The after mainframe-area (based on c and co) was driven by coding near the hardware to get more speed. espacially in games. So Assembler was important. 

Demake is a ‘downsized’ game - a game developed for a ‘better platform’ (techincal) and was than recoded for an older vintage system. 

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. 

The topics vintage computing and vintage gaming are of course intertwined. 

First gaming is a part of the whole digitalisation. But before computer were in every household the consoles were there. The first funny digitalisation and alternative to the non existing tv-program (share the screen). And then the homecomputer in the private areas came ‘home’.  So games became again software in the area of computing. 

And so on … 

Invention oft an Icon Based desktop

Of course in games and amusement arcades there is a lot of computing (calculating points, statemachines and co). All started with organs (punch strips) and electromechanical ‘games’ like pinballs. 

Vintage, Retro. It is a quite complex situation.

Culture towards technology changed massively in the last 50 years. 

this computers came with an operating system, gui-based and mouse. basic was a prg to use (not anymore line based). there were some new styles of basics coming up like gfa-basic, omikron-basic (atari st). 

and the most games were coded in assembler (68000 was a god processor for assembler). so you had to buy assembler, which was not included. 

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

Base for a lot of computers (GUI, Mac, Atari, Amiga, Next  etc) arcades and Arcades! Expensive but with a fantastic assembler-language. 

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.

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.

This is a start to collect data from vintage computing in Switzerland. It is a bottom up approach to collect and organize data. It is also a research for how to collect and store data. 

The data/information can be stored as nodes. The nodes can be as a tree (hierachy) and/or rhizome. 

This data is open for everyone who wants to also add his/her/its own data. Just create content. We will than try to bring it in an order. 

 

The listing culture is a hybrid between gutenberg galaxis and software. Software was often distributed in the mainframe time as source code ( c ). each system had a different set of hardware, processor. c and co were the platform. You could compile it for your system. 

The listing culture brought source code to the magazines and could be published. first with basic and co for homecomputers, later with checksums, than basic with assembler inlines, than only shortcodes. 

of course by typing in you could learn how to code and solve problems.

at the end the vectors won. everything is now vector based in games (as an opengl or directx scene .-) more about this in the simple demo sinZ on pouet last year. therefore step back, step into the beginning 80ies with assembler and the vector console vectrex. and of course vecZ is a shootemup the most complicated (timing, a lot of action etc.) thing in those times.

Collections can be public or private. So it is often good to contact them directly. 

Pinballs are really computing hells. 

Where people met, talked about computers, learnt about computers. Played games, designed games.

Yes also pirate software and games was part of this world. 

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. 

Fantasy computers are computer that are ‘inspired’ by real computers. Means their name sound like ZX81 > Tic80 but of course they are fast, programmable with lua and in the most of the cases have all integrated: spriteeditor, tile/background-editor, soundeffects editor and music editor. So they are really the dream of an 8bit-coder* with assembler, low memory, low graphics, no tools. 

Games made with old technologies but not old working hardware. 

Some insights into vintagecomputing and research.

Idea: 

Aspects like:

Example:

 

How people connect each other. Which places were important and why? Which media was important and why? Most of this places (Clubs, Supermarkets,  Arcades/Spielsalon, Computershops).
What happened with people from the country side? 

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.

Hollorith and co

archimedes with its risc-processor was still an exception. you could code in basic games like ! virus. 

There is a large base of videogame fans and developers working on emulating old games to ever new platforms. While this guarantees the transfer of knowledge and accessibility for games, there is nothing comparable for electronic literature. The community is too small, does not include many tech-experts, and even browser-based projects of five years are no longer working. A steady in- crease in interactive, collaborative and dynamic elements in new projects of electronic literature is at the core of the problems of archiving. This article discusses the impacts of digital writing on creative works and assesses the situation for German electronic literature and e-poetry in terms of its problems, possibilities and perspectives of archivability. It sorts the projects in easily represent- able works, works that need adapting or emulating and projects that are very difficult to archive in their original form. In doing so it outlines the necessary steps to make electronic literature from past and present accessible for future users. __________________________________

Before becoming a sparkling thing, technorama was a technic based exhibtion with experiments. And they had an exhibition with computers! 

Antares is a classic role-playing game of the Bard's Tale variety set in a science-fiction scenario. After the radio contact with space explorers stopped, a second troop goes to look for them. Unfortunately on the way they receive a emergency call, get shot and have to land on the planet Kyrion. Now the troop has to explore the planet and find out more about what happened.

The party has six members (chosen from twelve pre-defined characters) with different statistics and abilities, e.g. fighting, cooking, PSI (the science-fiction variant of magic) or translating (needed to communicate with non-hostile species). The world and dungeons are explored through a first-person perspective and when meeting enemies, the fight plays out turn-based: the player tells the characters what to do and text informs of the results. Killing enemies reward experience points which in turn improve the abilities.

Each character has to eat and sleep. While too much hunger results in death, a sleeping character is in a kind of trance: he still walks around, but can't take any actions or fight. Besides sleeping, there is also medicine available to keep the spirits up: just like other parts of equipment, it can be bought in hidden shops with gold found at slain enemies. Each character can transport up to six items and a radar shows how dangerous the current area is. Dead party members can be resurrected at the landing module.

