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wrong_mix_property_foundationPlace_00067
|
FactBench
|
1
| 22
|
https://www.deltapowersolutions.com/en/mcis/news-2015-delta-wins-best-data-centre-infrastructure-and-manufacturing-solution-vendor-of-the-year-award.php
|
en
|
DELTA
|
[
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] |
[] |
[] |
[
""
] | null |
[] |
2020-02-21T09:04:57
|
/favicon.ico
| null |
Delta Power Solutions, a global leader in power and thermal management solutions and a pioneer in power management solutions, bagged the Soft Disk award for their Ultron DPS Series in the category of Best Manufacturing and Data Centre Solution Vendor of the Year at an award ceremony in Bangalore. Soft Disk, the leading B2B magazine in India, organized its 23rd annual SD UPS Award 2015 in Bangalore on 13 December, 2015.
Delta’s Ultron Series are three-phase UPS systems for power rating requirements above 10kVA to 4000kVA that support mission critical applications including industrial equipment, datacenters, traffic control facilities, broadcast stations and backbone networks.
Attended by the IT industry’s leading managers and channel partners, the event saw the participation of vendors and ecosystem partners in various categories. The event highlighted the importance of the future IT business, how IT has enabled young consumers and how IOT will change the IT landscape in the future.
Among the attendees were representatives from vendors, partners, the Department of Electronics and Information Technology, Government of India, NIC, BHEL, and more.
This award was given as part of the 23rd Annual SD Award in the presence of many dignitaries and leaders of the corporate world.
“The award function of this event provides motivation to the UPS industry to deliver its best technology and solutions, and to inspire greater innovation in the business,” said Mr. Suhas Joshi, Vice President, Delta Power Solutions.
|
|||||||
wrong_mix_property_foundationPlace_00067
|
FactBench
|
2
| 6
|
https://www.hykonindia.com/event/award-ceremony-conducted-by-softdisk-india/
|
en
|
Power electronics, solar,Lithium,EV company
|
[
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"https://www.hykonindia.com/media/uploads/settings/hykon-white5f489c63b6c8e.png",
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"https://www.hykonindia.com/static/images/hykon-logo.png"
] |
[] |
[] |
[
""
] | null |
[] | null |
en
|
/static/images/icons/favicon-3.png
| null | |||||||
wrong_mix_property_foundationPlace_00067
|
FactBench
|
1
| 13
|
https://in.pinterest.com/pin/softdisk-awards--612208143104463285/
|
en
|
[] |
[] |
[] |
[
""
] | null |
[] |
2021-12-16T05:10:11+00:00
|
Happy to inform that SWELECT has been awarded for the below catergories by Softdisk SD's No. 1 Company for having completed largest number of rooftop installations in the country till 31st March, 2021, both in number of installations and wattage SD's No. 1 Hybrid solar PV power solution provider of the year. SD's No. 1 Grid sharing solar PV power solution provider of the year. SD's No. 2 SPCU Manufacturer of the year. SD's No. 5 Solar PV panel manufacturer of the year.
|
en
|
Pinterest
|
https://at.pinterest.com/pin/swelect-receives-multiple-awards--612208143104463285/
| |||||||
wrong_mix_property_foundationPlace_00067
|
FactBench
|
3
| 4
|
http://www.cyberpower.media/3F1217A7
|
en
|
[] |
[] |
[] |
[
""
] | null |
[] | null |
zh
| null | |||||||||
wrong_mix_property_foundationPlace_00067
|
FactBench
|
3
| 30
|
https://community.netapp.com/t5/Active-IQ-Unified-Manager-Discussions/Qtree-Create-soft-options/m-p/17859
|
en
|
Re: Qtree Create soft options
|
[
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] |
[] |
[] |
[
""
] | null |
[
"community.netapp.com",
"user-id"
] |
2012-06-25T12:21:06+00:00
|
Missed that, will take a look at it. Out of interest, does it just update existing quotas?
|
en
|
https://www.netapp.com/favicon.ico
|
https://community.netapp.com/t5/Active-IQ-Unified-Manager-Discussions/Qtree-Create-soft-options/m-p/17859#M3731
|
The Built-in Quota Management was for Hard Quotas only. I posted a Complete Quota Management Command that will allow all fields to be managed. It was last tested for 1.0.2 and is part of my list of things to do this week. I am trying to update the entire Pirate Pack for NAS to 1.1.1 by end of the week.
https://communities.netapp.com/docs/DOC-14076
Currently we don't have support for soft quotas for qtrees.
We have revamped our "Create Qtree Qouta" and "Resize Qtree quota" to work better in 1.1.1 in terms of updating the quotas,
and will add the option not to "Refresh" quotas "Now" (That will be combined with a command that will refresh all quotas on the
volume later in a maintenance window) in 2.0.
If such a code snippet may assist you now, I can see if I can share some of it here.
We are also adding user quota handling....
Yaron Haimsohn
WFA team
Hi Yaron
Yes that would be usefull, I am creating a workflow wich needs to set the soft valuse (for alerting) so if you have something that you can share that would be good, otherwise I will need to look at what goodrum has produced.
If you can't share it publically, can you send it to my NetApp account?
Thanks
Tony
|
|||||
wrong_mix_property_foundationPlace_00067
|
FactBench
|
2
| 1
|
https://en.wikipedia.org/wiki/Id_Software
|
en
|
id Software
|
[
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] |
[] |
[] |
[
""
] | null |
[
"Contributors to Wikimedia projects"
] |
2001-09-26T12:22:03+00:00
|
en
|
/static/apple-touch/wikipedia.png
|
https://en.wikipedia.org/wiki/Id_Software
|
American video game developer
This article is about the video game developer. For the geodata software editor, see iD (software).
id Software LLC ( ) is an American video game developer based in Richardson, Texas. It was founded on February 1, 1991, by four members of the computer company Softdisk: programmers John Carmack and John Romero, game designer Tom Hall, and artist Adrian Carmack.
id Software made important technological developments in video game technologies for the PC (running MS-DOS and Windows), including work done for the Wolfenstein, Doom, and Quake franchises at the time. id's work was particularly important in 3D computer graphics technology and in game engines that are used throughout the video game industry. The company was involved in the creation of the first-person shooter (FPS) genre: Wolfenstein 3D is often considered to be the first true FPS; Doom is a game that popularized the genre and PC gaming in general; and Quake was id's first true 3D FPS.
On June 24, 2009, ZeniMax Media acquired the company. In 2015, they opened a second studio in Frankfurt, Germany.[2]
History
[edit]
Formation
[edit]
The founders of id Software – John Carmack, John Romero, and Tom Hall – met in the offices of Softdisk developing multiple games for Softdisk's monthly publishing, including Dangerous Dave. Along with another Softdisk employee, Lane Roathe, they had formed a small group they called Ideas from the Deep (IFD), a name that Romero and Roathe had come up with.[3] In September 1990, Carmack developed an efficient way to rapidly side-scroll graphics on the PC. Upon making this breakthrough, Carmack and Hall stayed up late into the night making a replica of the first level of the popular 1988 NES game Super Mario Bros. 3, inserting stock graphics of Romero's Dangerous Dave character in lieu of Mario. When Romero saw the demo, entitled Dangerous Dave in Copyright Infringement, he realized that Carmack's breakthrough could have potential. The IFD team moonlighted over a week and over two weekends to create a larger demo of their PC version of Super Mario Bros. 3. They sent their work to Nintendo. According to Romero, Nintendo had told them that the demo was impressive, but "they didn't want their intellectual property on anything but their own hardware, so they told us Good Job and You Can't Do This".[4] While the pair had not readily shared the demo though acknowledged its existence in the years since, a working copy of the demo was discovered in July 2021 and preserved at the Museum of Play.[5]
Around the same time in 1990, Scott Miller of Apogee Software learned of the group and their exceptional talent, having played one of Romero's Softdisk games, Dangerous Dave, and contacted Romero under the guise of multiple fan letters that Romero came to realize all originated from the same address.[6][7] When he confronted Miller, Miller explained that the deception was necessary since Softdisk screened letters it received. Although disappointed by not actually having received mail from multiple fans, Romero and other Softdisk developers began proposing ideas to Miller. One of these was Commander Keen, a side-scrolling game that incorporated the previous work they had done on the Super Mario Bros. 3 demonstration.[8] The first Commander Keen game, Commander Keen in Invasion of the Vorticons, was released through Apogee in December 1990, which became a very successful shareware game. After their first royalty check, Romero, Carmack, and Adrian Carmack (no relation) decided to start their own company.[9] After hiring Hall, the group finished the Commander Keen series, then hired Jay Wilbur and Kevin Cloud and began working on Wolfenstein 3D.[10] id Software was officially founded by Romero, John and Adrian Carmack and Hall on February 1, 1991. The name "id" came out of their previous IFD; Roathe had left the group, and they opted to drop the "F" to leave "id". They initially used "id" as an initialism for "In Demand", but by the time of the fourth Commander Keen game, they opted to let "id" stand out "as a cool word", according to Romero.[3]
The shareware distribution method was initially employed by id Software through Apogee Software to sell their products, such as the Commander Keen, Wolfenstein and Doom games.[9] They would release the first part of their trilogy as shareware, then sell the other two installments by mail order. Only later (about the time of the release of Doom II) did id Software release their games via more traditional shrink-wrapped boxes in stores (through other game publishers).
After Wolfenstein 3D's great success, id began working on Doom. After Hall left the company, Sandy Petersen and Dave Taylor were hired before the release of Doom in December 1993.[10]
The end of the classic lineup
[edit]
Quake was released on June 22, 1996 and was considered a difficult game to develop due to creative differences. Animosity grew within the company and it caused a conflict between Carmack and Romero, which led the latter to leave id after the game's release. Soon after, other staff left the company as well such as Michael Abrash, Shawn Green, Jay Wilbur, Petersen and Mike Wilson.[11] Petersen claimed in July 2021 that the lack of a team leader was the cause of it all. In fact, he volunteered to take lead as he had five years of experience as project manager in MicroProse but he was turned down by Carmack.[12]
ZeniMax Media and Microsoft
[edit]
On June 24, 2009, it was announced that id Software had been acquired by ZeniMax Media (owner of Bethesda Softworks). The deal would eventually affect publishing deals id Software had before the acquisition, namely Rage, which was being published through Electronic Arts.[13] ZeniMax received in July a $105 million investment from StrongMail Systems for the id acquisition, it's unknown if that was the exact price of the deal.[14][15] id Software moved from the "cube-shaped" Mesquite office to a location in Richardson, Texas during the spring of 2011.[16]
On June 26, 2013, id Software president Todd Hollenshead quit after 17 years of service.[17]
On November 22, 2013, it was announced id Software co-founder and Technical Director John Carmack had fully resigned from the company to work full-time at Oculus VR which he joined as CTO in August 2013.[18][19] He was the last of the original founders to leave the company.
Tim Willits left the company in 2019.[20] ZeniMax Media was acquired by Microsoft for US$7.5 billion in March 2021 and became part of Xbox Game Studios.[21][22]
Company name
[edit]
The company writes its name with a lowercase id, which is pronounced as in "did" or "kid", and, according to the book Masters of Doom, the group identified itself as "Ideas from the Deep" in the early days of Softdisk but that, in the end, the name 'id' came from the phrase "in demand".[23] Disliking "in demand" as "lame", someone suggested a connection with Sigmund Freud's psychological concept of id, which the others accepted.[10] Evidence of the reference can be found as early as Wolfenstein 3D with the statement "that's id, as in the id, ego, and superego in the psyche" appearing in the game's documentation. Prior to an update to the website, id's History page made a direct reference to Freud.[24]
Key employees
[edit]
Kevin Cloud – Artist (1992–2006), Executive producer (2007–present)
Donna Jackson – Office manager / "id mom" (1994–present)[25][26]
Marty Stratton – Director of Business Development (1997–2006), Executive Producer[27] (2006–present) Studio Director (2019–present)
Hugo Martin – Creative Director[28] (2013–present)
Former key employees
[edit]
Arranged in chronological order:
Tom Hall – Co-founder, game designer, level designer, writer, creative director (1991–1993). After a dispute with John Carmack over the designs of Doom, Hall was forced to resign from id Software in August 1993. He joined 3D Realms soon afterwards.
Bobby Prince – Music composer (1991–1994). A freelance musician who went on to pursue other projects after Doom II.
Dave Taylor – Programmer (1993–1996). Taylor left id Software and co-founded Crack dot Com.
John Romero – Co-founder, game designer, programmer (1991–1996). Romero resigned on August 6, 1996.[29] He established Ion Storm along with Hall on November 15, 1996.
Michael Abrash – Programmer (1995–1996). Returned to Microsoft after the release of Quake, but eventually worked with Carmack again at Reality Labs.
Shawn Green – Software support (1991–1996). Left id Software to join Romero at Ion Storm.
Jay Wilbur – Business manager (1991–1997). Left id Software after Romero's departure and joined Epic Games in 1997.
Sandy Petersen – Level designer (1993–1997). Left id Software for Ensemble Studios in 1997.
Mike Wilson – PR and marketing (1994–1997). Left id Software to become CEO of Ion Storm with Romero. Left a year later to found Gathering of Developers and later Devolver Digital.
American McGee – Level designer (1993–1998). McGee was fired after the release of Quake II. He joined Electronic Arts and created American McGee's Alice.
Adrian Carmack – Co-founder, artist (1991–2005). Carmack was forced out of id Software after the release of Doom 3 because he would not sell his stock at a low price to the other owners.[30] Adrian sued id Software and the lawsuit was settled during the Zenimax acquisition in 2009.[31]
Todd Hollenshead – President (1996–2013) Left id Software on good terms to work at Nerve Software.
John Carmack – Co-founder, technical director (1991–2013). He joined Oculus VR on August 7, 2013, as a side project, but unable to handle two companies at the same time, Carmack resigned from id Software on November 22, 2013, to pursue Oculus full-time, making him the last founding member to leave the company.
Tim Willits – Level designer (1995–2001), creative director (2002–2011), studio director (2012–2019)[32] He is now the chief creative officer at Saber Interactive.[33]
Robert Duffy – Chief Technology Officer (1998–2024). Robert left id Software in January 2024.
Timeline
[edit]
Game development
[edit]
Technology
[edit]
Starting with their first shareware game series, Commander Keen, id Software has licensed the core source code for the game, or what is more commonly known as the engine. Brainstormed by John Romero, id Software held a weekend session titled "The id Summer Seminar" in the summer of 1991 with prospective buyers including Scott Miller, George Broussard, Ken Rogoway, Jim Norwood and Todd Replogle. One of the nights, id Software put together an impromptu game known as "Wac-Man" to demonstrate not only the technical prowess of the Keen engine, but also how it worked internally.
id Software has developed their own game engine for each of their titles when moving to the next technological milestone, including Commander Keen, Wolfenstein 3D, ShadowCaster,[34] Doom, Quake, Quake II, and Quake III, as well as the technology used in making Doom 3. After being used first for id Software's in-house game, the engines are licensed out to other developers. According to Eurogamer.net, "id Software has been synonymous with PC game engines since the concept of a detached game engine was first popularized". During the mid to late 1990s, "the launch of each successive round of technology it's been expected to occupy a headlining position", with the Quake III engine being most widely adopted of their engines. However id Tech 4 had far fewer licensees than the Unreal Engine from Epic Games, due to the long development time that went into Doom 3 which id Software had to release before licensing out that engine to others.
Despite his enthusiasm for open source code, Carmack revealed in 2011 that he had no interest in licensing the technology to the mass market. Beginning with Wolfenstein 3D, he felt bothered when third-party companies started "pestering" him to license the id tech engine, adding that he wanted to focus on new technology instead of providing support to existing ones. He felt very strongly that this was not why he signed up to be a game programmer for; to be "holding the hands" of other game developers. Carmack commended Epic Games for pursuing the licensing to the market beginning with Unreal Engine 3. Even though the said company has gained more success with its game engine than id Software over the years, Carmack had no regrets by his decision and continued to focus on open source until his departure from the company in 2013.[35]
In conjunction with his self-professed affinity for sharing source code, John Carmack has open-sourced most of the major id Software engines under the GNU General Public License. Historically, the source code for each engine has been released once the code base is 5 years old. Consequently, many home grown projects have sprung up porting the code to different platforms, cleaning up the source code, or providing major modifications to the core engine. Wolfenstein 3D, Doom and Quake engine ports are ubiquitous to nearly all platforms capable of running games, such as hand-held PCs, iPods, the PSP, the Nintendo DS and more. Impressive core modifications include GZDoom,[36][37] which adds to the Doom engine modern hardware accelerared renderers and a scripting system called ZScript, and was also utilized in the creation of ECWolf for Wolfenstein 3D[38][39] and Raze for the Build engine.[40] Meanwhile DarkPlaces adds stencil shadow volumes into the original Quake engine along with a more efficient network protocol.[41][42] Other projects include Yamagi Quake II,[43] ioquake3,[44][45] and dhewm3,[46] which maintain the goal of cleaning up the source code, adding features and fixing bugs. Even earlier id Software code, namely for Hovertank 3D and Catacomb 3D, was released in June 2014 by Flat Rock Software.[47]
The GPL release of the Quake III engine's source code was moved from the end of 2004 to August 2005 as the engine was still being licensed to commercial customers who would otherwise be concerned over the sudden loss in value of their recent investment.
On August 4, 2011, John Carmack revealed during his QuakeCon 2011 keynote that they will be releasing the source code of the Doom 3 engine (id Tech 4) during the year.[48]
id Software publicly stated they would not support the Wii console (possibly due to technical limitations),[49] although they have since indicated that they may release titles on that platform (although it would be limited to their games released during the 1990s).[50] They continued this policy with the Wii U but for Nintendo Switch, they collaborated with Panic Button starting with 2016's Doom and Wolfenstein II: The New Colossus.
