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Salora’s first effort enter to computer markets

The early 1980s witnessed a surge of personal computers entering the European market, many designed to challenge the rising popularity of British and American systems. Among the more unusual entries was the Salora Fellow, a Finnish home computer produced by Salora, an electronics company better known for televisions and audio equipment. The Fellow was introduced in 1983, during a period when affordable 8-bit machines like the Commodore 64, ZX Spectrum, and MSX were rapidly gaining ground. Salora hoped to capitalize on the growing interest in home computing and provide a domestic alternative for the Finnish market. The Salora Fellow was not an entirely original design but rather a localized version of a computer developed by VTech (Video Technology Ltd.), a Hong Kong–based electronics company. VTech had introduced the Laser 200 (also marketed as the VZ-200 in some regions), an inexpensive Z80-based home computer aimed at beginners and students. Instead of creating a machine from scratch, Finnish electronics manufacturer Salora licensed the design from VTech and rebranded it for the domestic market under the Fellow name. Technically, the Salora Fellow was nearly identical to the Laser/VZ-200, featuring 16 KB of RAM (expandable to 48 KB), a built-in Microsoft BASIC interpreter, simple color graphics, and cassette storage.

Technically, the Salora Fellow was built around the Zilog Z80 processor, a popular choice for many European micros of the era. It featured output to a television set, which aligned it with other budget computers of the time. Its design emphasized affordability, but compared to its international competitors it lacked advanced graphics and sound capabilities. Because of this shared heritage, most of the Fellow’s limited library of software and games was directly inherited from the VTech ecosystem. While marketed as a Finnish computer, the Fellow’s DNA was firmly rooted in VTech’s design, illustrating how global licensing and rebranding shaped the early 1980s home computer market. The Salora Fellow was primarily marketed in Finland, with some limited attempts at distribution elsewhere in Scandinavia. However, it never achieved large-scale popularity. Contemporary estimates suggest that only a few thousand units were sold before production ceased, making it more of a curiosity than a mass-market contender. Finnish consumers quickly gravitated toward the Commodore 64 and MSX machines, which offered broader game libraries and international support.

Finnish technology magazines and newspapers received the Fellow with cautious optimism but also skepticism. Some reviewers praised the idea of a Finnish-made computer, highlighting its educational value and low price. However, the limited software ecosystem, modest specifications, and lack of international traction led critics to conclude that it could not compete with more established brands. As the 1980s progressed, the Fellow was largely forgotten, overshadowed by global competitors. The Salora Fellow remains a small footnote in the history of Finnish computing. It was an attempt to enter the booming home computer market, it offered basic features and modest educational potential but failed to build a sustainable user base. With only a few thousand units sold and limited press enthusiasm, it disappeared quickly, remembered today mainly as a symbol of Finnish ambition during the formative years of personal computing. Just few years later, Finnish IT-industry was able to create world wide success in mobile phones.

New edition of the British success story

In the early 1980s, the home computer revolution in the United Kingdom was based primarily on the mega popularity of one machine. That machine was the Sinclair ZX Spectrum. Released by Sinclair Research in 1982, it became a cultural icon. It introduced a generation of users to information technology, programming, and gaming. Its compact design, rubber keyboard, and distinctive color graphics set it apart from other machines of the era, such as the Commodore 64, and its affordable price made it accessible to households across Britain and Europe. By 1984, the ZX Spectrum had evolved into the ZX Spectrum+, an improved version of the original model. It corrected some of the limitations of its predecessor, but retained the features that had made the Spectrum a household name. The ZX Spectrum+ retained the core of Sinclair’s vision: a small, affordable machine capable of running a wide range of software. The Spectrum+ had a 3.5 MHz Zilog Z80A processor and, depending on the model, either 48 or 128 KB of RAM, which provided sufficient computing power for both home and educational use. Its graphics were limited to 256×192 pixels and eight colors, but this allowed for imaginative and engaging games that pushed the hardware to its limits. The sound was produced with a simple beep, but skilled programmers managed to create memorable music and sound effects, reinforcing the Spectrum’s reputation as a device where creativity often compensated for technical limitations.

One of the most striking features of the ZX Spectrum+ was its role in teaching programming. The device had a built-in BASIC interpreter that allowed users to write their own software, experiment with graphics and sound, and learn the basics of programming logic. This ease of use made the Spectrum+ popular in many European countries. Programmers began their careers by writing code from magazines, modifying it, and creating their own games. This DIY culture deepened understanding of the principles of information technology and inspired a generation to embrace technology in an interactive, hands-on way. Gaming on the Spectrum+ was a particularly significant part of its legacy. Despite its modest hardware, the platform had thousands of games in various genres, from arcade-style shooters and platformers to text adventures and strategy games. Developers learned to work around the machine’s limited memory and graphics capabilities with clever programming tricks, such as attribute conflicts, memory optimization, and creative use of colors. Players across Europe enthusiastically embraced games such as Manic Miner, Jet Set Willy, and Chuckie Egg, which became synonymous with the Spectrum experience. Spectrum+ also supported peripheral devices that enhanced the gaming experience and enabled a more interactive and responsive gaming experience. In addition to programming, the computer had several educational software programs for teaching mathematics, science, and language skills.

