Joust (video game)

Williams Electronics

Industry	Video games
Headquarters	United States
Key people	John Newcomer (designer), Bill Pfutzenreuter (programmer), Janice Woldenberg-Miller (artist), Python Anghelo (artist), Tim Murphy (sound designer), John Kotlarik (sound designer)
Products	Joust

Joust is an action game created and released by Williams Electronics for arcade platforms in 1982. While it was not the pioneering two-player cooperative video game, the success and refined mechanics of Joust helped popularize this gameplay style. Players assume control of knight characters equipped with lances, mounted atop large birds—Player 1 rides an ostrich, and Player 2 controls a stork—as they confront enemy knights who fly buzzards within a single-screen environment featuring suspended platforms.

Utilizing hardware originally developed for Williams' prior hit arcade title Defender, designer John Newcomer led a team including Bill Pfutzenreuter, Janice Woldenberg-Miller (Hendricks), Python Anghelo, Tim Murphy, and John Kotlarik. Newcomer’s vision was to craft a flying-themed game supporting cooperative two-player interaction, steering clear of the overly common space genre. Opting for avian mounts as player avatars, he introduced gameplay that replaced conventional eight-direction joystick movement with combat based on collision height dynamics.

The title garnered positive reception from both players and critics, leaving a lasting impact on future games. It later inspired a more intricate but less commercially successful follow-up in 1986 titled Joust 2: Survival of the Fittest. Additionally, Joust was adapted for various home gaming systems and included in multiple retro game compilations.

Gameplay

In Joust, players engage in platform-style action by maneuvering a yellow knight who rides a flying ostrich, viewed from a third-person perspective. Movement occurs across rock platforms suspended above molten lava, controlled via a two-way joystick and button on arcade machines; home console versions employ directional pads or analog sticks. The joystick manages horizontal movement, while pressing the button causes the ostrich to flap its wings—repeated presses influence vertical movement, enabling ascent, hovering, or descent. Characters wrap around the screen edges, reappearing on the opposite side when moving beyond boundaries.

The core aim is to defeat successive waves of opposing knights mounted on buzzards. Combat involves colliding with foes: the knight positioned higher during impact wins the joust; if both are at equal height, they bounce away from each other without defeat. Vanquished enemies transform into eggs that fall downward and can be collected for points; if left uncollected, these eggs hatch into new adversaries requiring defeat once again. Enemy types include Bounder, Hunter, and Shadow Lord, each distinguished by unique colors and point rewards. After a predetermined time interval, a pterodactyl appears to pursue players and can be defeated for additional points. An invincible Lava Troll lurks beneath the platforms, dragging any character flying too low into lava. Losing a joust or contacting lava results in losing one life; the game concludes when all lives are exhausted. A second player may join as a blue knight riding a stork, collaborating through waves or optionally engaging in competitive play.

Development

Joust was produced by Williams Electronics, under the leadership of designer John Newcomer, alongside programmer Bill Pfutzenreuter, artists Janice Woldenberg-Miller and Python Anghelo, and sound designers Tim Murphy and John Kotlarik. The game featured amplified monaural audio output and raster graphics displayed on a 19-inch color CRT monitor. Similar to other Williams arcade titles of the era, Joust was developed using assembly language programming. To preserve settings and high scores when powered off, the system employed three AA batteries as backup memory. Anghelo hand-painted the cabinet artwork onto wooden frames and crafted promotional materials including a flyer printed in archaic English style that appeared within the game's instructions and upon game over screens.

Conception

Following the triumph of Defender, Williams aimed to recruit fresh creative minds. John Newcomer, transitioning from a background in toy design, joined the company to contribute new game concepts. He proposed ideas including The War of the Worlds and Joust, but technical limitations favored the development of Joust, as it could be executed on the existing Williams hardware utilized for Defender. The decision was made to proceed with this foundation.

Newcomer imagined Joust as a cooperative two-player aerial combat game that would steer clear of common space themes like those in Asteroids and Defender. Exploring different flying subjects—ranging from mechanical devices to animals and mythical beings—he ultimately selected birds due to their universal appeal and his personal fascination with fantasy genres. Drawing inspiration from mythology, he sought a noble bird protagonist; initially an eagle was considered but later replaced by an ostrich to enhance ground mobility. The second player’s character was designed as a stork, distinguished by color yet similar in size and shape. Vultures were chosen as adversaries for their instantly recognizable villainous image. Concept illustrations were created by Anghelo to assist in shaping character visuals.

Design

The choice of avian characters led Newcomer to innovate beyond the conventional eight-direction joystick by implementing a flapping control system: a button managed vertical movement while a two-way joystick handled horizontal navigation. Although some team members expressed skepticism initially, Newcomer was confident that this direct flight control mechanism would increase player immersion. The combat system emphasized tactical maneuvers rather than standard shooting mechanics, with success determined by which player maintained higher elevation during collisions.