Since id Software revealed their engine id Tech 5, they call their engines "id Tech", followed by a version number.[51] Older engines have retroactively been renamed to fit this scheme, with the Doom engine as id Tech 1.
IMF Music File Format
[edit]
IMF ("id music file" or "id's music format") is an audio file format created by id Software for the AdLib sound card for use in their video games.[52] The format is similar to MIDI, in that it defines musical notes, and does not support sampled digital audio for sound effects. IMF files store the actual bytes sent to the AdLib's OPL2 chip, which uses FM synthesis to produce audio output. The format is based on the AdLib command syntax, with a few modifications. Due to the limited features and relatively low sound quality, modern games no longer use IMF music.
A large number of songs in id Software's early games (such as Commander Keen and Wolfenstein 3D) were composed by Bobby Prince in IMF format. Other game developers like Apogee Software also used this format in their games (such as Cosmo's Cosmic Adventure, Duke Nukem II, and Monster Bash).
Linux gaming
[edit]
id Software was an early pioneer in the Linux gaming market,[53] and id Software's Linux games have been some of the most popular of the platform. Many id Software games won the Readers' and Editors' Choice awards of Linux Journal.[54][55][56][57] Some id Software titles ported to Linux are Doom (the first id Software game to be ported), Quake, Quake II, Quake III Arena, Return to Castle Wolfenstein, Wolfenstein: Enemy Territory, Doom 3, Quake 4, and Enemy Territory: Quake Wars. Since id Software and some of its licensees released the source code for some of their previous games, several games which were not ported (such as Catacomb 3D, Catacomb Abyss, Wolfenstein 3D, Spear of Destiny, Blake Stone: Aliens of Gold, Blake Stone: Planet Strike, Super 3D Noah's Ark, Rise of the Triad, Doom 64, Strife, Heretic, Hexen, Hexen II, Star Trek: Voyager – Elite Force Holomatch, Star Wars Jedi Knight II: Jedi Outcast, Star Wars Jedi Knight: Jedi Academy) can run on Linux and other operating systems natively through the use of source ports. Quake Live also launched with Linux support, although this, alongside OS X support, was later removed when changed to a standalone title.[58]
The tradition of porting to Linux was first started by Dave D. Taylor, with Zoid Kirsch doing some later porting.[59] Since Quake III Arena, Linux porting had been handled by Timothee Besset. The majority of all id Tech 4 games, including those made by other developers, have a Linux client available, the only current exceptions being Wolfenstein and Brink. Similarly, almost all of the games utilizing the Quake II engine have Linux ports, the only exceptions being those created by Ion Storm (Daikatana later received a community port). Despite fears by the Linux gaming community that id Tech 5 would not be ported to that platform,[60] Timothee Besset in his blog stated "I'll be damned if we don't find the time to get Linux builds done".[61] Besset explained that id Software's primary justification for releasing Linux builds was better code quality, along with a technical interest in the platform. However, on January 26, 2012, Besset announced that he had left id.[62]
John Carmack has expressed his stance with regard to Linux builds in the past.[63] In December 2000 Todd Hollenshead expressed support for Linux: "All said, we will continue to be a leading supporter of the Linux platform because we believe it is a technically sound OS and is the OS of choice for many server ops."[64] However, on April 25, 2012, Carmack revealed that "there are no plans for a native Linux client" of id's most recent game, Rage.[65] In February 2013, Carmack argued for improving emulation as the "proper technical direction for gaming on Linux", though this was also due to ZeniMax's refusal to support "unofficial binaries", given all prior ports (except for Quake III Arena, via Loki Software, and earlier versions of Quake Live) having only ever been unofficial.[66] Carmack didn't mention official games Quake: The Offering and Quake II: Colossus ported by id Software to Linux and published by Macmillan Computer Publishing USA.[67]
Despite no longer releasing native binaries, id was an early adopter of Stadia, a cloud gaming service powered by Debian Linux servers, and the cross-platform Vulkan API.[68][69] A Linux version of Doom from 2016 was tested internally,[70] while it and its sequel Doom Eternal can be run using Wine and Proton.[71][72]
Games
[edit]
Commander Keen
[edit]
Main article: Commander Keen
Commander Keen in Invasion of the Vorticons, a platform game in the style of those for the Nintendo Entertainment System, was one of the first MS-DOS games with smooth horizontal-scrolling. Published by Apogee Software, the title and follow-ups brought id Software success as a shareware developer. It is the series of id Software that designer Tom Hall is most affiliated with.[citation needed] The first Commander Keen trilogy was released on December 14, 1990.
Wolfenstein
[edit]
Main article: Wolfenstein (series)
The company's breakout product was released on May 5, 1992: Wolfenstein 3D, a first-person shooter (FPS) with smooth 3D graphics that were unprecedented in computer games, and with violent gameplay that many gamers found engaging. After essentially founding an entire genre with this game, id Software created Doom, Doom II: Hell on Earth, Quake, Quake II, Quake III Arena, Quake 4, and Doom 3. Each of these first-person shooters featured progressively higher levels of graphical technology. Wolfenstein 3D spawned a prequel and a sequel: the prequel called Spear of Destiny, and the second, Return to Castle Wolfenstein, using the id Tech 3 engine. A third Wolfenstein sequel, simply titled Wolfenstein, was released by Raven Software, using the id Tech 4 engine. Another sequel, named Wolfenstein: The New Order; was developed by MachineGames using the id Tech 5 engine and released in 2014, with it getting a prequel by the name of Wolfenstein: The Old Blood a year later; followed by a direct sequel titled Wolfenstein II: The New Colossus in 2017.
Doom
[edit]
Main article: Doom (franchise)
Eighteen months after their release of Wolfenstein 3D, on December 10, 1993, id Software released Doom which would again set new standards for graphic quality and graphic violence in computer gaming. Doom featured a sci-fi/horror setting with graphic quality that had never been seen on personal computers or even video game consoles. Doom became a cultural phenomenon and its violent theme would eventually launch a new wave of criticism decrying the dangers of violence in video games. Doom was ported to numerous platforms, inspired many knock-offs, and was eventually followed by the technically similar Doom II: Hell on Earth. id Software made its mark in video game history with the shareware release of Doom, and eventually revisited the theme of this game in 2004 with their release of Doom 3. John Carmack said in an interview at QuakeCon 2007 that there would be a Doom 4. It began development on May 7, 2008.[73] Doom 2016, the fourth installation of the Doom series, was released on Microsoft Windows, PlayStation 4, and Xbox One on May 13, 2016, and was later released on Nintendo Switch on November 10, 2017. In June 2018, the sequel to the 2016 Doom, Doom Eternal was officially announced at E3 2018 with a teaser trailer, followed by a gameplay reveal at QuakeCon in August 2018.[74][75]
Quake
[edit]
Main article: Quake (series)
On June 22, 1996, the release of Quake marked the third milestone in id Software history. Quake combined a cutting edge fully 3D engine, the Quake engine, with a distinctive art style to create critically acclaimed graphics for its time. Audio was not neglected either, having recruited Nine Inch Nails frontman Trent Reznor to facilitate unique sound effects and ambient music for the game. (A small homage was paid to Nine Inch Nails in the form of the band's logo appearing on the ammunition boxes for the nailgun weapon.) It also included the work of Michael Abrash. Furthermore, Quake's main innovation, the capability to play a deathmatch (competitive gameplay between living opponents instead of against computer-controlled characters) over the Internet (especially through the add-on QuakeWorld), seared the title into the minds of gamers as another smash hit.
In 2008, id Software was honored at the 59th Annual Technology & Engineering Emmy Awards for the pioneering work Quake represented in user modifiable games.[76] id Software is the only game development company ever honored twice by the National Academy of Television Arts & Sciences, having been given an Emmy Award in 2007 for creation of the 3D technology that underlies modern shooter video games.[77]
The Quake series continued with Quake II in 1997. Activision purchased a 49% stake in id Software, making it a second party which took publishing duties until 2009. However, the game is not a storyline sequel, and instead focuses on an assault on an alien planet, Stroggos, in retaliation for Strogg attacks on Earth. Most of the subsequent entries in the Quake franchise follow this storyline. Quake III Arena (1999), the next title in the series, has minimal plot, but centers around the "Arena Eternal", a gladiatorial setting created by an alien race known as the Vadrigar and populated by combatants plucked from various points in time and space. Among these combatants are some characters either drawn from or based on those in Doom ("Doomguy"), Quake (Ranger, Wrack), and Quake II (Bitterman, Tank Jr., Grunt, Stripe). Quake IV (2005) picks up where Quake II left off – finishing the war between the humans and Strogg. The spin-off Enemy Territory: Quake Wars acts as a prequel to Quake II, when the Strogg first invade Earth. Quake IV and Enemy Territory: Quake Wars were made by outside developers and not id.
There have also been other spin-offs such as Quake Mobile[broken anchor] in 2005 and Quake Live, an internet browser based modification of Quake III. A game called Quake Arena DS was planned and canceled for the Nintendo DS. John Carmack stated, at QuakeCon 2007, that the id Tech 5 engine would be used for a new Quake game.
Rage
[edit]
Main article: Rage (video game)
Todd Hollenshead announced in May 2007 that id Software had begun working on an all new series that would be using a new engine. Hollenshead also mentioned that the title would be completely developed in-house, marking the first game since 2004's Doom 3 to be done so.[78] At 2007's WWDC, John Carmack showed the new engine called id Tech 5.[79] Later that year, at QuakeCon 2007, the title of the new game was revealed as Rage.[80]
On July 14, 2008, id Software announced at the 2008 E3 event that they would be publishing Rage through Electronic Arts, and not id's longtime publisher Activision.[81] However, since then ZeniMax has also announced that they are publishing Rage through Bethesda Softworks.[82]
On August 12, 2010, during Quakecon 2010, id Software announced Rage US ship date of September 13, 2011, and a European ship date of September 15, 2011.[83] During the keynote, id Software also demonstrated a Rage spin-off title running on the iPhone.[84] This technology demo later became Rage HD. The game was ultimately released in October 2011.[85]
On May 14, 2018, Bethesda Softworks announced Rage 2, a co-development between id Software and Avalanche Studios.
Other games
[edit]
During its early days, id Software produced much more varied games; these include the early 3D first-person shooter experiments that led to Wolfenstein 3D and Doom – Hovertank 3D and Catacomb 3D. There was also the Rescue Rover series, which had two games – Rescue Rover and Rescue Rover 2. Also there was John Romero's Dangerous Dave series, which included such notables as the tech demo (In Copyright Infringement) which led to the Commander Keen engine, and the decently popular Dangerous Dave in the Haunted Mansion. In the Haunted Mansion was powered by the same engine as the earlier id Software game Shadow Knights, which was one of the several games written by id Software to fulfill their contractual obligation to produce games for Softdisk, where the id Software founders had been employed. id Software has also overseen several games using its technology that were not made in one of their IPs such as ShadowCaster, (early-id Tech 1), Heretic, Hexen: Beyond Heretic (id Tech 1), Hexen II (Quake engine), and Orcs and Elves (Doom RPG engine).
Other media
[edit]
id Software has also published novels based on the Doom series Doom novels. After a brief hiatus from publishing, id resumed and re-launched the novel series in 2008 with Matthew J. Costello's (a story consultant for Doom 3 and now Rage) new Doom 3 novels: Worlds on Fire and Maelstrom.
id Software became involved in film development when they oversaw the film adaption of their Doom franchise in 2005. In August 2007, Todd Hollenshead stated at QuakeCon 2007 that a Return to Castle Wolfenstein movie is in development which re-teams the Silent Hill writer/producer team, Roger Avary as writer and director and Samuel Hadida as producer. A new Doom film, titled Doom: Annihilation, was released in 2019, although id itself stressed its lack of involvement.[86]
Controversy
[edit]
id Software was the target of controversy over two of their most popular games, Doom and the earlier Wolfenstein 3D. More recently in 2022, id Software found themselves mired in a controversy concerning libel against Doom Eternal's composer.
Doom
[edit]
Doom was notorious for its high levels of gore[87] and occultism along with satanic imagery, which generated controversy from a broad range of groups. Yahoo! Games listed it as one of the top ten most controversial games of all time.[88]
The game again sparked controversy throughout a period of school shootings in the United States when it was found that Eric Harris and Dylan Klebold, who committed the Columbine High School massacre in 1999, were avid players of the game. While planning for the massacre, Harris said that the killing would be "like playing Doom", and "it'll be like the LA riots, the Oklahoma bombing, World War II, Vietnam, Duke Nukem and Doom all mixed together", and that his shotgun was "straight out of the game".[89] A rumor spread afterwards that Harris had designed a Doom level that looked like the high school, populated with representations of Harris's classmates and teachers, and that Harris practiced for his role in the shootings by playing the level over and over. Although Harris did design Doom levels, none of them were based on Columbine High School.[90]
While Doom and other violent video games have been blamed for nationally covered school shootings, 2008 research featured by Greater Good Science Center[91] shows that the two are not closely related. Harvard Medical School researchers Cheryl Olson and Lawrence Kutner found that violent video games did not correlate to school shootings. The United States Secret Service and United States Department of Education analyzed 37 incidents of school violence and sought to develop a profile of school shooters; they discovered that the most common traits among shooters were that they were male and had histories of depression and attempted suicide. While many of the killers—like the vast majority of young teenage boys—did play video games, this study did not find a relationship between gameplay and school shootings. In fact, only one-eighth of the shooters showed any special interest in violent video games, far less than the number of shooters who seemed attracted to books and movies with violent content.[92]
Wolfenstein 3D
[edit]
As for Wolfenstein 3D, due to its use of Nazi symbols such as the swastika and the anthem of the Nazi Party, Horst-Wessel-Lied, as theme music, the PC version of the game was withdrawn from circulation in Germany in 1994, following a verdict by the Amtsgericht München on January 25, 1994. Despite the fact that Nazis are portrayed as the enemy in Wolfenstein, the use of those symbols is a federal offense in Germany unless certain circumstances apply. Similarly, the Atari Jaguar version was confiscated following a verdict by the Amtsgericht Berlin Tiergarten on December 7, 1994. The Unterhaltungssoftware Selbstkontrolle lifted the outright ban in 2018 in favor of analysing depictions on a case-by-case basis, and the international version of the game was removed from the list of banned titles in 2019.[93][94]
Due to concerns from Nintendo of America, the Super NES version was modified to not include any swastikas or Nazi references; furthermore, blood was replaced with sweat to make the game seem less violent, and the attack dogs in the game were replaced by giant mutant rats. Employees of id Software are quoted in The Official DOOM Player Guide about the reaction to Wolfenstein, claiming it to be ironic that it was morally acceptable to shoot people and rats, but not dogs. Two new weapons were added as well. The Super NES version was not as successful as the PC version.[citation needed] [95]
Soundtrack dispute
[edit]
In May 2020, after the Doom Eternal Original Soundtrack was released,[96] there was a serious backlash to the Doom Eternal OST and accusations of low quality work that did not match composer Mick Gordon's usual standards. On April 19, Gordon confirmed on Twitter that it was not his work, and Marty Stratton subsequently posted on May 20 a 2,500-word open letter[98] on Reddit blaming Gordon for everything that went wrong with the process of creating music for the soundtrack.[98] Following this, public outcry against Gordon reached a level where he received explicit death threats and graphic messages of intent to harm him and his family. Gordon's message accounts, servers, and phones were allegedly inundated with abuse to extreme levels, seriously impacting his mental health.[99]
On November 9, 2022, Mick published a 14,000-word article on Medium[100] explaining his side of the story as a defensive rebuttal of the nine outlined accusations in Stratton's post (described as "an extensive series of lies"), substantiated with various forms of evidence including photographs of emails, receipts, and file metadata to verify his claims.[101][99][102] It included claims that Gordon had yet to receive over half of his payment for his work and awards from the soundtrack's nominations at The Game Awards 2020 Stratton had reportedly claimed to deliver on Gordon's behalf; that his name had been listed on the OST's pre-order for weeks before Bethesda had contracted him to work on it just 48 hours before the game's release; Mossholder had been composing an alternate version of the OST as early as August 2019, and in response to request from Gordon's lawyers for Stratton's Reddit post to be removed, Gordon was offered six figures in exchange for a lifetime gag order, but never the possibility of Stratton's defamatory post being removed.[100]
On November 16, 2022, Bethesda released a statement backing Marty Stratton, Chad Mossholder, and everyone in the id software team. Their statement further claimed that they had evidence to rebut Gordon's claims, without releasing mentioned evidence, and expressed concern that his statement enticed harassment and violence towards the team.[103]
People
[edit]
In 2003, the book Masters of Doom chronicled the development of id Software, concentrating on the personalities and interaction of John Carmack and John Romero. Below are the key people involved with id's success.
John Carmack
[edit]
Main article: John Carmack
Carmack's skill at 3D programming is widely recognized in the software industry and from its inception, he was id's lead programmer. On August 7, 2013, he joined Oculus VR, a company developing virtual reality headsets, and left id Software on November 22, 2013.[19]
John Romero
[edit]
Main article: John Romero
John Romero saw the horizontal scrolling demo Dangerous Dave in Copyright Infringement and immediately had the idea to form id Software on September 20, 1990.[104] Romero pioneered the game engine licensing business with his "id Summer Seminar" in 1991 where the Keen4 engine was licensed to Apogee for Biomenace.[105] John also worked closely with the DOOM community and was the face of id to its fans. One success of this engagement was the fan-made game Final DOOM, published in 1996.[106] John also created the control scheme for the FPS, and the abstract level design style of DOOM that influenced many 3D games that came after it.[107] John added par times to Wolfenstein 3D, and then DOOM, which started the phenomenon of Speedrunning.[108] Romero wrote almost all the tools that enabled id Software and many others to develop games with id Software's technology.[109] Romero was forced to resign in 1996 after the release of Quake, then later formed the company Ion Storm. There, he became infamous through the development of Daikatana, which was received negatively from reviewers and gamers alike upon release. Afterward, Romero co-founded The Guildhall in Dallas, Texas,[110] served as chairman of the CPL eSports league,[111] created an MMORPG publisher and developer named Gazillion Entertainment,[111] created a hit Facebook game named Ravenwood Fair that garnered 25 million monthly players in 2011,[112] and started Romero Games in Galway, Ireland in 2015.[113]
Both Tom Hall and John Romero have reputations as designers and idea men who have helped shape some of the key PC gaming titles of the 1990s.
