Shareware Solutions II an Exciting Apple II Journey Into the Future
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Retrocomputing As Preservation and Remix
Retrocomputing as Preservation and Remix Yuri Takhteyev Quinn DuPont University of Toronto University of Toronto [email protected] [email protected] Abstract This paper looks at the world of retrocomputing, a constellation of largely non-professional practices involving old computing technology. Retrocomputing includes many activities that can be seen as constituting “preservation.” At the same time, it is often transformative, producing assemblages that “remix” fragments from the past with newer elements or joining together historic components that were never combined before. While such “remix” may seem to undermine preservation, it allows for fragments of computing history to be reintegrated into a living, ongoing practice, contributing to preservation in a broader sense. The seemingly unorganized nature of retrocomputing assemblages also provides space for alternative “situated knowledges” and histories of computing, which can sometimes be quite sophisticated. Recognizing such alternative epistemologies paves the way for alternative approaches to preservation. Keywords: retrocomputing, software preservation, remix Recovering #popsource In late March of 2012 Jordan Mechner received a shipment from his father, a box full of old floppies. Among them was a 3.5 inch disk labelled: “Prince of Persia / Source Code (Apple) / ©1989 Jordan Mechner (Original).” Mechner’s announcement of this find on his blog the next day took the world of nerds by storm.1 Prince of Persia, a game that Mechner single-handedly developed in the late 1980s, revolutionized computer games when it came out due to its surprisingly realistic representation of human movement. After being ported to DOS and Apple’s Mac OS in the early 1990s the game sold 2 million copies (Pham, 2001). -
Shareware Solutions II
SharewareShareware SolutionsSolutions IIII An Exciting Apple II Journey Into The Future Volume 3, Issue 1 Spring, 1996 Heard It Through The Grapevine Hard Drive Give Away following e-mail message: The There was also quite a bit of dis- winner of the HD is Keith Saga- cussion about Brutal Deluxes Everyone whose subscription low. We threw all of the papers System 6.0.2 update, and Oliv- was current at the end of Febru- into the air, then we threw a ier admitted that his program- ary, 1996 was automatically en- dart at one. There were three ming partner suffered from a tered into the Hard Drive Give names hit by the dart, but only hard drive crash and that much Away Contest, and the winner one was legible, so Keith was of the work had been lost. of that contest is Keith Saga- the winner. low, a IIGS owner from Central The freewheeling online chat Valley, New York. Keith is now Thanks to Tony Diaz for do- session was attended by more the proud owner of a 120 Mega- nating the drive. Thanks to Auri than 30 people, and a good time byte Focus Hard Drive. for acting as an intermediary to seemed to be had by all. Steve Wozniak. Thanks to Woz From the time the contest was for choosing the winner. But Upon his return to France, Oliv- announced in the last issue un- most of all, thanks to all of you ier started work on the next Bru- til the time that Keith received for supporting Shareware Solu- tal Deluxe release, a IIGS game his hard drive, several unexpect- tions II. -
Henry Jenkins Convergence Culture Where Old and New Media
Henry Jenkins Convergence Culture Where Old and New Media Collide n New York University Press • NewYork and London Skenovano pro studijni ucely NEW YORK UNIVERSITY PRESS New York and London www.nyupress. org © 2006 by New York University All rights reserved Library of Congress Cataloging-in-Publication Data Jenkins, Henry, 1958- Convergence culture : where old and new media collide / Henry Jenkins, p. cm. Includes bibliographical references and index. ISBN-13: 978-0-8147-4281-5 (cloth : alk. paper) ISBN-10: 0-8147-4281-5 (cloth : alk. paper) 1. Mass media and culture—United States. 2. Popular culture—United States. I. Title. P94.65.U6J46 2006 302.230973—dc22 2006007358 New York University Press books are printed on acid-free paper, and their binding materials are chosen for strength and durability. Manufactured in the United States of America c 15 14 13 12 11 p 10 987654321 Skenovano pro studijni ucely Contents Acknowledgments vii Introduction: "Worship at the Altar of Convergence": A New Paradigm for Understanding Media Change 1 1 Spoiling Survivor: The Anatomy of a Knowledge Community 25 2 Buying into American Idol: How We are Being Sold on Reality TV 59 3 Searching for the Origami Unicorn: The Matrix and Transmedia Storytelling 93 4 Quentin Tarantino's Star Wars? Grassroots Creativity Meets the Media Industry 131 5 Why Heather Can Write: Media Literacy and the Harry Potter Wars 169 6 Photoshop for Democracy: The New Relationship between Politics and Popular Culture 206 Conclusion: Democratizing Television? The Politics of Participation 240 Notes 261 Glossary 279 Index 295 About the Author 308 V Skenovano pro studijni ucely Acknowledgments Writing this book has been an epic journey, helped along by many hands. -
