Screenshot Gallery

Demo screenshots filtered by era and visual technique. These images were captured from real C64 hardware or emulated at authentic resolution. Filter by the technique that interests you, or browse everything in chronological order.

C64 PAL Frame Captures

Screenshots captured from video recordings of PAL C64 hardware, at approximately 766x544 pixels. The native C64 display is 320x200 pixels; these captures reflect the 4:3 pixel-aspect-corrected output as it appears on a real CRT monitor.

Edge of Disgrace opening scene: a raster sky gradient using cycle-exact colour register writes to produce a smooth colour transition across the full screen height — Edge of Disgrace (Booze Design, 2008) - opening raster sky. Colour changes across the full screen height are produced by writing to the VIC-II background colour register on each raster line during a specific cycle window.

Edge of Disgrace mid-demo scene: multiple horizontal coloured raster bars cycling across the screen, demonstrating precision raster interrupt timing — Edge of Disgrace (Booze Design, 2008) - layered raster bars. Multiple colour fields sit on top of each other, each requiring a separate timed interrupt to change the active colour register before the electron beam reaches that position.

Edge of Disgrace sprite-based scene: multiple animated characters visible simultaneously, achieved by repositioning the eight hardware sprites mid-frame using raster interrupt techniques — Edge of Disgrace (Booze Design, 2008) - sprite multiplexing scene. The VIC-II provides eight hardware sprites; repositioning their Y-coordinates mid-frame via raster interrupt produces the illusion of far more simultaneous sprite objects.

Edge of Disgrace FLI colour wash scene: per-character colour information producing image depth well beyond what the VIC-II's standard attribute mode allows — Edge of Disgrace (Booze Design, 2008) - FLI colour painting. Full Screen Multicolour (FLI) swaps the attribute memory pointer mid-character-row, giving each 8x1 pixel row its own colour cell rather than sharing colour data across 8x8 character blocks.

Edge of Disgrace later demo scene: another FLI painting section with complex colour gradients across character boundaries, producing painting-quality image depth — Edge of Disgrace (Booze Design, 2008) - second FLI section. The technique requires writing updated colour data during the 23-cycle gap between each character row, before the VIC-II reads those values for the next row's display output.

Edge of Disgrace final sequence scene: dense layered raster effects with multiple simultaneous colour fields representing the peak of the production's visual density — Edge of Disgrace (Booze Design, 2008) - final sequence. The closing section layers raster interrupts, sprite multiplexing, and background colour cycling simultaneously, coordinating all three techniques within a single frame's timing budget.

Comaland cover screenshot: dense layered raster colour effects with multiple simultaneous colour gradients across the full screen — Comaland (Censor Design + Oxyron, 2014) - cover image. Layered raster gradients running simultaneously across multiple colour registers, sustained throughout a ten-minute runtime without repetition.

Comaland opening sequence: introductory scene establishing the production's visual vocabulary of layered colour fields and animated raster effects — Comaland (Censor Design + Oxyron, 2014) - opening sequence. The production's first scene introduces the raster colour language used throughout the entire ten-minute runtime.

Comaland mid-demo scene: animated graphical elements visible simultaneously across multiple screen positions, demonstrating the sprite multiplexing coordination in the production — Comaland (Censor Design + Oxyron, 2014) - mid-demo sprite section. Oxyron's low-level programming expertise is visible in the coordination of multiple animated elements across the screen without visual artifacts.

Comaland scene 15: FLI painting section showing colour depth and tonal range well beyond the VIC-II's standard 16-colour attribute mode — Comaland (Censor Design + Oxyron, 2014) - FLI painting section. Like Edge of Disgrace before it, Comaland uses Full Screen Multicolour to produce colour gradients at a resolution the hardware was not designed to deliver.

Mathematica early scene: mathematical visual effects using bitmap rendering with precisely calculated geometric forms on real C64 hardware — Mathematica (Reflex, 1995) - opening section. Bitmap-mode rendering of mathematically generated forms, using the C64's high-resolution 320x200 mono bitmap mode as the basis for calculated visual output.

Mathematica mid-demo section: geometric form showing increased visual complexity as the production's mathematical effects develop — Mathematica (Reflex, 1995) - mid-demo section. The production builds visual complexity across its runtime as the underlying mathematical functions produce different outputs through their iteration.

Mathematica tunnel effect section: a perspective tunnel rendered in bitmap mode through real-time mathematical calculation on the 6510 processor — Mathematica (Reflex, 1995) - tunnel section. A real-time perspective tunnel calculated on a 1MHz 6510 processor with no floating point unit, computed entirely through fixed-point integer arithmetic.

Video-Sourced Captures

Screenshots sourced from YouTube recordings. These are 16:9 video frames rather than native C64 output captures. They show the demo as it appeared during a recording session.

Comaland scene 10: raster colour cycling section with animated colour fields covering the full C64 display area — Comaland (Censor Design + Oxyron, 2014) - raster scene 10. Raster colour cycling across multiple simultaneous register writes, one of the techniques that gives the production its characteristic colour density.

Comaland scene 20: layered raster effects with dense colour gradient coverage demonstrating the production's sustained visual complexity in its later sections — Comaland (Censor Design + Oxyron, 2014) - scene 20. One of the later sections in the ten-minute runtime, maintaining the same visual density as earlier scenes without repetition or simplification.

Mathematica final section: later-stage mathematical effect showing the production's visual range across its full runtime — Mathematica (Reflex, 1995) - final section. Bitmap-mode output from the closing section of the production, contrasting with the tunnel section's perspective rendering with a different mathematical form.