5 Fascinating Facts About Atari's Star Wars

by Ryan Lambie

Videogames simply wouldn't have been the same without Star Wars. The first of George Lucas's grand space operas landed in 1977, inspiring game designer Tomohiro Nishikado to give his nascent arcade shooting game a science fiction theme. Thereafter, numerous games tried to give players the experience of saving the galaxy from some kind of evil empire, but it took Atari to make the first Star Wars game, which was released in 1983.

Debuting when the golden age of the arcade was at its peak, Atari's Star Wars was a technical marvel at the time. Although available as an upright machine, the sit-down version offered the full, immersive experience. Its vector graphics made you feel as though you were Luke Skywalker himself, piloting an X-wing fighter and leading the assault on the Death Star. Digitized speech from the movie added to its authenticity, and the result was one of the biggest arcade hits of the era.

Even today, Atari's Star Wars arcade game is remembered with an affection approaching the original films themselves. Here are a few facts about the game and its impact.

1. IT BEGAN AS A GAME CALLED WARP SPEED.

One of the key figures in the creation of Atari's Star Wars game was Jed Margolin. When he joined Atari in 1979, it was because he had a burning ambition to create what he later described as "a 3D space war game." Margolin served as the hardware engineer on Atari's wave of classic vector arcade machines, including Lunar Lander, Asteroids, Tempest, and Battlezone.

Eventually, Margolin finally got the greenlight to make his 3D space war game, which he called Warp Speed. But when Atari forged a deal with Lucasfilm to make a range of games for both the 2600 and the arcade, Margolin suggested that Warp Speed would make "a good platform for a Star Wars game."

2. THE PROJECT WAS LED BY THE CO-DESIGNER OF GRAVITAR.

Project leader Mike Hally joined Atari in 1976—just before Star Wars became a phenomenon—and for several years, he largely handled the design of pinball machines and their mechanical parts. But in the 1980s, Hally moved over to the burgeoning electronic games market, and co-created the space shooting game Gravitar with designer Rich Adam.

Inspired by the success of arcade hits like Lunar Lander and Asteroids, Gravitar saw the player guiding their ship around jagged chunks of space rock, shooting gun turrets, and collecting blue fuel tanks. You can see some of the traces of the later Star Wars game in Gravitar, but in terms of technical sophistication, Atari's take on A New Hope would provide a far greater challenge to create.

3. IT PUSHED TECHNICAL BOUNDARIES.

Atari's Star Wars arcade project was by no means the earliest first-person game of its type; its design could have been inspired by the seminal Star Raiders on the Atari 2600 (1982), and Battlezone (1980) provided a vector-based shooting sim three years earlier. The concept for Star Wars was, however, far more sophisticated than either game. Whereas Battlezone's tank moved slowly across an almost featureless landscape, Star Wars's X-wing flew rapidly through different environments—outer space, along the Death Star's surface, and finally through its narrow trench.

"What [Lucasfilm] wanted wasn't really possible until one or two years ago," Hally said in a 1983 interview. "It was no small feat to get the game, so I was under a lot of pressure to make the game go over well."

The processing demands of Star Wars's fast-moving gameplay were such that new components had to be used. Where Battlezone used mylar capacitors, Star Wars required polycarbonate capacitors capable of handling the game's faster drawing speed. Separate processors were also used to handle the graphics and all the digitized sound effects from the movie.

4. THE CONTROLLER CAME FROM A MILITARY VERSION OF THE BATTLEZONE COIN-OP.

One of the challenges of making Star Wars was not just making it look and sound like the film, but actually making it feel as though the player was controlling an X-wing. The game clearly needed some kind of high-tech feeling control system, but where to source it? The yoke seen in the final game came from an obscure source: something called the Bradley Trainer.

The Bradley Trainer was a version of Battlezone created by Atari for the military and, as its name implies, was designed as a trainer for the Bradley tank. Although only two of these machines were ever produced, the yoke design was adopted—albeit in smaller form—as the controller for Star Wars.

According to Margolin, Atari tested a version of the game with a more conventional joystick in the hope of saving money, but players were confused over which way to move the stick. This meant that, fortunately, the team was able to justify the higher cost of the flight controller.

5. STAR WARS WAS NEARLY A TWO-PLAYER GAME.

Very early in its development, while Star Wars was still called Warp Speed, a two-player prototype was built, which allowed two players to sit at separate monitors. Unfortunately, the additional screen placed extra load on the hardware, so the idea was soon dropped.

All told, Star Wars took around six months to create, and emerged in arcades in the summer of 1983. Selling around 12,000 cabinets, Star Wars was a major hit, bolstered in no small part by the release of Return Of The Jedi that same year. Ported to numerous home systems later in the decade, Atari's Star Wars was arguably the first game to capture the wide-eyed thrill of Lucas's classic film.