High-Performance Play: the Making of Machinima
High-Performance Play: The Making of Machinima Henry Lowood Stanford University <DRAFT. Do not cite or distribute. To appear in: Videogames and Art: Intersections and Interactions, Andy Clarke and Grethe Mitchell (eds.), Intellect Books (UK), 2005. Please contact author, [email protected], for permission.> Abstract: Machinima is the making of animated movies in real time through the use of computer game technology. The projects that launched machinima embedded gameplay in practices of performance, spectatorship, subversion, modification, and community. This article is concerned primarily with the earliest machinima projects. In this phase, DOOM and especially Quake movie makers created practices of game performance and high-performance technology that yielded a new medium for linear storytelling and artistic expression. My aim is not to answer the question, “are games art?”, but to suggest that game-based performance practices will influence work in artistic and narrative media. Biography: Henry Lowood is Curator for History of Science & Technology Collections at Stanford University and co-Principal Investigator for the How They Got Game Project in the Stanford Humanities Laboratory. A historian of science and technology, he teaches Stanford’s annual course on the history of computer game design. With the collaboration of the Internet Archive and the Academy of Machinima Arts and Sciences, he is currently working on a project to develop The Machinima Archive, a permanent repository to document the history of Machinima moviemaking. A body of research on the social and cultural impacts of interactive entertainment is gradually replacing the dismissal of computer games and videogames as mindless amusement for young boys. There are many good reasons for taking computer games1 seriously. -
Amended Final Draft
Independent or Indie? Creative Autonomy and Cultural Capital in Independent Video Game Production Martin Graham Smith A thesis submitted in fulfilment of the requirements of the Manchester Metropolitan University for the degree of Master of Arts (By Research) Manchester Institute for Research and Innovation in Art and Design (MIRIAD) May 2016 ABSTRACT The use of the word ‘indie’ in relation to video games has shifted from referring to games made independently of a large publisher to being a more nebulous term that is harder to define but that is clearly used at times to refer to games other than those made without the financial assistance of publishers. This thesis seeKs to contribute to the ongoing debate in academic writing on video games as to the meaning of the phrase ‘indie games’. The thesis combines textual and institutional analysis to contextualise the modern indie game by investigating the history of independent video game production in the UK and USA from the 1970s to the modern day, with reference to how changes in technology have shaped independent video game production over time. Alternative models of production that existed before the indie games of the mid-2000s onwards are an under researched area, and this thesis argues that a number of independent counter trends to dominant industry practices set precedents for many of the features of later indie games, in terms of content, style, distribution methods, and models of production. The thesis also contains a case study into the publisher-funded indie games of Jenova Chen and Thatgamecompany which investigates the conflicting definitions of indie in academic writing on video games and other forms of media, arguing that as with indie in cinema, indie in games functions as a form of cultural capital for the audience and developers. -
Computer Gaming World Issue
VOL. 3 NO. 3 MAY -JUN 1983 FEATURES CLOSE ASSAULT 6 Review and Analysis Bob Proctor FillADVENTURE GAME CONTEST 7 in the Crossword Puzzle COMPUTER AMBUSH 10 Review and Analysis David Long PINBALL CONSTRUCTION SET 12 A Toy for AH Ages John Besnard WHEN SUPERPOWERS COLLIDE 14 Part 1 Germany 1985 Maj Mike Chamberlain GALACTIC ATTACK! 19 Sir-tech's Space Combat Game Dick Richards TELE-GAMING 20 A New Column Patricia Fitzgibbons THE NAME OF THE GAME 22 A New Column by Jon Freeman TWO COMPUTER BASEBALL LEAGUES 23 Two leagues for SSI's Computer Baseball Stanley Greenlaw CHESS 7.0 33 Odesta's Program Evaluated Floyd Mathews Departments Inside the Industry 2 Hobby and Industry News 3 Taking a peek 4 Silicon Cerebrum 13 Atari Arena 28 The Learning Game 30 Microcomputer Mathemagic 34 Route 80 35 Micro-Reviews 36 Reader Input Device 47 INSIDE THE INDUSTRY by Dana Lombardy, Associate Publisher Game Merchandising This issue we're going to look at the order them in the quantities they can with one of his new games, when another nearly thirty computer games that have handle. publisher may be selling twice as many been on the best-sellers lists for months. of his slowest-selling game! Because they As you can see, wholesalers are im- There was a time when a new game really are in the "middle" of things, portant to the software industry. And program came out, sold out, and then wholesalers can provide a much more because of their unique position, they the next new program came along to accurate picture of the overall software have a perspective on what's happening replace it and repeat the cycle. -