Spectrum+ addressed one of the biggest criticisms of the original ZX Spectrum, which was its rubber keyboard. The Spectrum+ model had hard keycaps, which improved typing comfort and durability, something that was particularly appreciated by users who spent hours programming or gaming. This hardware improvement, combined with the machine’s affordable price, reinforced its appeal as a versatile home computer. Its simplicity and low price made it possible for families to purchase a computer at a time when many alternatives were prohibitively expensive, reinforcing Sinclair’s mission to democratize computing. Critics pointed out the Spectrum+’s limitations, such as its modest sound capabilities, limited graphics resolution, and occasional memory limitations. However, these shortcomings became part of its appeal and inspired programmers to innovate and overcome the device’s limitations. The Spectrum became a symbol, as it was a computer where creativity replaced computing power. Its influence extended beyond the computer market and shaped the early careers of developers who later worked in Britain’s booming video game industry.

Here is a list of some popular games on the device:

Atic Atac

Avenger

Bomb Jack

Chuckie Egg

Commando

Daley Thompson’s Supertest

Dizzy

Elite

Ghouls ‘n Ghosts

Gremlins

Impossible Mission

Jet Set Willy

Jetpac

Knight Lore

Manic Miner

Paperboy

Pssst!

Rambo

RoboCop

Sabre Wulf

Tetris

The Great Escape

The Hobbit

The way of the Exploding fist

Underwurlde

Winter Games

World Games

Zool

The missed opportunity

The Sinclair QL (Quantum Leap) was a computer developed and marketed by Sinclair Research, a company founded by British entrepreneur Sir Clive Sinclair, and released in 1984. The Sinclair QL differed significantly from the company’s popular ZX Spectrum; it was aimed at more serious users, such as small businesses and technically oriented hobbyists. Although the QL was technically innovative, it suffered from a number of problems that limited its commercial success.

Sinclair Research had achieved enormous success in the early 1980s with the ZX Spectrum, a low-cost home computer. Inspired by the commercial success of the Spectrum, Clive Sinclair decided to expand his company’s product line and target a broader market, particularly small businesses and advanced users. The Sinclair QL was unveiled in January 1984. Its name, Quantum Leap, reflected the company’s ambition to make a huge leap forward in the computer market. The rush to launch resulted in a half-finished product, which led to problems. The Sinclair QL was manufactured in the UK. Inexpensive components were used in the design to keep costs down, which was Sinclair Research’s strategy. This was evident in both the technical choices made for the computer and its plastic casing. The goal was to sell the device for less than £400, which was significantly less than competing computers. The Sinclair QL incorporated many advanced technologies of the time that made it a competitive computer, such as the Motorola 68008 processor, which was a cheaper and lighter version of the Motorola 68000 processor. The processor ran at a clock speed of 7.5 MHz. It came standard with 128 kilobytes of RAM, which could be expanded to up to 640 kilobytes. The storage medium was a Microdrive, which used fast but unfortunately unreliable tape cassettes for data storage. QL supported two video modes: either a 256 × 256 pixel graphics mode with 8 colors, or a more limited 512 × 256 pixel mode for word processing. The operating system was QDOS, Sinclair’s own operating system.

Sales figures for the Sinclair QL were disappointing, especially when compared to the company’s previous successful products. It is estimated that between 150,000 and 200,000 units were sold during its lifetime. This was significantly less than the sales figures for the Commodore 64 or ZX Spectrum, for example, which sold in the millions. The QL was most popular in the UK, which was Sinclair Research’s home market. Elsewhere in Europe, the device received a mixed reception, and in the US, the QL failed to gain a foothold, as the market there was already strongly dominated by the Apple II and IBM PC. At the time of its release, the Sinclair QL cost around £399 in the UK, which was significantly less than most other 16/32-bit computers. However, the price was still too high for many home users, who preferred cheaper home computers. In Finland, the price of the device settled at around 5,000–6,000 marks. The Sinclair QL was an ambitious but unfinished product that attempted to fill two market niches – the business sector and the hobbyist market – without fully succeeding in either. Although it did not achieve great commercial success, its memory lives on strongly among hobbyists. The Sinclair QL has been featured in various computer exhibitions, such as I love 8-bit®, which showcases the history of computers and consoles from the 1980s. The QL’s unique history and technical innovations have made it an interesting collector’s item.

 

Sinclair ZX Spectrum +3
The Final Chapter with a Touch of James Bond

By the end of the 1980s, Sinclair Research had established the ZX Spectrum as the cornerstone of the home computer market in the UK and parts of Europe. Its affordable price and versatile software library had made it a cultural icon. In 1987, Sinclair introduced the ZX Spectrum +3, the last official model in the Spectrum series, which marked both the evolution of the platform and an attempt to appeal to a broader and more demanding customer base. Its graphics capabilities remained consistent with the Spectrum family, offering 256×192 pixels and a 15-color palette, but the machine’s expanded memory allowed for more sophisticated software. This made the +3 an attractive option for previous Spectrum owners looking to upgrade within the product family.

One of the most notable features of the ZX Spectrum +3 was its marketing. Sinclair sought to improve the device’s image by linking it to popular culture and glamour, most notably with a James Bond-themed advertising campaign. The marketing campaign linked the Spectrum +3 to the sophistication and excitement of the Bond series by presenting the computer as stylish and advanced. The advertisements presented the +3 not only as a tool for enthusiasts, but also as a sophisticated home computer suitable for both serious data processing and entertainment, with the aim of capturing the imagination of teenagers and families. This approach reflected Sinclair’s recognition that the home computer market was maturing and that consumers were increasingly interested in machines that combined technical expertise with attractive looks.

