Flash Memory: Preserving Web Games For The Future

Description: A tombstone with a tuft of grass with the
symbol for the program Adobe Flash wedged in it at an angle.

Last year, Adobe announced that it was slowly phasing out support for its Flash player plugin, with support ending in 2 years. Most modern browsers are phrasing out support of Flash before then.

That also means that over 20 years of game and interactive animation history could vanish with it. Enter the Archive Team. Ben Latimore writes about the project in a Medium piece, saying:

"... Flash is arguably the largest treasure trove of unpreserved gaming history today... Spanning literal[ly] tens of thousands of games over a period of twenty years, the library of Flash games, breadth and depth, outlives any other game console on the market. 

When your browser no longer has the plugin to run those games, what happens to them?"

The answer the Archive Project has advanced is BlueMaxima’s Flashpoint, which serves as the connection for preservation of Flash game collections. Latimore runs a discord server for the project here where you can download the current archive, make requests and discuss the project itself.

His Medium post about his effort to prevent thousands of games from disappearing is worth a read, so check out the whole article here.

Muslim World's History of Sci-Fi & Fantasy Fiction

Writing for Aeon, Muhammad Aurangzeb Ahmad delves into the long, rich tradition of speculative fiction in Muslim culture, including some of the first examples of feminist fiction in the early 1900s. As he points out, it's not really all that surprising when you consider the background it came from:

Western readers often overlook the Muslim world’s speculative fiction... Some of the first forays into the genre were the utopias dreamt up during the cultural flowering of the Golden Age. As the Islamic empire expanded from the Arabian peninsula to capture territories spanning from Spain to India, literature addressed the problem of how to integrate such a vast array of cultures and people...We also have the Muslim world to thank for one of the first works of feminist science fiction. 

He draws a line from the high fantasy tales of the Golden Age to the early 1800s to today, and it's a pretty interesting journal. And if that whets your appetite, you can find more at www.islamscifi.com .

Vidders: History, Heroes Of Media Fandom & How To Be One Too

In what's one of the more novel uses of github I've seen in a while, lim, a fan artist whose work was recently shown at the Vancouver Art Gallery has released one of the definitive histories of early media fandom: Videlicet.. Like much of early media fandom in sci-fi and fantasy, its early pioneers were women. Not only does the zine look back at the past with profiles of prominent vidders, it also helps forward the future by presenting a DIY guide for your own fanvids.

Let's back up a bit. What is vidding? Vidding began in the mid-70s, after the original Star trek series went off the ait. Trekker Kandy Fong synced Star Trek stills sold to collectors, projected them on a slide projector, and synced the stills with music from a cassette player. This was the earliest version of fan-made music videos, called "vids", and vidding was often done live. For years, vids were only shown at fan conventions. While the VCR's widespread use made vidding more accessible, it still required extensive technical skill, often requiring daisy chaining VCRs together, splicing in footage and audio from many different source on-the-fly and as you needed it. Even with the rise of broadband connections and media sharing sites like YouTube, vidding still remains grounded in smaller communities, curated experiences, and smaller, more intimate exhibitions.

Videlicet covers a LOT of ground, so while I encourage a deep dive, I want to share two of my favorite parts of this zine:

• Sound and Story, an essay about sound work in vidding and in the popular Marvel fanvid 'Glitter and Gold'

It’s the soundwork that emphasizes their physicality of the characters, reminding us of the opening lyric of flesh and bone; we are cued not to think of these superheroes as 2-D comic book cutouts but as real three-dimensional bodies. The sounds of human effort are layered into the music with perfect synchronicity, so that we hear grunting, the crunch of bone, the crack of gunshots – things that mark the collision of people and things in a way that makes the fighting feel real; we can feel it in our teeth.

• Lyrical Interpretation, demonstrating lyric/clip connections through example:

Dissecting lyrical interpretation is making the brushstrokes visible. Picasso did not paint the world as he saw it. He painted it as he processed it in the same way that vidders do. Vidding is a lie that makes people see the truth. When working through a lyrical interpretation of a vidsong, aim to make choices that strengthens that truth you are trying to vid and let that drive the lyrical interpretations.