Personal Computing
Personal Computing Thomas J. Bergin ©Computer History Museum American University Recap: Context • By 1977, there was a fairly robust but fragmented hobbyist-oriented microcomputer industry: – Micro Instrumentation Telemetry Systems (MITS) – Processor Technology – Cromemco – MicroStuf – Kentucky Fried Computers • Two things were needed for the personal computer revolution: 1) a way to store and retrieve data, and 2) a programming language in which to write applications. Homebrew Computer Club • March 5, 1975: the Amateur Computer Users Group (Lee Felsenstein, Bob Marsh, Steve Dompier, BobAlbrecht and 27 others) met in Gordon French’s garage, Menlo Park, CA • 3rd meeting drew several hundred people and was moved to the Coleman mansion • Stanford Linear Accelerator Center’s auditorium – Steve Wozniak shows off his single board computer – Steve Jobs attends meetings Homebrew-ed • 21 companies formed: – Apcose Apple – Cromemco Morrow – North Star Osborne • West Coast Computer Faire • Byte magazine, September 1975 • Byte Shop Both: images.google.com And then there was Traf-O-Data • October 28, 1955: William H. Gates III born – father: attorney mother: schoolteacher • Lakeside School: Lakeside Programming Group – Mothers Club: access to time-shared system at GE – Students hired by local firm to debug software – First computer program: Tic-Tac-Toe (age 13) – Traf-O-Data to sell traffic mgt. software (age 16) • 1973, Bill Gates enrolls at Harvard in pre-law. • Paul Allen is in his second year. January 1975, Popular Electronics: Altair • Allen shows -
A New Storytelling Era: Digital Work and Professional Identity in the North American Comic Book Industry
A New Storytelling Era: Digital Work and Professional Identity in the North American Comic Book Industry By Troy Mayes Thesis submitted for the degree of Doctor of Philosophy in the Discipline of Media, The University of Adelaide January 2016 Table of Contents Abstract .............................................................................................. vii Statement ............................................................................................ ix Acknowledgements ............................................................................. x List of Figures ..................................................................................... xi Chapter One: Introduction .................................................................. 1 1.1 Introduction ................................................................................ 1 1.2 Background and Context .......................................................... 2 1.3 Theoretical and Analytic Framework ..................................... 13 1.4 Research Questions and Focus ............................................. 15 1.5 Overview of the Methodology ................................................. 17 1.6 Significance .............................................................................. 18 1.7 Conclusion and Thesis Outline .............................................. 20 Chapter 2 Theoretical Framework and Methodology ..................... 21 2.1 Introduction .............................................................................. 21 -
A Practical Guide to Marketing Your Indie Game
GET READY GET NOTICED GET BIG A Practical Guide to Marketing Your Indie Game Patrick DeFreitas and Garret Romaine CONTENTS Preface viii Chapter 1: Overview of Indie Game Marketing 1 Why Marketing Matters 4 The Right Time is Now 6 How to Start Getting Noticed 6 Where to Start: Irresistible Promotional Materials 9 Trailer Video 9 Screenshots 10 Press Releases 11 Fact Sheets 11 Landing Page 11 Start a Developer’s Blog 12 Reach Out to the Press 13 Following Up 14 Convert Visitors into Active Fans 14 Maintain Your Marketing Momentum 15 Common Mistakes and Pitfalls to Avoid 16 What Makes You Unique? 17 Demographics 18 Personas: Mythical Prototypes 21 Competitive Analysis 23 Strategy and Goals 25 Marketing Goals 27 Lead Generation 28 Creating a Brand 30 Working Without Deep Pockets 31 ii | A Practical Guide to Marketing Your Indie Game Cost-Benefit Analysis 32 Metrics: In Data We Trust 33 Analytics 35 Marketing Channels 37 Shows and Events 37 Jams and Meet-ups 38 Closed Alpha Exposure 39 Contests 39 Don’t Tweet That 40 Pricing and Monetization Strategies 40 PR and Self-Promotion 42 Get Ready 44 Chapter 2: The Four Ps of Marketing for Indie Game Developers 45 The Four Ps Marketing Framework 46 Using the Four Ps 47 Mutually Dependent Variables 48 Yes, Your Game is a Product 48 Price 51 Setting the Right Price 53 Discounting Dos and Don’ts 54 Free to Play 55 Promotion 55 Assets 56 Ongoing Activities 57 Events 57 What About Advertising 58 Relationship-Based Promotion 58 Partner with Established Brands 59 Public Relations (PR)—Should You Hire a Pro, -