Gaming on the +3 remained a major attraction. The device was compatible with most of the existing Spectrum software library, ensuring that classic games such as Manic Miner, Jet Set Willy, and Sabre Wulf could still be played. In addition, the +3’s disk drive enabled the development of new and improved games that took advantage of the additional memory and storage capacity. Gamers and computer enthusiasts appreciated the combination of backward compatibility and forward-looking design, which meant they could enjoy their old favorites while also exploring new software that took advantage of the platform’s capabilities. In addition to entertainment, the ZX Spectrum +3 was also suitable for productivity and educational applications. The fast storage provided by the disk drive allowed users to use word processors, spreadsheets, and programming environments more efficiently than on tape-based systems. The machine’s BASIC interpreter remained a core feature, allowing novice programmers to experiment with code, create software, and learn basic computer skills. The software was easier to manage and use thanks to the reliability of the diskettes, which reinforced the Spectrum’s long-term role in promoting computer skills among students and hobbyists. Critics of the +3 pointed out that, although it was an improvement on previous models, some limitations of the Spectrum architecture remained. The graphics and sound were still modest compared to the 16-bit machines of the time, such as the Amiga or Atari ST. The Z80 processor was unable to compete with the more powerful computers that entered the market in the late 1980s. Nevertheless, the +3 was praised for its thoughtful improvements, particularly the built-in disk drive and redesigned keyboard, which addressed the two most significant complaints users had about previous models. Its James Bond-themed marketing also set it apart from its competitors by combining technical improvements with cultural appeal, creating a machine that felt modern, ambitious, and fun.

The Spectrum +3 was well received by both enthusiasts and new users. Gamers and software developers in particular appreciated the device’s compatibility with earlier Spectrum models. Its expanded memory and improved storage solutions were praised. The combination of entertainment, programming possibilities, and practical applications made the +3 a versatile and improved platform, even though more powerful 16-bit machines were entering the market. Its marketing, which linked the product to the glamour of James Bond, improved its image in a humorous way. Ultimately, the ZX Spectrum +3 represents the final evolution of Sinclair’s popular 8-bit platform. It combined the appeal of the original Spectrum with significant improvements, such as disk-based storage and a more comfortable keyboard, while adopting a marketing strategy that linked the technology to popular culture. By integrating these features, Sinclair succeeded in creating a machine that honored the legacy of the ZX Spectrum family, appealed to both dedicated fans and new users, and proved that even at the end of an era, the Spectrum could remain relevant, innovative, and exciting. The +3 is further proof of Sinclair’s ability to develop the Spectrum further, and it also demonstrated the faith that its manufacturer, Amstrad, had in the Spectrum product family.

 

A misstep in the
home computer market by Commodore

The history of personal computing in the 1980s is filled with both groundbreaking successes and notable miscalculations. One of the more fascinating case studies in this regard is the Commodore +4, a machine that attempted to bridge the gap between home and business computing but ultimately struggled to find a lasting place in the market. Although remembered as part of the broader Commodore 264 series, the +4 is significant in its own right as a product of both high ambition and flawed execution. The Commodore +4 was officially introduced at the 1984 Summer Consumer Electronics Show (CES)in Chicago. Commodore announced it as the centerpiece of the new 264 series, which also included the Commodore 16 and Commodore 116. The “+4” name referred directly to one of its most publicized selling points: four built-in productivity applications. These were a word processor, a spreadsheet, a database, and a simple graphics program. Commodore envisioned this as a way to appeal not only to the home market but also to small businesses and budget-conscious professionals. At launch, the Commodore +4 carried a price tag of around \$299 USD, which was lower than the Apple IIe or IBM PC Jr. but higher than the extremely successful Commodore 64, which was available at under \$200 by late 1984 due to aggressive price wars. Commodore hoped to position the +4 as a middle ground: inexpensive compared to business machines, but more productivity-focused than purely entertainment-oriented home computers.

There were not much room for Commodre +4 model since the Commodore 64 already dominated the home computer markets with a large and rapidly growing software library. The Apple II entrenched in education and small business environments. The Sinclair ZX Spectrum, especially in Europe, which delivered cheap home entertainment. The Amstrad CPC series offered an affordable all-in-one design in Europe with a growing software ecosystem. Against such competition, the +4 was caught in an awkward position. Yes, the Commodore +4 was not imported officially into Finland. In fact, the entire 264 series saw just few releases in several Nordic countries. However, much like in other markets, its reception was lukewarm. Finnish users, like those elsewhere, gravitated more toward the Commodore 64 and later the Amiga, leaving the 264-series including Commodore +4 as a curiosity rather than a mainstream success.

The Commodore +4 contained several unique features, both positive and problematic. There was a built-in office Suite in +4. There were four applications (word processor, spreadsheet, database, and graphics) were meant to provide immediate utility out of the box. Unfortunately, they were underpowered and could not rival dedicated software available on other platforms. The processor was MOS Technology 7501 CPU that was a variant of the 6502. It was clocked at 1.76 MHz, delivering slightly faster performance than the C64. There were improved BASIC (Commodore BASIC 3.5) that offered advanced commands for graphics and sound programming, making it easier to exploit hardware features. Sound was maybe the greatest weakness of Commodore +4. Instead of the celebrated SID chip in the C64, the +4 relied on a simple two-voice sound generator, widely criticized as inadequate for gaming. This was done to reach cost efficiency manufacturing process, because Commodore wanted compete particularly against Japanese manufacturers. Despite its limited popularity and modest sound chip, the +4 did attract a modest library of games. Most were adaptations of titles that existed on the C64 or Spectrum. The most consistent supporters of the platform were Kingsoft, Mastertronic, and Commodore’s own publishing arm, but overall, the +4’s software catalog was shallow compared to its competitors.

