The swiss gamedesign was influenced and even founded by the cracker scene coming from the C64 to Amiga and the other tree was the Atari ST. Around 25 own Games and Ports were created and published from 1985-1997. There was even an own publisher Linel. 

Die Besonderheit war, dass die Zuschauer per Telefon unmittelbar in die Sendung eingreifen konnten: Es gab eine auf einem Stativ montierte, bewegliche Armbrust mit dahinter angebrachter Fernsehkamera. Dabei war die optische Achse des Kameraobjektivs mit der Linie Kimme – Korn – Ziel identisch. So konnten mitspielende Zuschauer am heimischen Fernsehapparat mit den Kommandos Höher, Tiefer, Rechts, Links und Schuss auf eine Zielscheibe schießen, indem ein Kameramann die Aktionen mit verbundenen Augen an einen Joystick ausführte, der sich an einer Säule neben der Armbrust befand. Es handelte sich damit um die erste interaktive Fernsehsendungin Europa. Schützen, die sich im Saal befanden, führten den Schuss direkt mit dem Joystick aus.

Giger was an educated as an industrial designer. Afterwards he made art and after working with jodorowski on dune, he joined the aliens-team. He created the slick fast monster in ALIEN. he influenced with his style (developped before in paintings and sculptures) the whole scifi. And so he became also one of the most influencing artist for games like r-type and and and and and …

Two types of tv-games:

Interesting piece, because. you have to move around with an avatar to get to the demos. so their is a gamemechanic (puzzle) to open the subdemos!

Question: When this demo was created?

The bootsector allowed an automatic startup (vs tapes) of games like in consoles with cartridges (of course a lot of games came also out as cartridge for computers). Put it in and switch on computer and play. Of course the bootsectorviruses were a sideeffect of this innovation. 

Spreadpoint is an Amiga demo group, formed in 1986 by Marvin and (D-)Mike.

Amicom and Depeche joined the group in 1989. Swapper advert in Cracker Journal 16 (october 1989), listing an address in Bad Aibling, Germany.

They were coarrangers of the CeBit 1990 demoparty in march. Depeche left the group sometime this year.

With the march 1991 release Innovation Part Two, Psy announced he was rejoining Spreadpoint from Axxis. Grmblwrz (december 1991) mentioned, "We also welcome our new American members - Paninaro and Micro".

The october 1992 cracktro for Pinball Fantasies welcomed Ice Tea and The French Dewd to the group.

Upstream 1 (january 1993) reported that Cocaine joined Addonic from Spreadpoint & Amiga Industries along with his bbs Moria.

Fresh was founded April 22, 1989 on the Crazy & RCS Party 1989 by Iceman/ISI Soft, Graphics-Boy, Project B, Shake (subgroup) and Welfare Software Boys (subgroup). 2 months later Krush joined in as main cracker. The first Fresh Intro gained a lot of attaention in the Swiss scene: it was coded Mat and the music was exclusively composed by Tim of Modern Arts, one of the most progressive demo groups back then.

After the Crazy Stardom Copy-Party 1989 (August) in Le Locle the 2 Swiss demogroups Future Vision Switzerland and Trap joined Fresh. 

Mainly in 1990, a war with Computer Freaks Association was ongoing. Both groups were competing for being Switzerland's #1. Computer Freaks Association released a small anti-demo called Fresh on Top. The war was officially ended at the Swiss Pirates Reunion 2002 (nowadays there are many friendship boundaries between the former 2 opponents).

Was in co-op with Century for short while in February/March 90. The co-op was stopped due to a lack of Century cracks.

After the Fresh Party 1990 (April) Krush, Ogygene and Mirage left to built up a new Swiss group together with The Sexton/G*P called Abstract, which later then joined forces with the ashes from the Swiss demogroup Future Concepts and renamed into Crusade.

Also in April 1990 a small but neat Austrian section was built by Awesome & Beast. They have produced some one file demos and due to the good connections to Lotus, Awesome has supplied a couple of hot originals. 

In May 1990 some Fresh members have been working on a project to join forces with The Ancient Temple. Both group got to know eachother at the Fresh Party 1990. Project names were SAPPHIRE or LIFE IS A BEACH. There was no agreement on the name, so the project never was realised. 

In June/July 1990 a German section in Cologne was built around Spy, Trax & Scoundrel. After their lame release Lost in Time , they have been kicked out.