Readers, do you have any favorite fanvids? What was your favorite part of Videlicet? Have a fanvid you'd like to promote? Sound off in the comments!

Record of Fansub Wars: 90s Anime Beef That Shaped North America Fandom

Description: A cardboard box filled with home-made
copies of VHS tapes and fansubs of Dragon Ball Z.

Anime fans these days have tons of ways to get subtitled anime: buying DVDs, subscribing to the Crunchyroll streaming service, hunting through torrent sites, or poking through illegal streaming site hubs. But back in the early 90s, there was only one way for fans to get their hands on anime that hadn't yet been translated and released in North America: fansub groups distributing episodes of anime on VHS tapes.

The way most fansub groups worked was like this: First the group would watch an untranslated episode recorded from Japan, jot down translations, and using a TV-to-computer signal splitter, sync the subtitles to the feed and create a master tape. The group would then make copies of the master by using VCRs that would allow you to play one tape and copy it to a blank tape. These first generation copy owners would get requests from other distributors and end users, asking for up to three copies at a time and including both return postage and video tapes (or the price of tapes). MOst VHS tapes could fit about three or four episodes. So if there was fan demand for something like Fushigi Yuugi-- a 52 episode series-- the entire series run would require 13 VHS tapes. And if your fansub group was the only group translating a series... and you decided to just stop, well... that's were things get interesting. Writing for Vice's Motherboard section, Marc Shaw goes behind the scenes to talk about how a turf war in the '90s over fansubs would go on to shape the Ottowa anime scene:

[Ottowa's Anime Appreciation Society] which would host 20-30 person meetups in a community centre in suburban Ottawa—began watching Fushigi Yûgi, which ran from 1995 to 1996 in Japan... aimed at a teenage female audience, it was considered unlikely to succeed in North America so it wasn't initially planned for release here. 
[A] popular fansub group at the time, Tomodachi, [released] subtitles were the preferred way of watching Fushigi Yûgi because of the special care they took in their translations. 

But in early 1997, a competing group, Central Anime, allegedly made copies of Tomodachi's subs and released them under their own name. This was seen as bad form and a sort of dishonour among thieves. Tomodachi retaliated by refusing to release the show's final 20 episodes, which they had already finished subtitling, to anyone. Even though Tomodachi subs were much preferred, the club would have done anything to finish the series.

Now, I was just starting to become active in the nascent anime fandom in North America in the late 90s, and this refusal was a super big deal. Thanks to Google, we have an archive of what newsgroups of time thought of the Tomadachi debacle.

In addition to fansub demand being cited as on of the reasons Fushigi Yugi was released in North America, it was also the genesis of Ottowa's large anime enthusiast community and conventions.

The AAS put together Konan Koku- a fan gathering devoted to watching the remaining 20 episodes of Fushigi Yugi over one weekend (Konan Koku is taken from the county of the same name in FY). Along with a convention that same year in nearby Toronto, Konan Koku kickstarted the region's anime convention scene. As Shaw notes:

The Ottawa-Gatineau region now boasts its own bi-annual convention, G-Anime, the roots of which can be traced all the way back to the various anime clubs of the nineties. Anime fans of today have the scrappy warriors and fansubs of the nineties to thank.

I do want to take issue with one characterization in the article though: Central Anime was not a tape distributor. What CA was big on was sharing their translated scripts for free so that other interested fans could distribute. Tomodachi didn't want go that route, thus the argument. So Central Anime transcribed the translation, and released the script. I still think that copying Tomodachi's work thus far without permission was a jerk move, but so was Tomodachi trying to act like a de-facto distributor. Man, there's a sentence I never thought I'd being writing almost 20 years later.

VIDEO: What The Heck? Nintendo PlayStation Console Brought To Life!

Description: Looking like a cross between a CD-ROM drive and a Super
Nintendo console, the Nintendo/Sony CD-ROM protoype unit was thought lost until a
chance discovery a few years ago. Proof of Sony & Nintendo's ill-fated team up in
the Sony logo in the console's lower left corner.