Development took place within a 96K ROM limit, restricting the size allocated for graphics and sound assets and preventing the inclusion of additional characters. The visuals consisted of hand-animated pixel art; Woldenberg-Miller carefully balanced the number of animation frames to conserve memory while preserving realism, using Muybridge’s studies as reference material. Early gray buzzard designs were altered to green to optimize usage of the 16-color palette. After finalizing character colors, Newcomer completed the design of platform graphics. Due to limited audio capabilities, Newcomer focused on essential sound effects such as wing flaps to reinforce gameplay feedback, providing direction to Murphy and Kotlarik accordingly.

Level architecture was designed around combat requirements, opting for static platforms instead of scrolling backgrounds to display detailed textures within hardware constraints and improve player spatial awareness. Platforms were arranged strategically to complement enemy AI behaviors programmed by Pfutzenreuter: knights exhibited progressively aggressive patterns; Bounders moved unpredictably but occasionally reacted; Hunters actively pursued players; Shadow Lords remained near the upper screen area adjusting altitude to increase challenge. The pterodactyl acted as a deterrent against inactivity through its challenging behavior—it could only be harmed during a brief open-mouth animation and quickly evaded attacks near platform edges. Rendering prioritized player characters over enemies, resulting in slower enemy responses when many sprites appeared simultaneously.

During testing, developers identified an animation glitch known as the "belly flop" that allowed characters to slip through narrow gaps between platforms. Recognizing its potential for strategic play and constrained by time, they chose to keep this undocumented feature. Another post-launch issue involved increased vulnerability of the pterodactyl caused by last-minute sprite modifications that enlarged its hitbox; Williams addressed this by distributing updated ROM versions to correct the problem.

Release

Williams initially launched Joust in arcades in September 1982. A cocktail table edition, designed by Leo Ludzia, offered side-by-side seating rather than facing seats, enabling the use of the same ROM chip as the upright machines. With production limited to between 250 and 500 units, this cocktail variant has become a sought-after item among collectors.

Soon after, Atari, Inc. secured the licensing rights for home system adaptations, bringing out versions for the Atari 2600 and Atari 5200 consoles, as well as under the Atarisoft brand for the Apple II and other personal computers. Although a port for IBM PC compatible systems was developed, it never reached publication. In 1983, during Atari’s talks with Nintendo to distribute the Famicom outside Japan, Satoru Iwata from HAL Laboratory created a Famicom port of Joust within two months. After the Atari-Nintendo agreement fell through, this Famicom version was shelved until HAL released it in Japan in 1987; a version for the North American Nintendo Entertainment System appeared in 1988.

In 1984, Delos Harriman began developing a BBC Micro version; however, it remained incomplete when Atarisoft ceased operations. Aardvark Software finalized the port in 1985 but it was not officially launched until Harriman independently sold it in 1986. In 1988, Go-Dax issued a clone named Skirmish for BBC Micro and Acorn Electron platforms, crediting Harriman as its creator. Development of an Atarisoft ColecoVision version stopped after producing a prototype; later, CGE Services replicated cartridges for distribution at the 2001 Classic Gaming Expo.

Williams Entertainment (previously Williams Electronics) included Joust in several multi-platform arcade collections: Williams Arcade's Greatest Hits (1995), Midway's Greatest Arcade Hits (2000), Midway Arcade Treasures (2003), and Midway Arcade Origins (2012). Other releases featured the Game Boy’s Arcade Classic 4 (1995), PlayStation Portable’s Midway Arcade Treasures: Extended Play (2005), and the 2022 Midway Legacy Edition Arcade1Up cabinet. Many of these collections were developed by Digital Eclipse using emulation technology that runs original source code; Joust was selected due to its strong brand recognition.

A web-based iteration surfaced on Shockwave.com in 2000, followed by Midway Games hosting Shockwave versions on their website in 2004. A mobile phone adaptation arrived in 2005 but excluded the original flapping control mechanism. In 2007, digital distribution brought Joust to GameTap, Xbox Live Arcade, and PlayStation Network platforms. The game also features in an expansion pack for Lego Dimensions, where developer Traveller's Tales preserved the authentic gameplay experience rather than reimagining it with Lego graphics; Lego character models appear outside the emulated game sequences within the virtual Lego environment.

Reception

Williams initially feared that the distinctive control layout might limit the game’s success, and arcade operators were initially reluctant to invest in it. Nonetheless, Williams shipped approximately 26,000 units, and Electronic Games described it as "tremendously popular" in 1983. In the United States, it reached number one on the Play Meter arcade charts in January 1983 and dominated the RePlay upright arcade cabinet rankings from January through February that year. It finished among the top thirteen highest-grossing arcade titles in the US for 1983. Olivier Chazoule from French magazine Tilt commended its cooperative two-player mode and imaginative fantasy theme. The Atari VCS adaptation earned an 83% score from Computer and Video Games in 1989. Video Gaming Illustrated praised Joust for its exotic and lifelike animation style. The Atari 8-bit version was described by Antic as a "unique, addictive arcade game" closely mirroring the original and named "Atari’s finest since Star Raiders". A writer from Computer and Video Games characterized the game as both "weird and wonderful".