Tom Hall
[edit]
Main article: Tom Hall
Tom Hall was forced to resign by id Software during the early days of Doom development, but not before he had some impact; for example, he was responsible for the inclusion of teleporters in the game. He was let go before the shareware release of Doom and then went to work for Apogee, developing Rise of the Triad with the "Developers of Incredible Power". When he finished work on that game, he found he was not compatible with the Prey development team at Apogee, and therefore left to join his ex-id Software compatriot John Romero at Ion Storm. Hall has frequently commented that if he could obtain the rights to Commander Keen, he would immediately develop another Keen title.
Sandy Petersen
[edit]
Main article: Sandy Petersen
Sandy Petersen was a level designer for 19 of the 27 levels in the original Doom title as well as 17 of the 32 levels of Doom II. As a fan of H.P. Lovecraft, his influence is apparent in the Lovecraftian feel of the monsters for Quake, and he created Inferno, the third "episode" of the first Doom. He was forced to resign from id Software during the production of Quake II and most of his work was scrapped before the title was released.
American McGee
[edit]
Main article: American McGee
American McGee was a level designer for Doom II, The Ultimate Doom, Quake, and Quake II. He was asked to resign after the release of Quake II, and he then moved to Electronic Arts where he gained industry notoriety with the development of his own game American McGee's Alice. After leaving Electronic Arts, he became an independent entrepreneur and game developer. McGee headed the independent game development studio Spicy Horse in Shanghai, China from 2007 to 2016.
References
[edit]
Bibliography
[edit]
Kushner, David (2003). Masters of Doom: How Two Guys Created an Empire and Transformed Pop Culture, New York: Random House. ISBN 0-375-50524-5.
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id Software is an American video game development company with its headquarters in Mesquite, Texas.[1] The company was founded on February 1, 1991 by four members of the computer company Softdisk: programmers John Carmack and John Romero, game designer Tom Hall, and artist Adrian Carmack (no...
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id Software is an American video game development company with its headquarters in Mesquite, Texas.[1] The company was founded on February 1, 1991 by four members of the computer company Softdisk: programmers John Carmack and John Romero, game designer Tom Hall, and artist Adrian Carmack (no relation to John Carmack).
On June 24, 2009, ZeniMax Media acquired the company. In 2015, they opened a second studio in Frankfurt, Germany.
On September 21, 2020, Microsoft Game Studios announced that they had acquired Zenimax Media, which also meant the acquisition of Bethesda Softworks and id Software.
History[ | ]
The founders of id Software met in the offices of Softdisk developing multiple games for Softdisk's monthly publishing. These included Dangerous Dave and other titles. In September 1990, John Carmack developed an efficient way to perform rapid side-scrolling graphics on the PC. Upon making this breakthrough, Carmack and Hall stayed up late into the night making a replica of the first level of the popular 1988 NES game Super Mario Bros. 3, inserting stock graphics of Romero's Dangerous Dave character in lieu of Mario. When Romero saw the demo, entitled "Dangerous Dave in Copyright Infringement", he realized that Carmack's breakthrough could mean fame and fortune, and the id Software guys immediately began moonlighting, going so far as to "borrow" company computers that were not being used over the weekends and at nights while they whipped together a full-scale carbon copy of Super Mario Bros. 3 for the PC, hoping to license it to Nintendo.
Despite their work, Nintendo turned them down, saying they had no interest in expanding to the PC market, and that Mario games were to remain exclusive to Nintendo consoles. Around this time, Scott Miller of Apogee Software learned of the group and their exceptional talent, having played one of John Romero's Softdisk games, Dangerous Dave, and contacted Romero under the guise of multiple fan letters that Romero came to realize all originated from the same address.[2][3] When he confronted Miller, Miller explained that the deception was necessary since companies at that time were very protective of their talent and it was the only way he could get Romero to initiate contact with him. Miller suggested that they develop shareware games that he would distribute. As a result, the id Software team began the development of Commander Keen, a Mario-style side-scrolling game for the PC, once again "borrowing" company computers to work on it at odd hours at the lake house at which they lived in Shreveport, Louisiana. On December 14, 1990, the first episode was released as shareware by Miller's company, Apogee, and orders began rolling in. Shortly after this, Softdisk management learned of the team's deception and suggested that they form a new company together, but the administrative staff at Softdisk threatened to resign if such an arrangement were made. In a legal settlement, the team was required to provide a game to Softdisk every two months for a certain period of time, but they would do so on their own. On February 1, 1991, id Software was founded.
The shareware distribution method was initially employed by id Software through Apogee Software to sell their products, such as the Commander Keen, Wolfenstein and Doom games. They would release the first part of their trilogy as shareware, then sell the other two instalments by mail order. Only later (about the time of the release of Doom II) did id Software release their games via more traditional shrink-wrapped boxes in stores (through other game publishers).
On June 24, 2009, it was announced that id Software had been acquired by ZeniMax Media. The deal would eventually affect publishing deals id Software had before the acquisition, namely Rage, which was being published through Electronic Arts.[4]
On September 21, 2020, Microsoft Game Studios announced that they had acquired Zenimax Media for approximately three times the amount paid for Mojang AB.
Technology[ | ]
Starting with their first shareware game series, Commander Keen, id Software has licensed the core source code for the game, or what is more commonly known as the engine. Brainstormed by John Romero, id Software held a weekend session titled "The id Summer Seminar" in the summer of 1991 with prospective buyers including Scott Miller, George Broussard, Ken Rogoway, Jim Norwood and Todd Replogle. One of the nights, id Software put together an impromptu game known as "Wac-Man" to demonstrate not only the technical prowess of the Keen engine, but also how it worked internally.
Since then, id Software has licensed the Keen engine, Wolfenstein 3D engine, Shadowcaster engine,[5] DOOM engine, the Quake, Quake II, and Quake III engines, as well as technology used in making Doom 3. These engines have powered numerous notable titles, with their most successful engine being the Quake III engine.
In conjunction with his self-professed affinity for sharing source code, John Carmack has open-sourced most of the major id Software engines under the GPL license. Historically, the source code for each engine has been released once the code base is 5 years old. Consequently, many home grown projects have sprung up porting the code to different platforms, cleaning up the source code, or providing major modifications to the core engine. Wolfenstein 3D, DOOM and Quake engine ports are ubiquitous to nearly all platforms capable of running games, such as hand-held PCs, iPods, the PSP, the Nintendo DS and more. Impressive core modifications include DarkPlaces which adds stencil shadow volumes into the original Quake engine along with a more efficient network protocol. Another such project is ioquake3, which maintains a goal of cleaning up the source code, adding features and fixing bugs.
The GPL release of the Quake III engine's source code was moved from the end of 2004 to August 2005 as the engine was still being licensed to commercial customers who would otherwise be concerned over the sudden loss in value of their recent investment.
id Software publicly stated they would not support the Wii console,[6] although they have since indicated that they may release titles on that platform.[7]
Since id Software revealed their engine id Tech 5, they call their engines "id Tech", followed by a version number.[8] Older engines have retroactively been renamed to fit this scheme, with the Doom engine as id Tech 1.
Outside gaming[ | ]
id Software has also been associated with novels since the publication of the original DOOM novels. This has been restarted from 2008 onward with Matthew J. Costello's (a story consultant for DOOM 3 and now RAGE) new Doom 3 novels: Worlds on Fire and Maelstrom.
id Software became involved in film development when they were in the production team of the film adaption of their Doom franchise in 2005. In August 2007, Todd Hollenshead stated at QuakeCon 2007 that a Return to Castle Wolfenstein movie is in development which re-teams the Silent Hill writer/producer team, Roger Avary as writer and director and Samuel Hadida as producer.
Linux[ | ]
id Software was an early pioneer in the Linux gaming market,[9] and id Software's Linux games have been some of the most popular of the platform. Many id Software games won the Readers' and Editors' Choice awards of Linux Journal.[10][11][12][13] Some id Software titles ported to Linux are Doom (the first id Software game to be ported), Quake, Quake II, Quake III Arena, Return to Castle Wolfenstein, Wolfenstein: Enemy Territory, Doom 3, Quake 4, and Enemy Territory: Quake Wars. Since id Software and some of its licencees released the source code for some of their previous games, several games which were not ported (such as Wolfenstein 3D, Spear of Destiny, Heretic, Hexen, Hexen II, and Strife) can run on Linux and other operating systems through the use of source ports.
The tradition of porting to Linux was first started by Dave D. Taylor with David Kirsch doing some later porting. Since Quake III Arena Linux porting has been handled by Timothee Besset. The majority of all id Tech 4 games, including those made by other developers, have a Linux client available, the only current exception being Wolfenstein. Similarly, almost all of the games utilizing the id tech 2 engine have Linux ports, the only exceptions being those created by Ion Storm. Despite fears by the Linux gaming community that id Tech 5 would not be ported to that platform,[14] Timothee Besset in his blog has stated "I'll be damned if we don't find the time to get Linux builds done".[15] TTimo has stated that id Software's primary justification for releasing Linux builds is better code quality, along with a technical interest for the platform. John Carmack has expressed his stance with regard to Linux builds in the past: link Todd Hollenshead has also expressed support for Linux: "All said, we will continue to be a leading supporter of the Linux platform because we believe it is a technically sound OS and is the OS of choice for many server ops."[16]
Game series[ | ]
Commander Keen[ | ]
The Commander Keen series, a platform game introducing one of the first smooth side-scrolling game engines for the PC, brought id Software into the gaming mainstream. The game was very successful and spawned a whole series of titles. It was also the series of id Software that designer Tom Hall was most affiliated with.
Wolfenstein 3D[ | ]
The company's breakout product was 1992's Wolfenstein 3D, a first person shooter (FPS) with smooth 3D graphics that were unprecedented in computer games, and with violent game play that many gamers found engaging. After essentially founding an entire genre with this game, id Software created DOOM, DOOM II: Hell on Earth, Quake, Quake II, Quake III Arena, Quake 4 and DOOM 3. Each of these first person shooters featured progressively higher levels of graphical technology (and progressively higher minimum system requirements). Wolfenstein 3D spawned a prequel and a sequel, the prequel called Spear of Destiny, and the second, Return to Castle Wolfenstein, used the id Tech 3 engine. A third "Wolfenstein" sequel has been released by Raven Software, using the id tech 4 engine.
Doom[ | ]
Eighteen months after their release of Wolfenstein 3D, in 1993 id Software released DOOM which would again set new standards for graphic quality and graphic violence in computer gaming. Doom featured a sci-fi/horror setting with graphic quality that had never been seen on personal computers or even video game consoles (in fact, the later console ports of the game featured notably poorer graphics than the original MS-DOS version). Doom became a cultural phenomenon and its violent theme would eventually launch a new wave of criticism decrying the dangers of violence in video games. Doom was ported to numerous platforms, inspired many knock-offs and was eventually followed by the technically similar DOOM II: Hell of Earth. id Software made its mark in video game history with the shareware release of Doom, and eventually revisited the theme of this game in 2004 with their release of DOOM 3. John Carmack said in an interview at QuakeCon 2007 that there will be a fourth DOOM title, it has been in development since May 7, 2008.[17]
Quake[ | ]
The June 22, 1996, release of Quake marked the second milestone in id Software history. Quake combined a cutting edge fully 3D engine with a distinctive art style to create what was at the time regarded as a feast for the eyes. Audio was not neglected either, having recruited Nine Inch Nails frontman Trent Reznor to facilitate unique sound-effects and ambient music for the game. (A small homage was paid to Nine Inch Nails in the form of the band's logo appearing on an ammunition box.) It also included the work of Michael Abrash. Furthermore, Quake's main innovation - the capability to play a deathmatch (competitive gameplay between living opponents instead of against computer-run characters) over the Internet (especially through the add-on QuakeWorld) seared the title into the minds of gamers as another smash hit.
In 2008 id Software was honored at the 59th Annual Technology & Engineering Emmy Awards for the pioneering work Quake represented in user modifiable games.[18] id Software is the only game development company ever honoured twice by the National Academy of Television Arts & Sciences, having been given an Emmy Award in 2007 for creation of the 3D technology that underlies modern shooter computer games.[19]
The Quake series continued with Quake II in 1997. However, the game is not a storyline sequel, and instead focuses on an assault on an alien planet, Stroggos, in retaliation for Strogg attacks on Earth. Most of the subsequent entries in the Quake franchise follow this storyline. Quake III Arena (1999), the next title in the series, has minimal plot, but centers around the "Arena Eternal", a gladiatorial setting created by an alien race known as the Vadrigar and populated by combatants plucked from various points in time and space. Among these combatants are some characters either drawn from or based on those in Doom ("Doomguy"), Quake (Ranger, Wrack) and Quake II (Bitterman, Tank Jr., Grunt, Stripe). Quake IV (2005) picks up where Quake II left off — finishing the war between the humans and Strogg. The spin-off Enemy Territory: Quake Wars acts as a prequel to Quake II, when the Strogg first invade Earth. It should be noted that Quake IV and Enemy Territory: Quake Wars were made by outside developers and not id.
There have also been a few other spin off games such as Quake Mobile in 2005 and Quake Live, a Internet browser based modification of Quake III. A game called Quake Arena DS is planned for the Nintendo DS. John Carmack stated, at QuakeCon 2007, that the Id Tech 5 engine would be used for a new Quake game.
Rage[ | ]
Todd Hollenshead announced in May 2007 that id Software had begun working on an all new series that would be using a new engine that is currently being developed by John Carmack. Hollenshead also mentioned that the title would be completely developed in-house, marking the first game since 2004's Doom 3 to be done so.[20] At 2007's WWDC, John Carmack showed the new engine called id Tech 5.[21] Later that year, at QuakeCon 2007, the title of the new game was revealed as Rage.[22]
On July 14, 2008, id Software announced at the 2008 E3 event that they would be publishing Rage through Electronic Arts, and not id's longtime publisher Activision [23] however, since then Zenimax has also announced that they are publishing Rage through Bethesda Softworks.[24]
On August 12, 2010, during QuakeCon 2010, id Software announced that Rage will have a US ship date of September 13, 2011, and a European ship date of September 15, 2011.[25] During the keynote, id also demonstrated Rage running on the iPhone at over 60 fps.[26]
Other games[ | ]
During its early days id Software produced much more random games, these include the early 3D first person shooter experiments that lead to Wolfenstein 3D and DOOM — Hovertank 3D and Catacomb 3D. There was also the Rescue Rover series, which had two games — Rescue Rover and Rescue Rover 2. Also there was John Romero's Dangerous Dave series, which included such notables as the tech demo (In Copyright Infringement) which lead to the Commander Keen engine, and the decently popular Dangerous Dave in the Haunted Mansion. In the Haunted Mansion was powered by the same engine as the earlier id Software game Shadow Knights, which was one of the several games written by id Software to fulfil their contractual obligation to produce games for Softdisk, where the id Software founders formerly were employed. Id Software has also overseen several games using its technology that were not made in one of their IPs such as Shadowcaster, (early-id Tech 1), Heretic, Hexen (id Tech 1), Hexen II (Quake engine), and Orcs and Elves (DOOM RPG engine).
Controversy[ | ]
id Software was the target of controversy over two of their most popular games, Doom and the earlier Wolfenstein 3D:
Doom[ | ]
Doom was and remains notorious for its high levels of violence, gore, and satanic imagery, which have generated much controversy from a broad range of groups. Yahoo! Games has it listed as one of the top ten controversial games of all time. It has been criticized numerous times by religious organizations for its diabolic undertones and was dubbed a "mass murder simulator" by critic and Killology Research Group founder David Grossman. Doom prompted fears that the then-emerging virtual reality technology could be used to simulate extremely realistic killing, and in 1994 led to unsuccessful attempts by Washington state senator Phil Talmadge to introduce compulsory licensing of VR use.
The game again sparked controversy throughout a period of school shootings in the United States when it was found that Eric Harris and Dylan Klebold, who committed the Columbine High School massacre in 1999, were avid players of the game. While planning for the massacre, Harris said that the killing would be "like fucking Doom" and that his shotgun was "straight out of the game". A rumor spread afterwards that Harris had designed Doom levels that looked like the halls of the high school, populated with representations of Harris's classmates and teachers, and that Harris practised for his role in the shootings by playing these levels over and over. Although Harris did design Doom levels, they were not simulations of Columbine High School.
Wolfenstein 3D[ | ]
As for Wolfenstein 3D, due to its use of Nazi symbols such as the Swastika and the anthem of the Nazi Party, Horst-Wessel-Lied, as theme music, the PC version of the game was withdrawn from circulation in Germany in 1994, following a verdict by the Amtsgericht München on January 25, 1994. Despite the fact that Nazis are portrayed as the enemy in Wolfenstein, the use of those symbols is a federal offense in Germany unless certain circumstances apply. Similarly, the Atari Jaguar version was confiscated following a verdict by the Amtsgericht Berlin Tiergarten on December 7, 1994.
Due to concerns from Nintendo of America, the Super NES version was modified to not include any swastikas or Nazi references; furthermore, blood was replaced with sweat to make the game seem less violent, and the attack dogs in the game were replaced by giant mutant rats. Employees of id Software are quoted in The Official DOOM Player Guide about the reaction to Wolfenstein, claiming it to be ironic that it was morally acceptable to shoot people and rats, but not dogs. Two new weapons were added as well. The Super NES version was not as successful as the PC version.