There's a missing link that connects Nintendo's Super Nintendo Entertainment System (SNES), its successor the Nintendo 64, and its rival console the Sony Playstation: the SNES-CD, also code named the Play Station. The console was supposed to be launched as an add-on for the standard SNES, as well as a stand-alone hybrid console by Sony called the Play Station. The partnership between Nintendo and Sony crumbled, so Sony developed their own solely CD-ROM based console, the Sony PlayStation.

About two years ago, one of the original Nintendo Play Station prototypes was found after it was purchased in a bankruptcy auction of the assets from a software company. The protype was tested, and while the top-loading test cartridge of the unit worked, the CD-ROM drive didn't work, nor did the audio output. Vlogger and console model Ben Heckerdorn, aka Ben Heck, got his hands on this prototype unit in July of last year, and did a meticulous disassembly, tear-down, documentation and reassembly. He was able to get a lot of information on the inner workings of the system and was able to determine that while the Super Nintendo part of the console still worked, but the CD-ROM drive was completely self-contained and seemed to require some sort of boot disc to access the audio output or anything else on the CD. A little while later, gaming enthusiast site Retro Collect announced that an anonymous source sent them the necessary boot disc.

With the final piece of the puzzle in place, Ben Heck got to work, and with a little bit of hard work, a little bit of luck and a lot of engineering analysis, he was able to get the prototype working and even ran a homebrew game on it. Check out the whole video here:

Marvel Retcons All of World War II, Capt America Always Evil

Cover to Secret Empire #0. Art by Mark Brooks.

The latest ridiculous twist in the saga of Captain America penned by Nick Spencer has outdone all of Spencer's other "shocking" twists in both the breadth of its foolishness and its lack of respect for an iconic character's legacy.

First, a quick recap.

Last summer, comics fandom and the wider media fandom at large was shocked when Captain America, Marvel's staunch defender of liberty uttered the line "Hail Hydra", revealing himself as having been allied with the evil Hydra organization all along-- a group that in the Marvel universe originated with Nazi Germany, the very foes Captain America was supposed to have fought against! It seemed like a crass twist and super inconsistent with the character's real-world origins and legacy. Captain America was created by two Jewish creators, Jack Kirby and Joe Simon. Captain America was born s wish fulfillment, to have an all-American hero punch Hitler and fight Nazis even before the US was involved in World War 2. Nick Spencer, the writer for that arc as well as the ongoing Sam Falcon, Captain America title promised all would be revealed in due time.

"Captain America wasn't brainwashed," Nick Spencer said. He also said that the Cap that declared "Hail Hydra" wasn't an alien body double or a robot duplicate. It was the actual Steve Rogers, the real Captain America had done this. But be patient, Spencer urged. It would all make sense. Recently it was revealed that the pieces of the Cosmic Cube- an artifact powerful enough to rewrite reality itself- had somehow taken the form of Kobi, a small naive child unaware of the reality-altering powers she had within her. Kobi, in turn, influenced by the super-villian Red Skull-- Captain America's longtime Nazi arch-nemesis since World War II. It was the Red Skull who influenced Kobi to give Captain America the memories of being a Hydra sleeper agent. So, see, it wasn't technically brainwashing, right?

That's not the most foolish part. See, as asinine as that revelation was, that gives you the hope that Captain America still had some good in him, right? That even though at this point Captain America has sold out the Earth to invading aliens, allied himself with super powered Nazis and was setting himself up to become dictator for life of the United States, that there was maybe still some good in him somewhere. The Marvel Universe had a glimmer of hope.

With the release of Secret Empire #0 two days ago, Nick Spencer reveals his biggest, most asinine twist yet: The Allies actually lost World War II and used the Cosmic Cube to re-write reality so that the Nazis were defeated and Captain America was the world-saving good guy. In the Marvel Universe, Germany was actually the winner, and always was. Steve Rogers really was an agent for Hydra all along, and those memories added by Red Skull were actually restoring Captain America to his "true self", Spencer ret-conned actual world history to take a symbol of the US created by two Jewish men during World War II and said nope, Captain America was supposed to really be an evil bad guy and it was only a reality-rewrite that made him good.

