9 Things You Might Not Know About Defender

by Ryan Lambie

When Defender arrived in arcades back in 1980, nothing looked or sounded quite like it. The controls had a steep learning curve, and its shooting action was intense and relentlessly difficult. Yet Defender's boldness made it stand out in arcades full of Space Invaders clones, and gamers quickly fell in love with it.

Created by a designer pushing the boundaries of early '80s technology, Defender's development wasn't without its drama. Here's a look at Defender's making and its lasting effect on the games industry.

1. DEFENDER WAS WILLIAMS'S FIRST PROPER, ORIGINAL ARCADE GAME.

With its foundations tracing back to the 1940s, American company Williams specialized in making pinball machines. When Pong ushered in a new age of electronic games in the 1970s, Williams knew it had to break into the same market, but its first attempt was tentative, to say the least: 1973's Paddle Ball was, for the most part, a straight replica of Pong's bat-and-ball action. Fortunately, a young programmer named Eugene Jarvis had a more pioneering spirit.

2. IT WAS INSPIRED BY SPACE INVADERS AND CHESS.

Jarvis joined Williams in the late 1970s, where he initially worked on the software for the company's pinball machines—titles included Airborne Avenger, Gorgar, and Laser Ball. But even as those machines were making their way into arcades, they were being roundly upstaged by a new game on the block—the coin-guzzling shooter, Space Invaders. The game immediately inspired Jarvis to make his own sci-fi shooter, though one which also took in the vector graphics of the seminal Spacewar (a game he'd played while in college) and a hint of chess. He wanted his game, he later told WIRED, to be a "rich, tactical and strategic experience."

3. THE TITLE CAME FROM A 1960s TV SHOW.

As Jarvis's ideas for his game began to develop—and it moved further and further away from the straight "blast the aliens" scenario popularized by Space Invaders—he began to think about an objective that involved rescue and defense rather than straight-up shooting. And early on, he adopted the name Defender, derived from the '60s courtroom drama series, The Defenders.

"I kind of liked that show," Jarvis said in Steven Kent's book, The Ultimate History Of Video Games. "You know, if you're defending something, you're being attacked, and you can do whatever you want."

4. IT WAS ONE OF THE FIRST SIDE-SCROLLING GAMES.

Jarvis and his small team of programmers and designers, which included Larry DeMar and Sam Dicker, worked up a game design which, for its time, was hugely ambitious. Back then, most games took place on a single, static screen. What Jarvis proposed was a game which scrolled smoothly and rapidly along a map that was far larger than the display. At the top of the screen, a small mini map showed the player's current position. Both ideas were groundbreaking, and the mini map is a ubiquitous design feature in the games of today.

5. IT WAS COMPLETED JUST IN TIME FOR AN IMPORTANT TRADE SHOW.

As months of development passed, Jarvis was put under increasing pressure to get Defender finished in time for a trade show called the Amusement and Music Operators Association Expo. Jarvis worked feverishly to meet the deadline, but on the evening before the trade show, he had a horrifying realization: the game lacked an attract mode—the demo designed to show would-be customers how the game looks in action. An all-night coding session began, which, following another terror-inducing moment where the game refused to load up properly, the finished Defender was ready on the morning of the expo.

6. PLAYERS WERE INITIALLY INTIMIDATED.

Defender cut a strange and unnerving figure at the AMOA trade show. Where most games of the time had a joystick and one button, Defender had a joystick and five buttons—something which, Jarvis later suggested, left some people wary of even trying it. At first, though, Jarvis wasn't concerned, saying in an interview on the Williams Arcade's Greatest Hits game disc that the team was "proud that it intimidated everyone."

7. IT BECAME ONE OF THE HIGHEST-GROSSING GAMES OF THE GOLDEN AGE.

Everything changed when Defender appeared in arcades. Williams's first game of the '80s was also its biggest, selling 55,000 cabinets and reportedly making more than $1 billion in revenue. Players, it seems, couldn't get enough of Defender's speed, color, and sheer challenge.

8. A STRANGE BUG OCCURS WHEN YOU SCORE 990,000 POINTS

While Defender became famous for its vertical difficulty level, a certain breed of gamer rose to the challenge. The game's most dedicated players even discovered a bug: reach 990,000 points, and an error in the game's algorithm results in a sudden shower of extra lives and smart bombs. Yet even the bug added to Defender's absorbing challenge; as Jarvis told US Gamer, "Some of the richest elements of Defender [...] were bugs, things that I never even in my wildest imagination could have coded."

9. IT'S STILL INFLUENTIAL TODAY.

Defender's groundbreaking design paved the way for an entire generation of scrolling shooters, including Jarvis's 1981 sequel Stargate, Konami's Gradius series, and many more. Even today, Defender continues to inspire 21st-century game designers. Finnish developer Housemarque's side-scrolling shooter Resogun draws directly on the mechanics in Defender. In 2017, Jarvis teamed up with Housemarque to develop the game Nex Machina, which released to overwhelmingly positive reviews.

More than 30 years later, Defender's audacious design is still making an impact.