Was in co-op with Holocaust from August 1990 to October 1990. The coop started with Fresh's first release of Back to the Future II 5. The co-op later was stopped due to a lack of Fresh cracks in that period (main cracker Graphics Boy had left the group to join Crazy).

Fresh died in late 1990 when Freestyle and Dave joined Talent.

Brainstorm is a Swiss-based demo group, that has existed in two distinct periods; their formation as an Amiga demo group in the period between 1989 and 1993, and their reformation as a mainly pc demo group in 2006 until present day. They were originally formed a short while before may 1989 by graphician Chester and coder Majestic, and their first release was Lazer Roll. During the summer they recruited more members (like Orlando), and at the end of the summer vacation they were joined by the entire group Axxis (Bird, ...). This group had both a Swiss and German section, but the German section was found to be substandard and was forced to leave after a while. Another member, swapper Joker, left the scene soon after. They had by now started planning what would become the diskmagazine Zine. It was originally conceptuated as a cooperation between Brainstorm and another Swiss group at the time, Setrox, but the latter eventually decided against being part of the project. Due to this, Setrox coder The Accused left to join Brainstorm. Zine 1 was released in october. They were now a totally Swiss group again, except for two German members - Shadow and Yankee.

Advert in Cracker Journal 18 (january 1990), looking for members. Cracker Journal 19 (march 1990) reported, "Angel Dust joined Brainstorm and his name is now Six Pack." Sometime between Zine 3 (february 1990) and Zine 4 (april 1990) they decided to kick their German writer Yankee because he wasn't productive enough. He was a freelance writer for D.I.S.C. for a while before finally joining Addonic. Zine 5 was released at the Alcatraz Pentcost Party 1990 at the beginning of june. It was to be Orlando's last issue as editor, as The Accused had returned from his army service.

Metamorphosis (august 1991) mentioned their bbs Cheese-Line as 'new', and listed Accused, Axel, Bird, Chesney, Chester, Droid, ESA, Fly, Grubi, Luke, Macho, Majestic, Odie, Oli, Orlando, Patsy, Peace, Scattergold and Truxton as active members. Danish megaswapper The Pride joined the group in late september, and was sent a new packmenu for creating a new series of packs (see Superpack 1) - which would become the Obsession packseries, starting in october. All this was also reported in R.A.W 1 (november 1991).

R.A.W 2 (february 1992) reported that The Pride moved on from the group to join Sanity, and that a Finnish section had been opened by Phazer, Extabulator, Hoover, Mac, Top Azz and Voyager.

January 1993 saw the release of Axel's musicdisk Musicland, featuring among other songs his 8th-placed Technology from The Party 1992 the month before.

The CFA was founded in 1987 in Basel, Switzerland, when 3-letter names were still in fashion. CFA stood for “Computer Freaks Association”. In the first months the CFA was a group of C64 fans and gaming tournaments were held in regular intervals. They organised a gaming room at a local School-Party of the RG in Basel.

The CFA started with pure Demo-Making and Software-Swapping. The first international contact was the Norwegian group The Sinister Realm 2013 Stavanger. One of the early meeting places was the Dial-Club, a local Computer-Center in Basel.
At this time a regular Exchange-Ring of Software between the members was built up.

The first Copy-Party visited by CFA members was Crazy & ZSS Party 1988 in Pratteln/Switzerland. In 1989 Members of the group was busted by police on a German Copy-Party, but thanks to slow Swiss legislation, no CFA member had any troubles at all after returning to Switzerland.
The CFA took part in Demo-Contests of other Swiss copy parties: Crazy & RCS Party 1989, Crazy Stardom Copy-Party 1989 and Fresh Party 1990. 

In the early days, our strategy was: focus on Switzerland. This changed with the first member expansion outside of Basel: 
German members: Snief and The Cure.
Liechtenstein members: Sandman.

War against another Swiss group Fresh, which led to a funny anti demo Fresh on Top. The war was officially ended at the Swiss Pirates Reunion 2002. (nowadays there are many friendship boundaries between the former 2 opponents).

The CFA has in the meantime started importing and cracking games: access to the major US BBS, latest wares and cards agogo. 

1990-1991 Cooperation with Italian Cracking Service from Italy.

11/1989-07/1993 reknown Disk Mag “Immortal Flash” an e-zine that become quite popular in the scene (later released by Atlantis).