This is especially egregious tone-deafness because two days ago-- April 19th-- was the anniversary of the Warsaw Ghetto Uprising. It was the largest Jewish revolt during World War II, and also has the distinction of being the first urban uprising against the Nazis that happened in Nazi-occupied Europe.The Nazis attempted to completely wipe out the Jews living in Warsaw on the eve of Passover. Instead, the Jews held out against occupied forces for nearly a month, using whatever they had on hand to fight back. Their bravery inspired Jews across Europe, including those already in the camps, to organize and revolt.

In fact, that's another odd thing about the whole "Allies used the Cosmic Cube to re-write history so the Nazis would lose instead of win like they were supposed to"-- why didn't the Allies cosmically re-write it so that the Holocaust never happened?

Marvel is doubling down on the doubling down, too, rebranding its websites with Hydra iconography, and even asking brick and mortar comic book shops to have employees wear Hydra t-shirts this month.

We've also been asked to change our store logos to Hydra symbols. My staff are LGBTQ, Jewish, or both. We are no longer hand-selling Marvel. https://t.co/gQnBfBZC8L

— Glamour Toad 🌈🐸🌈 (@NickiColey) April 20, 2017

Nick Spencer took to twitter with all the class you'd expect:

Haters upon seeing the advance reviews for SECRET EMPIRE 0 pic.twitter.com/lFU0RStBd6

— Nick Spencer (@nickspencer) March 23, 2017

Then again, for a dude making his living writing super heroes, Nick Spencer doesn't seem to have the greatest grasp of them. Like when he rushed to twitter to give his hot take on Nazis getting punched in public:

@nickspencer Nick....you just described what a superhero is.

— ANTHONY OLIVEIRA (@meakoopa) April 17, 2017

Last week, I talked about how Marvel's VP of Sales tried to blame "diversity" for poor comic book sales, and how that assertion is utter bullshit. itch.io user spacetwinks was pretty pissed off about that assertion too, and put together a thorough and damning analysis and response, as described thus:

This did not sit well with others, the idea that retailers and Marvel would blame these books for low sales - and it didn't sit well with me, either. So I've hunkered down and put in the hours researching sales data reaching back over a decade in Marvel, and looked for what could possibly be the true culprit in their sales problems.
"Shut The Fuck Up, Marvel" is a nearly 30k long essay, a spiritual sequel to The Problems With Comics, a deep dive into the true issues with Marvel's economics and business - and how an obsession with short term profit, the constant renumbering and relaunches and events, all compounded by a complete inability to understand basic marketing techniques or outside audiences, has absolutely destroyed the sales stability of many of their former best selling books, all as they condescend to those who criticize them on their stories, or on how they try to sell comics.

It's offered as a pay what you want download, and is a very insightful read. I wholeheartedly recommend it.

Update: Wow, this post is starting to blow up! My hosting is getting slammed! So if you liked this article and want to see more, you can help support it by pledging a buck or more to my Patreon or by tossing some spare change in the virtual tip jar to the right. Thanks!

Searching For The Very First Easter Egg In Video Games

This Easter week, I wanted to share a fascinating story of the search for the very first Easter Egg in video game history. Steve Wright, director of software development for Atari's Consumer Division coined the term to describe hidden undocumented features in a video game, like hidden programmer credits or power ups or in-jokes. Atari had a policy of not crediting programmers that worked on their games, developers from their products, as the company believed doing so would prevent competitors from identifying and luring away Atari's best programmers.

In protest against this policy, programmer Warren Robinett devised an obscure series of circumstances in the1979 Atari game Adventure that, when executed correctly would take the player to an otherwise-inaccessible room that displayed the text "Programmed by Warren Robinett". When a curious teenager stumbled upon the hidden credit in the game and notified Atari, the company found that going back and changing the code and issuing new game cartridges would be prohibitively expensive, so the credit stayed. Wright dubbed it an Easter Egg, and Atari turned the act of rebellion into a company feature, making programmer credit Easter Eggs a de-facto company standard.

While Adventure has arguably the most well-known video game Easter Egg, it is not the very first Easter Egg in a video game. That particular honor went to the video game Video Whizball released in 1978 for the Fairchild Channel F home gaming system. Or so it was thought.