Exact sales figures are debated, but estimates suggest the Commodore +4 sold fewer than one million units worldwide, compared to the 17 million units of the Commodore 64. While the +4 saw some traction in parts of Eastern Europe (particularly Hungary, where local developers embraced it for educational and hobbyist purposes), in Western markets it was largely regarded as a commercial failure. Contemporary reviews of the +4 were mixed to negative. Technology magazines praised its affordable price and noted that the improved BASIC was easier to use for beginners than the older Commodore 64’s version. However, they also emphasized its glaring weaknesses like incompatibility with the Commodore 64. That was perhaps the most criticized flaw. Given the C64’s enormous software base, the lack of backward compatibility meant the +4 started with a near-empty library. Reviewers repeatedly noted the downgrade from the SID chip to the rudimentary two-voice sound. Marketed as a selling point, the “+4” office suite was widely dismissed as too limited for serious business use. Magazines described the machine as “a solution in search of a problem,” and many journalists speculated that it existed primarily because Commodore’s new management wanted to distance itself from Jack Tramiel’s product vision after his departure.

The Commodore +4 represents a bold but flawed experiment in the home computer era. Introduced in 1984 at the Chicago CES, it was positioned as a productivity-oriented but low-cost alternative to both business machines and game-focused home computers. Its built-in office suite, colorful graphics, and enhanced BASIC were notable innovations, but these were overshadowed by its lack of C64 compatibility, weak sound hardware, and insufficient software library. Although it sold fewer than one million units and was quickly eclipsed by the continuing success of the Commodore 64 and the rise of the Amiga, the +4 remains a fascinating artifact. It illustrates both Commodore’s ambitions to dominate every tier of the computing market and the risks of misjudging consumer expectations. Today, the +4 is remembered less for its commercial success and more as a symbol of the volatile and experimental nature of the 1980s microcomputer boom.

The home computer from Memotech:
It’s not MSX. It is MTX!

In the early 1980s, Britain became one of the most vibrant and competitive home-computer markets in the world. From the modest ZX81 to the BBC Micro, personal computing in the United Kingdom was experiencing a golden age. Every few months, a new micro appeared on the shelves, promising to bring the future into the living room. Yet by 1984, that market was also beginning to strain under its own weight. Dozens of small companies entered the race, and just as quickly vanished when the public’s enthusiasm cooled or when giants such as Sinclair, Commodore, and Amstrad tightened their grip. Into this volatile world came a company called Memotech Ltd., and with it, one of the most stylish and technically refined British home computers ever built: the Memotech MTX.

Memotech was not originally a computer manufacturer. Founded by Geoff Boyd and Robert Branton in Oxfordshire, the company gained early success producing high-quality RAM expansions for the Sinclair ZX81, a machine famous for its affordability but equally notorious for its limitations. Memotech’s metal-cased expansions were praised for their reliability and design, and soon the firm decided that it could build an entire computer to the same standard. What emerged was the MTX series—machines that would stand out for their professional appearance, strong build quality, and advanced specification for the time.

The first model, the MTX 500, appeared in mid-1983, followed soon by the MTX 512 and later the RS128. All shared the same elegant black brushed-aluminum case, a far cry from the plastic shells of most of their rivals. Inside, the machines ran on a Zilog Z80A processor clocked at 4 MHz, with either 32 KB or 64 KB of RAM. Their Texas Instruments video chip could display 256 × 192 graphics, sixteen colours, and up to thirty-two hardware sprites—capabilities that compared favourably to the contemporaneous ZX Spectrum and even challenged the newer MSX machines. Sound came from the SN76489A chip, offering three tones and noise. The keyboard was full-sized, with eighty keys and a solid mechanical action that felt almost luxurious. In an era when rubber chiclets and wobbly keys were common, the MTX looked and felt like a serious instrument.

Technically, the MTX was versatile. Its expansion ports allowed the attachment of disk drives, serial and parallel interfaces, and even the running of the CP/M operating system through an external module called the FDX. That meant business software such as WordStar or dBase could, in principle, run on a home machine. The built-in BASIC interpreter, stored in ROM, was powerful and included commands for graphics and sound that made the machine friendly to programmers. Memotech clearly wanted to straddle both the hobbyist and professional markets—appealing to the home user who enjoyed games and coding, but also to schools and small businesses seeking a capable yet affordable CP/M system.

Yet the MTX entered the market at a perilous time. The British micro boom was beginning to falter. The public that had enthusiastically bought computers in 1982 and 1983 was now more cautious, and retailers were flooded with unsold stock. Commodore had driven prices down with the VIC-20 and later the dominant Commodore 64, while Amstrad was preparing to launch its integrated CPC 464 at an aggressive price. The MTX, with its premium metal case and full-sized keyboard, inevitably cost more—around £275 at launch for the 32 KB model. For many families, that was a difficult proposition when cheaper and better-supported alternatives existed.

Software support proved to be the decisive weakness. Despite its technical strengths, the MTX arrived without a strong base of games or educational titles, and developers were reluctant to commit to another new platform. Memotech hoped that compatibility with the emerging MSX standard might help, but the MTX ultimately differed just enough to make direct software sharing impossible. Without the ability to run Spectrum or Commodore programs, and lacking an MSX badge, it occupied an awkward no-man’s-land between standards. A few good titles appeared—Attack of the Mutant Camels, Kilopede, and Flight Simulator among them—but they were not enough to establish a thriving ecosystem.