Retrospective

In 1995, Flux placed the arcade edition at number 26 on their "Top 100 Video Games" compilation. The following year, Next Generation ranked it 83rd in their "Top 100 Games of All Time," commending its inventive ideas, distinctive style, and engaging gameplay. Video game historian Steve Kent regarded Joust as one of the most iconic titles from its period, while author David Ellis emphasized its lasting entertainment value. In 2008, Guinness World Records positioned it 69th among arcade games, recognizing its technical innovation, creativity, and cultural significance. By 2015, Hardcore Gamer had included it in their list of the "200 Best Video Games of All Time."

Kevin Bowen from GameSpy's Classic Gaming section described Joust as having a "ridiculously simple" premise but praised its intuitive controls and competitive edge, calling it one of the earliest genuinely enjoyable multiplayer experiences and a forerunner to video game deathmatches. Mike Bevan of Retro Gamer highlighted the game's "elegantly implemented" physics and considered it among Williams Electronics' most outstanding and beloved releases. Author John Sellers attributed the game's charm to its novel flapping mechanic. In 2004, Ellis cited Joust as an example of the daring innovation often missing in modern game development. Newcomer lauded Williams Electronics' leadership for supporting such a bold project.

Professionals within the industry also expressed admiration for Joust: Jeff Peters from GearWorks Games praised its distinctive and user-friendly gameplay; Jeff Johannigman of Fusion Learning Systems valued the flapping mechanic; and Kim Pallister from Microsoft appreciated its multiplayer component. Steve Wright, formerly leading Atari's special projects division, included Joust among the games he would take to a desert island due to its unique blend of competitive and cooperative play.

Legacy

Williams followed up with an arcade sequel titled Joust 2: Survival of the Fittest in 1986. Designed as an arcade conversion kit to rejuvenate interest, Joust 2 offered enhanced audiovisual elements and fresh gameplay features but experienced much lower sales compared to the original.

Numerous developers have replicated and expanded upon Jousts design principles, resulting in clones such as Ostron and Winged Warlords for the ZX Spectrum in 1983, as well as the shareware title Glypha for Macintosh. Certain aspects of Joust influenced games like Ultimate Play the Game's 1983 release Jetpac, Nintendo's Mario Bros. (1983), and Balloon Fight (1984). The flight mechanics in the 2000 title Messiah drew inspiration from Joust. The 2013 arcade game Killer Queen heavily references Joust, combining it with real-time strategy and multiplayer online battle arena genres. Additionally, the 2014 Wii U multiplayer title Sportsball features lance-wielding characters mounted on birds within a two-dimensional arena, echoing elements from Jousts gameplay.

In terms of popular culture, Joust has been parodied in television series such as Robot Chicken and Code Monkeys. It has also been referenced in video games via Midway Games' Mortal Kombat 3 friendship finishing move and a minigame found in World of Warcraft: Cataclysm. The novel Ready Player One includes a scene featuring gameplay reminiscent of Joust.

Remakes and adaptations

A three-dimensional remake named Dactyl Joust was under development for the Atari Jaguar console in 1995. Despite being showcased at E3 that year, the project was ultimately canceled. The original two-dimensional arcade version was intended to be included as an easter egg. Footage from this unreleased game emerged in 2003. Later, Midway Games attempted another 3D remake for the Nintendo 64 platform under various titles including Joust 3D, Joust X, or Joust 64. This version featured three-dimensional arenas and split-screen multiplayer modes. Although the demo impressed Midway executives, development ceased following the commercial failure of Midway San Diego's Bio F.R.E.A.K.S. Newcomer proposed an updated Game Boy Advance edition incorporating multidirectional scrolling and enhanced visuals; however, Midway declined this proposal.

In 1983, a pinball machine themed around Joust, designed by Barry Oursler and Constantino Mitchell, was released featuring artwork inspired by the arcade original and two-player competitive gameplay; fewer than five hundred units were manufactured. Tiger Electronics produced a handheld electronic adaptation resembling a keychain in 1998. Newcomer believed that a film adaptation was possible but constrained by technological limitations at the time of the game's debut.

In 2007, Midway optioned movie rights for Joust to CP Productions with ambitions to develop a franchise including graphic novels and additional video games. Screenwriter Marc Gottlieb crafted a script described as blending elements of "Gladiator meets Mad Max", set twenty-five years into the future, while Steven-Elliot Altman was attached to create accompanying graphic novels. Production delays pushed anticipated completion from mid-2008 into 2009. However, Midway filed for Chapter 11 bankruptcy that year. Warner Bros. Interactive Entertainment acquired most of Midway’s assets—including rights to Joust—with intentions to pursue film adaptations.