Company name[ | ]
The name of the company is currently written with a lowercase id, which is pronounced as in "did" or "kid", and is presented by the company as a reference to the id, a psychological concept introduced by Sigmund Freud. Evidence of the reference can be found as early as Wolfenstein 3D with the statement "that's Id, as in the id, ego, and superego in the psyche" appearing in the game's documentation. Even today, id's History page makes a direct reference to Freud.[27]
However, when working at Softdisk, the team that later founded id Software took the name "Ideas from the Deep" (a company created by John Romero and Lane Roathe in 1989), attributing themselves as the "IFD guys". Since "id" can be seen as a shortening of IFD to "ID", some have been led to believe that it can be pronounced "eye-dee". The logo was originally capitalized, but was made lowercase with the release of Doom. It has never been the mixed-case "iD".
Some assume that "id" - if the two letters are pronounced separately in German - it is supposed to sound like "Idee", the German word for "idea". This, however, has been proven to be a false assumption.
In the book, Masters of DOOM, it is said that the name 'id' came from the phrase, "in demand."
Key figures[ | ]
In 2003, the book Masters of DOOM chronicled the development of id Software, concentrating on the personalities and interaction of John Carmack and John Romero. Below are the key people involved with id's success.
John Carmack[ | ]
Main article: John D. Carmack
The lead programmer for id Software is John Carmack, whose skill at 3D programming is widely recognized in the software industry. He is the last of the original founders still employed by the company.
John Romero[ | ]
Main article: John Romero
John Romero, who was forced to resign after the release of Quake, later formed the ill-fated company Ion Storm. There, he became infamous through the development of Daikatana, which got mediocre reception from reviewers and gamers alike upon release. Romero now heads the Cyberathlete Professional League Board of Directors and is currently developing a MMO for his new company, Slipgate Ironworks.
Both Tom Hall and John Romero have reputations as designers and idea men who have helped shape some of the key PC gaming titles of the 1990s.
Tom Hall[ | ]
Main article: Tom Hall
Tom Hall was forced to resign by id Software during the early days of Doom development, but not before he had some impact; he was responsible, for example, for the inclusion of teleporters in the game. He was let go before the shareware release of DOOM and then went to work for Apogee, developing Rise of the Triad with the "Developers of Incredible Power". When he finished work on that game, he found he was not compatible with the Prey development team at Apogee, and therefore left to join his ex-id co-worker John Romero at Ion Storm. Hall has frequently commented that if id Software ever sold him the rights to Commander Keen he would immediately develop another Keen title.
Sandy Petersen[ | ]
Main article: Sandy Petersen
Sandy Petersen was a level designer for 19 of the 27 levels in the original Doom title as well as 17 of the 32 levels of Doom II. As a fan of H.P. Lovecraft, his influence is apparent in the Lovecraftian feel of the monsters for Quake, and he created the fourth and final "episode" of the game. He left id Software during the production of Quake II and most of his work was scrapped before the title was released.
American McGee[ | ]
Main article: American McGee
American McGee was a level designer for DOOM II: Hell on Earth, The Ultimate DOOM, Quake, and Quake II. He was fired after the release of Quake II, then moved to Electronic Arts where he gained industry notoriety with the development of his own game American McGee's Alice. After leaving Electronic Arts, he became an independent entrepreneur and game developer. McGee now heads independent development house Spicy Horse in Shanghai, where he's working on a sequel to "Alice".[28][29]
Original owners[ | ]
John Carmack, Technical director
John Romero, level artist
Adrian Carmack, artist
Tom Hall, Game designer
Games[ | ]
Developer[ | ]
Dangerous Dave (1988)[nb 1]
Commander Keen
Episode 1: Marooned on Mars (1990)
Episode 2: The Earth Explodes (1991)
Episode 3: Keen Must Die (1991)
Keen Dreams (1991)
Episode 4: Secret of the Oracle (1991)
Episode 5: The Armageddon Machine (1991)
Episode 6: Aliens Ate My Baby Sitter (1991)
Dangerous Dave in the Haunted Mansion (1991)
Rescue Rover (1991)
Rescue Rover 2 (1991)
Shadow Knights (1991)
Hovertank 3D (1991)
Catacomb 3D: A New Dimension (1991) re-released as Catacomb 3-D: The Descent
Wolfenstein 3D (1992)
Spear of Destiny (1992)
DOOM (1993)
The Ultimate Doom
DOOM II: Hell on Earth (1994)
Master Levels for DOOM II (1995)
Final DOOM (1996)
Quake (1996)
DOOM: id Anthology (1996)[nb 2]
Quake II (1997)
Quake III Arena (1999)
Quake III: Team Arena (2000)
DOOM: Collector's Edition (2001)
DOOM 3 (2004)
Quake Live (2009 - Beta)
Wolfenstein 3D Classic (2009)[30]
DOOM Classic (2009)[31]
RAGE (2011)
Publisher or producer[ | ]
Heretic — Raven Software (1994)
Hexen — Raven Software (1995)
Hexen II — Raven Software (1997)
Towers of Darkness: Heretic, Hexen & Beyond[nb 3] (1997)[32]
Quake expansion packs
Quake Mission Pack 1: Scourge of Armagon — Ritual Entertainment (1997)
Quake Mission Pack 2: Dissolution of Eternity — Rogue Entertainment (1997)
Quake: The Offering[nb 4] (1998) [33]
Quake II expansion packs
Quake II: The Reckoning — Gray Matter Interactive (1998)
Quake II: Ground Zero — Rogue Entertainment (1998)
Quake II: Quad Damage[nb 5] (1999)[34]
Return to Castle Wolfenstein — Gray Matter Interactive, Nerve Software (multiplayer) (2001)
Wolfenstein: Enemy Territory — Splash Damage (2003)
DOOM 3: Resurrection of Evil — Nerve Software (2005)
Quake 4 — Raven Software (2005)
DOOM RPG — Fountainhead Entertainment (2005)
Orcs & Elves — Fountainhead Entertainment (2006)
Enemy Territory: Quake Wars — Splash Damage (2007)
Wolfenstein RPG — Electronic Arts (2008)
DOOM Resurrection — Escalation Studios (2009)
Wolfenstein — Raven Software (2009)
Quake Arena Arcade — Pi Studios (TBA)
Additional reading[ | ]
Kushner, David (2003). Masters of Doom: How Two Guys Created an Empire and Transformed Pop Culture, New York: Random House. ISBN 0-375-50524-5.
References[ | ]
Notes[ | ]
[ | ]
Official id Software website
ZeniMax Media Inc.
id Software profile at MobyGames
Total id Games
Articles[ | ]
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American video game developer
This article is about the video game developer. For the geodata software editor, see iD (software).
id Software LLC ( ) is an American video game developer based in Richardson, Texas. It was founded on February 1, 1991, by four members of the computer company Softdisk: programmers John Carmack and John Romero, game designer Tom Hall, and artist Adrian Carmack.
id Software made important technological developments in video game technologies for the PC (running MS-DOS and Windows), including work done for the Wolfenstein, Doom, and Quake franchises at the time. id's work was particularly important in 3D computer graphics technology and in game engines that are used throughout the video game industry. The company was involved in the creation of the first-person shooter (FPS) genre: Wolfenstein 3D is often considered to be the first true FPS; Doom is a game that popularized the genre and PC gaming in general; and Quake was id's first true 3D FPS.
On June 24, 2009, ZeniMax Media acquired the company. In 2015, they opened a second studio in Frankfurt, Germany.[2]
History
[edit]
Formation
[edit]
The founders of id Software – John Carmack, John Romero, and Tom Hall – met in the offices of Softdisk developing multiple games for Softdisk's monthly publishing, including Dangerous Dave. Along with another Softdisk employee, Lane Roathe, they had formed a small group they called Ideas from the Deep (IFD), a name that Romero and Roathe had come up with.[3] In September 1990, Carmack developed an efficient way to rapidly side-scroll graphics on the PC. Upon making this breakthrough, Carmack and Hall stayed up late into the night making a replica of the first level of the popular 1988 NES game Super Mario Bros. 3, inserting stock graphics of Romero's Dangerous Dave character in lieu of Mario. When Romero saw the demo, entitled Dangerous Dave in Copyright Infringement, he realized that Carmack's breakthrough could have potential. The IFD team moonlighted over a week and over two weekends to create a larger demo of their PC version of Super Mario Bros. 3. They sent their work to Nintendo. According to Romero, Nintendo had told them that the demo was impressive, but "they didn't want their intellectual property on anything but their own hardware, so they told us Good Job and You Can't Do This".[4] While the pair had not readily shared the demo though acknowledged its existence in the years since, a working copy of the demo was discovered in July 2021 and preserved at the Museum of Play.[5]
Around the same time in 1990, Scott Miller of Apogee Software learned of the group and their exceptional talent, having played one of Romero's Softdisk games, Dangerous Dave, and contacted Romero under the guise of multiple fan letters that Romero came to realize all originated from the same address.[6][7] When he confronted Miller, Miller explained that the deception was necessary since Softdisk screened letters it received. Although disappointed by not actually having received mail from multiple fans, Romero and other Softdisk developers began proposing ideas to Miller. One of these was Commander Keen, a side-scrolling game that incorporated the previous work they had done on the Super Mario Bros. 3 demonstration.[8] The first Commander Keen game, Commander Keen in Invasion of the Vorticons, was released through Apogee in December 1990, which became a very successful shareware game. After their first royalty check, Romero, Carmack, and Adrian Carmack (no relation) decided to start their own company.[9] After hiring Hall, the group finished the Commander Keen series, then hired Jay Wilbur and Kevin Cloud and began working on Wolfenstein 3D.[10] id Software was officially founded by Romero, John and Adrian Carmack and Hall on February 1, 1991. The name "id" came out of their previous IFD; Roathe had left the group, and they opted to drop the "F" to leave "id". They initially used "id" as an initialism for "In Demand", but by the time of the fourth Commander Keen game, they opted to let "id" stand out "as a cool word", according to Romero.[3]
The shareware distribution method was initially employed by id Software through Apogee Software to sell their products, such as the Commander Keen, Wolfenstein and Doom games.[9] They would release the first part of their trilogy as shareware, then sell the other two installments by mail order. Only later (about the time of the release of Doom II) did id Software release their games via more traditional shrink-wrapped boxes in stores (through other game publishers).
After Wolfenstein 3D's great success, id began working on Doom. After Hall left the company, Sandy Petersen and Dave Taylor were hired before the release of Doom in December 1993.[10]
The end of the classic lineup
[edit]
Quake was released on June 22, 1996 and was considered a difficult game to develop due to creative differences. Animosity grew within the company and it caused a conflict between Carmack and Romero, which led the latter to leave id after the game's release. Soon after, other staff left the company as well such as Michael Abrash, Shawn Green, Jay Wilbur, Petersen and Mike Wilson.[11] Petersen claimed in July 2021 that the lack of a team leader was the cause of it all. In fact, he volunteered to take lead as he had five years of experience as project manager in MicroProse but he was turned down by Carmack.[12]
ZeniMax Media and Microsoft
[edit]
On June 24, 2009, it was announced that id Software had been acquired by ZeniMax Media (owner of Bethesda Softworks). The deal would eventually affect publishing deals id Software had before the acquisition, namely Rage, which was being published through Electronic Arts.[13] ZeniMax received in July a $105 million investment from StrongMail Systems for the id acquisition, it's unknown if that was the exact price of the deal.[14][15] id Software moved from the "cube-shaped" Mesquite office to a location in Richardson, Texas during the spring of 2011.[16]
On June 26, 2013, id Software president Todd Hollenshead quit after 17 years of service.[17]
On November 22, 2013, it was announced id Software co-founder and Technical Director John Carmack had fully resigned from the company to work full-time at Oculus VR which he joined as CTO in August 2013.[18][19] He was the last of the original founders to leave the company.
Tim Willits left the company in 2019.[20] ZeniMax Media was acquired by Microsoft for US$7.5 billion in March 2021 and became part of Xbox Game Studios.[21][22]
Company name
[edit]
The company writes its name with a lowercase id, which is pronounced as in "did" or "kid", and, according to the book Masters of Doom, the group identified itself as "Ideas from the Deep" in the early days of Softdisk but that, in the end, the name 'id' came from the phrase "in demand".[23] Disliking "in demand" as "lame", someone suggested a connection with Sigmund Freud's psychological concept of id, which the others accepted.[10] Evidence of the reference can be found as early as Wolfenstein 3D with the statement "that's id, as in the id, ego, and superego in the psyche" appearing in the game's documentation. Prior to an update to the website, id's History page made a direct reference to Freud.[24]
Key employees
[edit]
Kevin Cloud – Artist (1992–2006), Executive producer (2007–present)
Donna Jackson – Office manager / "id mom" (1994–present)[25][26]
Marty Stratton – Director of Business Development (1997–2006), Executive Producer[27] (2006–present) Studio Director (2019–present)
Hugo Martin – Creative Director[28] (2013–present)
Former key employees
[edit]
Arranged in chronological order:
Tom Hall – Co-founder, game designer, level designer, writer, creative director (1991–1993). After a dispute with John Carmack over the designs of Doom, Hall was forced to resign from id Software in August 1993. He joined 3D Realms soon afterwards.
Bobby Prince – Music composer (1991–1994). A freelance musician who went on to pursue other projects after Doom II.
Dave Taylor – Programmer (1993–1996). Taylor left id Software and co-founded Crack dot Com.
John Romero – Co-founder, game designer, programmer (1991–1996). Romero resigned on August 6, 1996.[29] He established Ion Storm along with Hall on November 15, 1996.
Michael Abrash – Programmer (1995–1996). Returned to Microsoft after the release of Quake, but eventually worked with Carmack again at Reality Labs.
Shawn Green – Software support (1991–1996). Left id Software to join Romero at Ion Storm.
Jay Wilbur – Business manager (1991–1997). Left id Software after Romero's departure and joined Epic Games in 1997.
Sandy Petersen – Level designer (1993–1997). Left id Software for Ensemble Studios in 1997.
Mike Wilson – PR and marketing (1994–1997). Left id Software to become CEO of Ion Storm with Romero. Left a year later to found Gathering of Developers and later Devolver Digital.
American McGee – Level designer (1993–1998). McGee was fired after the release of Quake II. He joined Electronic Arts and created American McGee's Alice.
Adrian Carmack – Co-founder, artist (1991–2005). Carmack was forced out of id Software after the release of Doom 3 because he would not sell his stock at a low price to the other owners.[30] Adrian sued id Software and the lawsuit was settled during the Zenimax acquisition in 2009.[31]
Todd Hollenshead – President (1996–2013) Left id Software on good terms to work at Nerve Software.
John Carmack – Co-founder, technical director (1991–2013). He joined Oculus VR on August 7, 2013, as a side project, but unable to handle two companies at the same time, Carmack resigned from id Software on November 22, 2013, to pursue Oculus full-time, making him the last founding member to leave the company.
Tim Willits – Level designer (1995–2001), creative director (2002–2011), studio director (2012–2019)[32] He is now the chief creative officer at Saber Interactive.[33]
Robert Duffy – Chief Technology Officer (1998–2024). Robert left id Software in January 2024.
Timeline
[edit]
Game development
[edit]
Technology
[edit]
Starting with their first shareware game series, Commander Keen, id Software has licensed the core source code for the game, or what is more commonly known as the engine. Brainstormed by John Romero, id Software held a weekend session titled "The id Summer Seminar" in the summer of 1991 with prospective buyers including Scott Miller, George Broussard, Ken Rogoway, Jim Norwood and Todd Replogle. One of the nights, id Software put together an impromptu game known as "Wac-Man" to demonstrate not only the technical prowess of the Keen engine, but also how it worked internally.
id Software has developed their own game engine for each of their titles when moving to the next technological milestone, including Commander Keen, Wolfenstein 3D, ShadowCaster,[34] Doom, Quake, Quake II, and Quake III, as well as the technology used in making Doom 3. After being used first for id Software's in-house game, the engines are licensed out to other developers. According to Eurogamer.net, "id Software has been synonymous with PC game engines since the concept of a detached game engine was first popularized". During the mid to late 1990s, "the launch of each successive round of technology it's been expected to occupy a headlining position", with the Quake III engine being most widely adopted of their engines. However id Tech 4 had far fewer licensees than the Unreal Engine from Epic Games, due to the long development time that went into Doom 3 which id Software had to release before licensing out that engine to others.
Despite his enthusiasm for open source code, Carmack revealed in 2011 that he had no interest in licensing the technology to the mass market. Beginning with Wolfenstein 3D, he felt bothered when third-party companies started "pestering" him to license the id tech engine, adding that he wanted to focus on new technology instead of providing support to existing ones. He felt very strongly that this was not why he signed up to be a game programmer for; to be "holding the hands" of other game developers. Carmack commended Epic Games for pursuing the licensing to the market beginning with Unreal Engine 3. Even though the said company has gained more success with its game engine than id Software over the years, Carmack had no regrets by his decision and continued to focus on open source until his departure from the company in 2013.[35]
In conjunction with his self-professed affinity for sharing source code, John Carmack has open-sourced most of the major id Software engines under the GNU General Public License. Historically, the source code for each engine has been released once the code base is 5 years old. Consequently, many home grown projects have sprung up porting the code to different platforms, cleaning up the source code, or providing major modifications to the core engine. Wolfenstein 3D, Doom and Quake engine ports are ubiquitous to nearly all platforms capable of running games, such as hand-held PCs, iPods, the PSP, the Nintendo DS and more. Impressive core modifications include GZDoom,[36][37] which adds to the Doom engine modern hardware accelerared renderers and a scripting system called ZScript, and was also utilized in the creation of ECWolf for Wolfenstein 3D[38][39] and Raze for the Build engine.[40] Meanwhile DarkPlaces adds stencil shadow volumes into the original Quake engine along with a more efficient network protocol.[41][42] Other projects include Yamagi Quake II,[43] ioquake3,[44][45] and dhewm3,[46] which maintain the goal of cleaning up the source code, adding features and fixing bugs. Even earlier id Software code, namely for Hovertank 3D and Catacomb 3D, was released in June 2014 by Flat Rock Software.[47]
The GPL release of the Quake III engine's source code was moved from the end of 2004 to August 2005 as the engine was still being licensed to commercial customers who would otherwise be concerned over the sudden loss in value of their recent investment.
