C ENTRAL E DITION Activision Made Game Designers the Rock Stars Of
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'Grand Theft Archive': a Quantitative Analysis of the State of Computer
Gooding, P. and Terras, M. (2008) "„Grand Theft Archive‟: a quantitative analysis of the current state of computer game preservation". The International Journal of Digital Curation. Issue 2, Volume 3, 2008. http://www.ijdc.net/ijdc/article/view/85/90 1 ‘Grand Theft Archive’: A Quantitative Analysis of the Current State of Computer Game Preservation Paul Gooding, Librarian, BBC Sports Library, London Melissa Terras, School of Library, Archive and Information Studies, University College London November 2008 Abstract Computer games, like other digital media, are extremely vulnerable to long-term loss, yet little work has been done to preserve them. As a result we are experiencing large-scale loss of the early years of gaming history. Computer games are an important part of modern popular culture, and yet are afforded little of the respect bestowed upon established media such as books, film, television and music. We must understand the reasons for the current lack of computer game preservation in order to devise strategies for the future. Computer game history is a difficult area to work in, because it is impossible to know what has been lost already, and early records are often incomplete. This paper uses the information that is available to analyse the current status of computer game preservation, specifically in the UK. It makes a quantitative analysis of the preservation status of computer games, and finds that games are already in a vulnerable state. It proposes that work should be done to compile accurate metadata on computer games and to analyse more closely the exact scale of data loss, while suggesting strategies to overcome the barriers that currently exist. -
Gamasutra - Features - the History of Activision 10/13/11 3:13 PM
Gamasutra - Features - The History Of Activision 10/13/11 3:13 PM The History Of Activision By Jeffrey Fleming The Memo When David Crane joined Atari in 1977, the company was maturing from a feisty Silicon Valley start-up to a mass-market entertainment company. “Nolan Bushnell had recently sold to Warner but he was still around offering creative guidance. Most of the drug culture was a thing of the past and the days of hot-tubbing in the office were over,” Crane recalled. The sale to Warner Communications had given Atari the much-needed financial stability required to push into the home market with its new VCS console. Despite an uncertain start, the VCS soon became a retail sensation, bringing in hundreds of millions in profits for Atari. “It was a great place to work because we were creating cutting-edge home video games, and helping to define a new industry,” Crane remembered. “But it wasn’t all roses as the California culture of creativity was being pushed out in favor of traditional corporate structure,” Crane noted. Bushnell clashed with Warner’s board of directors and in 1978 he was forced out of the company that he had founded. To replace Bushnell, Warner installed former Burlington executive Ray Kassar as the company’s new CEO, a man who had little in common with the creative programmers at Atari. “In spite of Warner’s management, Atari was still doing very well financially, and middle management made promises of profit sharing and other bonuses. Unfortunately, when it came time to distribute these windfalls, senior management denied ever making such promises,” Crane remembered. -
Vintage Game Consoles: an INSIDE LOOK at APPLE, ATARI
