Minecraft: The Unlikely Tale of Markus Notch Persson and the Game that Changed Everything Read online

  Minecraft

  The Unlikely Tale of Markus “Notch” Persson and the Game That Changed Everything

  Daniel Goldberg

  &

  Linus Larsson

  TRANSLATION BY

  JENNIFER HAWKINS

  SEVEN STORIES PRESS

  NEW YORK • OAKLAND

  Copyright © 2011 by Daniel Goldberg and Linus Larsson

  English translation copyright © 2013 by Jennifer Hawkins

  First english language edition, November 2013

  All rights reserved. No part of this book may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, including mechanical, electronic, photocopying, recording, or otherwise, without the prior written permission of the publisher.

  Seven Stories Press

  140 Watts Street

  New York, NY 10013

  www.sevenstories.com

  College professors may order examination copies of Seven Stories Press titles for free. To order, visit http://www.sevenstories.com/textbook or send a fax on school letterhead to (212) 226-1411.

  Book design by Janet Brusselbach

  Library of Congress Cataloging-in-Publication Data

  Goldberg, Daniel, 1982-

  [Minecraft. English]

  Minecraft : the unlikely tale of markus “notch” Persson and the game that changed everything / Daniel Goldberg and Linus Larsson ; Translation by Jennifer Hawkins. -- Seven Stories Press First Edition.

  pages cm.

  Originally published in Swedish as “Minecraft: Block, Pixlar Och Att Gora Sig En Hacka.”

  ISBN 978-1-60980-537-1, E-ISBN 978-1-60980-538-8

  1. Persson, Markus, 1979- 2. Minecraft (Game) 3. Computer programmers 4. Computer games 5. Computer games--Design I. Larsson, Linus, author. II. Title.

  GV1463.G65 2013

  794.8--dc23

  2013016343

  Printed in the United States

  9 8 7 6 5 4 3 2 1

  CONTENTS

  CHAPTER 1

  THREE, TWO, ONE . . .

  CHAPTER 2

  FOR BEGINNERS

  CHAPTER 3

  “DO YOU WANT ME TO FEEL SORRY FOR YOU OR SOMETHING?”

  CHAPTER 4

  GAMES WORTH BILLIONS

  CHAPTER 5

  “THEY JUST DON’T GET IT.”

  CHAPTER 6

  MACHO MEN WITH BIG GUNS

  CHAPTER 7

  “THIS IS WAY TOO MUCH FUN. I Built a Bridge.”

  CHAPTER 8

  THE HEDONIC HOT SPOT OF THE BRAIN

  CHAPTER 9

  “YES, YOU SHOULD PLAY THIS GAME.”

  CHAPTER 10

  THE SQUID SITUATION

  CHAPTER 11

  A DILEMMA CONCERNING HOUSE CATS

  CHAPTER 12

  TOO MANY FOR TWO PIZZAS

  CHAPTER 13

  MORE THAN A GAME

  CHAPTER 14

  BECOMING A LEGO

  CHAPTER 15

  “YOU DID IT, MARKUS. YOU REALLY DID IT.”

  CHAPTER 16

  BACK TO THE BOYS’ ROOM

  PHOTOGRAPHS

  SOURCES

  LUDOGRAPHY

  THANKS

  ABOUT THE AUTHORS

  Chapter 1

  Three, Two, One . . .

  It’s November 18, 2011. An old man in a faded gray sweater looks up from his slot machine. A long and steady stream of children, teens, and grown-ups flows through the casino. Their outfits are odd, even for this place. In Las Vegas, you can count on seeing pretty much anything: Elvis impersonators lined up on the sidewalks, gigantic fake-gold lions, drunken weekend revelers, and fountains shooting water hundreds of yards into the air synchronized to the tune of the national anthem.