Computer Gaming World Issue
r Vol. 3 No. 6 December 1983 FEATURES ROBOTWAR: 12 Third Annual Tournament ULTIMA III 18 Review & Tips Scorpia OPERATION WHIRLWIND 25 Review Mark Bausman REACH FOR THE STARS 27 Review Ed Curtis LEGACY OF LLYLGAMYN 28 An Intro Robert Reams BROADSIDES 30 Review David Long NORTH ATLANTIC ' 86 34 Review & Strategies Jay Selover Departments Inside the Industry 6 Taking a Peek 8 Letters 14 Dispatches 16 Scorpion's Tale 17 Name of the Game 20 Tele-Gaming 32 Atari Arena 37 The Commodore Key 38 Micro Reviews (Flying Tigers, Space Station Zulu, The Enchanter, Fortress, Secret Agent) 42 Game Ratings 52 Reader Input Device 54 garners represent almost all the money they make when INSIDE THE INDUSTRY they offer a new title. We're not saying these things just to make you feel im- portant. These are facts that market-wise software publishers consider when they decide to release a new game or expand their line. by Dana Lombardy And what are you telling the industry? Your answers to our survey confirm trends reported by stores and distributors over the past months: computer game sales are still good, but overall game sales have slowed, and the average customer is being more careful with his money. Results of the Readers Survey from the July/August 73 percent of you are spending less on software now 1983 issue of CGW. that you have in the past. For whatever reasons-whether Percent it's too many titles to choose from, or too many bad of games- you're cutting back on the number of items you Question Readers buy and the amount you spend. -
October 1985-86
The New Wave of Educational Software. (Guest Editorial) Braun, Ludwig (October 1985). The new wave of educational software. (Guest Editorial.) The Computing Teacher. Eugene, OR: ICCE. Introduction Explorations of the computer as a tool to help students learn have been going on for about a quarter of a century. During most of that time most of the energy expended has been focused on pre-college students. Probably 90 percent of the available educational software addresses this group of students. During this same period, there has been a great deal of research on the computer's effect on rate of learning and retention of learned material. In both areas, the computer has had a dramatically positive effect, even though almost all of the research has focused on drill and practice applications. There also have been small efforts to assess the impact of learning to program a computer on the development of problem-solving ability, and the effective use of simulations-again with positive results. Despite these very positive research results, we have only begun to realize the computer's potential to help students. There are two reasons for this long gestation period: • Until recently, computers were sufficiently costly that they were available to students only on a limited basis; and • Only during the past three to five years have we learned enough about the development of creative learning environments to take advantage of the computer's great potential . Until three years ago, most of the applications of computers in education consisted of teaching programming, or using drill and practice programs to teach facts. -
Stephen M. Cabrinety Collection in the History of Microcomputing, Ca
http://oac.cdlib.org/findaid/ark:/13030/kt529018f2 No online items Guide to the Stephen M. Cabrinety Collection in the History of Microcomputing, ca. 1975-1995 Processed by Stephan Potchatek; machine-readable finding aid created by Steven Mandeville-Gamble Department of Special Collections Green Library Stanford University Libraries Stanford, CA 94305-6004 Phone: (650) 725-1022 Email: [email protected] URL: http://library.stanford.edu/spc © 2001 The Board of Trustees of Stanford University. All rights reserved. Special Collections M0997 1 Guide to the Stephen M. Cabrinety Collection in the History of Microcomputing, ca. 1975-1995 Collection number: M0997 Department of Special Collections and University Archives Stanford University Libraries Stanford, California Contact Information Department of Special Collections Green Library Stanford University Libraries Stanford, CA 94305-6004 Phone: (650) 725-1022 Email: [email protected] URL: http://library.stanford.edu/spc Processed by: Stephan Potchatek Date Completed: 2000 Encoded by: Steven Mandeville-Gamble © 2001 The Board of Trustees of Stanford University. All rights reserved. Descriptive Summary Title: Stephen M. Cabrinety Collection in the History of Microcomputing, Date (inclusive): ca. 1975-1995 Collection number: Special Collections M0997 Creator: Cabrinety, Stephen M. Extent: 815.5 linear ft. Repository: Stanford University. Libraries. Dept. of Special Collections and University Archives. Language: English. Access Access restricted; this collection is stored off-site in commercial storage from which material is not routinely paged. Access to the collection will remain restricted until such time as the collection can be moved to Stanford-owned facilities. Any exemption from this rule requires the written permission of the Head of Special Collections.