On August 4, 2011, John Carmack revealed during his QuakeCon 2011 keynote that they will be releasing the source code of the Doom 3 engine (id Tech 4) during the year.[48]
id Software publicly stated they would not support the Wii console (possibly due to technical limitations),[49] although they have since indicated that they may release titles on that platform (although it would be limited to their games released during the 1990s).[50] They continued this policy with the Wii U but for Nintendo Switch, they collaborated with Panic Button starting with 2016's Doom and Wolfenstein II: The New Colossus.
Since id Software revealed their engine id Tech 5, they call their engines "id Tech", followed by a version number.[51] Older engines have retroactively been renamed to fit this scheme, with the Doom engine as id Tech 1.
IMF Music File Format
[edit]
IMF ("id music file" or "id's music format") is an audio file format created by id Software for the AdLib sound card for use in their video games.[52] The format is similar to MIDI, in that it defines musical notes, and does not support sampled digital audio for sound effects. IMF files store the actual bytes sent to the AdLib's OPL2 chip, which uses FM synthesis to produce audio output. The format is based on the AdLib command syntax, with a few modifications. Due to the limited features and relatively low sound quality, modern games no longer use IMF music.
A large number of songs in id Software's early games (such as Commander Keen and Wolfenstein 3D) were composed by Bobby Prince in IMF format. Other game developers like Apogee Software also used this format in their games (such as Cosmo's Cosmic Adventure, Duke Nukem II, and Monster Bash).
Linux gaming
[edit]
id Software was an early pioneer in the Linux gaming market,[53] and id Software's Linux games have been some of the most popular of the platform. Many id Software games won the Readers' and Editors' Choice awards of Linux Journal.[54][55][56][57] Some id Software titles ported to Linux are Doom (the first id Software game to be ported), Quake, Quake II, Quake III Arena, Return to Castle Wolfenstein, Wolfenstein: Enemy Territory, Doom 3, Quake 4, and Enemy Territory: Quake Wars. Since id Software and some of its licensees released the source code for some of their previous games, several games which were not ported (such as Catacomb 3D, Catacomb Abyss, Wolfenstein 3D, Spear of Destiny, Blake Stone: Aliens of Gold, Blake Stone: Planet Strike, Super 3D Noah's Ark, Rise of the Triad, Doom 64, Strife, Heretic, Hexen, Hexen II, Star Trek: Voyager – Elite Force Holomatch, Star Wars Jedi Knight II: Jedi Outcast, Star Wars Jedi Knight: Jedi Academy) can run on Linux and other operating systems natively through the use of source ports. Quake Live also launched with Linux support, although this, alongside OS X support, was later removed when changed to a standalone title.[58]
The tradition of porting to Linux was first started by Dave D. Taylor, with Zoid Kirsch doing some later porting.[59] Since Quake III Arena, Linux porting had been handled by Timothee Besset. The majority of all id Tech 4 games, including those made by other developers, have a Linux client available, the only current exceptions being Wolfenstein and Brink. Similarly, almost all of the games utilizing the Quake II engine have Linux ports, the only exceptions being those created by Ion Storm (Daikatana later received a community port). Despite fears by the Linux gaming community that id Tech 5 would not be ported to that platform,[60] Timothee Besset in his blog stated "I'll be damned if we don't find the time to get Linux builds done".[61] Besset explained that id Software's primary justification for releasing Linux builds was better code quality, along with a technical interest in the platform. However, on January 26, 2012, Besset announced that he had left id.[62]
John Carmack has expressed his stance with regard to Linux builds in the past.[63] In December 2000 Todd Hollenshead expressed support for Linux: "All said, we will continue to be a leading supporter of the Linux platform because we believe it is a technically sound OS and is the OS of choice for many server ops."[64] However, on April 25, 2012, Carmack revealed that "there are no plans for a native Linux client" of id's most recent game, Rage.[65] In February 2013, Carmack argued for improving emulation as the "proper technical direction for gaming on Linux", though this was also due to ZeniMax's refusal to support "unofficial binaries", given all prior ports (except for Quake III Arena, via Loki Software, and earlier versions of Quake Live) having only ever been unofficial.[66] Carmack didn't mention official games Quake: The Offering and Quake II: Colossus ported by id Software to Linux and published by Macmillan Computer Publishing USA.[67]
Despite no longer releasing native binaries, id was an early adopter of Stadia, a cloud gaming service powered by Debian Linux servers, and the cross-platform Vulkan API.[68][69] A Linux version of Doom from 2016 was tested internally,[70] while it and its sequel Doom Eternal can be run using Wine and Proton.[71][72]
Games
[edit]
Commander Keen
[edit]
Main article: Commander Keen
Commander Keen in Invasion of the Vorticons, a platform game in the style of those for the Nintendo Entertainment System, was one of the first MS-DOS games with smooth horizontal-scrolling. Published by Apogee Software, the title and follow-ups brought id Software success as a shareware developer. It is the series of id Software that designer Tom Hall is most affiliated with.[citation needed] The first Commander Keen trilogy was released on December 14, 1990.
Wolfenstein
[edit]
Main article: Wolfenstein (series)
The company's breakout product was released on May 5, 1992: Wolfenstein 3D, a first-person shooter (FPS) with smooth 3D graphics that were unprecedented in computer games, and with violent gameplay that many gamers found engaging. After essentially founding an entire genre with this game, id Software created Doom, Doom II: Hell on Earth, Quake, Quake II, Quake III Arena, Quake 4, and Doom 3. Each of these first-person shooters featured progressively higher levels of graphical technology. Wolfenstein 3D spawned a prequel and a sequel: the prequel called Spear of Destiny, and the second, Return to Castle Wolfenstein, using the id Tech 3 engine. A third Wolfenstein sequel, simply titled Wolfenstein, was released by Raven Software, using the id Tech 4 engine. Another sequel, named Wolfenstein: The New Order; was developed by MachineGames using the id Tech 5 engine and released in 2014, with it getting a prequel by the name of Wolfenstein: The Old Blood a year later; followed by a direct sequel titled Wolfenstein II: The New Colossus in 2017.
Doom
[edit]
Main article: Doom (franchise)
Eighteen months after their release of Wolfenstein 3D, on December 10, 1993, id Software released Doom which would again set new standards for graphic quality and graphic violence in computer gaming. Doom featured a sci-fi/horror setting with graphic quality that had never been seen on personal computers or even video game consoles. Doom became a cultural phenomenon and its violent theme would eventually launch a new wave of criticism decrying the dangers of violence in video games. Doom was ported to numerous platforms, inspired many knock-offs, and was eventually followed by the technically similar Doom II: Hell on Earth. id Software made its mark in video game history with the shareware release of Doom, and eventually revisited the theme of this game in 2004 with their release of Doom 3. John Carmack said in an interview at QuakeCon 2007 that there would be a Doom 4. It began development on May 7, 2008.[73] Doom 2016, the fourth installation of the Doom series, was released on Microsoft Windows, PlayStation 4, and Xbox One on May 13, 2016, and was later released on Nintendo Switch on November 10, 2017. In June 2018, the sequel to the 2016 Doom, Doom Eternal was officially announced at E3 2018 with a teaser trailer, followed by a gameplay reveal at QuakeCon in August 2018.[74][75]
Quake
[edit]
Main article: Quake (series)
On June 22, 1996, the release of Quake marked the third milestone in id Software history. Quake combined a cutting edge fully 3D engine, the Quake engine, with a distinctive art style to create critically acclaimed graphics for its time. Audio was not neglected either, having recruited Nine Inch Nails frontman Trent Reznor to facilitate unique sound effects and ambient music for the game. (A small homage was paid to Nine Inch Nails in the form of the band's logo appearing on the ammunition boxes for the nailgun weapon.) It also included the work of Michael Abrash. Furthermore, Quake's main innovation, the capability to play a deathmatch (competitive gameplay between living opponents instead of against computer-controlled characters) over the Internet (especially through the add-on QuakeWorld), seared the title into the minds of gamers as another smash hit.
In 2008, id Software was honored at the 59th Annual Technology & Engineering Emmy Awards for the pioneering work Quake represented in user modifiable games.[76] id Software is the only game development company ever honored twice by the National Academy of Television Arts & Sciences, having been given an Emmy Award in 2007 for creation of the 3D technology that underlies modern shooter video games.[77]
The Quake series continued with Quake II in 1997. Activision purchased a 49% stake in id Software, making it a second party which took publishing duties until 2009. However, the game is not a storyline sequel, and instead focuses on an assault on an alien planet, Stroggos, in retaliation for Strogg attacks on Earth. Most of the subsequent entries in the Quake franchise follow this storyline. Quake III Arena (1999), the next title in the series, has minimal plot, but centers around the "Arena Eternal", a gladiatorial setting created by an alien race known as the Vadrigar and populated by combatants plucked from various points in time and space. Among these combatants are some characters either drawn from or based on those in Doom ("Doomguy"), Quake (Ranger, Wrack), and Quake II (Bitterman, Tank Jr., Grunt, Stripe). Quake IV (2005) picks up where Quake II left off – finishing the war between the humans and Strogg. The spin-off Enemy Territory: Quake Wars acts as a prequel to Quake II, when the Strogg first invade Earth. Quake IV and Enemy Territory: Quake Wars were made by outside developers and not id.
There have also been other spin-offs such as Quake Mobile[broken anchor] in 2005 and Quake Live, an internet browser based modification of Quake III. A game called Quake Arena DS was planned and canceled for the Nintendo DS. John Carmack stated, at QuakeCon 2007, that the id Tech 5 engine would be used for a new Quake game.
Rage
[edit]
Main article: Rage (video game)
Todd Hollenshead announced in May 2007 that id Software had begun working on an all new series that would be using a new engine. Hollenshead also mentioned that the title would be completely developed in-house, marking the first game since 2004's Doom 3 to be done so.[78] At 2007's WWDC, John Carmack showed the new engine called id Tech 5.[79] Later that year, at QuakeCon 2007, the title of the new game was revealed as Rage.[80]
On July 14, 2008, id Software announced at the 2008 E3 event that they would be publishing Rage through Electronic Arts, and not id's longtime publisher Activision.[81] However, since then ZeniMax has also announced that they are publishing Rage through Bethesda Softworks.[82]
On August 12, 2010, during Quakecon 2010, id Software announced Rage US ship date of September 13, 2011, and a European ship date of September 15, 2011.[83] During the keynote, id Software also demonstrated a Rage spin-off title running on the iPhone.[84] This technology demo later became Rage HD. The game was ultimately released in October 2011.[85]
On May 14, 2018, Bethesda Softworks announced Rage 2, a co-development between id Software and Avalanche Studios.
Other games
[edit]
During its early days, id Software produced much more varied games; these include the early 3D first-person shooter experiments that led to Wolfenstein 3D and Doom – Hovertank 3D and Catacomb 3D. There was also the Rescue Rover series, which had two games – Rescue Rover and Rescue Rover 2. Also there was John Romero's Dangerous Dave series, which included such notables as the tech demo (In Copyright Infringement) which led to the Commander Keen engine, and the decently popular Dangerous Dave in the Haunted Mansion. In the Haunted Mansion was powered by the same engine as the earlier id Software game Shadow Knights, which was one of the several games written by id Software to fulfill their contractual obligation to produce games for Softdisk, where the id Software founders had been employed. id Software has also overseen several games using its technology that were not made in one of their IPs such as ShadowCaster, (early-id Tech 1), Heretic, Hexen: Beyond Heretic (id Tech 1), Hexen II (Quake engine), and Orcs and Elves (Doom RPG engine).
Other media
[edit]
id Software has also published novels based on the Doom series Doom novels. After a brief hiatus from publishing, id resumed and re-launched the novel series in 2008 with Matthew J. Costello's (a story consultant for Doom 3 and now Rage) new Doom 3 novels: Worlds on Fire and Maelstrom.
id Software became involved in film development when they oversaw the film adaption of their Doom franchise in 2005. In August 2007, Todd Hollenshead stated at QuakeCon 2007 that a Return to Castle Wolfenstein movie is in development which re-teams the Silent Hill writer/producer team, Roger Avary as writer and director and Samuel Hadida as producer. A new Doom film, titled Doom: Annihilation, was released in 2019, although id itself stressed its lack of involvement.[86]
Controversy
[edit]
id Software was the target of controversy over two of their most popular games, Doom and the earlier Wolfenstein 3D. More recently in 2022, id Software found themselves mired in a controversy concerning libel against Doom Eternal's composer.
Doom
[edit]
Doom was notorious for its high levels of gore[87] and occultism along with satanic imagery, which generated controversy from a broad range of groups. Yahoo! Games listed it as one of the top ten most controversial games of all time.[88]
The game again sparked controversy throughout a period of school shootings in the United States when it was found that Eric Harris and Dylan Klebold, who committed the Columbine High School massacre in 1999, were avid players of the game. While planning for the massacre, Harris said that the killing would be "like playing Doom", and "it'll be like the LA riots, the Oklahoma bombing, World War II, Vietnam, Duke Nukem and Doom all mixed together", and that his shotgun was "straight out of the game".[89] A rumor spread afterwards that Harris had designed a Doom level that looked like the high school, populated with representations of Harris's classmates and teachers, and that Harris practiced for his role in the shootings by playing the level over and over. Although Harris did design Doom levels, none of them were based on Columbine High School.[90]
While Doom and other violent video games have been blamed for nationally covered school shootings, 2008 research featured by Greater Good Science Center[91] shows that the two are not closely related. Harvard Medical School researchers Cheryl Olson and Lawrence Kutner found that violent video games did not correlate to school shootings. The United States Secret Service and United States Department of Education analyzed 37 incidents of school violence and sought to develop a profile of school shooters; they discovered that the most common traits among shooters were that they were male and had histories of depression and attempted suicide. While many of the killers—like the vast majority of young teenage boys—did play video games, this study did not find a relationship between gameplay and school shootings. In fact, only one-eighth of the shooters showed any special interest in violent video games, far less than the number of shooters who seemed attracted to books and movies with violent content.[92]
Wolfenstein 3D
[edit]
As for Wolfenstein 3D, due to its use of Nazi symbols such as the swastika and the anthem of the Nazi Party, Horst-Wessel-Lied, as theme music, the PC version of the game was withdrawn from circulation in Germany in 1994, following a verdict by the Amtsgericht München on January 25, 1994. Despite the fact that Nazis are portrayed as the enemy in Wolfenstein, the use of those symbols is a federal offense in Germany unless certain circumstances apply. Similarly, the Atari Jaguar version was confiscated following a verdict by the Amtsgericht Berlin Tiergarten on December 7, 1994. The Unterhaltungssoftware Selbstkontrolle lifted the outright ban in 2018 in favor of analysing depictions on a case-by-case basis, and the international version of the game was removed from the list of banned titles in 2019.[93][94]
Due to concerns from Nintendo of America, the Super NES version was modified to not include any swastikas or Nazi references; furthermore, blood was replaced with sweat to make the game seem less violent, and the attack dogs in the game were replaced by giant mutant rats. Employees of id Software are quoted in The Official DOOM Player Guide about the reaction to Wolfenstein, claiming it to be ironic that it was morally acceptable to shoot people and rats, but not dogs. Two new weapons were added as well. The Super NES version was not as successful as the PC version.[citation needed] [95]
Soundtrack dispute
[edit]
In May 2020, after the Doom Eternal Original Soundtrack was released,[96] there was a serious backlash to the Doom Eternal OST and accusations of low quality work that did not match composer Mick Gordon's usual standards. On April 19, Gordon confirmed on Twitter that it was not his work, and Marty Stratton subsequently posted on May 20 a 2,500-word open letter[98] on Reddit blaming Gordon for everything that went wrong with the process of creating music for the soundtrack.[98] Following this, public outcry against Gordon reached a level where he received explicit death threats and graphic messages of intent to harm him and his family. Gordon's message accounts, servers, and phones were allegedly inundated with abuse to extreme levels, seriously impacting his mental health.[99]
On November 9, 2022, Mick published a 14,000-word article on Medium[100] explaining his side of the story as a defensive rebuttal of the nine outlined accusations in Stratton's post (described as "an extensive series of lies"), substantiated with various forms of evidence including photographs of emails, receipts, and file metadata to verify his claims.[101][99][102] It included claims that Gordon had yet to receive over half of his payment for his work and awards from the soundtrack's nominations at The Game Awards 2020 Stratton had reportedly claimed to deliver on Gordon's behalf; that his name had been listed on the OST's pre-order for weeks before Bethesda had contracted him to work on it just 48 hours before the game's release; Mossholder had been composing an alternate version of the OST as early as August 2019, and in response to request from Gordon's lawyers for Stratton's Reddit post to be removed, Gordon was offered six figures in exchange for a lifetime gag order, but never the possibility of Stratton's defamatory post being removed.[100]
On November 16, 2022, Bethesda released a statement backing Marty Stratton, Chad Mossholder, and everyone in the id software team. Their statement further claimed that they had evidence to rebut Gordon's claims, without releasing mentioned evidence, and expressed concern that his statement enticed harassment and violence towards the team.[103]
People
[edit]
In 2003, the book Masters of Doom chronicled the development of id Software, concentrating on the personalities and interaction of John Carmack and John Romero. Below are the key people involved with id's success.