15 Colorful Facts About Georgia O’Keeffe

Georgia O’Keeffe’s enchanting floral still life paintings are now a deeply ingrained part of American culture—so much so that they often eclipse her other colorful accomplishments. For a more complete portrait of the artist, who was born on November 15, 1887, brush up on these 15 little-known facts about her.

1. Flower paintings make up a small percentage of Georgia O'Keeffe's body of work.

Though Georgia O'Keeffe is most famous for her lovingly rendered close-ups of flowers—like Black Iris and Oriental Poppies—these make up just about 200 of her 2000-plus paintings. The rest primarily depict landscapes, leaves, rocks, shells, and bones.

2. Georgia O'Keeffe rejected sexual interpretations of her paintings.

For decades, critics assumed that O'Keeffe's flowers were intended as homages—or at the very least, allusions—to the female form. But in 1943, she insisted that they had it all wrong, saying, “Well—I made you take time to look at what I saw and when you took time to really notice my flowers you hung all your own associations with flowers on my flower and you write about my flower as if I think and see what you think and see of the flower—and I don’t.” So there.

3. Georgia O'Keeffe was not a native of the American Southwest.


Joe Raedle/Getty Images

O'Keeffe was actually born on a Wisconsin dairy farm. She'd go on to live in Chicago; New York City; New York’s Lake George; Charlottesville, Virginia; and Amarillo, Texas. She first visited New Mexico in 1917, and as she grew older, her trips there became more and more frequent. Following the death of her husband in 1946, she moved to New Mexico permanently.

4. Georgia O'Keeffe’s favorite studio was the backseat of a Model-A Ford.

In an interview with C-SPAN, Carolyn Kastner, former curator of the Georgia O'Keeffe Museum in Santa Fe, New Mexico, explained how the artist customized her car for this use: "She would remove the driver's seat. Then she would unbolt the passenger car, turn it around to face the back seat. Then she would lay the canvas on the back seat as an easel and paint inside her Model-A Ford."

Painting inside the car allowed O'Keeffe to stay out of the unrelenting desert sun, where she painted many of her later works. The Model-A also provided a barrier from the bees that would gather as the day wore on.

5. Georgia O'Keeffe also painted skyscrapers.

While nature was O'Keeffe's main source of inspiration, the time she spent in 1920s Manhattan spurred the creation of surreal efforts like New York With Moon, City Night, and The Shelton with Sunspots.

6. Georgia O'Keeffe immersed herself in nature.

While in New Mexico, O’Keeffe spent summers and falls at her Ghost Ranch, putting up with the region's hottest, most stifling days in order to capture its most vivid colors. (The rest of the year she stayed at her second home, located in the small town of Abiquiu.) When she wasn't painting in her Model-A, O'Keeffe often camped out in the harsh surrounding terrain, to keep close to the landscapes that inspired her.

7. Not even bad weather could keep Georgia O'Keeffe away from her work.

The artist would rig up tents from tarps, contend with unrelenting downpours, and paint with gloves on when it got too cold. She went camping well into her 70s and enjoyed a well-documented rafting trip with photographer Todd Webb at age 74. Her camping equipment is occasionally exhibited at the Georgia O'Keeffe Museum.

8. Georgia O'Keeffe married the man behind her first gallery show.

"At last, a woman on paper!" That’s what modernist photographer and gallery owner Alfred Stieglitz cried when he first saw O'Keeffe's abstract charcoal drawings. He was so enthusiastic about this series of sketches that he put them on display—before consulting their creator.

When O'Keeffe arrived at his gallery, she wasn't pleased, and brusquely introduced herself: "I am Georgia O'Keeffe and you will have to take these pictures down." Despite their rocky beginnings, Stieglitz and O'Keeffe quickly made amends, and went on to become partners in art and in life.

9. Georgia O'Keeffe and Alfred Stieglitz wrote 25,000 pages of love letters to each other.

When the pair met in 1916, Stieglitz was famous and married; she was unknown and 23 years his junior. All the same, they began writing to each other often (sometimes two or three times a day) and at length (as many as 40 pages at a time). These preserved writings chart the progression of their romance—from flirtation to affair to their marriage in 1924—and even document their marital struggles.

10. Georgia O'Keeffe served as a muse to other artists.

Thanks in part to Stieglitz, O'Keeffe was one of the most photographed women of the 20th century. Stieglitz made O'Keeffe the subject of a long-term series of portraits meant to capture individuals as they aged, and she made for a striking model. Though he died in 1946, the project lived on as other photographers sought out O'Keeffe in order to capture the beloved artist against the harsh New Mexican landscapes she loved so dearly.

O'Keeffe later wrote:

"When I look over the photographs Stieglitz took of me—some of them more than 60 years ago—I wonder who that person is. It is as if in my one life I have lived many lives. If the person in the photographs were living in this world today, she would be quite a different person—but it doesn't matter—Stieglitz photographed her then."

