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

German: System Analyse Ansatz von Recipient (Spieler), Produkt (Spiel), Technische Möglichkeiten und Entwickler/Designerperspektive. 

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. __________________________________

Very emblematic use of technical possibilities

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

Basic was one of the first coding possibilities in the 8bit and also the ‘OS’. the interface to the computer. The shells were ‘basic’.

LOAD “”",8,1

With the second generation of homecomputers. The linenumberless basic came up like GFA-Basic etc. This was a new step and brought basic on the level of Pascal and co. 

la1n was the direct next step from imp89. New maschines and a new platform macosx. “Therefore i learned objective-c and coded real object orientated” and switched now to 3d games with opengl. The games were now more an more like gameengines and were object-orientated. But still hardcore coded. This change with the upcoming game engine like torque or unity. 

Therefore the last games from la1n.ch till now were again hardcore coded games like axe (atari 2600 vcs), vecZ (vectrex 2016). 

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.

Preferred size rules:

_ Moment you don't have enought bytes
_ Surprise
_ Code golfing stage 
_ Experimenting
_ Restrictions
_ Battle
_ Prototyping
_ Solve the puzzle
_ Different solutions > new ideas > new concept> new other demos > great feeling

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

Areas like the demoscene or electronic games existed only rudimentarily as analog systems (pinball etc) In this sense they were new and updated the system.

Other areas changed or replaced existing areas: 
- Data collection and analysis (punch cards, etc.)
- word processing

> From media running on humans to media running on computers

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. 

GameArt like other digital media art is distinguished by a technologically induced ephemerality as well as by a decentralised and therefore difficult longterm availability. More complicating, GameArt differentiates even further and orientiates itself towards earlier lines of game culture like play in backyards, malls and high streets. There is a wide range for designing, playing, and experi- encing GameArt that expands all the way back to a mode of playful experience and action. How can this wide range and depth of themes, interactive playing time, and game mechanisms possibly be archived and made accessible?

Archiving for a society with an open end, in other words a „ludic“ society, has to be determined by an open possibility of observing artistic instruments being developed in order to expand it fur- ther or contextualize it in a new way. The suggestion is to try to build an open and playful archive that includes involved parties and works (from a „knocked down“ curbstone pixel to a player) as well as bystanders (spectators) in a comprehensive setting. While there seem to be long known instances of recipients through whom art works only have been able to unfold their meaning (in play), artists with their possible intentions and, finally, the functional systems of society like sci- ence have to be included first. These instances would only be the first traces and layers among many in an open archive. Subsequently a new „philosophy of archiving“ will be drafted that origi- nates in specific phenomenons and questions of GameArt.

These emerging levels and models describe diverse and partly disagreeing strategies of GameArt. The works span from the game as a medium of artistic discourse to the outright subver- sive criticism of a pronounced „ludic“ society. Therefore a „Mille-Plateaux“-archive is at the same time the base we are standing on and the future we are developing (as a tool).

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).
 

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)

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. 

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

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).

peer to peer enabled looking into private collections alias folders-structures and content. so you could really look into personal data, ideas, rhizomes. you find very personal stuff. the copyright debate around mp3 destroyed this possibilities in those time - as it seems forever. 

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 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. 

Vintage, Retro. It is a quite complex situation.

Challenge:  Solve the puzzle

Reward: Get a new Demo!

CHEAT: Use F1-F10

Playboy: You never lost sight of the reason for the job: to earn money so you could travel. 

Jobs: Atari had shipped a bunch of games to Europe and they had some engineering defects in them, and I figured out how to fix them, but it was necessary for somebody to go over there and actually do the fixing. I volunteered to go and asked to take a leave of absence when I was there. They let me do it. I ended up in Switzerland and moved from Zurich to New Delhi. I spent some time in India. 

Playboy: Where you shaved your head. 

Jobs: That's not quite the way it happened. I was walking around in the Himalayas and I stumbled onto this thing that turned out to be a religious festival. There was a baba, a holy man, who was the holy man of this particular festival, with his large group of followers. I could smell good food. I hadn't been fortunate enough to smell good food for a long time, so I wandered up to pay my respects and eat some lunch. For some reason, this baba, upon seeing me sitting there eating, immediately walked over to me and sat down and burst out laughing. He didn't speak much English and I

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.

Coder.
Amicom joined SPREADPOINT in 1989 together with Depeche. He was active as coder of very different things from MMU tools to demos. What he liked best was to explore and develop new programming tricks that could be used in demos and other places.

Data
Born 1968, grown up and living in Switzerland.
Todays occupation: finishing studies (natural science), running an internet company togehter with other ex-amiga freaks.

Work
Demos: Lissa, Platin3D, Small.
Intros: Giana Sisters (trained by Depeche), Amegas (trained by Depeche).
Utilities: Blitter-Copy, List Manager, MMU expert, AFS File Scrambler, SPlay soundtracker player.
Other stuff: Atom Demo (unfinished), Platon's Polyhedra (unfinished), revival of HQC demos, GigaMem (a virtual memory extension to AmigaDOS), some work in TypeSmith (a outline font editor).