John Carmack
[edit]
Main article: John Carmack
Carmack's skill at 3D programming is widely recognized in the software industry and from its inception, he was id's lead programmer. On August 7, 2013, he joined Oculus VR, a company developing virtual reality headsets, and left id Software on November 22, 2013.[19]
John Romero
[edit]
Main article: John Romero
John Romero saw the horizontal scrolling demo Dangerous Dave in Copyright Infringement and immediately had the idea to form id Software on September 20, 1990.[104] Romero pioneered the game engine licensing business with his "id Summer Seminar" in 1991 where the Keen4 engine was licensed to Apogee for Biomenace.[105] John also worked closely with the DOOM community and was the face of id to its fans. One success of this engagement was the fan-made game Final DOOM, published in 1996.[106] John also created the control scheme for the FPS, and the abstract level design style of DOOM that influenced many 3D games that came after it.[107] John added par times to Wolfenstein 3D, and then DOOM, which started the phenomenon of Speedrunning.[108] Romero wrote almost all the tools that enabled id Software and many others to develop games with id Software's technology.[109] Romero was forced to resign in 1996 after the release of Quake, then later formed the company Ion Storm. There, he became infamous through the development of Daikatana, which was received negatively from reviewers and gamers alike upon release. Afterward, Romero co-founded The Guildhall in Dallas, Texas,[110] served as chairman of the CPL eSports league,[111] created an MMORPG publisher and developer named Gazillion Entertainment,[111] created a hit Facebook game named Ravenwood Fair that garnered 25 million monthly players in 2011,[112] and started Romero Games in Galway, Ireland in 2015.[113]
Both Tom Hall and John Romero have reputations as designers and idea men who have helped shape some of the key PC gaming titles of the 1990s.
Tom Hall
[edit]
Main article: Tom Hall
Tom Hall was forced to resign by id Software during the early days of Doom development, but not before he had some impact; for example, he was responsible for the inclusion of teleporters in the game. He was let go before the shareware release of Doom and then went to work for Apogee, developing Rise of the Triad with the "Developers of Incredible Power". When he finished work on that game, he found he was not compatible with the Prey development team at Apogee, and therefore left to join his ex-id Software compatriot John Romero at Ion Storm. Hall has frequently commented that if he could obtain the rights to Commander Keen, he would immediately develop another Keen title.
Sandy Petersen
[edit]
Main article: Sandy Petersen
Sandy Petersen was a level designer for 19 of the 27 levels in the original Doom title as well as 17 of the 32 levels of Doom II. As a fan of H.P. Lovecraft, his influence is apparent in the Lovecraftian feel of the monsters for Quake, and he created Inferno, the third "episode" of the first Doom. He was forced to resign from id Software during the production of Quake II and most of his work was scrapped before the title was released.
American McGee
[edit]
Main article: American McGee
American McGee was a level designer for Doom II, The Ultimate Doom, Quake, and Quake II. He was asked to resign after the release of Quake II, and he then moved to Electronic Arts where he gained industry notoriety with the development of his own game American McGee's Alice. After leaving Electronic Arts, he became an independent entrepreneur and game developer. McGee headed the independent game development studio Spicy Horse in Shanghai, China from 2007 to 2016.
References
[edit]
Bibliography
[edit]
Kushner, David (2003). Masters of Doom: How Two Guys Created an Empire and Transformed Pop Culture, New York: Random House. ISBN 0-375-50524-5.
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American video game developer
This article is about the video game developer. For the geodata software editor, see iD (software).
id Software LLC ( ) is an American video game developer based in Richardson, Texas. It was founded on February 1, 1991, by four members of the computer company Softdisk: programmers John Carmack and John Romero, game designer Tom Hall, and artist Adrian Carmack.
id Software made important technological developments in video game technologies for the PC (running MS-DOS and Windows), including work done for the Wolfenstein, Doom, and Quake franchises at the time. id's work was particularly important in 3D computer graphics technology and in game engines that are used throughout the video game industry. The company was involved in the creation of the first-person shooter (FPS) genre: Wolfenstein 3D is often considered to be the first true FPS; Doom is a game that popularized the genre and PC gaming in general; and Quake was id's first true 3D FPS.
On June 24, 2009, ZeniMax Media acquired the company. In 2015, they opened a second studio in Frankfurt, Germany.[2]
History
[edit]
Formation
[edit]
The founders of id Software – John Carmack, John Romero, and Tom Hall – met in the offices of Softdisk developing multiple games for Softdisk's monthly publishing, including Dangerous Dave. Along with another Softdisk employee, Lane Roathe, they had formed a small group they called Ideas from the Deep (IFD), a name that Romero and Roathe had come up with.[3] In September 1990, Carmack developed an efficient way to rapidly side-scroll graphics on the PC. Upon making this breakthrough, Carmack and Hall stayed up late into the night making a replica of the first level of the popular 1988 NES game Super Mario Bros. 3, inserting stock graphics of Romero's Dangerous Dave character in lieu of Mario. When Romero saw the demo, entitled Dangerous Dave in Copyright Infringement, he realized that Carmack's breakthrough could have potential. The IFD team moonlighted over a week and over two weekends to create a larger demo of their PC version of Super Mario Bros. 3. They sent their work to Nintendo. According to Romero, Nintendo had told them that the demo was impressive, but "they didn't want their intellectual property on anything but their own hardware, so they told us Good Job and You Can't Do This".[4] While the pair had not readily shared the demo though acknowledged its existence in the years since, a working copy of the demo was discovered in July 2021 and preserved at the Museum of Play.[5]
Around the same time in 1990, Scott Miller of Apogee Software learned of the group and their exceptional talent, having played one of Romero's Softdisk games, Dangerous Dave, and contacted Romero under the guise of multiple fan letters that Romero came to realize all originated from the same address.[6][7] When he confronted Miller, Miller explained that the deception was necessary since Softdisk screened letters it received. Although disappointed by not actually having received mail from multiple fans, Romero and other Softdisk developers began proposing ideas to Miller. One of these was Commander Keen, a side-scrolling game that incorporated the previous work they had done on the Super Mario Bros. 3 demonstration.[8] The first Commander Keen game, Commander Keen in Invasion of the Vorticons, was released through Apogee in December 1990, which became a very successful shareware game. After their first royalty check, Romero, Carmack, and Adrian Carmack (no relation) decided to start their own company.[9] After hiring Hall, the group finished the Commander Keen series, then hired Jay Wilbur and Kevin Cloud and began working on Wolfenstein 3D.[10] id Software was officially founded by Romero, John and Adrian Carmack and Hall on February 1, 1991. The name "id" came out of their previous IFD; Roathe had left the group, and they opted to drop the "F" to leave "id". They initially used "id" as an initialism for "In Demand", but by the time of the fourth Commander Keen game, they opted to let "id" stand out "as a cool word", according to Romero.[3]
The shareware distribution method was initially employed by id Software through Apogee Software to sell their products, such as the Commander Keen, Wolfenstein and Doom games.[9] They would release the first part of their trilogy as shareware, then sell the other two installments by mail order. Only later (about the time of the release of Doom II) did id Software release their games via more traditional shrink-wrapped boxes in stores (through other game publishers).
After Wolfenstein 3D's great success, id began working on Doom. After Hall left the company, Sandy Petersen and Dave Taylor were hired before the release of Doom in December 1993.[10]
The end of the classic lineup
[edit]
Quake was released on June 22, 1996 and was considered a difficult game to develop due to creative differences. Animosity grew within the company and it caused a conflict between Carmack and Romero, which led the latter to leave id after the game's release. Soon after, other staff left the company as well such as Michael Abrash, Shawn Green, Jay Wilbur, Petersen and Mike Wilson.[11] Petersen claimed in July 2021 that the lack of a team leader was the cause of it all. In fact, he volunteered to take lead as he had five years of experience as project manager in MicroProse but he was turned down by Carmack.[12]
ZeniMax Media and Microsoft
[edit]
On June 24, 2009, it was announced that id Software had been acquired by ZeniMax Media (owner of Bethesda Softworks). The deal would eventually affect publishing deals id Software had before the acquisition, namely Rage, which was being published through Electronic Arts.[13] ZeniMax received in July a $105 million investment from StrongMail Systems for the id acquisition, it's unknown if that was the exact price of the deal.[14][15] id Software moved from the "cube-shaped" Mesquite office to a location in Richardson, Texas during the spring of 2011.[16]
On June 26, 2013, id Software president Todd Hollenshead quit after 17 years of service.[17]
On November 22, 2013, it was announced id Software co-founder and Technical Director John Carmack had fully resigned from the company to work full-time at Oculus VR which he joined as CTO in August 2013.[18][19] He was the last of the original founders to leave the company.
Tim Willits left the company in 2019.[20] ZeniMax Media was acquired by Microsoft for US$7.5 billion in March 2021 and became part of Xbox Game Studios.[21][22]
Company name
[edit]
The company writes its name with a lowercase id, which is pronounced as in "did" or "kid", and, according to the book Masters of Doom, the group identified itself as "Ideas from the Deep" in the early days of Softdisk but that, in the end, the name 'id' came from the phrase "in demand".[23] Disliking "in demand" as "lame", someone suggested a connection with Sigmund Freud's psychological concept of id, which the others accepted.[10] Evidence of the reference can be found as early as Wolfenstein 3D with the statement "that's id, as in the id, ego, and superego in the psyche" appearing in the game's documentation. Prior to an update to the website, id's History page made a direct reference to Freud.[24]
Key employees
[edit]
Kevin Cloud – Artist (1992–2006), Executive producer (2007–present)
Donna Jackson – Office manager / "id mom" (1994–present)[25][26]
Marty Stratton – Director of Business Development (1997–2006), Executive Producer[27] (2006–present) Studio Director (2019–present)
Hugo Martin – Creative Director[28] (2013–present)
Former key employees
[edit]
Arranged in chronological order:
Tom Hall – Co-founder, game designer, level designer, writer, creative director (1991–1993). After a dispute with John Carmack over the designs of Doom, Hall was forced to resign from id Software in August 1993. He joined 3D Realms soon afterwards.
Bobby Prince – Music composer (1991–1994). A freelance musician who went on to pursue other projects after Doom II.
Dave Taylor – Programmer (1993–1996). Taylor left id Software and co-founded Crack dot Com.
John Romero – Co-founder, game designer, programmer (1991–1996). Romero resigned on August 6, 1996.[29] He established Ion Storm along with Hall on November 15, 1996.
Michael Abrash – Programmer (1995–1996). Returned to Microsoft after the release of Quake, but eventually worked with Carmack again at Reality Labs.
Shawn Green – Software support (1991–1996). Left id Software to join Romero at Ion Storm.
Jay Wilbur – Business manager (1991–1997). Left id Software after Romero's departure and joined Epic Games in 1997.
Sandy Petersen – Level designer (1993–1997). Left id Software for Ensemble Studios in 1997.
Mike Wilson – PR and marketing (1994–1997). Left id Software to become CEO of Ion Storm with Romero. Left a year later to found Gathering of Developers and later Devolver Digital.
American McGee – Level designer (1993–1998). McGee was fired after the release of Quake II. He joined Electronic Arts and created American McGee's Alice.
Adrian Carmack – Co-founder, artist (1991–2005). Carmack was forced out of id Software after the release of Doom 3 because he would not sell his stock at a low price to the other owners.[30] Adrian sued id Software and the lawsuit was settled during the Zenimax acquisition in 2009.[31]
Todd Hollenshead – President (1996–2013) Left id Software on good terms to work at Nerve Software.
John Carmack – Co-founder, technical director (1991–2013). He joined Oculus VR on August 7, 2013, as a side project, but unable to handle two companies at the same time, Carmack resigned from id Software on November 22, 2013, to pursue Oculus full-time, making him the last founding member to leave the company.
Tim Willits – Level designer (1995–2001), creative director (2002–2011), studio director (2012–2019)[32] He is now the chief creative officer at Saber Interactive.[33]
Robert Duffy – Chief Technology Officer (1998–2024). Robert left id Software in January 2024.
Timeline
[edit]
Game development
[edit]
Technology
[edit]
Starting with their first shareware game series, Commander Keen, id Software has licensed the core source code for the game, or what is more commonly known as the engine. Brainstormed by John Romero, id Software held a weekend session titled "The id Summer Seminar" in the summer of 1991 with prospective buyers including Scott Miller, George Broussard, Ken Rogoway, Jim Norwood and Todd Replogle. One of the nights, id Software put together an impromptu game known as "Wac-Man" to demonstrate not only the technical prowess of the Keen engine, but also how it worked internally.
id Software has developed their own game engine for each of their titles when moving to the next technological milestone, including Commander Keen, Wolfenstein 3D, ShadowCaster,[34] Doom, Quake, Quake II, and Quake III, as well as the technology used in making Doom 3. After being used first for id Software's in-house game, the engines are licensed out to other developers. According to Eurogamer.net, "id Software has been synonymous with PC game engines since the concept of a detached game engine was first popularized". During the mid to late 1990s, "the launch of each successive round of technology it's been expected to occupy a headlining position", with the Quake III engine being most widely adopted of their engines. However id Tech 4 had far fewer licensees than the Unreal Engine from Epic Games, due to the long development time that went into Doom 3 which id Software had to release before licensing out that engine to others.
Despite his enthusiasm for open source code, Carmack revealed in 2011 that he had no interest in licensing the technology to the mass market. Beginning with Wolfenstein 3D, he felt bothered when third-party companies started "pestering" him to license the id tech engine, adding that he wanted to focus on new technology instead of providing support to existing ones. He felt very strongly that this was not why he signed up to be a game programmer for; to be "holding the hands" of other game developers. Carmack commended Epic Games for pursuing the licensing to the market beginning with Unreal Engine 3. Even though the said company has gained more success with its game engine than id Software over the years, Carmack had no regrets by his decision and continued to focus on open source until his departure from the company in 2013.[35]
In conjunction with his self-professed affinity for sharing source code, John Carmack has open-sourced most of the major id Software engines under the GNU General Public License. Historically, the source code for each engine has been released once the code base is 5 years old. Consequently, many home grown projects have sprung up porting the code to different platforms, cleaning up the source code, or providing major modifications to the core engine. Wolfenstein 3D, Doom and Quake engine ports are ubiquitous to nearly all platforms capable of running games, such as hand-held PCs, iPods, the PSP, the Nintendo DS and more. Impressive core modifications include GZDoom,[36][37] which adds to the Doom engine modern hardware accelerared renderers and a scripting system called ZScript, and was also utilized in the creation of ECWolf for Wolfenstein 3D[38][39] and Raze for the Build engine.[40] Meanwhile DarkPlaces adds stencil shadow volumes into the original Quake engine along with a more efficient network protocol.[41][42] Other projects include Yamagi Quake II,[43] ioquake3,[44][45] and dhewm3,[46] which maintain the goal of cleaning up the source code, adding features and fixing bugs. Even earlier id Software code, namely for Hovertank 3D and Catacomb 3D, was released in June 2014 by Flat Rock Software.[47]
The GPL release of the Quake III engine's source code was moved from the end of 2004 to August 2005 as the engine was still being licensed to commercial customers who would otherwise be concerned over the sudden loss in value of their recent investment.
On August 4, 2011, John Carmack revealed during his QuakeCon 2011 keynote that they will be releasing the source code of the Doom 3 engine (id Tech 4) during the year.[48]
id Software publicly stated they would not support the Wii console (possibly due to technical limitations),[49] although they have since indicated that they may release titles on that platform (although it would be limited to their games released during the 1990s).[50] They continued this policy with the Wii U but for Nintendo Switch, they collaborated with Panic Button starting with 2016's Doom and Wolfenstein II: The New Colossus.
Since id Software revealed their engine id Tech 5, they call their engines "id Tech", followed by a version number.[51] Older engines have retroactively been renamed to fit this scheme, with the Doom engine as id Tech 1.
IMF Music File Format
[edit]
IMF ("id music file" or "id's music format") is an audio file format created by id Software for the AdLib sound card for use in their video games.[52] The format is similar to MIDI, in that it defines musical notes, and does not support sampled digital audio for sound effects. IMF files store the actual bytes sent to the AdLib's OPL2 chip, which uses FM synthesis to produce audio output. The format is based on the AdLib command syntax, with a few modifications. Due to the limited features and relatively low sound quality, modern games no longer use IMF music.
A large number of songs in id Software's early games (such as Commander Keen and Wolfenstein 3D) were composed by Bobby Prince in IMF format. Other game developers like Apogee Software also used this format in their games (such as Cosmo's Cosmic Adventure, Duke Nukem II, and Monster Bash).
Linux gaming
[edit]
id Software was an early pioneer in the Linux gaming market,[53] and id Software's Linux games have been some of the most popular of the platform. Many id Software games won the Readers' and Editors' Choice awards of Linux Journal.[54][55][56][57] Some id Software titles ported to Linux are Doom (the first id Software game to be ported), Quake, Quake II, Quake III Arena, Return to Castle Wolfenstein, Wolfenstein: Enemy Territory, Doom 3, Quake 4, and Enemy Territory: Quake Wars. Since id Software and some of its licensees released the source code for some of their previous games, several games which were not ported (such as Catacomb 3D, Catacomb Abyss, Wolfenstein 3D, Spear of Destiny, Blake Stone: Aliens of Gold, Blake Stone: Planet Strike, Super 3D Noah's Ark, Rise of the Triad, Doom 64, Strife, Heretic, Hexen, Hexen II, Star Trek: Voyager – Elite Force Holomatch, Star Wars Jedi Knight II: Jedi Outcast, Star Wars Jedi Knight: Jedi Academy) can run on Linux and other operating systems natively through the use of source ports. Quake Live also launched with Linux support, although this, alongside OS X support, was later removed when changed to a standalone title.[58]
The tradition of porting to Linux was first started by Dave D. Taylor, with Zoid Kirsch doing some later porting.[59] Since Quake III Arena, Linux porting had been handled by Timothee Besset. The majority of all id Tech 4 games, including those made by other developers, have a Linux client available, the only current exceptions being Wolfenstein and Brink. Similarly, almost all of the games utilizing the Quake II engine have Linux ports, the only exceptions being those created by Ion Storm (Daikatana later received a community port). Despite fears by the Linux gaming community that id Tech 5 would not be ported to that platform,[60] Timothee Besset in his blog stated "I'll be damned if we don't find the time to get Linux builds done".[61] Besset explained that id Software's primary justification for releasing Linux builds was better code quality, along with a technical interest in the platform. However, on January 26, 2012, Besset announced that he had left id.[62]
John Carmack has expressed his stance with regard to Linux builds in the past.[63] In December 2000 Todd Hollenshead expressed support for Linux: "All said, we will continue to be a leading supporter of the Linux platform because we believe it is a technically sound OS and is the OS of choice for many server ops."[64] However, on April 25, 2012, Carmack revealed that "there are no plans for a native Linux client" of id's most recent game, Rage.[65] In February 2013, Carmack argued for improving emulation as the "proper technical direction for gaming on Linux", though this was also due to ZeniMax's refusal to support "unofficial binaries", given all prior ports (except for Quake III Arena, via Loki Software, and earlier versions of Quake Live) having only ever been unofficial.[66] Carmack didn't mention official games Quake: The Offering and Quake II: Colossus ported by id Software to Linux and published by Macmillan Computer Publishing USA.[67]
Despite no longer releasing native binaries, id was an early adopter of Stadia, a cloud gaming service powered by Debian Linux servers, and the cross-platform Vulkan API.[68][69] A Linux version of Doom from 2016 was tested internally,[70] while it and its sequel Doom Eternal can be run using Wine and Proton.[71][72]
Games
[edit]
Commander Keen
[edit]
Main article: Commander Keen
Commander Keen in Invasion of the Vorticons, a platform game in the style of those for the Nintendo Entertainment System, was one of the first MS-DOS games with smooth horizontal-scrolling. Published by Apogee Software, the title and follow-ups brought id Software success as a shareware developer. It is the series of id Software that designer Tom Hall is most affiliated with.[citation needed] The first Commander Keen trilogy was released on December 14, 1990.