13 Great Rockumentaries Every Music (and Movie) Fan Should See

The Criterion Collection
The Criterion Collection

More people are watching documentaries these days, which likely means that more people are rocking their faces off with nonfiction. Far from Ken Burns’s soothing tones, these music-filled films demand amplification and an unseemly amount of perspiration.

Rock documentaries are tricky beasts. Though they often have the built-in advantage of following around famous people, they aren’t immune to boredom and eye-rolling faux depth. Keeping it simple by showcasing the music can be good, but it’s no way to be great. The best of the best manage to deliver a stellar soundscape, offer a backstage pass to the real humans who make it, and hold our ears even if we aren’t already devoted fans. If a little history gets made in the process, even better.

Grab a seat next to Penny Lane on the bus. Here are 13 of the best documentaries that every music—and film—fan should add to their Must Watch list.

1. WHAT’S HAPPENING! THE BEATLES IN THE U.S.A. (1964)

A singular piece of filmmaking where nonfiction talent met transcendent musical genius on the threshold of gargantuan stardom, this is the best Beatles documentary ever produced. Directed by legendary documentarians Albert and David Maysles, the film captures the band’s first frivolous jaunt through America, where they raised the screaming decibel level in The Ed Sullivan Show theater and goofed off in hotel rooms. It’s an explosion of youth before they changed music forever.

2. DON’T LOOK BACK (1967)

Another marriage of style, skill, and subject, Don't Look Back helped shape how the rockumentary genre could provide insights into the people who shape our popular culture. That so many iconic moments emerged from D.A. Pennebaker’s watershed work, which strolled with Bob Dylan through England in 1965, is a testament to the legendary musician's infinite magnetism. The cue cards, singing with Joan Baez in a hotel room on the edge of breaking up, the Mississippi voter registration rally, and on and on. Since it portrayed fame’s effect on the artist, the art, and the audience, most every other rock doc has been chasing its brilliance.

3. GIMME SHELTER (1970)

The rockumentary has evolved to be as diverse as the sonic landscape itself, which is why Popstar: Never Stop Never Stopping can send up the current scene just like This Is Spinal Tap! did in the 1980s. Still, 1970 feels like the year that defined the rockumentary. Another Maysles joint, this profound doc captured The Rolling Stones touring at a time when they were one of the biggest bands in the world and only getting bigger. The music is powerful and immediate, and the film closes with their appearance at the Altamont Free Concert, which turned deadly when—after a day of skirmishes between concertgoers and the Hell’s Angels acting as security—a fan with a gun was stabbed to death when he tried to get on stage during “Under My Thumb.”

4. WOODSTOCK (1970)

The other 1970 film that helped define the genre allowed thousands to claim they’d been to the biggest concert event of the generation without actually going. If rock ‘n’ roll emerged from unruly teenage years into conflicted young adulthood in the 1960s, nothing stamped that image in henna ink better than Woodstock and the documentary that accompanied it. The bands that appear are legendary: Crosby, Stills & Nash; The Who; Joe Cocker singing The Beatles; Janis Joplin; Jimi Hendrix; and many more. It’s a fly-by of the three days of peace and music that you could play on repeat with summery ease.

5. ZIGGY STARDUST AND THE SPIDERS FROM MARS (1973)

Rock doc royalty D.A. Pennebaker captured David Bowie’s final performance in his red-domed sci-fi persona at London's Hammersmith Odeon with a flair that captures the frenetic energy of the room. The crowd is as much a part of the moment as the band is, as the camera places you in the middle of a transitional moment in music history. To see Bowie that close up now is a wonder. And, naturally, the music is out of this world.

6. THE DECLINE OF WESTERN CIVILIZATION (1981)

Instead of following the famous, Penelope Spheeris’s debut dug its nails deep into the Los Angeles punk scene at the turn of the decade. Black Flag, The Circle Jerks, and other bands your parents have never heard of perform mosh pit-sparking anthems and show off their living conditions like a grungy proto-version of MTV Cribs. There’s a purity here missing from most music docs—a chronicle of people whose passion far, far outweighs their paychecks, and a screening that led the LAPD to request that the movie never be shown in LA again.

7. SIGN "☮" THE TIMES (1987)

Having Prince at the center of your concert doc is a shortcut to ensuring it’s one of the best of all time. There’s the music, of course. Hits like “Little Red Corvette” and “U Got the Look,” and Sheila E. beating the hell out of her drum kit. There’s also The Purple One's inexhaustible energy and stage presence. As a bonus, the film jumps between concert footage and (instead of candid hotel conversations) a sci-fi narrative where we get to go to Prince Planet. It’s a rocky, disorienting experience that could have only been held so tightly together by a master showman.

8. MADONNA: TRUTH OR DARE (1991)

It might be hard to explain to a younger audience just how dominant Madonna was as an artist coming out of the 1980s or the kind of landmark event this film represented because of her status. The travelogue of her Blonde Ambition Tour was like peeking into the insane world of the ultra-famous—not least because Madonna was dating Warren Beatty at the time and part of the film involves her hanging out with Al Pacino, Lionel Richie, and more. There are threats that the Canadian police will arrest her for simulating masturbation in her show, the Pope trying to get the tour canceled in Italy, and a slightly awkward return home to see family. All par for the course for someone whose personal life was carved up for public consumption.