In 02/1991 the CFA died and the remaining members built up Atlantis. More info in Joker Note.

#ch_ludens

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. 

War Heli is a state of the art shoot em up game with big sprites on a computer with no hardware-scrolling! 

Floppy disc or magnetic disc are faster and mor flexible than tapes. you can load and store autonom (no start and stop) and not linear, you can store them here or there. but of course also expensiver (you cant anymore use a (music) tapedrive.

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. 

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

GESPAC SA was a Swiss company who designed the G-64/96 Bus in 1979. This interface bus concept provides a simple way to interface microprocessor modules with memory and peripheral modules on a parallel bus. The G-64/96 Bus uses a simple, yet modern and powerful interface scheme which allows a higher level of functionality from the single height Eurocard form factor. The low overhead of the G-64/96 Bus interface greatly eases the design of custom boards by the User. This is why, even many years after its invention, the G-64/96 Bus is still widely used in the industry. 
 

Several demos are behind the mechanic of the ‘puzzler’

Games waren am Anfang einfach kopierbar. Ein Kopierschutz existierte nicht. Die Games wurden dann auch kopiert, was das Zeug hielt. Die Schweiz war prädestiniert dafür, denn sie kannte kein (digitales) Copyright – die Privatkopie lässt grüssen! Damit war das Feld weit offen für alle. Berüchtigt und bekannt waren die sogenannten Kopier-Parties. Häufig waren sie ein Missbrauch der Treffen in den Computerclubs. Erst mit der Zeit entstanden komplexere Schutzmechanismen wie nicht kopierbare Anleitungen oder Disketten mit Löchern. Diese ließen sich nun nicht mehr so einfach umgehen – und so entstand eine Szene von «Crackers».

Crackers dis-assemblierten den Code und hatten damit den unkommentierten Source-Code vorliegen. Nach und nach entfernten sie die Schutzmassnahmen und gaben die Software frei. Meist handelte es sich dabei um Games.

Das Cracking war für viele selbst eine Art Spiel mit einer Spielmechanik. Rudolf Stramm alias Hcc beschrieb es als ein Duell zwischen dem Entwickler und dem Cracker:

Im besten aller Fälle integrierten die Cracker auch noch einen sogenannten Trainer. Damit konnte man sich eine unendliche Anzahl Leben geben oder sich an bestimmte Orte im Spiel teleportieren. Viele Spiele waren mit ihrem hohen Schwierigkeitsgrad nur so wirklich spielbar – so zum Beispiel das berüchtigte Rick Dangerous.

Der Name der Swiss Cracking Association singt im Namen von dem allem ein Lied. Und sie betätigten sich auch im ‘Schweizerischen GameDesign’. So crackten sie die Summer Games (C64, 1984) und ersetzten eine der Flaggen mit der schweizerischen Flagge und fügten dazu noch eine instrumentale 8 Bit Version der Nationalhymne ein. Wer auf die Schweizer Flagge klickt, hört diese Hymne. Das ist gleichzeitig Schweizer Game Design als auch die inoffizielle Hymne für das Schweizer Game Design.

Cracken bedeutete letztlich, eine Software und damit Spiele verstehen zu lernen. Und langsam aber kontinuierlich begannen diese Cracking-Gruppen die Programmierung von Spielen zu verstehen. Angefangen hat das bei der Darstellung von Grafiken und dem Abspielen von Musik, dann ging es weiter zur Integration von Spielmechanik – alles war erkennbar und letztlich auch wiederum einsetzbar. Wurden Grafik und Musik anfangs aus den Games extrahiert, kamen je länger desto öfter eigene Grafiken und eigene Musik hinzu. Unter den Mitgliedern von Cracker Gruppen entdeckt man viele spätere Grafiker und Musiker. Cracken von Spielen und Entwicklung eigener Spiele diente also durchaus auch als Startbrett für eine Karriere im Bereich der sogenannten Kreativwirtschaft sowie der IT.

vintagecomputing is an open platform for people, who are interesting in the different aspects of vintagecomputing and gaming in switzerland. You can just create an account and enter data, make propositions and enter data. 

 

Amiga games database with information about every Amiga game ever released!

 

 

The Mega-Mighty Swiss Cracking Association is the leading Swiss C=64 and Amiga group. SCA was founded in 1983.