Wolfenstein
[edit]
Main article: Wolfenstein (series)
The company's breakout product was released on May 5, 1992: Wolfenstein 3D, a first-person shooter (FPS) with smooth 3D graphics that were unprecedented in computer games, and with violent gameplay that many gamers found engaging. After essentially founding an entire genre with this game, id Software created Doom, Doom II: Hell on Earth, Quake, Quake II, Quake III Arena, Quake 4, and Doom 3. Each of these first-person shooters featured progressively higher levels of graphical technology. Wolfenstein 3D spawned a prequel and a sequel: the prequel called Spear of Destiny, and the second, Return to Castle Wolfenstein, using the id Tech 3 engine. A third Wolfenstein sequel, simply titled Wolfenstein, was released by Raven Software, using the id Tech 4 engine. Another sequel, named Wolfenstein: The New Order; was developed by MachineGames using the id Tech 5 engine and released in 2014, with it getting a prequel by the name of Wolfenstein: The Old Blood a year later; followed by a direct sequel titled Wolfenstein II: The New Colossus in 2017.
Doom
[edit]
Main article: Doom (franchise)
Eighteen months after their release of Wolfenstein 3D, on December 10, 1993, id Software released Doom which would again set new standards for graphic quality and graphic violence in computer gaming. Doom featured a sci-fi/horror setting with graphic quality that had never been seen on personal computers or even video game consoles. Doom became a cultural phenomenon and its violent theme would eventually launch a new wave of criticism decrying the dangers of violence in video games. Doom was ported to numerous platforms, inspired many knock-offs, and was eventually followed by the technically similar Doom II: Hell on Earth. id Software made its mark in video game history with the shareware release of Doom, and eventually revisited the theme of this game in 2004 with their release of Doom 3. John Carmack said in an interview at QuakeCon 2007 that there would be a Doom 4. It began development on May 7, 2008.[73] Doom 2016, the fourth installation of the Doom series, was released on Microsoft Windows, PlayStation 4, and Xbox One on May 13, 2016, and was later released on Nintendo Switch on November 10, 2017. In June 2018, the sequel to the 2016 Doom, Doom Eternal was officially announced at E3 2018 with a teaser trailer, followed by a gameplay reveal at QuakeCon in August 2018.[74][75]
Quake
[edit]
Main article: Quake (series)
On June 22, 1996, the release of Quake marked the third milestone in id Software history. Quake combined a cutting edge fully 3D engine, the Quake engine, with a distinctive art style to create critically acclaimed graphics for its time. Audio was not neglected either, having recruited Nine Inch Nails frontman Trent Reznor to facilitate unique sound effects and ambient music for the game. (A small homage was paid to Nine Inch Nails in the form of the band's logo appearing on the ammunition boxes for the nailgun weapon.) It also included the work of Michael Abrash. Furthermore, Quake's main innovation, the capability to play a deathmatch (competitive gameplay between living opponents instead of against computer-controlled characters) over the Internet (especially through the add-on QuakeWorld), seared the title into the minds of gamers as another smash hit.
In 2008, id Software was honored at the 59th Annual Technology & Engineering Emmy Awards for the pioneering work Quake represented in user modifiable games.[76] id Software is the only game development company ever honored twice by the National Academy of Television Arts & Sciences, having been given an Emmy Award in 2007 for creation of the 3D technology that underlies modern shooter video games.[77]
The Quake series continued with Quake II in 1997. Activision purchased a 49% stake in id Software, making it a second party which took publishing duties until 2009. However, the game is not a storyline sequel, and instead focuses on an assault on an alien planet, Stroggos, in retaliation for Strogg attacks on Earth. Most of the subsequent entries in the Quake franchise follow this storyline. Quake III Arena (1999), the next title in the series, has minimal plot, but centers around the "Arena Eternal", a gladiatorial setting created by an alien race known as the Vadrigar and populated by combatants plucked from various points in time and space. Among these combatants are some characters either drawn from or based on those in Doom ("Doomguy"), Quake (Ranger, Wrack), and Quake II (Bitterman, Tank Jr., Grunt, Stripe). Quake IV (2005) picks up where Quake II left off – finishing the war between the humans and Strogg. The spin-off Enemy Territory: Quake Wars acts as a prequel to Quake II, when the Strogg first invade Earth. Quake IV and Enemy Territory: Quake Wars were made by outside developers and not id.
There have also been other spin-offs such as Quake Mobile[broken anchor] in 2005 and Quake Live, an internet browser based modification of Quake III. A game called Quake Arena DS was planned and canceled for the Nintendo DS. John Carmack stated, at QuakeCon 2007, that the id Tech 5 engine would be used for a new Quake game.
Rage
[edit]
Main article: Rage (video game)
Todd Hollenshead announced in May 2007 that id Software had begun working on an all new series that would be using a new engine. Hollenshead also mentioned that the title would be completely developed in-house, marking the first game since 2004's Doom 3 to be done so.[78] At 2007's WWDC, John Carmack showed the new engine called id Tech 5.[79] Later that year, at QuakeCon 2007, the title of the new game was revealed as Rage.[80]
On July 14, 2008, id Software announced at the 2008 E3 event that they would be publishing Rage through Electronic Arts, and not id's longtime publisher Activision.[81] However, since then ZeniMax has also announced that they are publishing Rage through Bethesda Softworks.[82]
On August 12, 2010, during Quakecon 2010, id Software announced Rage US ship date of September 13, 2011, and a European ship date of September 15, 2011.[83] During the keynote, id Software also demonstrated a Rage spin-off title running on the iPhone.[84] This technology demo later became Rage HD. The game was ultimately released in October 2011.[85]
On May 14, 2018, Bethesda Softworks announced Rage 2, a co-development between id Software and Avalanche Studios.
Other games
[edit]
During its early days, id Software produced much more varied games; these include the early 3D first-person shooter experiments that led to Wolfenstein 3D and Doom – Hovertank 3D and Catacomb 3D. There was also the Rescue Rover series, which had two games – Rescue Rover and Rescue Rover 2. Also there was John Romero's Dangerous Dave series, which included such notables as the tech demo (In Copyright Infringement) which led to the Commander Keen engine, and the decently popular Dangerous Dave in the Haunted Mansion. In the Haunted Mansion was powered by the same engine as the earlier id Software game Shadow Knights, which was one of the several games written by id Software to fulfill their contractual obligation to produce games for Softdisk, where the id Software founders had been employed. id Software has also overseen several games using its technology that were not made in one of their IPs such as ShadowCaster, (early-id Tech 1), Heretic, Hexen: Beyond Heretic (id Tech 1), Hexen II (Quake engine), and Orcs and Elves (Doom RPG engine).
Other media
[edit]
id Software has also published novels based on the Doom series Doom novels. After a brief hiatus from publishing, id resumed and re-launched the novel series in 2008 with Matthew J. Costello's (a story consultant for Doom 3 and now Rage) new Doom 3 novels: Worlds on Fire and Maelstrom.
id Software became involved in film development when they oversaw the film adaption of their Doom franchise in 2005. In August 2007, Todd Hollenshead stated at QuakeCon 2007 that a Return to Castle Wolfenstein movie is in development which re-teams the Silent Hill writer/producer team, Roger Avary as writer and director and Samuel Hadida as producer. A new Doom film, titled Doom: Annihilation, was released in 2019, although id itself stressed its lack of involvement.[86]
Controversy
[edit]
id Software was the target of controversy over two of their most popular games, Doom and the earlier Wolfenstein 3D. More recently in 2022, id Software found themselves mired in a controversy concerning libel against Doom Eternal's composer.
Doom
[edit]
Doom was notorious for its high levels of gore[87] and occultism along with satanic imagery, which generated controversy from a broad range of groups. Yahoo! Games listed it as one of the top ten most controversial games of all time.[88]
The game again sparked controversy throughout a period of school shootings in the United States when it was found that Eric Harris and Dylan Klebold, who committed the Columbine High School massacre in 1999, were avid players of the game. While planning for the massacre, Harris said that the killing would be "like playing Doom", and "it'll be like the LA riots, the Oklahoma bombing, World War II, Vietnam, Duke Nukem and Doom all mixed together", and that his shotgun was "straight out of the game".[89] A rumor spread afterwards that Harris had designed a Doom level that looked like the high school, populated with representations of Harris's classmates and teachers, and that Harris practiced for his role in the shootings by playing the level over and over. Although Harris did design Doom levels, none of them were based on Columbine High School.[90]
While Doom and other violent video games have been blamed for nationally covered school shootings, 2008 research featured by Greater Good Science Center[91] shows that the two are not closely related. Harvard Medical School researchers Cheryl Olson and Lawrence Kutner found that violent video games did not correlate to school shootings. The United States Secret Service and United States Department of Education analyzed 37 incidents of school violence and sought to develop a profile of school shooters; they discovered that the most common traits among shooters were that they were male and had histories of depression and attempted suicide. While many of the killers—like the vast majority of young teenage boys—did play video games, this study did not find a relationship between gameplay and school shootings. In fact, only one-eighth of the shooters showed any special interest in violent video games, far less than the number of shooters who seemed attracted to books and movies with violent content.[92]
Wolfenstein 3D
[edit]
As for Wolfenstein 3D, due to its use of Nazi symbols such as the swastika and the anthem of the Nazi Party, Horst-Wessel-Lied, as theme music, the PC version of the game was withdrawn from circulation in Germany in 1994, following a verdict by the Amtsgericht München on January 25, 1994. Despite the fact that Nazis are portrayed as the enemy in Wolfenstein, the use of those symbols is a federal offense in Germany unless certain circumstances apply. Similarly, the Atari Jaguar version was confiscated following a verdict by the Amtsgericht Berlin Tiergarten on December 7, 1994. The Unterhaltungssoftware Selbstkontrolle lifted the outright ban in 2018 in favor of analysing depictions on a case-by-case basis, and the international version of the game was removed from the list of banned titles in 2019.[93][94]
Due to concerns from Nintendo of America, the Super NES version was modified to not include any swastikas or Nazi references; furthermore, blood was replaced with sweat to make the game seem less violent, and the attack dogs in the game were replaced by giant mutant rats. Employees of id Software are quoted in The Official DOOM Player Guide about the reaction to Wolfenstein, claiming it to be ironic that it was morally acceptable to shoot people and rats, but not dogs. Two new weapons were added as well. The Super NES version was not as successful as the PC version.[citation needed] [95]
Soundtrack dispute
[edit]
In May 2020, after the Doom Eternal Original Soundtrack was released,[96] there was a serious backlash to the Doom Eternal OST and accusations of low quality work that did not match composer Mick Gordon's usual standards. On April 19, Gordon confirmed on Twitter that it was not his work, and Marty Stratton subsequently posted on May 20 a 2,500-word open letter[98] on Reddit blaming Gordon for everything that went wrong with the process of creating music for the soundtrack.[98] Following this, public outcry against Gordon reached a level where he received explicit death threats and graphic messages of intent to harm him and his family. Gordon's message accounts, servers, and phones were allegedly inundated with abuse to extreme levels, seriously impacting his mental health.[99]
On November 9, 2022, Mick published a 14,000-word article on Medium[100] explaining his side of the story as a defensive rebuttal of the nine outlined accusations in Stratton's post (described as "an extensive series of lies"), substantiated with various forms of evidence including photographs of emails, receipts, and file metadata to verify his claims.[101][99][102] It included claims that Gordon had yet to receive over half of his payment for his work and awards from the soundtrack's nominations at The Game Awards 2020 Stratton had reportedly claimed to deliver on Gordon's behalf; that his name had been listed on the OST's pre-order for weeks before Bethesda had contracted him to work on it just 48 hours before the game's release; Mossholder had been composing an alternate version of the OST as early as August 2019, and in response to request from Gordon's lawyers for Stratton's Reddit post to be removed, Gordon was offered six figures in exchange for a lifetime gag order, but never the possibility of Stratton's defamatory post being removed.[100]
On November 16, 2022, Bethesda released a statement backing Marty Stratton, Chad Mossholder, and everyone in the id software team. Their statement further claimed that they had evidence to rebut Gordon's claims, without releasing mentioned evidence, and expressed concern that his statement enticed harassment and violence towards the team.[103]
People
[edit]
In 2003, the book Masters of Doom chronicled the development of id Software, concentrating on the personalities and interaction of John Carmack and John Romero. Below are the key people involved with id's success.
John Carmack
[edit]
Main article: John Carmack
Carmack's skill at 3D programming is widely recognized in the software industry and from its inception, he was id's lead programmer. On August 7, 2013, he joined Oculus VR, a company developing virtual reality headsets, and left id Software on November 22, 2013.[19]
John Romero
[edit]
Main article: John Romero
John Romero saw the horizontal scrolling demo Dangerous Dave in Copyright Infringement and immediately had the idea to form id Software on September 20, 1990.[104] Romero pioneered the game engine licensing business with his "id Summer Seminar" in 1991 where the Keen4 engine was licensed to Apogee for Biomenace.[105] John also worked closely with the DOOM community and was the face of id to its fans. One success of this engagement was the fan-made game Final DOOM, published in 1996.[106] John also created the control scheme for the FPS, and the abstract level design style of DOOM that influenced many 3D games that came after it.[107] John added par times to Wolfenstein 3D, and then DOOM, which started the phenomenon of Speedrunning.[108] Romero wrote almost all the tools that enabled id Software and many others to develop games with id Software's technology.[109] Romero was forced to resign in 1996 after the release of Quake, then later formed the company Ion Storm. There, he became infamous through the development of Daikatana, which was received negatively from reviewers and gamers alike upon release. Afterward, Romero co-founded The Guildhall in Dallas, Texas,[110] served as chairman of the CPL eSports league,[111] created an MMORPG publisher and developer named Gazillion Entertainment,[111] created a hit Facebook game named Ravenwood Fair that garnered 25 million monthly players in 2011,[112] and started Romero Games in Galway, Ireland in 2015.[113]
Both Tom Hall and John Romero have reputations as designers and idea men who have helped shape some of the key PC gaming titles of the 1990s.
Tom Hall
[edit]
Main article: Tom Hall
Tom Hall was forced to resign by id Software during the early days of Doom development, but not before he had some impact; for example, he was responsible for the inclusion of teleporters in the game. He was let go before the shareware release of Doom and then went to work for Apogee, developing Rise of the Triad with the "Developers of Incredible Power". When he finished work on that game, he found he was not compatible with the Prey development team at Apogee, and therefore left to join his ex-id Software compatriot John Romero at Ion Storm. Hall has frequently commented that if he could obtain the rights to Commander Keen, he would immediately develop another Keen title.
Sandy Petersen
[edit]
Main article: Sandy Petersen
Sandy Petersen was a level designer for 19 of the 27 levels in the original Doom title as well as 17 of the 32 levels of Doom II. As a fan of H.P. Lovecraft, his influence is apparent in the Lovecraftian feel of the monsters for Quake, and he created Inferno, the third "episode" of the first Doom. He was forced to resign from id Software during the production of Quake II and most of his work was scrapped before the title was released.
American McGee
[edit]
Main article: American McGee
American McGee was a level designer for Doom II, The Ultimate Doom, Quake, and Quake II. He was asked to resign after the release of Quake II, and he then moved to Electronic Arts where he gained industry notoriety with the development of his own game American McGee's Alice. After leaving Electronic Arts, he became an independent entrepreneur and game developer. McGee headed the independent game development studio Spicy Horse in Shanghai, China from 2007 to 2016.
References
[edit]
Bibliography
[edit]
Kushner, David (2003). Masters of Doom: How Two Guys Created an Empire and Transformed Pop Culture, New York: Random House. ISBN 0-375-50524-5.
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For the American football player, see John Romero (American football). For the baseball player, see Jhon Romero.
Alfonso John Romero (born October 28, 1967) is an American director, designer, programmer and developer in the video game industry. He is a co-founder of id Software and designed their early games, including Wolfenstein 3D (1992), Doom (1993), Doom II (1994), Hexen (1995) and Quake (1996). His designs and development tools, along with programming techniques developed by id Software's lead programmer, John Carmack, popularized the first-person shooter (FPS) genre. Romero is also credited with coining the multiplayer term "deathmatch".