Enter video game historian Ed Fries and pioneering Atari employee Ron Milner. During the course of an interview Fries was conduction with Milner about the very first racing car video games, Milner's work on the video game Starship 1 came up. And what Milner said was mind-blower and history-changing. As Fries relates:

“That was the first and only game that I ever programmed and I think it was maybe one of the first games with a backdoor in it," [said Milner]. "I didn’t tell people about this, even within Atari, for at least 30 years, but I had some code in there that if you did a certain sequence of controls it would say ‘Hi Ron!‘ and give you 10 free games.”
I was kind of stunned. If this was true it would certainly predate the earliest video game Easter egg that I knew of and the one that is most often cited as being the first: “Adventure” for the Atari 2600 from 1979. I did a little searching online and found that there was an even earlier Easter egg in the game “Video Whizball” which was released in 1978 for the Fairchild Channel F game console.
But there was a problem. Ron didn’t remember exactly how to bring up the Easter egg. He remembered showing it off to some buddies at a county fair when the game first came out, but that was 40 years ago!

The story of the research into finding and rediscovering this hidden part of gaming history is a super fascinating read, so read the whole thing!

Lost 17th Century Music Lives Again With Musician & Historian Team

This is so cool!

Musical Passages is a collaborative endeavor by Laurent Dubois, David Garner, and Mary Caton Lingold to document, explain, and recreate examples of Jamaican music as it was played in the 1600s. As they explain:

Enslaved Africans and their descendants revolutionized global music, but historical records tell us far too little about their earliest practices. In this site we offer a careful interpretation of a single rare artifact, from Hans Sloane’s 1707 Voyage to the Islands of Madera, Barbados, Nieves, S. Christophers and Jamaica. Tucked away in this centuries-old book, are several pieces of music that make it possible to hear echoes of performances long past.

The website functions as a minature interactive exhibit where you are invited to listen in on a musical gathering that took place in Jamaica in 1688. These three songs, 'Angola', 'Papa' and 'Koromanti', performed at a festival by enslaved African musicians and copied in musical notation by a Mr Baptiste, are the first transcription of African music in the Caribbean. Thanks to the preservation of this amazing work, the entire world can now listen to traces of music performed long ago and maybe even begin to imagine what it meant for the people who created it.

Bringing Roguelikes Into The Future: Improv FMV?

Wayfarer, a 3/4 perspective 3-d roguelike in development

The rouguelike genre gets its name from the game Rogue, a computer game released in 1980. What set it apart from dozens of swords and sorcery games for computers at the time was the way it guaranteed that no two players would play the same game the same way twice. It used a technique called procedural generation to randomize each dungeon level. This core element of Rogue has influenced games for decades since, from Nethack to Dwarf Fortress and even platform adventures like Spelunky and top-down adventure games like Don't Starve. Often, fans of roguelike games become developers themselves.

The largest celebration and gathering celebrating the roguelike happened just last month, and I found a great write-up from speaker and attendee Josh Ge. In it, he also talks about his experience participating in what very well could be the future of the roguelike-- a game experience called "Bad News".

In an overview of the history of the roguelike, Gamasutra writer J. Bridgman talks about how one game will be blending procedural generation, improvisation action, FMV and the American Old West with Bad News, and it sounds really interesting:

“Bad News is set in a small American town in 1979 that has undergone a century of procedural world generation in the vein of Dwarf Fortress, complete with hundreds of residents who have formed subjective (and potentially false) opinions of the others in the town,” adds Ryan. “The player takes the role of a mortician’s assistant after the discovery of an unidentified body. Set with the task of finding the next of kin to inform them of the death, “the player explores the town and converses with its residents to discover the identities of both the deceased and next of kin, as well as the current location of the latter. Whenever the player encounters a town resident, an improvisational actor performs the non-player character live, adhering to the character’s generated personality, life history, and knowledge. This actor is Ben Samuel, whose earlier professional work includes Hulu’s original series Battleground.”

What do you think, readers? Is this sort of thing part of the roguelike's journey into the future, or is this a digression down a dead-end path?