Still, for the small number of users who did buy one, the MTX was a delight. Programmers appreciated the machine’s fast BASIC and the ability to write in assembler using the built-in monitor. The graphics and sound chips offered creative potential, and the solid keyboard made it a pleasure to type on. The optional FDX system, with its twin floppy drives and CP/M compatibility, turned the MTX into a credible small-business computer. In educational settings, it offered durability and expandability. There was a sense among enthusiasts that the MTX was a machine for those who cared about quality rather than fashion—a connoisseur’s choice.

Unfortunately, quality alone could not save it. Memotech invested heavily in production facilities, expecting large sales volumes that never materialized. The company also pursued ambitious export deals, including a proposed contract to supply computers to Soviet schools, but the political and logistical complexities of the Cold War scuttled the plan. By 1985, unsold stock piled up, and the firm was forced to slash prices drastically: the MTX 500 fell to under £80 in some clearance sales. Not long afterward, Memotech went into receivership. Production of the MTX line ceased, and the remaining inventory gradually disappeared from the market.

In hindsight, the Memotech MTX’s failure was not due to poor engineering but to timing and market realities. By 1984, consumers were increasingly driven by price and software libraries rather than by hardware elegance. The ZX Spectrum dominated the home-gaming market through sheer volume and developer support. The BBC Micro had captured the education sector. Commodore and Amstrad were fighting over the mainstream, leaving little room for a stylish outsider. Even in business computing, the CP/M niche was rapidly being replaced by IBM-compatible PCs. The MTX was a machine caught between worlds: too refined and expensive for the casual user, too small and incompatible for the business world.

Yet for all its commercial disappointment, the MTX left a mark on computing culture. Collectors today still admire its craftsmanship, the smoothness of its keyboard, and the understated beauty of its aluminum shell. In many ways, it symbolized what was best about the British microcomputer era: a spirit of engineering ambition, a willingness to innovate, and a belief that personal computing could be elegant as well as accessible. Though only a few tens of thousands were ever sold, the MTX remains a favourite among retro-computer enthusiasts who see in it the road not taken—the idea that a British machine could compete on quality, not just price.

The story of Memotech and its MTX computers is, in the end, both inspiring and tragic. It demonstrates how talent and vision can produce remarkable technology, yet also how unforgiving the marketplace can be. The MTX stood proudly among the crowded ranks of 1984’s home computers, its metal gleaming where others offered brittle plastic, but when the dust settled, it was the mass-market machines that survived. Memotech disappeared by 1985, leaving behind only the memory of a beautifully built machine that arrived just a little too late and cost just a little too much.

Today, when one powers up a surviving MTX and sees its clean blue screen flicker to life, it is easy to imagine what might have been. In a time when computing was still an adventure, the Memotech MTX represented both the dream of perfection and the reality of the marketplace. It is a reminder that technology’s history is written not only by the winners, but also by the elegant, doomed machines that dared to compete.

The last 8-bit endeavor from Atari

By the mid-1980s, the home-computer and videogame-console markets were undergoing significant change. The dramatic crash of the videogame market in the United States beginning in 1983 underscored how saturated the market had become and how difficult it was for incumbents to revive growth. Meanwhile, the 8-bit home-computer market (machines like the Atari 800XL, the Commodore 64, and others) was seeing both its heyday and the first signs of transition to next-generation systems. Into this environment stepped Atari (via its incarnation as Atari Corporation after the company restructure under Jack Tramiel) with the XEGS in 1987. The goal was to blend the worlds of videogame console and home computer, offering compatibility with the existing Atari 8-bit computer line while presenting a more console-oriented form for families and gamers.

The Atari XEGS (Atari XE Video Game System) was essentially a redesign of the Atari 65XE home computer (part of the XE family) packaged as a games console with the optional addition of a keyboard to convert it into a fully capable Atari 8-bit computer. It was released in 1987.The machine used a MOS 6502C (often 1.79 MHz NTSC or 1.77 MHz PAL) CPU, 64 KB of RAM (onboard) and ran the familiar Atari 8-bit architecture: chips like ANTIC and GTIA for graphics, POKEY for sound. For media, it used cartridge format and also accepted most of the older Atari 8-bit software and hardware — hence it could in theory serve as both console and computer. One key packaging variant was the “basic” set (console + joystick) and the “deluxe” set (console + joystick + detachable full-keyboard + XG-1 light-gun).

Sales and production figures

Exact global sales figures for the XEGS are somewhat elusive and inconsistent. One credible data point is that Atari sold approximately 100,000 XE Game Systems during the Christmas 1987 launch period, a figure described as “every unit produced during its launch window”. Some other sources note that overall support and new game releases tapered off after 1988, and that the 8-bit line (including the XEGS) was discontinued by Atari by early 1992.One source suggests that the XEGS did not feature at all in Atari’s annual reports after 1990, implying limited ongoing production. Therefore, while the 100,000 units number gives a snapshot for the launch, the total lifetime sales figure may have been somewhat higher but still modest compared with major console players of the time.

What the press and magazines wrote, positives and negatives

Contemporary and retrospective commentary on the XEGS emphasised a mix of promise and limitations. On the positive side, reviewers appreciated that the XEGS offered a dual-mode device: for users who wanted a console (plug in, joystick, game) it served that, while for those willing to attach the keyboard it became a full home computer with the rich Atari 8-bit software and peripherals. For example, one reviewer called the combination “a brilliant idea” for users who “didn’t have the foggiest idea what to do with a computer … [but] would have no compunction about buying a great video-game system”. In hardware terms, the leveraging of the existing 8-bit Atari architecture meant that compatibility (in many cases) with prior software/hardware was possible, and the detachable keyboard allowed a low-entry price for console buyers.