11. Georgia O'Keeffe quit painting—three times.

The first break spanned several years (the exact number is a matter of debate), when O'Keeffe took on more stable jobs to help her family through financial troubles. In the early 1930s, a nervous breakdown led to her hospitalization, and caused her to set aside her brushes for more than a year.

In the years leading up to her death in 1986, failing eyesight forced O'Keeffe to give up painting entirely. Until then, she fought hard to keep working, enlisting assistants to prepare her canvas and mix her oil paints for pieces like 1977's Sky Above Clouds/Yellow Horizon and Clouds. She managed to use watercolors until she was 95.

12. After going blind, Georgia O'Keeffe turned to sculpting.


By Alfred Stieglitz - Phillips, Public Domain, Wikimedia Commons

Although her vision eventually made painting impossible, O'Keeffe's desire to create was not squelched. She memorably declared, "I can see what I want to paint. The thing that makes you want to create is still there.” O'Keeffe began experimenting with clay sculpting in her late 80s, and continued with it into her 96th year.

13. Georgia O'Keeffe is the mother of American Modernism.

Searching for what she called “the Great American Thing,” O'Keeffe was part of the Stieglitz Circle, which included such lauded early modernists as Charles Demuth, Arthur Dove, Marsden Hartley, John Marin, Paul Strand, and Edward Steichen. By the mid-1920s, she had become the first female painter to gain acclaim alongside her male contemporaries in New York's cutthroat art world. Her distinctive way of rendering nature in shapes and forms that made them seem simultaneously familiar and new earned her a reputation as a pioneer of the form.

14. Georgia O'Keeffe blazed new trails for female artists.

In 1946, O’Keeffe became the first woman to earn a retrospective at the Museum of Modern Art. Twenty-four years later, a Whitney Museum of American Art retrospective exhibit introduced her work to a new generation. Fifteen years after that, O'Keeffe was included in the inaugural slate of artists chosen to receive the newly founded National Medal of Arts for her contribution to American culture.

15. Georgia O'Keeffe wasn't fearless, but she rejected fear.

O'Keeffe was purported to have said, "I've been absolutely terrified every moment of my life and I've never let it keep me from doing a single thing I wanted to do."

These Amazing Jigsaw Puzzles Feature Artworks by Female Artists From Around the World

JIGGY
JIGGY

There are many different reasons why people might choose a traditional jigsaw puzzle over Candy Crush, Untitled Goose Game, or another smartphone-optimized activity. There’s a tactile satisfaction in the process of fitting the pieces together that you don’t necessarily get from the smooth surface of your phone, for one. It’s also something you can enjoy with a group.

For Kaylin Marcotte, it was a way to unwind at night after seemingly endless days working as theSkimm’s very first employee. Though the low-tech nature of jigsaw puzzling was part of the appeal, she didn’t see why the designs themselves needed to be quite so old-fashioned. So she decided to found her own puzzling company, JIGGY.

This week, JIGGY debuted its first collection, featuring artworks from emerging global female artists. If you’re thinking en vogue modern art sounds like just the thing to fill your blank wall space, Marcotte agrees: The puzzles come with puzzle glue and even a custom precision tool to help you apply it smoothly, so you can frame and hang your creation after completion. If you’re more of a puzzle repeater than a puzzle displayer, that’s fine, too—just pop the pieces back into their sustainable glass container until next time.

The contributing artists hail from all over the world, and each artwork embodies a distinctive style. “Bathing with Flowers” by Slovenia’s Alja Horvat depicts a lush tropical atmosphere, while “BerlinMagalog” by Diana Ejaita (based in Germany and Nigeria) combines bold contrasts with soft patterns to capture the complexity of feminine strength.

jiggy puzzle bathing with flowers
"Bathing with Flowers" by Alja Horvat.
JIGGY

JIGGY puzzle “BerlinMagalog” by Diana Ejaita
“BerlinMagalog” by Diana Ejaita.
JIGGY

In Australia-based Karen Lynch’s “Flamingo Playground,” a building-sized flamingo innocuously stalks across a picturesque, populated beach. And then there’s “The Astronaut” by Seattle’s Emma Repp, a whimsical, vibrant illustration of outer space that brilliantly contrasts the bleak and sometimes terrifying abyss we’re so used to seeing in movies like Gravity (2013) or First Man (2018).

JIGGY puzzle “Flamingo Playground,”
"Flamingo Playground" by Karen Lynch.
JIGGY

JIGGY puzzle “The Astronaut”
“The Astronaut” by Emma Repp.
JIGGY

The full collection comprises three 450-piece puzzles for $40 each, and three 800-piece puzzles for $48 each—you can find out more about the artists and shop for your favorite puzzle here.

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