 

 

 

 

[11:44]

Viele Blogs und Magazine haben zudem angefangen die alten Spiele wieder zu besprechen und hervorzuholen. Damit wurde natürlich auch ein Teil ihrer Kundschaft (die Spielercommunity ist ja mitälter geworden) zu bedienen. Als eines der letzten Phänomene kamen auch die Let’s plays alter Spiele hinzu. https://www.youtube.com/watch?v=WoxPW1_7ZVc “The jumps are almost pixelperfect”. Grosskonzerne wie Nintendo haben auch angefangen ihre damaligen Spiele nicht nur als neue Hardware aufzulegen sondern sie zu aktualisieren und so kommen nun neu Versionen von Zelda heraus, die sich an die damaligen Ideen anlehnen. In der letzten Welle findet nun eine zunehmende Wiedereingliederung der damaligen Entwickler, sowie der Versuch einer wissenschaftlichen Aufarbeitung statt. Immer mehr werden die Spiele auch aufgenommen in die Spielgeschichte verschiedener Universitäten und sind teilweise Prüfungsstoff geworden (ZHAW .-) Je länger die Zeit der Homecomputerspiele zurückliegt, umso mehr muss heute auch erklärt werden. Als Beispiel das Interview mit Roman Werner. https://www.youtube.com/watch?v=z2ZPb1lQHes 2019

 

 

 

 

 

 

 

 

 

 

[11:44]

// ich habe diesen text nur geschrieben, um ein bisschen rauszuarbeiten, was alles für themen da drin liegen

[11:45]

das letzte ist natürlich unsere studie .-)

Escape Copy-Party 1989 was held in at the Schützen Haus in Villmergen, Switzerland for the Amiga scene. About 120 people attended, and 10 demos were released. Escape helped organize another Swiss party, this time together with Spreadpoint, in october. Among the groups that visited this party were Double Density Crew, The Supervisors, Piranhas, Amitech, Clan, Space Coloss, Silver Hawks, Slime Byte, and many more. During or immediately after this party, Atrix and Senses merged into the new group Setrox.

Mentioned briefly in the news section of Cracker Journal 12 (january 1989), "Escape Copy-Party was on 28 29 January 1989 in Switzerland.". A party report followed in Cracker Journal 13 (march 1989).

Consoles inspired by old consoles but 100% new. They are somehow like the dream of this days. All dev. thing in one tool (graphics, sound, tiles, coding, levelediting)

Games made with old technologies but not old working hardware. 

Some insights into vintagecomputing and research.

of course mainframe computing was only possible for universities, students or big companies. creating workstation like lilith or next were a middle thing between mainframe and personal computers. 

Idea: 

Aspects like:

Example:

 

Challenge:  Solve the puzzle

Reward: Get a new Demo!

CHEAT: Use F1-F10

Aus Wikipedia über Hofstettler: 

Kreml von 1986 (englische Version Kremlin, herausgegeben von Avalon Hill, Träger eines „Origins Award“ 1988) ist eine Parodie der sowjetischen Politik. Dieses Gesellschaftsspiel lässt sich nicht im klassischen Sinn in die gängigen Spielarten einordnen, da ihm sowohl ein Spielbrett wie auch Spielkarten im herkömmlichen Sinn fehlen. Die Spieler spielen die Rolle grauer Eminenzen, welche hinter Kandidaten stehen, die um Ministerposten bis hinauf zum Amt des Staats- und Parteichefs kämpfen. Nimmt ein Spieler dabei mehr als nötig Einfluss auf das Spielgeschehen, so verrät er seine „Beziehungen“ und macht sich dadurch angreifbar. Kreml stellt insofern ein Kuriosum dar, als man durch weitestgehende Passivität und Unauffälligkeit beste Gewinnchancen wahren kann. Der Spielverlauf nimmt dabei immer wieder überraschende Wendungen.

All in one. Democollection - show all possible things in one demo. also often wirh story telling aspects - visual narrative or a classic story.

What is possible on one disc. More longterm motivation, more content needed.

Own type/textsorte.

Den Crackern ging es selbstverständlich auch darum, bekannt zu werden. Sie versuchten symbolisches Kapital anzuhäufen. Man kann ihre Motivation und ihre Aneignungsweise durchaus mit derjenigen der Graffiti-Sprayer jener Jahre vergleichen, die mittels “taggen” ihres Künstler- und Gruppen Namens auf leeren Flächen der Stadt versuchten, Aufmerksamkeit zu erreichen – zum Beispiel GEN im Zürich der 80er Jahre. Getting Fame oder Getting Up war die Losung.