Historical Fiction, Cultural Revolution

Photo credit Joan Marcus

Let me tell you what I wish I’d knownWhen I was young and dreamed of gloryYou have no control:Who livesWho diesWho tells your story?

--"Who Tells Your Story", Hamilton

My interest in historical biographies, the meta-ideas behind historically-based fiction, and whose voices and contributions are remembered or ignored was sparked over the summer and fall by the hottest musical on Broadway: Hamilton. I fell in love with the soundtrack, and then had the mind-blowing opportunity to actual see it in person this past fall. So much of the musical as it is written and cast is relevetory: a story about the Founding Fathers in general and Hamilton in specific. It stars a cast that is predominantly people of color, drawing from African-American pioneered and influenced styles from Dixieland jazz to hip-hop. As Disha Jani writes in “Who Tells Your Story?”: Historical Fiction as Resistance" for The Toast, there is an important difference in historical fiction. She believes it has the power to change not just historical narratives but cultural ones as well.

...historical fiction can be a form of resistance to a homogenizing view of our world and our past. There are certainly more immediate and material ways to resist oppression — legislating, organizing, protesting, boycotting, and mobilizing are very powerful ways — but sometimes, just existing and living your life, having your story told, can have an impact. 

...People have always found ways to live and find meaning and challenge oppression, and part of our job is to seek them out and tell their stories. They existed, and it’s our job to find some way to understand… 

When these same narrative and imaginative tools are used by historians, it can help deliver a blow to the insidious assertion made in nearly every grade-school classroom – that we’re supposed to relate exclusively to dead rich white men because they created everything of value. Sometimes we do relate to them, because our experiences meet somewhere in the space between the living and the dead. At other times, we yearn for someone to relate to who is a little bit more like us, whatever that may mean. To find them, we may have to first find an interlocutor – an historian, or filmmaker, or composer – who has decided to reveal this someone to us. If the interlocutor cannot find the kinds of records that are left behind by the lettered, important few, they rely on other sources.

The entire article is brilliant. Read the whole thing!

The Father of the Roguelike: Hack-ing the System

Gamasutura recently posted a chapter from David L. Craddick's book, "Dungeon Hacks" and it offers a tantalizing glimpse into the history, culture and the beginnings of one man's idea for a game that ended up inspiring a genre that live on to this day-- the roguelike. An excerpt:

Drawing on the eight or so hours he had spent playing Rogue at UCB, Fenlason laid groundwork in San Francisco. His intention, more or less, was to recreate Rogue as he remembered it: the dungeon layouts, the monsters, and the items. Fenlason dubbed his clone Hack for two reasons: "One definition was 'a quick [computer] hack because I don't have access to Rogue'. The other was 'hack-n-slash', a reference to one of the styles of playing Dungeons and Dragons." 

Thus the roguelike, a game clearly inspired by Rogue rather than coincidentally exhibiting similar game systems and features, was born. 

Fenlason composed a wish list of features he felt Rogue lacked, as well as those which Rogue could have implemented better. Level design, for instance, had been too simplistic; it would be more fun if players could explore dungeons that spanned more than a single screen. Monsters posed another shortcoming. There were only twenty-six, one per capital letter—far fewer than the text symbols available. More egregious was that they all attacked in the same way, making a beeline for the player instead of, say, maneuvering around for a sneak attack or standing in place—perhaps blocking a doorway—and forcing the "@" avatar to venture closer.

The entire sneak  peek is available here, and is well worth your time to read.

Click, Click, BOOM! History of Minesweeper

Noted as having celebrity players from Bill Gates to J.K. Rowling, often blamed for dips in office workers' productivity, and bundled by default with every version of the Windows OS until Windows 8, the history of Minesweeper is a long and storied one. On the occasion of the game's 21st anniversary, Eurogamer has released a detailed retrospective on the game's history in "Every Step You Take- The Story of Minesweeper":

After making its debut in the Windows Entertainment Pack, Minesweeper was given away with Windows 3.11, the breakthrough version of Windows. It's been a staple ever since, and Windows 8 is the first Microsoft OS since 3.11 that hasn't included it by default. And the men who made that version of Minesweeper were Curt Johnson and Robert Donner. Over the phone, Johnson's voice is slow. It's so soft and hesitant I keep thinking he's finished speaking mid-sentence, so I start talking before the transatlantic lag reveals he was just taking a long, long moment to sieve his thoughts.