  The people streaming through the casino at the Hotel Mandalay Bay are wearing cardboard boxes on their heads. Some are in full cardboard-box bodysuits with armholes that look uncomfortable and make their elbows stick straight out, like cubist comic-strip characters with the posture of bodybuilders. The cardboard suits they’ve squeezed into are painted in large colorful squares, some green, some black. Others are light blue, brown, and pink. The man at the slot machines, clueless, returns to his game, his cigarette, and his morning cocktail.

  The cardboard-box people aren’t there to win money. They continue toward the convention facilities that are next to the casino, where in a few minutes they will be cheering as they watch a thirty-two-year-old Swede pull a lever and release the finished version of their favorite game.

  Minecraft. A computer game as incomprehensible to the uninitiated as it is wildly adored by tens of millions of people. Those who’ve traveled here are among the game’s most devoted fans. Not only have they paid airfare but also, before embarking for Las Vegas, they cut and glued their suits, modeled on the game’s primitive block graphics and shapes.

  And there are thousands of them, representing a total of twenty-three countries. The youngest is four years old and the oldest is seventy-seven. Of the many parents, some have made the trip just for their kids and are now observing in awe a world their offspring adore but that is alien to them. Others are just as passionate as their children.

  “We play together constantly,” says a dad with green-tinted hair, wearing a suit sprayed green, his face covered with black bars as he poses for pictures with his identically decked-out son.

  A few minutes later. The convention hall where we’re seated is the largest at the Mandalay Bay. It’s completely packed and the lights are off. All eyes turn toward the stage and Lydia Winters, who—impossible not to recognize with her short, shocking pink hair—is firing up the audience.

  “This weekend is going to be awesome!”

  Giant screens are mounted on both sides of the stage so that those sitting farther back can see what’s happening. They all show Lydia’s happy, glowing, almost cartoon-character-like smile.

  “So many people’s . . . lives have been changed by this game!”

  Next to the stage, just to the left, the weekend’s big star is waiting for the signal to step up into the spotlight: Markus Persson, dressed in jeans, well-worn sneakers, and a black polo that’s a bit tight around the middle. As always, he’s wearing a black fedora. Markus doesn’t know what to do with his hands while he waits. He pulls absentmindedly at the hem of his shirt before his hands land in his jeans pockets, thumbs out.

  There is an ocean of five thousand people seated before him—if seated is the right word, because many of them stand up as the first of Markus’s colleagues arrive onstage. Lydia Winters calls them up and one by one they trudge onstage, shyly wave a little at the audience, and line up beside her. Jens Bergensten—the programmer, tall, lanky, his red ponytail hanging down his back. Carl Manneh—the CEO, who is perfectly okay with Lydia keeping the microphone. Jakob Porser—Markus’s old friend and the cofounder of his company. The graphics guy, Junkboy—no, his real name is never given in public—who leaps onstage wearing a cardboard box on his head and making victory signs for the audience. They’re all Swedish men, all in their late twenties and early thirties, and they all work at Mojang, the company that produces Minecraft. Most days they sit and work at their computers in a shabby apartment on Åsögatan, in Stockholm. But this is no ordinary day.

  This is the moment when the final version of Minecraft will be released to the public. Which means that until today, the five thousand people in the audience—and several million others around the world—have been
playing an unfinished game. A kind of prototype, which has earned Markus close to $70 million and created one of the world’s most admired companies.

  The Mojang team on stage at MineCon 2011 in Las Vegas. Photo courtesy of Mojang

  This is MineCon, the first convention dedicated entirely to Minecraft. The event began as a random idea at the Mojang headquarters on Södermalm, in southern Stockholm. Markus Persson asked on his blog if anyone would pay ninety dollars to go to a Minecraft convention in Las Vegas. Within a few weeks more than 43,000 people said they would, and the Mandalay Bay was booked. The hotel is a forty-four-story monumental monstrosity built entirely of gold-tinted glass. In its twenty-two restaurants, smoke-filled poker dens, and meandering indoor malls, you can easily spend several days without leaving the hotel—exactly as intended. As a rule, casinos in Las Vegas have no windows or clocks, so that gamblers will continue to feed money into the machines throughout the night. The desert gambling mecca is no place for people with regular circadian rhythms.