Vintage Game Consoles Bound to Create You are a creator. Whatever your form of expression — photography, filmmaking, animation, games, audio, media communication, web design, or theatre — you simply want to create without limitation. Bound by nothing except your own creativity and determination. Focal Press can help. For over 75 years Focal has published books that support your creative goals. Our founder, Andor Kraszna-Krausz, established Focal in 1938 so you could have access to leading-edge expert knowledge, techniques, and tools that allow you to create without constraint. We strive to create exceptional, engaging, and practical content that helps you master your passion. Focal Press and you. Bound to create. We’d love to hear how we’ve helped you create. Share your experience: www.focalpress.com/boundtocreate Vintage Game Consoles AN INSIDE LOOK AT APPLE, ATARI, COMMODORE, NINTENDO, AND THE GREATEST GAMING PLATFORMS OF ALL TIME Bill Loguidice and Matt Barton First published 2014 by Focal Press 70 Blanchard Road, Suite 402, Burlington, MA 01803 and by Focal Press 2 Park Square, Milton Park, Abingdon, Oxon OX14 4RN Focal Press is an imprint of the Taylor & Francis Group, an informa business © 2014 Taylor & Francis The right of Bill Loguidice and Matt Barton to be identified as the authors of this work has been asserted by them in accordance with sections 77 and 78 of the Copyright, Designs and Patents Act 1988. All rights reserved. No part of this book may be reprinted or reproduced or utilised in any form or by any electronic, mechanical, or other means, now known or hereafter invented, including photocopying and recording, or in any information storage or retrieval system, without permission in writing from the publishers. -
Act-82Catalog
THE ACTIVISION@ ADVENTURE Put an Activision !!> video game into your Atari !!> Video Computer System™or your Sears Tele-Games!!> Video Arcade~ and expect an experience incredibly involving for your mind and senses. Sports games. Strategy games. Action games. And more. All so amazingly realistic, you'll truly believe -we put you in the game. cUV1s10M. Atari• ond Video Computer System™ ore registered trademarks of Atari, Inc. Tele-Gomes* and V1deo Arcade™ ore trademarks of Seors, Roebuck and Co ACTION GAMES Designed by Steve Cartwright. This Designed by Alan Miller. You 're in game is a space nightmare! Imagine, the cockpit of a mighty intergalactic if you can, fighting off multiple waves spacecraft. Your mission : Defend your of the strangest objects ever to defy starbases against attacking enemy Available, the laws al gravity. And there's no starfighters. Galactic charts pinpoint September 1982 rest. Celestial dice, spinning bow-ties, enemy torgets. Meteor showers slow furious flying widgets and even hostile your attack. And enemy particle hamburgers. If it's not one " thing;· cannons can quickly send you limping it's another. And they can drop round home to your orbiting starbase for after round of deadly disintegrators. repairs. Computer reodauts reveal You 'd better hope you ond your energy levels, ship damage and more. courage are wide owoke when you Without a doubt, Starmaster™ by play MegaMonia™ by Activision ~ Activision is one of the most thrilling video game experiences of the yearl 1111111 ifl 'I 'I r - ""' Designed by Dovid Crane. Seek Designed by Bob Whitehead. You're out the lost treasures of an Ancient flying escort far a truck convoy of Civilization hidden deep within the for· medical supplies. -
Imitation-Driven Cultural Collapse
1 Imitation-driven Cultural Collapse a,* a,* 2 Salva Duran-Nebreda and Sergi Valverde a 3 Evolution of Technology Lab, Institute of Evolutionary Biology (UPF-CSIC), Passeig de la Barceloneta, E-08003, 4 Barcelona. * 5 [email protected]; [email protected] 6 ABSTRACT A unique feature of human society is its ever-increasing diversity and complexity. Although individuals can generate meaningful variation, they can never create the whole cultural and technological knowledge sustaining a society on their own. Instead, social transmission of innovations accounts for most of the accumulated human knowledge. The natural cycle of cumulative culture entails fluctuations in the diversity of artifacts and behaviours, with sudden declines unfolding in particular domains. Cultural collapses have been attributed to exogenous causes. Here, we define a theoretical framework to explain endogenous cultural collapses, driven by an exploration-reinforcement imbalance. This is demonstrated by the historical market crash of the 7 Atari Video Console System in 1983, the cryptocurrency crash of 2018 and