On the negative side, the press and analysts were critical of several aspects. Despite claims of compatibility, not all older Atari 8-bit cartridges and peripherals ran 100% smoothly on the XEGS — some games required translation or did not run as expected. Some are full-disk games that take anywhere from 1-4 disks … the end result is that games like ‘Astro Chase’ … won’t run on an XEGS system.” The hardware itself was already somewhat dated by launch: the architecture was essentially mid-early 1980s technology being pushed in 1987. The software library and developer support were weak compared to major competitors — few new flagship games were developed specifically for the XEGS. One source notes that after 1988 there were virtually no new releases. Marketing seemed under-whelming and the console/computer duality may have generated confusion in the market: Was this a console for games, or a computer for hobbyists? Neither message was pushed strongly enough to differentiate. In console form the XEGS lacked the cachet and ecosystem of leading rivals such as the Nintendo Entertainment System (NES). Some hardware aspects such as the light-gun (XG-1) were judged sub-par in accuracy. Thus, while the XEGS held conceptual appeal, execution and market timing limited its impact.

Atari XEGS – the reasons to get one 1980’s

As a plug-in console with joystick, for families seeking an affordable gaming system with some pedigree (Atari brand) and a library of immediately playable cartridges. As a “starter computer” for households where the idea of a keyboard and programming hobby appealed, but full computer systems (dedicated home computers) seemed more expensive or complex. Because the XEGS could remain a console but later be expanded by adding the keyboard, it offered flexibility. For users already owning Atari 8-bit software/hardware, the XEGS offered backward compatibility and a convenient way to reuse existing cartridges, peripherals and cassette/disk drives. For educational purposes: the full computer mode (with keyboard) provided access to programming (Atari BASIC Revision C) and the wide range of educational software developed for the Atari 8-bit line. In markets where new console options were expensive and older 8-bit machines were still viable, the XEGS might have offered good value.

The lifespan of the XEGS was relatively short. Although released in 1987, support and production of the Atari 8-bit line (including the XEGS) was officially discontinued by December 1991. After that date, the XEGS was no longer actively supported and became effectively obsolete in the face of 16-bit machines and emerging console generations. One retrospective source notes that the system “did worse than the Atari 7800 … and was yet another instance of Atari failing to save itself from Nintendo’s increasingly domineering presence.” In effect, the XEGS occupies a transitional niche: a late 8-bit Atari product that tried to straddle the console-and-computer boundary but ultimately did not secure a large market share or long lifespan.

Competition and market context

When the XEGS launched in 1987, the competitive environment was formidable. On the console side, Nintendo’s NES dominated the market in many territories. On the computer side, 16-bit home computers (e.g., the Atari ST line, the Commodore Amiga) were beginning their rise. The Atari XEGS had to compete not only with dedicated consoles offering strong marketing and fresh libraries, but also with home computers offering more advanced capabilities for programming, graphics and higher memory. In addition, the fact that the XEGS was architecturally tied to older 8-bit technology meant it lacked the “wow factor” of newer machines and thus struggled to differentiate. Thus, the XEGS’s competitive disadvantage stemmed from being both too late to the console race and too modest compared to emerging computers.

Legacy

Though the Atari XEGS was not a major success, it remains of interest to retro-computing and retro-gaming enthusiasts. It represents a “bridge” model — a home console built from a home computer architecture and intended for both gaming and computing. The fact that it is compatible with the wider Atari 8-bit ecosystem gives it a broad software base for hobbyists. For many collectors, the XEGS (especially in its deluxe keyboard + light-gun bundle) is a notable piece of Atari history and a symbol of the company’s efforts to reposition itself in the late 1980s. While the machine did not turn the tide for Atari, it is remembered as a bold if flawed attempt to straddle multiple market segments at once.

The Atari XE Game System (XEGS) was introduced in 1987 as an attempt by Atari Corporation to merge the worlds of console gaming and home computing, leveraging its existing 8-bit computer architecture (the XE line) in a new form factor. While it offered flexibility, compatibility and reasonable hardware for the era, it suffered from outdated technology, weak software support, and fierce competition from both dedicated consoles and emerging home computers. Although launch-sales of around 100,000 units indicate some initial interest, the limited lifespan (discontinuation by ~1991) and modest impact on the market underscore its niche status. For users seeking an affordable console or introduction to computing in the late 1980s, the XEGS may have made sense—but in the evolving landscape of videogames and computers its capabilities were already somewhat behind the curve. Nonetheless, in retrospect it serves as an interesting footnote in Atari’s history and the creative cross-pollination of console and computer design.

Popular games 

Here are some games presented that were popular on Atari XE.

Boulder Dash
Bug Hunt (light gun)
Dig Dug
Donkey Kong
Flight Simulator II
Frogger
Pac-Man
Pitfall!
River Raid
Zaxxon

 

The story of a 64-bit Atari Jaguar
The dream that flopped

In the annals of video game history, few consoles embody the paradox of ambition and failure as clearly as the Atari Jaguar. Marketed boldly as the world’s first “64-bit” gaming console, the Jaguar aimed to re-establish Atari as a major force in the gaming industry during the early 1990s. But despite promising technology and nostalgic brand power, the Jaguar ultimately became one of gaming’s most infamous commercial failures. By the late 1980s, Atari Corporation, led by Jack Tramiel, was a diminished shadow of its former self. Once dominant in both home computers and gaming consoles, Atari had failed to match the success of Nintendo and Sega in the lucrative home console market. Systems like the Atari 7800 had been largely ignored by consumers, and the company’s attempts to innovate with handhelds like the Atari Lynx had also struggled to capture a mainstream audience. Desperate to reassert itself, Atari pinned its hopes on a next-generation console that would leapfrog its competitors technologically: the Atari Jaguar.