The retrospective really gets into the nuts and bolts of the game's development, programming, and even delves into things like competitive Minesweeper, the Dreamboard and even a Minesweeper MMO! Give it a read!

Keep the Game Alive: Preserving Video Games For Art History

Image courtesy of Trevor Owens

Jeremy Parish has a new article up on 2-dimensions about preserving video games for the future, and it's a pretty interesting read.:

The fact that we even need to have a conversation about game preservation is just, like, the most pathetic thing ever. In a good world, it would be a no-brainer proposition. Of course the history of video games, and specifically the games involved, should be enshrined and preserved and presented in a clear and sensible fashion. Of course. And yet, here we are... the concept of video game preservation exists as an almost entirely grassroots movement, often skating at the edge of the law. That sounds so dramatic and important, which is silly; it’s just a matter of keeping old creations from vanishing into obscurity, which is really the furthest thing from going rogue. It shouldn’t have to be like that. And yet, here we are.

Video games and computer games are part of our shared cultural heritage and go back at least 50 years (and some would argue further back than that, depending on how you define "game"). The general public is very interested in early video games- as plenty of exhibitions on video game history, like the Smithsonian's show on the history of video games, and articles like Parish's show.

One problem faced by those looking to preserve classic console and arcade games is that the source code to video games is often proprietary. Other times, the original code has been lost to time, and the specific hardware used may be difficult to use later, as the team behind the Ms. Pac-Man & Galaga 20th Anniversary arcade cabinet found:

Galaga has three Z80 processors where Ms Pac-Man has one, Galaga has 64 sprites where Ms Pac-Man has six, Galaga's stamps are in front of the sprites while Ms Pac-Man's are behind, not to mention the additional complexity of switching between games in the attract mode and selecting which game to play... To make matters worse we would need to make some minor tweaks to the game code to enable the games to live together on the same hardware and Namco was unable to come up with the source code. So, we wound up disassembling and reverse-engineering pretty much all of both games.

As Parish notes, even documenting and compiling examples of game prototypes can be a daunting task :

...the effort, money, networking, and perseverance required to find code for a game that never made it past the unreleased sample stage is extraordinary. And that doesn’t even factor in the constant struggle to gain access to unreleased code that’s fallen into the hands of jealous collectors who are more concerned with being able to lord their possession of something truly unique over the rest of the collecting community than they are with making sure those one-of-a-kind rarities aren’t lost to time, magnetism, or bit rot… and so, here we are.

Hats off to those doing the hard work of curating video games, since as of yet they are not considered by mainstream sources to be an important part of our cultural history that should be carefully preserved like any other medium. However, if video games were ever to become considered culturally significant, or someday viewed in a different light, classic video games, (some of which are facing original & master copy data degradation, laser disc rot, bitrot etc) might meet the same fate as silent-era films that weren’t preserved because they were seen as cheap, disposable entertainment and have been lost to time forever.

Jump Up And Get Down: 5 Critical Moments in Platform Game History

Jeremy Parish has a long history of insightful writing and analysis of video games, especially action-platformers. His work as editor at USGamer.net's continues this tradition with a fascinating article examining five of what he calls "Critical Moments In Platform Game History". For example, here is an excerpt from that article talking about Pitfall! and what it brought to the genre:

Pitfall! feels admittedly primitive compared to latter-day platformers, with flip-screen scrolling and simple two-level world design, yet it marked an important moment not only for the genre but for the medium at large. It introduced the idea that fast-paced action games could take place in settings rather than simply exist as isolated scenarios. Pitfall!'s quest dropped players into a jungle maze, one whose simple visuals belied structural complexity (traveling underground took you along a different route than going overland) and required both twitch skill and mental discipline to master.

The entire article is a fascinating read and traces the crucial moments of the platform genre of video games, from Donkey Kong to the debt that Super Mario Brothers owes Pac-Land! Check it out!