the production of memes in online communities. We identify universal features of endogenous cultural collapses operating at different scales, including changes in the distribution of component usage, higher compressibility of the cultural history, marked decreases in complexity and the boom-and-bust dynamics of diversity. The loss of information is robust and independent of specific system details. Our framework suggests how future endogenous collapses can be mitigated by stronger self-policing, reduced costs to innovation and increased transparency of cost-benefit trade-offs. 8 Introduction 9 Comparative studies between humans and other animals emphasize the unique aspects of human learning, including their 1,2 10 capacity for high-fidelity copying . -
August 21-22, 2004
San .Jose, California August 21-22, 2004 $5.00 Welcome to Classic Gaming Expo 2004!!! When this show first opened in 1998 no one really knew what to expect. The concept of "retro" gaming was still relatively new and was far from mainstream. It was a brave new world , where gaming fans worked to bring everyone together for a fun-filled weekend reminding us of how we got so excited about videogames in the first place. This year's event feels like that first time. For the last six years Classic Gaming Expo has taken residence in the glamorous confines of sin city, Las Vegas. It was a great run but recently we began to notice that Las Vegas is, in fact, an island . We could promote the show 24/7 for months but the one thing we could not change is that there are very few native gamers in the area. Everyone attending Classic Gaming Expo was in Las Vegas specifically to attend this show - so unless you were prepared to take a vacation on that weekend , you were going to miss it year in and year out. The move to San Jose not only brings the excitement of a fun-filled gaming weekend to a brave new world, but this brave new world also happens to be the home of videogaming itself. The roots of everything you know and love about this industry sprang not far from this very building. We think it's time to sow some new seeds and build a new home. A place where we can all experience the games, the people, and the excitement that filled our youth, all over again . -
Digital Press Issue
Fifty II. Editor’s BLURB by Dave Giarrusso DIGITAL e had a lot of big plans for our 50th issue (“DP# 50: Wfi fty!” just in case your short term memory functions a bit like mine does as of late) and fortunately, most of ‘em made it in. UNfortunately, due to time and space constraints, and a mischievious orange tabby by the name of “Pickles”, a scant few of ‘em got left on the cutting room fl oor. The one portion of the 50th issue that we (okay, actually John) were working really hard on was the “alumni moments” section - a section devoted to all the PRESS game designers and artists who shaped what we’ve come to call our favorite pasttime. As you can probably imagine, it was a big undertaking - too big to make it into the pages of issue #50. DIGITAL PRESS # 52 MAY / JUNE 2003 BUT - guess what? John kept nagging everyone in his most convincing voice Founders Joe Santulli and eventually, with nothing but the most polite coercion, managed to round Kevin Oleniacz up the troops. In fact, everyone had such a blast working with John that we wound up with tons more material than we had originally anticipated having. Editors-In-Chief Joe Santulli Dave Giarrusso Which brings us back to THIS issue - the brainchild of John “Big Daddy” and “I’ll Senior Editors Al Backiel get to it when I get to it” Hardie. DP issue #50. Part II. In DP issue #52. Get it? Jeff Cooper John Hardie So join me in extending a hearty “thank you” to Big John and all of the folks Sean Kelly who took time out of their busy schedules to sit down with us and pass along Staff Writers Larry Anderson some of their favorite gaming anecdotes of the past. -
Digital Press Issue
