there are two aspects came together in the universal computer. 
1. computing (sorting)
2. control (cases, if then, input)
before this were seperated functions in analoge maschines.

OLIVER Being a pixel guy – the tools were remarkable. We did not have devkit like the Katakis tools or something specified for creating game graphics. I used the editor that came with the Shoot ‘Em Up Construction Kit for sprites, which turned out extremely practical. The Ronny-sprite was created with an C64 editor called Mob-Profi, which provided overlayed hires and multicolour-sprites. The pictures in the intro and end sequence were pixeled in Koala Painter with a joystick, but everything else was more like hacking. I edited the charset with a font editor. The level backgrounds were tile-based maps, so a friend of mine coded one tool for combining 2×2 chars to tiles including the colour – and a second tool for assembling the levelmap like a puzzle game. As setup I had a C128 and Amiga 500 side by side. By the way – there was a TV and a monitor connected to the C128 at the same time, because of the the different video quality and I wanted to be sure that the graphics  looked right on both display types. With our modern mouse or stylus driven tools and those workflow-trimmed programs it is hard to believe that we got things done at all back in the day when we were even lacking fundamentals such as UNDO functionality. However, I have to say that you had full control over the technical specs of the graphics and as a graphic designer you started to think like a coder.

Otherwise, I hardly remember details of the project. At least for the first month, Mario and I were working alongside each other. The intro and the end sequence were finished first. Then it was very intense and determined by crunchtime, the process was sort of first-in-first-out. The progress in code was tied to incoming graphics. Markus composed the new tunes at home far away and we had some issues with the delivery. Nevertheless the whole soundtrack reached us in time and its implementation went smoothly. Still there was no free time at all. In the final weeks weeks it became a kind of competition – like, who needs the least sleep! I also remember that the editing of the levels was pretty chaotic. Three of us worked in shifts and it took much longer than planned.

Oh I almost forgot about the  communication with Virgin. That was the horror for me because I hardly spoke any English back then. David Bishop and I talked English and German mixed, which worked surprisingly well.

GameDevs are gamedeveloppers. The name tells also a lot about the idea behind. The most important thing was the technical difficulties. 

Tracker were software - used especially on the Amiga. The most of the music was created in this type of music software. And the people behind the swiss games of the 80ies/90ies even created a tracker and the possibility to use the same framework also in games. 

The game development process was splittet into different type of productions. Each part had its own tools like coding / assembler, images > paint tools and of course music with the trackers. 

CODE > Graphics (Effects), Sound, SizeCoding > Effect, Synaesthesy  (Creativity Process)
Community > Concurrency > Metagame > Scene

some autostart games couldnt be used anymore afterwards. there was no exe to start the process. 

Is a clone of the arcade puzzle bobble with other graphics. In development the problem was the hexagonelogic. Another was a not initialized Rectangle, who crashed on some macs and on other not. 

Specials:
- there was even a cracked version out there
- the serial of the game was in the serial number collection
- sold for 15$ > made around 3000 sFR with it. 

Years later a guy in the bus asked me: Are you the guy behind imp89, grotic and co?

interesting game in the development line of the text adventures of the 80ies and their language pattern. new possible with modern ai. 

The next time the user will boot the disk the virus gets loaded into RAM and step 1 takes place. On reset the horizonal beam position gets evaluated. If the beam position is smaller than a certain number the screen turns black and a message in white letters appears.

Subject:
'Re: VIC-II colors'
From: Robert 'Bob' Yannes
To: Philip
'Pepto' Timmermann
Date: 27.09.1999
I was involved with the development of the VIC-II, however the actual implementation of the design, including the Color
Palette, was done by someone else. I have forwarded your message to him, but it is up to him if he wants to respond.
I can tell you that the design was based on the principle that adding a sine wave of a particular frequency and amplitude
to an inverted version of the same sine wave at a different amplitude produces a phase-shifted sine wave of the same
frequency. The amount of phase shift is directly proportional to the amplitudes of the two sine waves.
The VIC-II used the 14.31818 MHz master clock input (4 times the NTSC color burst frequency of 3.579545 MHz) to produce
quadrature square-wave clocks. These clock signals were then integrated into triangle waves sing analog integrators. The
triangle waves were then integrated again into sine waves (actually rounded triangle waves, but good enough for this
application). This produced a 3.579545 MHz sine wave,
inverse sine wave, cosine wave and inverse cosine wave.
An analog summer was used to create the phase-shifts in the Chroma signal by adding together the appropiate two waveforms
at the appropiate amplitudes. The Color Palette data went to a look-up table that specified the amplitude of the waves by
selecting different resistors in the gain path of the summer. The end result was that we could create any hue we wanted by
looking at the NTSC color wheel to determine the phase-shift and then picking the appropiate resistor values to produce
that phase-shift.
Color Saturation was controlled by scaling the gain of the summer. When we picked the resistor values to determine the
output phase-shift, we also scaled them to produce the desired output amplitude. Luminance was controlled using a simple
voltage divider which switched different pull-down resistors into the open-drain output. We could create any Luminance we
wanted by choosing the desired resistor value.
I'm afraid that not nearly as much effort went into the color selection as you think. Since we had total control over hue,
saturation and luminance, we picked colors that we liked. In order to save space on the chip, though, many of the colors
were simply the opposite side of the color wheel from ones that we picked. This allowed us to reuse the existing resistor
values,
rather than having a completely unique set for each color
I believe that Commodore actually got a patent on this technique. It was certainly superior to the Apple or Atari approach
at the time, as they ended up with whatever colors that came out--ours allowed the designer to freely select Hue,
Saturation and Luminance.
Since all of this was based on selecting different resistor values and resistance varied from chip lot to chip lot, there
was variation from one Commodore 64 to another. It wasn't as bad as it could have been though, since all of the Chrominance
selection was based on resistor ratios, which could be kept constant even if the actual resistor values varied. Luminance
was more of a problem. A trimmer resistor should really have been used to pull up the output. This would have allowed the
Luminance to be adjusted for consistency from unit to unit, however Commodore didn't care enough about consistency to
bother with adjusting each unit
Robert
'Bob'
Yannes

First developing on Atari ST (Assembler) but never published something except a demo for a bbs 1993 (First founded by two brothers). First not released ‘product’. A listing game for Happy Computer. 
Than switched to Macintosh (1995 ). Games in C . And than published over the net (website) or in Maganzines Disc-Magazines as Shareware. Paid first with checkes (almost impossible to get the money for 15$ games), so switched to real money and than to KAGI.com a first worldwide payment service.

Inbetween the author worked produced Flash-Games for advertising and ported a lot of games for Java (Applets) 1996 . 

Afterwards switched to Objective-C on MacOSX with a new name: la1n.ch. 

The demoscene was first a spin-off the crackers and became an own culture with festivals, ‘jams’ and contests. Often there are old computers embeded. 

tribute to?
exploting? 
> tribute - take the best … collage

in software (because they are interactive) it is not clear what they can.
> demoware

Make games copyable. Some cracker groups where in the tradition of information freedom, others learned from cracking software creating software, others had fun, others were in a sport ‘who is first’ and of course also others gained money. 

Why switzerland? and not us? The rumor is: There was no law in switzerland against cracking. 

wheel plants and co. 

look at development with bitorrent, crypto-x and social media

Very emblematic use of technical possibilities