  The coming days will be an unparalleled spectacle, bizarre for those unfamiliar with gaming conventions in general and especially so for those who don’t know Minecraft in particular. People will line up for hours to get Markus’s autograph. A costume contest will nearly degenerate into a riot. Two British men, known by millions of fans from their YouTube channel, will be greeted like celebrities when they play videos on the stage, showing functioning electronic equipment built entirely within Minecraft.

  It’s not that surprising. Minecraft had grown into an unprecedented success story well before MineCon. Sixteen million players had downloaded the game; more than four million of them had paid for it. Minecraft had been praised by pretty much every gaming magazine and website in the world. And after all, it’s a game so engrossing that thousands of its most faithful fans have traveled to Las Vegas to celebrate that it is finally finished.

  We have come here to understand why. We want to ask the costumed men and women what it is about Minecraft that makes them love it more than any other game. And not least of all, we want to know why Markus’s strange creation has earned him such enormous sums of money.

  For it was, of course, the money that made us take note of Markus Persson in the first place. In late 2010, the unassuming programmer began to pop up in interviews, describing how he’d struck gold with his remarkable game. He always displayed a modest, almost surprised demeanor in the face of his success. He didn’t seem to have any idea what to do with his millions.

  It looked like an improbable business success, a story of a quick breakthrough and of sudden riches, a shining example of how the Internet can shake the foundations of an industry and create empires within months. But the closer we looked, the more difficult it was to fit Minecraft into the usual frameworks. There was no successful marketing strategy to point to, no business plan that held the secrets to success. There was just one guy with his own, slightly odd idea of what the gaming world needed. The story that emerged had very little to do with polished businessmen and fast deals. Instead, we found an idea rooted in Markus’s childhood, one that could only blossom outside the established framework of the gaming industry.

  Actually, it’s only now, seated a few yards from the stage, that we fully understand what a star Markus is. Lydia Winters continues her exuberant introduction as we scan the crowd. There’s a woman crying in the row in front of us, which is reserved for special guests. Her cheeks are pierced and she has henna-colored hair and red scars in intricate patterns on her arms. There is also a short girl holding a camera, beaming with pride. Right beside her, there’s an older Swedish gentleman and a lady with shoulder-length, pure-white hair.

  “This all started because of one person,” says Lydia. If anyone had entered the hall at that moment without knowing what was going on, that person would have guessed she was talking about a prophet. The room erupts in cheers.

  “I think we need to do better than that. I think we need to chant to get him up onstage.”

  The whole audience responds to Lydia’s suggestion. The roar is deafening. “Notch! Notch! Notch!” Few people in the room know him as Markus.

  Down beside the stage, thoughts race through Markus’s head. What should he say? He has always hated speaking in public. On Twitter, he writes for half a million people, but this is different. Onstage, there’s no backing up and no erasing what he’s said. It’s all live, going out directly, both to people on-site and to those following the event online.

  Forty minutes earlier, he had asked for a drink to calm his nerves. Someone put a glass of vodka in his hand. Now he’s standing there trying to figure out if he’s drunk or not. Shouldn’t he be more nervous? There was something about the stairs too—he shouldn’t look out at the audience when he walks up onstage, someone had said. He might trip.

  Markus carefully climbs onto the stage. He looks self-conscious, but breaks out in a timid smile when he holds up his hand to wave to the audience. The spotlights seem to blind him completely. Lydia, whose neon-colored hair is accentuated by her all-black clothing, tries to get a few words out of Markus. He says something about “grateful” and “cool.”

  “I love you, Notch!” someone from the audience cries. Markus squirms.

  The stage decor consists of paper models and figures resembling those in the game. One life-size human figure looks exactly like Steve, the Minecraft protagonist. There’s a green monster, some boxes, and a column of blocks sporting a lever. The lever’s not actually connected to anything, but the energy level in the room rises when Markus approaches it.