Development of the Jaguar began in the early 1990s, under the codename Project Jaguar. Atari partnered with Flare Technology, a group of engineers, to design the new hardware. The goal was clear: create a system powerful enough to surpass the Sega Genesis and Super Nintendo Entertainment System (SNES), and ideally challenge upcoming 32-bit consoles like the Sony PlayStation and Sega Saturn.

Atari’s engineers developed an innovative architecture:

• Two custom 32-bit processors, named “Tom” and “Jerry.” Tom handled graphics and video output, while Jerry focused on audio and co-processing tasks.
• A Motorola 68000 CPU, the same processor used in the Sega Genesis and Atari ST, primarily tasked with handling control logic and compatibility.
• Atari marketed the system as a “64-bit” console, arguing that the combined capabilities of the two 32-bit processors justified the label. This claim was heavily disputed, but Atari insisted the architecture offered genuine 64-bit performance.

The console used ROM cartridges for media, eschewing the CD-ROM trend, although a Jaguar CD peripheral would be released later.

Release and Market Launch

The Atari Jaguar was officially launched in November 1993 in select markets in the United States. Priced at $249.99, it was competitively priced compared to the SNES and Genesis. The initial rollout was limited, focusing on major urban centers before expanding nationally.

Atari heavily promoted the Jaguar’s “64-bit” architecture as its key differentiator. However, at launch, the Jaguar suffered from a critically small library of titles. The initial batch of games included:

• Cybermorph (bundled with the console)
• Trevor McFur in the Crescent Galaxy
• Raiden (an arcade port)

While Cybermorph demonstrated 3D graphics beyond what SNES and Genesis could produce, critics found the gameplay repetitive and the visuals unimpressive for a “next-gen” system.

Press Reception: Hype Meets Skepticism

The press initially covered the Jaguar with cautious optimism. Atari’s bold claims attracted attention, and the prospect of a “64-bit” console intrigued consumers in an industry dominated by 16-bit systems.

However, reviews quickly turned critical:

• The Jaguar’s unique architecture proved difficult to program. Developers often relied on the underpowered 68000 processor instead of exploiting the dual custom chips, leading to underwhelming performance.
• Game libraries remained thin, and key titles were delayed.
• The graphical leap was inconsistent: while 3D polygon graphics were possible, many games used 2D sprites, leading to comparisons with 16-bit systems rather than next-generation rivals.

Many reviewers began to view Atari’s “64-bit” claims as a marketing gimmick rather than a technological reality.

Despite an aggressive marketing campaign, the Jaguar struggled to gain traction:

• In 1993, only around 17,000 units were sold.
• By 1994, as availability expanded, sales increased, but not enough to challenge Nintendo or Sega.
• In total, Atari sold approximately 150,000 to 250,000 Jaguar units globally during its lifespan.

In comparison, the SNES and Genesis each sold tens of millions of units.

In an attempt to address the limitations of cartridge media, Atari released the Jaguar CD peripheral in 1995, priced at $149.99. This add-on allowed the Jaguar to play CD-based games and offered multimedia features like CD audio playback. By 1996, Atari ceased production of the Jaguar and effectively exited the hardware business. Facing mounting financial losses, Atari Corporation merged with hard drive manufacturer JT Storage (JTS), marking the end of Atari as an independent gaming company. In 1998, Hasbro Interactive acquired the rights to the Atari brand. In 1999, Hasbro officially declared the Jaguar an “open platform,” allowing developers to create and distribute new software without licensing restrictions. This led to a small but dedicated homebrew community.

The Atari Jaguar remains one of gaming history’s most infamous failures — a case study in overpromising and underdelivering. Yet, its story is more nuanced:

• Technologically, the Jaguar was ahead of its time in some respects, offering 3D graphics capability before the PlayStation and Saturn.
• Its complex architecture hindered software development, a fatal flaw that limited its library and stifled third-party support.
• Marketing missteps, poor game availability, and fierce competition doomed the console despite its potential.

Nevertheless, the Jaguar has earned a cult following among retro gaming enthusiasts. Titles like Tempest 2000, Alien vs. Predator, and Iron Soldier are fondly remembered as standouts on the platform.

The Atari Jaguar was both the final home console released by Atari and its final major attempt to reclaim its place in the gaming industry. Though it failed commercially, the Jaguar remains a testament to the company’s enduring spirit of innovation — even if that innovation was ultimately flawed. Today, the Jaguar symbolizes the end of an era. Atari, once a pioneer, exited the console market after the Jaguar’s failure, leaving the industry to companies like Sony, Nintendo, and Sega. But for a brief moment in the early 1990s,

 

The Flagship of a 8-bit Atari

In the world of home computing during the 1980s, few companies had as turbulent and transformative a history as Atari. Founded in 1972 and initially known for pioneering video games like Pong, Atari became synonymous with early gaming culture. However, following corporate upheaval in the early 1980s, the company underwent a radical transformation. This change was largely driven by one man: Jack Tramiel, the legendary founder of Commodore. His acquisition of Atari’s consumer division in 1984 marked a new chapter in the company’s history, focused on affordable, powerful home computers. Central to this era was the release of the Atari 130XE, a computer that embodied Tramiel’s philosophy of providing “computers for the masses, not the classes.” Jack Tramiel was a Polish-born entrepreneur who built Commodore International into a giant of the personal computing industry during the late 1970s and early 1980s.