DIGITAL PRESS THE Bio-degradable Source for Videogamers $ 2 . 0 0 I s s u e 4499 nneutered.eutered. Neutered. Editor’s BLURB by Joe Santulli DIGITAL So here we are, sittin’ pretty just one issue away from a real milestone. 50 issues! But here’s a bit of trivia for you. THIS is really the 50th issue. That’s right, if you’ve been here since the early 90’s you may remember the “Write Digital Press” issue where we asked our readers to submit their own columns and reviews and the rest of us lazy asses just sat back and took a break. Ahh, I need to re-institute that idea again, though as you can see from the frequency of these issues, I pretty much “take a break” 10 months out of the year. About that... I realize that DP has become much less than a bi-monthly ‘zine over the past 2-3 PRESS years and I fi nally know why that is. It was about that time when the DP website started getting popular, the forums started getting busy, and there were more opportunities to reach a wide audience with our “expertise”. So I’ve been hammering away at that, and if you haven’t seen it recently it’s really quite DIGITAL PRESS # 49 lovely, lively, and BIG... at least with regard to content. So here’s what I’ve done SEPT/ OCT 2002 to make BOTH the paper issues and website work at full capacity. I promoted Founders Joe Santulli one of our staff. -
Pretrial Statement Defendant Activision
NEUMAN, WILLIAMS, ANDERSON & OLSON • 77 WEST WASHINGTON STREET COPY CHICAGO, ILLINOIS 60602 December 6, 1984 Thomas A. Briody, Esquire Corporate Patent Counsel z;orth American Philips Corporation 580 White Plains Road Tarrytown, l~ew York 10591 Re: Magnavox et a1. v. Activision L3137 Dear 'l'ODU Enclosed are copies of the following documents which were recently received: PP.E'l'RIAL STATEMENT OP DEFENDANT ACTIVISION 1 INC. 1 PRETRIAL STAT~NT OF ACTIVISION, INC. REGARDING DISPUTED FACTUAL ISSUES (Local Rule 235-7(e)); PRETRIAL STATEMENT OF ACTIVISION, INC. REGARDING UNDISPUTED FACTS (Local Rule 235-7(d)); Pl'ETRIAL STATEMENT OF AC'l'IVISION 1 INC • REGARDING DISPUTED POINTS OF LAW (Local Rule 235-7(q)); PRETRIAL STATEMENT OF ACTIVISIOt~, INC. REGARDING U~DlSPU'l'ED POINTS OF LAW (Local Rule 235-7); and PRETRIAL STATEMENT OP ACTIVISION 1 IUC • REGARDING EXHIBITS, SCHEDULES, AND SUMMARIES Local Rule 235-7(j). Thomas A. uriody, Lsquire December 6, 1984 Page Two Alao encloaed are copies ofa PLAINTIFFS' EXBIBI'l'S FOR THEIR PRIMA FACI~ CASE 1 PLAINTIFFS' PROPOSED POINTS OF LAW; PLAINTIFFS' STATEME~'l' OF FACTUAL ISSUES 1 and PLAINTIFFS ' PRETRIAL STATEMENT. Very truly yours, NEUMAN, WILLIAMS, ANDERSON & OLSON By u Theodore w. Anderson TWA/ejm Enc. CC: Algy Tamoshunaa, Esq. ~ LOuis I.tlinger, Esq./with enc. Y Jamea T. Williams, Esq. • 1 MARTIN R. GLICK H. JOSEPH ESCHER III 2 MARLA J. MILLER HOWARD, RICE, NEMEROVSKI, CANADY, 3 ROBERTSON & FALK A Professional Corporation 4 Three Embarcadero Center, 7th Floor San Francisco, California 94111 5 Telephone: 415/434-1600 6 ALDO J. TEST THOMAS 0. -
You've Seen the Movie, Now Play The
“YOU’VE SEEN THE MOVIE, NOW PLAY THE VIDEO GAME”: RECODING THE CINEMATIC IN DIGITAL MEDIA AND VIRTUAL CULTURE Stefan Hall A Dissertation Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY May 2011 Committee: Ronald Shields, Advisor Margaret M. Yacobucci Graduate Faculty Representative Donald Callen Lisa Alexander © 2011 Stefan Hall All Rights Reserved iii ABSTRACT Ronald Shields, Advisor Although seen as an emergent area of study, the history of video games shows that the medium has had a longevity that speaks to its status as a major cultural force, not only within American society but also globally. Much of video game production has been influenced by cinema, and perhaps nowhere is this seen more directly than in the topic of games based on movies. Functioning as franchise expansion, spaces for play, and story development, film-to-game translations have been a significant component of video game titles since the early days of the medium. As the technological possibilities of hardware development continued in both the film and video game industries, issues of media convergence and divergence between film and video games have grown in importance. This dissertation looks at the ways that this connection was established and has changed by looking at the relationship between film and video games in terms of economics, aesthetics, and narrative. Beginning in the 1970s, or roughly at the time of the second generation of home gaming consoles, and continuing to the release of the most recent consoles in 2005, it traces major areas of intersection between films and video games by identifying key titles and companies to consider both how and why the prevalence of video games has happened and continues to grow in power. -