Aus den anfänglichen kurzen Bemerkungen als Text wurden immer komplexere eigenständige Vorspänne – die sogenannten Intros. Hier zeigten die Crackers mit der Message ihres Namens, die nicht zuletzt als Botschaften an die Adresse anderer Cracker Gruppen dienten, ihr Ganzes Können. Dabei versuchten sie alles aus diesen Computern herauszuholen. Diese Intros waren eine Art Graffiti auf den blanken Oberflächen der Games jener Zeit. Die Intros unterstanden nicht den Gesetzmäßigkeiten des Game Designs. Die Spielmechaniken spielten keine Rolle und mussten nicht verändert werden. Es ging lediglich um die Titel- und Credit Sequenzen der Spiele. Es ging um einen visuellen Auftritt, der auffallen sollte. Die Intros mussten gut aussehen und einen Wow-Effekt haben. Mit dem Einbezug von Musik und Animation wurde es aber bald auch wichtig, spezielleres Wissen zu erarbeiten. Die Cracker Gruppen begannen Arbeitsteilung einzuführen mit Programmierern, Grafikern und Musikern.

Aus diesen Intros, die in bestehende Spiele eingefügt wurden, entstand später eine ganz eigene Szene, die Demoszene. Und so kommt es, dass sich im Umfeld der meisten Schweizer Cracker und frühen Game Devs auch immer Demos finden. Diese Szene ist noch immer aktiv und dokumentiert sich bis heute selbst. Man findet fast alles aus den letzten 40 Jahren auf der Website POUET (2000) sowie in spezialisierten Datenbanken. Einige der Entwickler updaten ihre virtuellen Echtzeit Welten bis heute aber auch direkt selbst.

Abbildung 14: Cracks und Demos aus den Jahren 1983 – 1988 werden archiviert und öffentlich zugänglich gemacht über die Website der Swiss Cracking Association SCA (2018).Abbildung 15: Aus dem Repertoire des Crackers Hcc: Solomon’s Key Cracktro, Atari ST (1987).
 

Listing

ALGOL was developed jointly by a committee of European and American computer scientists in a meeting in 1958 at the Swiss Federal Institute of Technology in Zurich (cf. ALGOL 58).

cently founded by Eduard Stiefel, where he worked together with Ambros Speiser on developing the first Swiss computer ERMETH, and developed the programming language Superplan (1949–1951), the name being a reference to Rechenplan (English: computation plan), in Konrad Zuse's terminology, designating a single Plankalkül program. He contributed especially in the field of compiler pioneering work and was eventually involved in defining the languages ALGOL 58 and ALGOL 60. He was a member of the International Federation for Information Processing (IFIP) IFIP Working Group 2.1 on Algorithmic Languages and Calculi,[1] which specified, maintains, and supports ALGOL 60 and ALGOL 68.[2]

Chess

_ virus

_ transformation

_ smart monster

_ fit monsters 

_ nihilation

_ all also visuals rules

Very emblematic use of technical possibilities

Devs with Beer and and 
Star wars intro (influenced)
Beer as protagonist
Shop - 1:1 - Get money for buying extras?
Song “MIr sind mit dä fürwehr dooo ” (Swiss german)
Sidewings / extraweapons 
“Görpsen” 
Feldschlösschen is shooting
Shoot vs Feldschlösschen! (Feldschlösschen as Train)
Other beer brands
Visual influences of Jeff Minter
PacMan 
Vs JAck Daniels 
vs Soft Drinks
vs Apple 
vs Bourbon
vs Windows (Money)
vs Java Cups?
vs Brains? BRain is fighting against beer?
“No hero this time” - Eichhorn best
 

communities (as systems) have their own language, their own values (and thus also their own capitals), their own operations, their own exensions, their own decision extensions.

Last active c64 Swiss based group!!!

When the Computer Freaks Association died, most of the remaining active members started a new group called Atlantis. Immortal Flash was then released for Atlantis as well.

Between 09.11.2013 and 24.07.2016 in Co-op with Fantastic 4 Cracking Group.

In 2018-2020 ATL worked on Propaganda First Release List and some cracks together with Genesis Project.
 

check: was this really every online?

The shareware modell was the only that worked in those days. Because to get a publisher for mac was almost impossible.