Tiling was a design pattern often used in the beginning of the gamedesign.
Reason:

Amicom of Spreadpoint has been interviewed by Com and Orlando of Brainstorm at the Escpape and Spreadpoint copy party on Oktober 7th. 

When did you join Spreadpoint ? 
-A month ago. 

Your task in Spreadpoint ? 
-Coder, but in Spreadpoint everybody can do what he wants to. 

For how long have you been programming on the Amiga ? 
-For 2 years. 
What computers did you work on before? 
-Spectrum, Sinclair QL. I did some graphic programming with BASIC. 

What did you program on the Amiga? 
-A 3D-Demo (Summer of 88 for TLB), various intros and copiers for cracked games, Powerutility (sold it), a level editor for a shoot'em up, AMICOM-Kickstart (Antivirus, Copier etc.) 

What are you doing at the time ? 
-I'm working on Demo, called ATOM-demo. 
What's this about ? 
-Colored, shaded, permeating(!) 3D-Objects. 

Your future projects ? 
-3D vectorgrafics, 3D editor (ev. sell it), copier with multitasking capility, various utilities. 

What hardware do you have ? 
-An Amiga 1000  (1.5Mb, Harddisk 20 Mega SCSI), And an Amiga 2000 (A2620 Unix card, 68020 processor, 68881 math. coprocessor, 68851 Memory Management Unit, harddisk 80 MB SCSI, Modem 2400 Baud) 
Tell us something about your Master Seka. 
-It's based on the Seka V3.0 by Kefrens/Promax. It has been reassembled  and revised by my collegue Buddha. 
The main advantages are: 
Better editor commands, a finally working optimize function, auto runback, the workspace can be changed without exitting the Seka. 

Is there anything you want to advise to Amiga coders ? 
-Unfortunetly, there are more and more good programs, recently, which run only on one special Amiga. So I advise to try out the programs on different Amigas and to avoid unproper coding (absolute addresses, selfmodifing code, DBF-waiting-loops running to fast on the 68020.) 
And I hate programs, which you only can exit by a reset! 

Thank you for your answers. 

     Translated by The Acc{sed/BRS

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.

Alcatraz Pentcost Party 1990 was held at the Centre Culturel du Chene in Aubonne, Switzerland. Alcatraz was originally to have arranged this party (together with Brainstorm) in april, but the original plans fell through. There was a dj with a huge light and laser show, a large screen, around the clock movies and a snack bar, so there was plenty of activities to get into. Separate sleeping quarters were available in a nearby hall. This may very well have been the first instance of females getting free entrance to a demo party. As we know, this became the norm in the years to follow. The winner of the demo competition won an A1000, the second place took home an Action Replay cartridge and some empty disks.

Cracker Journal 19 (march 1990) reported, "Alcatraz' "Pencost Mega Party" on 2nd to 4th of june 1990. Acitivites: Mega Demo Competition, DJ - light and laser show, three little conference rooms, two mega screens, TV and video corner, snack bar, special modem phone line, sport places, about 70 beds..."

Results and information based on Pentcost Party Invitation and party report in Hack-Mag 1 (august 1990).

Yes, initially my only goal was to try and make a “useful” language in as small an implementation as possible. I’ve always been obsessed with small/simple/fast (still am), and for me this was a fun diversion from the relative complexity of the E compiler.

I knew the language had to be based on Forth, as there’s no other language that has such simple parsing (it is mostly just a sequence of operations, little structure) and execution model (each operation simply takes from / adds to the stack).

'dropfiles', small binary or text files dropped into known locations in the BBS'

A major use of doors is for door games: computer games played on the BBS.[3] These games included strategy games such as TradeWars 2002, Food Fight!, [4] Solar Realms Elite,[5] Space Dynasty, Usurper,[6] and Barren Realms Elite.[7] There were also role-playing games (RPG), often derived from earlier email-based games. One such game was Seth Robinson's Legend of the Red Dragon,[8] and another popular dystopian RPG: Operation: Overkill,[4] another was Mutants!. BBSes often published high scores, encouraging players to beat others.[9]

InterBBS leagues allowed users of different BBSes to compete against each other in the same game. A modern version of this known as BBSlink exists allowing sysops to offer door games on their BBS which are hosted on a remote server, thereby increasing the user base of the game.

Alcatraz Pentcost Party 1990 was held at the Centre Culturel du Chene in Aubonne, Switzerland. Alcatraz was originally to have arranged this party (together with Brainstorm) in april, but the original plans fell through. There was a dj with a huge light and laser show, a large screen, around the clock movies and a snack bar, so there was plenty of activities to get into. Separate sleeping quarters were available in a nearby hall. This may very well have been the first instance of females getting free entrance to a demo party. As we know, this became the norm in the years to follow. The winner of the demo competition won an A1000, the second place took home an Action Replay cartridge and some empty disks.

Cracker Journal 19 (march 1990) reported, 'Alcatraz' 'Pencost Mega Party' on 2nd to 4th of june 1990. Acitivites: Mega Demo Competition, DJ - light and laser show, three little conference rooms, two mega screens, TV and video corner, snack bar, special modem phone line, sport places, about 70 beds...'

Results and information based on Pentcost Party Invitation and party report in Hack-Mag 1 (august 1990).

(Entry is a copy of the Demozoo entry! > https://demozoo.org/parties/7/)

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.
 

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.

There are some labs that deal with vintage computers.