way, the space between Turrican I and II is the moment where the C64 became the secondary platform for the developer. The Turrican games also mark the time where the C64 action-adventure tradition discussed previously became influenced by Japanese action games too.
How would the C64 version stack up to other platforms? As the Zzap!64 review stated, “This game is the sort of program you’d expect … on some exotic, super expensive Japanese console. … The walkers are terrific too, they look like Amiga characters”. While the hardware of competing platforms was improving, C64 developers were also improving their skills, sometimes with inspiration from the demoscene.
The final boss in Turrican II for the Commodore 64 (source)
Developers were trying to keep up with more capable platforms, especially with the Amiga. In C64 reviews, the recurring question in the late 1980s and early 1990s became, “how good is it, compared to the Amiga version?” – or to a newer computer or console? This was raised for games (Defender of the Crown, Lemmings), user interfaces (the graphical GEOS interface), and demos.
In Too Much Fun, I call this the Fourth Life of the C64, characterized by anxiety about the status of the machine. But that anxiety was to dissipate, as I will discuss next week.
Did you worry that the C64 could no longer keep up with newer machines? When did you stop worrying?
Coming Jan 17th: Object #12 – The Commodordion – two C64s as a musical instrument
I have told this Commodore 64 history through objects. And indeed, the C64’s commercial life ended before the immaterial internet became widely available. Though dial-up bulletin boards (BBS) gradually made it possible to communicate over telephone lines, the more or less underground (and more or less illicit) technical culture of the C64 was tangible and completely physical.
Parties started taking place during the late 1980s especially in Northern Europe, meetings of almost exclusively boys and young men bringing their computers and CRT monitors to crowded rooms, sharing software, and later competing in making demos, audiovisual programs demonstrating skills.
The first parties were strictly noncommercial and invite-only events. You felt part of an elite club, receiving the paper invite by physical mail.
Looking back, the bigger parties started in smaller towns, using municipal buildings like schools and community centers as well as support from non-profits like scouts. The 1988 Tommerup party was in the latter, a scout center. According to legend, organizers were overwhelmed by attendees, and the party was moved to an also overcrowded community center.
The 1988 Tommerup party in a much too crowded room. (Photo by Björn Fogelberg)
As I began participating in such events around 1988, parties tried to shed the association with piracy and became “demoparties” with formalized competitions for the best demo.
New Limits demo by The Supply Team
In Too Much Fun I tell the story of a 1989 demoparty, what it was like to write demos and to participate, but for now it is enough to say that early demos were often focused on showing one technical trick, like in The Supply Team’s “New Limits” demo release at Tommerup, which shows a scrolling text that fills the entire screen including the border.
Crest/Oxyron’s 2000 Deus Ex Machina demo.
Demos later evolved into more elaborate designs, often structured around a theme or visual composition, like in Crest/Oxyron’s 2000 Deus Ex Machina.
What demos have you enjoyed?
Coming Jan 10th: Object #11 – Turrican II – keeping up with the Amiga
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 3rd: Object #10 – You are invited to a Demo Party
These two floppy disks came with a second-hand Commodore 64. Such flat objects for storing programs were called “floppies” because they were easily bendable, as opposed to fixed disks, and hence quite fragile. 5 ¼” was a common type of floppy disk, shared with IBM PCs and many other computers. As was common, this second-hand C64 had a collection of disks (twenty) with pirated material, and only two pieces of original software.
The 1541 disk drive. Photo by Evan-Amos.
Compared to tapes, such disks were the more expensive storage option for C64s, the 1541 disk drive often costing as much as the computer itself. Already with their first computer, the PET, Commodore had decided that devices should be connected to computers using USB-like cables, rather than through opening the computer and installing hardware. This was an elegant and surprisingly modern solution but also made the devices quite expensive, as they needed to be small computers by themselves.
To read the fragile disks, the 1541 disk drive often needed to do a “head alignment”, where the disk drive adjusted itself by banging the head against an internal stop, giving a surprisingly violent loud sound. To be a C64 disk drive owner was to live with and listen to the recurring sounds of the drive.
According to the label on the floppy disks themselves, the disks originated from a course in WordPerfect for IBM PCs (“WP Kursus” 1-2) and were later appropriated for less “serious” C64 use. The paper sleeve lists the software: Donald Duck’s Playground, Duck Shoot, Falcon Patrol, Frogger, Ghost ‘n Goblins, Grand Prix. Piracy was pervasive on the C64.
There were two types of floppy disks: single- and double sided, the latter being more expensive, but it quickly became known that you could cut a little notch in the side of a floppy, allowing you to use both sides of the cheap disk.
This was part of the impetus behind this history of the C64 through objects : Owning a C64 was an intensely physical thing. When it comes to floppy disks, be a C64 owner was also to be adept with scissors.
Coming December 27th: Object #9 – Final Cartridge – fixing the C64’s flaws
I am happy to welcome Matthew Farber and Tracy Fullerton’s wonderful new book 