Music
Depeche Mode, Kraftwerk, Simple Minds, Billy Idol, Pink Floyd, Pet Shop Boys, OMD, ...

- Sell, Promo, try out, meeting at  Jelmoli
- Nintendo Ship new concurrency
- Computergames
- digital violence discussion: Beispiel Cabal 
- LaserTagging
- War in Ex-Jugoslavia
- Virtual Reality (London)

enter 

10 and code [new function]

# edit:
a. move in the source code 
b. on the right line SHIFT EDIT
c. edit down > [ENTER]

# run

run

 

 

The Tandy Color Computer was the runner up. The Apple II was the winner in the category of home computer over $500, which was the category the Commodore 64 was in when it was first released at the price of $595.

n the United States, the greatest competitors were the Atari 8-bit 400, the Atari 800, and the Apple II. The Atari 400 and 800 had been designed to accommodate previously stringent FCC emissions requirements and so were expensive to manufacture. Though similar in specifications, the C64 and Apple II represented differing design philosophies; as an open architecture system, upgrade capability for the Apple II was granted by internal expansion slots, whereas the C64's comparatively closed architecture had only a single external ROM cartridge port for bus expansion.

Aggressive pricing of the C64 is considered to have been a major catalyst in the video game crash of 1983.

The price war with Texas Instruments was seen as a personal battle for Commodore president Jack Tramiel.[25] Commodore dropped the C64's list price by $200 within two months of its release.[6] I

Meanwhile, TI lost money by selling the TI-99/4A for $99.[26] TI's subsequent demise in the home computer industry in October 1983 was seen as revenge for TI's tactics in the electronic calculator market in the mid-1970s, when Commodore was almost bankrupted by TI.[27]

Although many early C64 games were inferior Atari 8-bit ports, by late 1983, the growing installed base caused developers to create new software with better graphics and sound.[34]

 

digitalization was after the end of the idea of the replica of man as a robot and thinking being. something that the analog first read largely unchallenged. it was a colonization of a new space, a space that created itself - cyberspace. with this, this space did not come into conflict in a first moment - in the sense of earlier struggles over existing mostly analog territory. this is probably also one of the reasons why digitalization proceeded creepingly and was not perceived or actively fought by parts of the broad population (the nerds etc.). and many waves of digitalization then also emerged in the field of music (synthies) or games, for example, and took hold in everyday life at home. the normal things, however, continued to run until they then also arrived in the working environment.

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.
 

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.

OLIVER It all started for me at a Christmas party at Starbyte Software. It was a remarkable event. I never met so many talented people at one place before. The developers showed the games they were developing including the Amiga version of Rolling Ronny. We got the offer for converting the game and if I remember correctly, we agreed almost instantly. Previous projects of Bones Park were economic simulations, which was… how to describe… rather static stuff. I usually call those games Excel-pushers. A jump-and-run is way more interesting and it is action we wanted to create.

MARIO Back then, in the C64 era, most games took only a few weeks or a couple of months to develop. So we had to keep a constant flow of new contacts and projects. One project we did in late 1991, Trans World, for German publisher Starbyte, went pretty smooth and even became our first #1 in German sales charts, so we were invited and offered to work on other titles. One concrete offering was the C64 conversion of Rolling Ronny. Even though most of the first games I programmed were simulations, I still had spent a lot of time on developing action and real-time oriented games. So it was a perfect moment to put all the learnings into a concrete game – and that would have been Rolling Ronny.

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.

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

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

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. 

New software created for old obsolete hardware like in the demoscene or games on atari 2600 and so on.

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.

You paid and got every month new software by post.

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.

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 …

Games made with old technologies but not old working hardware. 

Some insights into vintagecomputing and research.

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

Tennis For Two was the first Videogame ever! It was developed in 1958. The gameplay features were more complex and more fun than in the later very popular Pong or Breakout. GameLab ZHdK has made a new version to bring the amazing game mechanics to attention. You hit the ball with the A-button of your controller while you use the left analogue stick to indicate the direction (or angle) of the tennis ball. And since it is tennis, you can hit the ball anywhere in your own half of the court! It is surprisingly fun to play the "TennisForTwo Fantasy 1958" version. Made in 2015 by GameLab ZHdK.

First Bally Electronic Pinball

What is next? 16/32-Bit but which one?
(- Macintosh)
- Atari ST? (like C64)
- Amiga (Multimedimaschine) expensive - Amiga 500
- Sinclair 68000
- Archimedes?
(- NEXT very expensive!)
 

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?

which designpattern where used? and why?

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

- Verstehen der Hardware und Anforderungen
- Tutorials lesen
- einen eigenen funktionierenden Source entwickeln, wo alles drin ist:
  Sound, Graphik und IO. 
- danach Spiele entwickeln

Create background, levels.

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.

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

check: was this really every online?

atronic.ch

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