9. RHYME & REASON (1997)

An unparalleled look into the lyricism and lifestyle of rap musicians from the genre’s rise through its global domination of the 1990s, the concert and party footage is fantastic, and the number of interviews is staggering. Peter Spirer spoke with more than 80 rap and hip-hop artists to craft a snapshot of what life was like for a group of musicians who discovered their voices could echo across the world as well as those who followed after to even greater success. Instead of going deep on one person behind the music, it’s a historical document of the culture itself as seen through the eyes of those at its very center.

10. THE DEVIL AND DANIEL JOHNSTON (2005)

For those who don’t know Daniel Johnston’s music, this doc is a crash course not only in its stripped-down, anti-folk vibes but the head it all comes spilling out of. Instead of romanticizing or ignoring his bipolar disorder, Jeff Feuerzeig’s movie engages with it directly, drawing beautiful gems from a troubled mind. An absolute masterpiece, it’s less a vision of a musician giving glimpses into his real life than it is a vision of a human being who makes music.

11. AWESOME; I F*CKIN’ SHOT THAT! (2006)

Rockumentaries follow two major formats: the raw concert doc that’s like a ticket to a show you couldn’t attend, and the profile where artists drop quotables in between performances. They’re safe and familiar, which is probably why the Beastie Boys gave both styles the middle finger in favor of a grand experiment. A year before YouTube launched, the rap trio gave 50 fans in their Madison Square Garden audience camcorders to capture the concert. The result is a genuine, fans’-eye-view of the experience, and a chaotic mashup of perspectives.

12. THE PUNK SINGER (2013)

It’s astonishing how much time and ground Sini Anderson’s portrait of Bikini Kill leader Kathleen Hanna covers. It’s so much that labeling her Bikini Kill’s leader is woefully reductive. Artist, pioneer, feminist, activist, and a dozen other titles swirl around Hanna’s sweat-covered brow as we get to know her both as an artist and as a person. It’s also a punk fever dream of riot grrrl greatness, featuring incendiary archival footage and excellent talks with members of Le Tigre, Bikini Kill, and Julie Ruin, as well as Carrie Brownstein and the Beastie Boys’s Adam Horovitz (who is also Hanna’s husband).

13. JANIS: LITTLE GIRL BLUE (2015)

A fairly recent addition to the pantheon, Amy J. Berg’s doc is a stirring tour of archival footage of the gravel-throated songstress. Narrated by musician Cat Power, instead of losing perspective to the fog of history, a blend of modern conversations and ghosts from the past offer fresh eyes and ears to create a heartsick celebration of one of music history's most beloved artists, whose career was cut woefully short.

20 Memorable Elvis Presley Quotes

Hulton Archive/Getty Images
Hulton Archive/Getty Images

More than 40 years after his death, Elvis Presley remains a rock ‘n' roll icon and has yet to be ousted from his position as “The King.” Yet the Tupelo, Mississippi-born, Memphis, Tennessee-raised superstar never took his fame for granted, nor did he forget his roots. Here are 20 memorable quotes about Elvis’s life and legacy.

ON AMBITION

“Ambition is a dream with a V8 engine.”

ON MAINTAINING YOUR VALUES

“It's not how much you have that makes people look up to you, it's who you are.”

“Values are like fingerprints. Nobody's are the same, but you leave 'em all over everything you do.”

ON THE MUSIC INDUSTRY

“I happened to come along in the music business when there was no trend.”

“I've never written a song in my life. It's all a big hoax.”

“I don't know anything about music. In my line you don't have to.”

ON THE ARMY

“After a hard day of basic training, you could eat a rattlesnake.”

“The army teaches boys to think like men.”

ON TRUTH

“Truth is like the sun. You can shut it out for a time, but it ain't goin' away.”

ON THOSE LEGENDARY DANCE MOVES

“Rock and roll music, if you like it, if you feel it, you can't help but move to it. That's what happens to me. I can't help it.”

“Some people tap their feet, some people snap their fingers, and some people sway back and forth. I just sorta do 'em all together, I guess.”

ON KEEPING POSITIVE

“When things go wrong, don't go with them.”

ON STARDOM

“If you let your head get too big, it'll break your neck.”

“I have no use for bodyguards, but I have very specific use for two highly trained certified public accountants.”

“The image is one thing and the human being is another. It's very hard to live up to an image, put it that way.”

“The Lord can give, and the Lord can take away. I might be herding sheep next year.”

ON LOVE

“Sad thing is, you can still love someone and be wrong for them.”

ON THE PITFALLS OF HOLLYWOOD

“I sure lost my musical direction in Hollywood. My songs were the same conveyer belt mass production, just like most of my movies were.”

ON GETTING OLDER

“Every time I think that I'm getting old, and gradually going to the grave, something else happens.”

ON LEAVING A LEGACY

“Do something worth remembering.”

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