His aggressive pricing strategies and focus on mass-market appeal made the Commodore 64 the best-selling computer of all time. In 1984, after a bitter falling-out with Commodore’s board of directors, Tramiel left the company he had founded. Seeking a way back into the industry, he seized an opportunity when Warner Communications, the owner of Atari, decided to sell off Atari’s struggling consumer division. Warner had suffered significant losses after the infamous video game crash of 1983 and was eager to offload its floundering hardware division. In July 1984, Jack Tramiel acquired Atari’s consumer electronics and home computer business, renaming it Atari Corporation.His goal was clear: to make Atari once again a leading and innovative manufacturer of affordable computers that could challenge his old company, Commodore. How does it feel to be in a situation where you are trying to beat the company you founded? One can only imagine how Tramiel felt. It was a small world, because in the 1970s, Apple founder Steve Jobs had started his career at Atari, and soon Atari was competing against Apple with its Atari ST computers.

Under Tramiel’s leadership, Atari quickly restructured its product line. In 1985, Atari introduced the 130XE, part of its new XE (XL Extended) line of 8-bit computers, alongside the 65XE and the gaming-focused XEGS. The Atari 130XE was positioned as the company’s top-tier 8-bit home computer. Though technologically based on the earlier Atari 800XL, the 130XE boasted key enhancements:

• 128 KB of RAM, a significant upgrade compared to the 64 KB of its predecessor.
• Compatibility with existing Atari 8-bit software and peripherals.
• The same advanced graphics and sound capabilities that had made Atari’s 8-bit line famous, including ANTIC and GTIA graphics chips, and the POKEY sound chip.
• Support for bank-switching to access the full 128 KB of RAM.

In design, the 130XE adopted a sleeker, modernized case with a grey-and-black color scheme, intended to signal a break from the past and align with the aesthetics of Atari’s newly launched ST computers. Atari’s 8-bit computers had a reputation for excellent graphics and sound, rivalling or surpassing contemporaries like the Commodore 64 in certain areas. Popular games like Star Raiders, Ballblazer, and Rescue on Fractalus! showcased the system’s capabilities. Schools and parents continued to value 8-bit computers for teaching programming and basic computing skills. The 130XE’s compatibility with Atari BASIC and its expandability made it ideal for learners. The expanded memory allowed users to run more advanced software, including word processors and spreadsheets, many of which previously struggled on 64 KB systems. The 130XE’s increased RAM opened up possibilities for more complex programs, homebrew software development, and experimental applications. Additionally, aggressive pricing and widespread compatibility with existing software and peripherals made the 130XE an attractive upgrade option for owners of older Atari 8-bit computers.

Market Performance and Sales

Exact sales figures for the Atari 130XE are difficult to determine, but it is estimated that Atari Corporation sold hundreds of thousands of units worldwide between 1985 and the late 1980s. While not achieving the mass success of the Commodore 64, the 130XE contributed significantly to Atari’s resurgence as a computer company under Tramiel’s leadership. In the United States, sales were modest but steady. In Europe, particularly in West Germany, France, and the UK, the 130XE found a more enthusiastic market, helped by competitive pricing and Atari’s strong brand recognition.

Jack Tramiel’s acquisition of Atari generated significant media attention. Computer magazines such as BYTE, Compute!, and Popular Computing Weekly reported extensively on the new direction Atari was taking. Tramiel was often portrayed as a hard-driving businessman, known for his ruthless cost-cutting and competitive instincts. His leadership style was sometimes controversial, but few doubted his ability to revive a struggling company.

The industry press generally viewed the 130XE positively, highlighting:

• The generous 128 KB of RAM.
• Strong backward compatibility with earlier Atari 8-bit software.
• Solid graphics and sound performance.
• Competitive pricing under Tramiel’s aggressive business model.

However, critics noted that the 130XE, like other 8-bit computers of the time, was beginning to feel outdated in comparison to newer 16-bit machines, including Atari’s own 520ST, which was also released in 1985.

While the Atari 130XE represented the pinnacle of Atari’s 8-bit line, the broader industry was evolving rapidly. The introduction of affordable 16-bit computers — including the Atari ST series and the Commodore Amiga — began to capture consumer attention, pushing 8-bit systems into the background. By the late 1980s, Atari Corporation gradually phased out the 8-bit XE series to concentrate on its 16-bit ST line, which became Tramiel’s primary focus. The 130XE and its siblings remained on store shelves into the early 1990s, especially in Europe, before production eventually ceased.

The Legacy

The Atari 130XE occupies an interesting place in computing history. While it did not revolutionize the market, it extended the life of the Atari 8-bit platform and demonstrated Jack Tramiel’s pragmatic approach to computing: offering capable, affordable machines to the mass market. Today, retro computing enthusiasts value the 130XE for its expanded memory, compatibility, and understated design. It represents both the peak and the conclusion of Atari’s 8-bit home computer era — a testament to a time when Atari tried to redefine itself under new leadership. In the end, the Atari 130XE was a solid, capable machine that marked the end of one era for Atari and the beginning of another. Under Tramiel’s leadership, the company had shifted focus from gaming consoles to serious computing. Though the rise of 16-bit systems would eventually eclipse the XE line, the 130XE remains an important chapter in Atari’s storied history, standing as a symbol of resilience and reinvention.