The Art of Video Games Voting Results
The Art of Video Games Voting Results The Art of Video Games exhibition will explore the 40‐year evolution of video games as an artistic medium, with a focus on striking visual effects, the creative use of new technologies, and the most influential artists and designers. A website (www.artofvideogames.org) offered participants a chance to vote for 80 games from a pool of 240 proposed choices in various categories, divided by era, game type and platform. Voting took place between February 14, 2011 and April 17, 2011. The exhibition will be on display at the Smithsonian American Art Museum from March 16, 2012 through September 30, 2012 (www.americanart.si.edu/taovg). Visit www.artofvideogames.org to sign up to receive updates about this exhibition. Era 1: Start! System Image Genre Winning Game Other Nominees Atari VCS Action Pac‐Man , 1981, Toru Iwatani /Tod Haunted House Frye. ™ and © NAMCO BANDAI Tunnel Runner Games Inc. Adventure Pitfall! , 1982, David Crane. Adventure Activision Blizzard. All trade names E.T. The Extra‐Terrestrial and trademarks are properties of their respective parties. All rights reserved. Target Space Invaders , 1980, Rick Maurer. Missile Command® Yars’ Revenge® Combat/StrategyCombat/Strategy CombatCombat ®, 1977, SteveSteve MayerMayer, JoeJoe StarStar Raiders®Raiders® Decuir, Larry Kaplan, Larry Wagner. Video Chess® © 1978 Atari Interactive, Inc. ColecoVision Action Donkey Kong ™, 1982, Created by Jungle Hunt Shigeru Miyamoto. Smurf: Rescue in Gargamel’s Castle Adventure Pitfall II: Lost Caverns , 1984, David Alcazar: The Forgotten Crane, adapted by Robert Fortress Rutkowski. Activision Blizzard. All Gateway to Apshai trade names and trademarks are properties of their respective parties. -
The Multiplayer Game: User Identity and the Meaning Of
THE MULTIPLAYER GAME: USER IDENTITY AND THE MEANING OF HOME VIDEO GAMES IN THE UNITED STATES, 1972-1994 by Kevin Donald Impellizeri A dissertation submitted to the Faculty of the University of Delaware in partial fulfilment of the requirements for the degree of Doctor of Philosophy in History Fall 2019 Copyright 2019 Kevin Donald Impellizeri All Rights Reserved THE MULTIPLAYER GAME: USER IDENTITY AND THE MEANING OF HOME VIDEO GAMES IN THE UNITED STATES, 1972-1994 by Kevin Donald Impellizeri Approved: ______________________________________________________ Alison M. Parker, Ph.D. Chair of the Department of History Approved: ______________________________________________________ John A. Pelesko, Ph.D. Dean of the College of Arts and Sciences Approved: ______________________________________________________ Douglas J. Doren, Ph.D. Interim Vice Provost for Graduate and Professional Education and Dean of the Graduate College I certify that I have read this dissertation and that in my opinion it meets the academic and professional standard required by the University as a dissertation for the degree of Doctor of Philosophy. Signed: ______________________________________________________ Katherine C. Grier, Ph.D. Professor in charge of dissertation. I certify that I have read this dissertation and that in my opinion it meets the academic and professional standard required by the University as a dissertation for the degree of Doctor of Philosophy. Signed: ______________________________________________________ Arwen P. Mohun, Ph.D. Member of dissertation committee I certify that I have read this dissertation and that in my opinion it meets the academic and professional standard required by the University as a dissertation for the degree of Doctor of Philosophy. Signed: ______________________________________________________ Jonathan Russ, Ph.D.