  “Are you ready for the official release of Minecraaaaaaaaft?” Lydia roars.

  The audience roars back. A techno beat begins to pump. But Markus hesitates, grips the lever, lets it go again. Camera flashes and the noise level in the hall begin to approach the limits of human tolerance. Finally, Markus gives the lever a push. Fireworks explode and confetti shoots out over the sea of faces. The music gets even louder and the programmers onstage break out dancing, as Minecraft 1.0 is finally released to the world. Markus, off to the side, just nods his head to the beat. At that moment, a technician behind the stage tells us, four thousand people are logging in to play Minecraft. Four thousand per second, that is.

  Jakob, the old friend from an earlier time, dances up to Markus and receives a hug that lifts him off the floor.

  Chapter 2

  For Beginners

  First-time Minecraft players are usually struck by how simplistic it all looks. Ugly, some would say. But those who know their gaming history will feel instantly at home.

  If you look closely enough at a computer or TV screen, you’ll see the dots that make up the image. These points—pixels—are the atoms of computer graphics, the smallest indivisible units. Hardware and software developers harbor a kind of love-hate relationship with the pixel. When Apple released the iPhone 4, Steve Jobs made a big deal about the screen, which he called Retina Display. The idea was that each dot on the screen was so small, the resolution so high, that it would be impossible for the human eye to distinguish between separate pixels, and the last remnants of “computer feel” would vanish. Apple had won the war on the pixel.

  In other circles, the pixel is lovingly embraced. Extracting maximum meaning from the fewest pixels is an art form as old as computer gaming. The classic arcade game Pong is just a square dot that bounces between two flat surfaces, but to the player, it’s obviously a game of tennis. In the first version of Super Mario Bros., Mario was only sixteen pixels tall and twelve pixels wide. However, there is no doubt that the little cluster of colored pixels represents a mustachioed Italian plumber wearing a red cap and suspenders.

  Today, the limitations of hardware are no longer a problem, but the logic of the pixel continues to affect the gaming world. Place four pixels in a square and you get a block; pile the blocks on top of each other and you get a tower; arrange them diagonally and you have stairs. The worlds in the Super Mario games are still built of blocks, placed side by
side to create platforms to stand on, or on top of each other to create walls. Certain blocks can be destroyed, but new blocks can’t be created. And the whole point of Tetris is to eliminate blocks by arranging them in rows as they fall slowly down the screen.

  The breakthroughs in 3-D graphics did not mean that the blocks disappeared. Instead, the two-dimensional squares became boxes. Block puzzles, in which objects are moved around to fit into predetermined patterns, popped up in all imaginable kinds of games, kind of like homages to the early days of video games when everything was blocky, charmingly clumsy, and square out of pure necessity. But boxes and blocks also lend themselves to building games—we have all played with blocks as kids, piled them on top of each other, toppled them, and arranged them side by side to make patterns.

  Minecraft embraces the pixel. The ground, trees, mountains—and everything else in Markus’s creation—are built of identically sized, one cubic meter blocks. Colors vary, depending on what the different blocks represent. Grass blocks are green on the top and brown farther down; mountain blocks are gray; tree trunks are brown (except for birches, which are black-and-white, as in reality).

  But then, this is no paltry little toy world that the player finds himself or herself in, after having seemingly fallen out of the sky for no apparent reason. Huge green spaces stretch out in one direction, a gigantic ocean in the other, and in the distance—how far you can see depends on how powerful your computer is—you glimpse a cloud-covered mountaintop. Amid the trees and quadrangular pigs, cows, and sheep scampering idly around is the player, represented by the blocky avatar, Steve. There is no given direction to move in, no obstacles to climb over nor enemies to defeat. The player receives no instructions whatsoever. Exactly how the world looks changes every time, as the scenery is randomly generated before each new game. The code that generates these worlds is, to say the least, complicated, for while chance determines the appearance of the world, there always has to be natural transitions between mountains, steppes, water, and caves. Markus is the only one who really understands how it all works.