Following disputes with Carmack, Romero was fired from id in 1996. He co-founded a new studio, Ion Storm, and directed the FPS Daikatana (2000), which was a critical and commercial failure. Romero departed Ion Storm in 2001. In July 2001, Romero and another former id employee, Tom Hall, founded Monkeystone Games to develop games for mobile devices.
In 2003, Romero joined Midway Games as the project lead on Gauntlet: Seven Sorrows (2005), and left shortly before its release. He founded another company, Gazillion Entertainment, in 2005. In 2016, Romero and another former id employee, Adrian Carmack, announced a new FPS, Blackroom, but it was canceled after it failed to gain funding.
Biography
Romero was born on October 28, 1967, six weeks premature, in Colorado Springs, Colorado. He has said that he has Mexican, Yaqui, and Cherokee grandparents. His mother, Ginny, met Alfonso Antonio Romero when they were teenagers in Tucson, Arizona. Alfonso, a first-generation Mexican American, was a maintenance man at an air force base, spending his days fixing air conditioners and heating systems. After Alfonso and Ginny married, they headed in a 1948 Chrysler with three hundred dollars to Colorado, hoping their interracial relationship would thrive in more tolerant surroundings.
Among Romero's early influences, the arcade game Space Invaders (1978), with its "shoot the alien" gameplay, introduced him to video games. Namco's maze chase arcade game Pac-Man (1980) had the biggest influence on his career, as it was the first game that got him "thinking about game design." Nasir Gebelli (Sirius Software, Squaresoft) was his favorite programmer and a major inspiration, with his fast 3D programming work for Apple II games, such as the shooters Horizon V (1981) and Zenith (1982), influencing his later work at id Software. Other influences include programmer Bill Budge, Shigeru Miyamoto's Super Mario games, and the fighting games Street Fighter II, Fatal Fury, Art of Fighting and Virtua Fighter.
Early career
John Romero started programming games on an Apple II he got in 1980. His first developed game was a Crazy Climber clone, but it was not published. His first published game, Scout Search, appeared in the June 1984 issue of inCider magazine, a popular Apple II magazine during the 1980s. Romero's first company, Capitol Ideas Software, was listed as the developer for at least 12 of his earliest published games. Romero captured the December cover of the Apple II magazine Nibble for three years in a row starting in 1987. He entered a programming contest in A+ magazine during its first year of publishing with his game Cavern Crusader. The first game Romero created that was eventually published was Jumpster in UpTime. Jumpster was created in 1983 and published in 1987, making Jumpster his earliest created, then published, game.
Romero's first industry job was at Origin Systems in 1987 after programming games for eight years. He worked on the Apple II to Commodore 64 port of 2400 A.D., which was eventually scrapped due to slow sales of the Apple II version. Romero then moved onto Space Rogue, a game by Paul Neurath. During this time, Romero was asked if he would be interested in joining Paul's soon-to-start company Blue Sky Productions, eventually renamed Looking Glass Technologies. Instead, Romero left Origin Systems to co-found a game company named Inside Out Software, where he ported Might & Magic II from the Apple II to the Commodore 64. He had almost finished the Commodore 64 to Apple II port of Tower Toppler, but Epyx unexpectedly cancelled all its ports industrywide due to their tremendous investment in the first round of games for the upcoming Atari Lynx. During this short time, Romero did the artwork for the Apple IIGS version of Dark Castle, a port from the Macintosh. During this time, John and his friend Lane Roathe co-founded a company named Ideas from the Deep and wrote versions of a game called Zappa Roidz for the Apple II, PC and Apple IIGS. Their last collaboration was an Apple II disk operating system (InfoDOS) for Infocom's games Zork Zero, Arthur, Shogun and Journey.
1990s: id Software and first-person shooters
Romero moved to Shreveport, Louisiana, in March 1989 and joined Softdisk as a programmer in its Special Projects division. After several months of helping the PC monthly disk magazine Big Blue Disk, he officially moved into the department until he started a PC games division in July 1990 named Gamer's Edge (originally titled PCRcade). Romero hired John D. Carmack into the department from his freelancing in Kansas City, moved Adrian Carmack into the division from Softdisk's art department, and persuaded Tom Hall to come in at night and help with game design. Romero and the others left Softdisk in February 1991 to form id Software.
Romero worked at id Software from its inception in 1991 until 1996. He was involved in the creation of several milestone games, including Commander Keen, Wolfenstein 3D, Doom, Doom II: Hell on Earth and Quake. He served as executive producer (and game designer) on Heretic and Hexen. He designed most of the first episode of Doom, a quarter of the levels in Quake, and half the levels in Commander Keen and Wolfenstein 3D: Spear of Destiny. He wrote many of the tools used at id Software to create their games, including DoomEd (level editor), QuakeEd (level editor), DM (for deathmatch launching), DWANGO client (to connect the game to DWANGO's servers), TED5 (level editor for the Commander Keen series, Wolfenstein 3D: Spear of Destiny), IGRAB (for grabbing assets and putting them in WAD files), the installers for all the games up to and including Quake, the SETUP program used to configure the games, and several others. In his keynote speech at WeAreDevelopers Conference 2017, Romero named this period Turbo Mode, in which he emphasizes having created 28 games, in 5.5 years with a team consisting of fewer than 10 developers. Romero is also credited with coining the multiplayer term "deathmatch".
In level 30 of Doom II, "Icon of Sin", the boss is supposed to be a giant demon head with a fragment missing from its forehead. When first viewing the demon, a distorted and demonic message is played, which is actually John Romero saying "To win the game, you must kill me, John Romero!", reversed and distorted to sound like a demonic chant. ..... The player defeats the boss (without the noclip cheat) by shooting rockets into its exposed brain after activating a lift and riding it. Romero's head functions as its hit detection point; when he "dies", the boss is killed and the game is finished. In the 2013 IGN Doom playthrough to celebrate Doom's 20th anniversary, Romero shared the backstory behind the inclusion of his head as the final boss and the reversed sound effect – they were both a result of in-joke pranking between development team members.
During the production of Quake, Romero clashed with John Carmack over the future direction of id. Romero wanted the game to follow his demanding vision without compromise, but Carmack insisted that the project had to make steady progress toward completion and accused Romero of not working as much as the other developers. Although Romero relented on his vision and joined a months-long death march effort to finish the game, this did not resolve the tensions within the company, and Romero was forced to resign. In a 1997 interview, Romero said, "Leaving after finishing Quake was the right choice — leaving after finishing a hit game. I keep on good terms with the id guys and it was pretty easy because we've been friends for years." In 2022, Carmack said he regretted the way he dealt with the firing of Romero, citing immaturity and lack of understanding of corporate structure as the main reasons. He said that both he and Romero were on good terms.
1996–2000: Ion Storm and Daikatana
Romero co-founded Ion Storm in Dallas, Texas with another id co-founder, Tom Hall, where he designed and produced the first-person shooter Daikatana. It was announced in 1997 with a release date for the Christmas shopping season of that year. However, this release date slipped repeatedly in the coming months, and the game began to accrue negative press. In 2010, Gamesauce featured Romero on its cover and contained an in-depth interview with Romero written by Brenda Brathwaite. In the interview, Romero publicly apologized for the infamous Daikatana advertisement. In particular, a 1997 advertisement boasting "John Romero's About To Make You His Bitch....Suck it down" caused controversy in the press and public.
The massive pre-hype for the game and the subsequent delays (it was not released until April 2000) were compounded by the poor reviews the game received when it was finally complete. Daikatana was panned and appeared on numerous "top 10 worst games" listings. During this time, Romero was rumored to have been killed and a photograph of his corpse with a bullet wound was also spread through the Internet. The picture was taken for the magazine Texas Monthly. In 2001, Romero and Hall departed after the release of Hall's Anachronox game and the subsequent closing of the Dallas Ion office.
2000s
In July 2001, Romero and Hall founded Monkeystone Games in order to develop and publish games for mobile devices. Monkeystone released 15 games (approximately) during its short lifespan of three and a half years. Some highlights of their developments included Hyperspace Delivery Boy! (Pocket PC, Windows, Linux), Congo Cube (Pocket PC, PC, BREW, Java ME), and a version of Red Faction for the Nokia N-Gage. He and his girlfriend, Stevie Case, broke up in 2003, and she left the company in May while Red Faction development continued until October. John then left Monkeystone Games' day-to-day operations to Lucas Davis while Romero and Hall left for Midway in San Diego.
In mid-October 2003, Romero joined Midway Games as project lead on Gauntlet: Seven Sorrows. While he continued to maintain his working relationship with Monkeystone, Lucas Davis took over running the office. The Monkeystone team moved to Austin, Texas to work on Midway's Area 51 title until its release. Monkeystone Games closed down in January 2005. Romero moved from project lead to creative director of internal studio during this time. At the end of June 2005, Romero left Midway Games mere months before the completion of Gauntlet: Seven Sorrows.
On August 31, 2005, Romero confirmed that he was working on a yet-to-be-announced MMOG at his newly opened development studio, Slipgate Ironworks. It was reported that the name was temporary. "For the record," Romero wrote, "I'm co-founder of a new game company in the Bay Area and am much better off in many ways than I was at Midway". He said that he would not reveal anything about the company or the game until 2007. On March 17, 2009, it was announced that Slipgate Ironworks was part of Gazillion Entertainment. Along with venture capitalist Rob Hutter and investor Bhavin Shah, Romero was a co-founder of Gazillion. On July 22, 2006, John Romero and former co-worker Tom Hall guest hosted episode 53 of the podcast The Widget. Romero departed Gazillion Entertainment in November 2010 to form a social game company called Loot Drop alongside Brenda Brathwaite. His longtime co-worker, Tom Hall joined the company on January 1, 2011.
John Romero was the Chairman of the Board for the Cyberathlete Professional League (CPL) for ten years. On December 20, 2006, John Romero announced a new FPS project for the CPL titled Severity for both consoles and PC. It was announced that Tom Mustaine (ex-Studio Director at Ritual Entertainment) would act as Director of Game Development at CPL's new studio. It was stated that Severity would be a multiplayer first person shooter, and that the game would be built on technology licensed from id Software. On October 2009, Angel Munoz, founder of the CPL stated that Severity was no longer being produced because they were not able "to convince game publishers of its value".
2010–present
In March 2010, John Romero collaborated with the gaming magazine Retro Gamer, taking on the role of a guest editor, taking charge of the magazine's editorial and contributing to a number of articles on different subjects throughout the magazine. The issue contains an interview by Romero with industry luminaries offering their thoughts on Romero. In August 2014, in a Super Joystiq Podcast at Gamescom 2014 Romero announced that he was about to make a new shooter, stating that he was working with a concept artist and he had some cool imagery for the main character. In April 2016, Romero announced a partnership with the former iD artist Adrian Carmack to create a new FPS, Blackroom, describing their vision as a visceral, varied and violent shooter that harkens back to classic FPS play with a mixture of exploration, speed, and intense, weaponized combat. They were seeking $700,000 (~$754 thousand in 2021) via Kickstarter to see the project to completion and anticipated a launch in late 2018. The Kickstarter campaign was cancelled four days after its launch. In 2023, Romero confirmed in his autobiography Doom Guy: Life in First Person that while a demo had existed and was shown to publishers, no publishers expressed interest in funding the game after the Kickstarter cancellation, and the game was fully cancelled after that behind-closed-doors demo.
On 2017, Romero won the Bizkaia Award at the Fun & Serious Game Festival, which takes place in the Spanish city of Bilbao. Romero and his wife Brenda Romero established Romero Games on August 11, 2015. They published Gunman Taco Truck in 2017, SIGIL in 2019, and Empire of Sin in 2020. In March 2022, in response to the 2022 Russian invasion of Ukraine, Romero created a new level of Doom II which was subsequently listed for sale through his personal website. Romero stated that all proceeds would be donated to the Ukrainian Red Cross and the UN Central Emergency Response Fund.
Personal life
In January 2004, Romero married Raluca Alexandra Pleșca, originally from Bucharest, Romania. They divorced in 2011. Romero and game developer Brenda Brathwaite became engaged on March 24, 2012, and married on October 27, 2012. Together, they worked on Ravenwood Fair, with Romero as Lead Designer and Brathwaite as Creative Director and Game Designer. They also founded social game development company Loot Drop in November 2010, and worked on Cloudforest Expedition and Ghost Recon Commander together. Romero has three children from two previous marriages: Michael, born in 1988, Steven, born in 1989, and Lillia Antoinette, born in 1998.
Romero's long hair has been a source of both admiration and derision for his fans. John guest-answered Planet Quake's "Dear Mynx" column, in which a female fan asked for hair care tips. Romero cut his hair short in 2002 and donated it to Locks of Love.
Discussion boards such as Doomworld and BeyondUnreal had threads discussing his new look at the time, although he began to grow it back to its original length in 2003. On January 11, 2022, Romero gave a statement via Twitter on the subject of his hair, to coincide with the 120th anniversary of William Arthur Jones' "Indian haircut order" of 1902. In the statement, Romero said: "I wear my hair long as a proud Yaqui and Cherokee man, and will continue to do so until the day I die."
In 2000, during the development of Daikatana, Romero listed Ultima V: Warriors of Destiny, Super Mario Bros. 3, Age of Empires, Duke Nukem 3D and Chrono Trigger as his favorite games of all time, with Chrono Trigger topping the list. In 2017, Romero listed World of Warcraft and Minecraft as his favorite games of all time.
Romero's favorite programming language as of 2017 is Lua. Romero says he has hyperthymesia.
Romero is an atheist. He also claimed that everyone involved at working on the original Doom was an atheist (although game designer Sandy Petersen is a member of the Church of Jesus Christ of Latter-day Saints).
On December 19, 2023, Romero acquired Irish citizenship, after living there for about 8 years.
Recognition
Date Award Description 2023 Lifetime Achievement Award Awarded at GDC 2023 2017 Bizkaia Award Awarded at the Fun & Serious Game Festival 2017 Development Legend Awarded at Develop:Brighton 2016 Cacoward Awarded at Doomworld.com for the new DOOM 1 level E1M8b 2012 Tech Hall of Fame Included in list of technology creators. 2012 Apple II Forever Award Awarded at KansasFest to members of the Apple II community who had made significant contributions to the Apple II. 2011 Most Influential Person in Facebook and Social Games #1 in Games.com's 2011 list. 1999 MIT Technology Review TR100 Innovators Under 35. 1998 Time Magazine's Cyber Elite 50 #36, The top 50 tech elite of the year. 1998 Top 20 Texans of the Year Texas Monthly's yearly list of the Top 20 Texans 1997 Time Magazine's Cyber Elite 50 #40, The top 50 tech elite of the year. 1996 The Most Influential People in Computer Gaming of All Time #7, GameSpot's "The Most Influential People in Computer Gaming of All Time" list.
Games
Name Year Publisher Role(s) Dodge 'Em 1982 Capitol Ideas Software Programmer, Designer, Art, Sound Scout Search 1984 inCider Magazine Programmer, Designer, Sound Cavern Crusader 1984 A+ Magazine Programmer, Designer, Sound, Art Bongo's Bash 1985 A+ Magazine Programmer, Designer, Sound Zippy Zombi 1987 Uptime Disk Monthly Programmer, Designer, Sound Wacky Wizard 1987 Uptime Disk Monthly Programmer, Designer, Sound Subnodule 1987 Keypunch Software, Inc. Programmer, Designer, Sound Pyramids of Egypt 1987 Uptime Disk Monthly Programmer, Designer, Sound Neptune's Nasties 1987 Uptime Disk Monthly Programmer, Designer, Sound Major Mayhem 1987 Nibble Magazine Programmer, Designer, Sound Lethal Labyrinth 1987 Uptime Disk Monthly Programmer, Designer, Sound Krazy Kobra 1987 Uptime Disk Monthly Programmer, Designer, Sound Jumpster 1987 Uptime Disk Monthly Programmer, Designer, Sound Evil Eye 1987 Uptime Disk Monthly Programmer, Designer, Sound James Clavell's Shōgun 1988 Infocom Programmer Dangerous Dave in the Deserted Pirate's Hideout 1988 Uptime Disk Monthly Programmer, Designer, Sound, Art City Centurian 1988 Nibble Magazine Programmer, Designer, Sound, Art Zork Zero: The Revenge of Megaboz 1989 Infocom Programmer Zappa Roidz 1989 Softdisk Publishing Programmer, Designer Twilight Treasures 1989 Softdisk Publishing Associate Editor Space Rogue 1989 Origin Systems Programmer Might and Magic II: Gates to Another World 1989 New World Computing Lead programmer Magic Boxes 1989 Softdisk Publishing Lead programmer Journey: The Quest Begins 1989 Infocom Programmer How to Weigh an Elephant 1989 Softdisk Publishing Programmer Big Blue Disk #32 1989 Softdisk Publishing Programmer Big Blue Disk #35 1989 Softdisk Publishing Contributor The Catacomb Abyss 1989 Softdisk Programmer Arthur: The Quest for Excalibur 1989 Infocom Programmer Sub Stalker 1990 Softdisk Publishing Programmer, Designer, Sound, Art Pixel Puzzler 1990 Softdisk Publishing Pixel Puzzle Maker Dinosorcerer 1990 Softdisk Publishing Programmer Dark Designs II: Closing the Gate 1990 Softdisk Publishing Level Designer Commander Keen 1: Marooned on Mars 1990 Apogee Software Programmer, Level Designer Commander Keen 2: The Earth Explodes 1990 Apogee Software Programmer, Level Designer Commander Keen 3: Keen Must Die! 1990 Apogee Software Programmer, Level Designer Catacomb 1990 Softdisk Publishing Programmer Big Blue Disk #40 1990 Softdisk Publishing Associate Editor Big Blue Disk #41 1990 Softdisk Publishing Associate Editor Big Blue Disk #44 1990 Softdisk Publishing Associate Editor Alfredo's Stupendous Surprise 1990 Softdisk Programmer Xenopods 1991 Softdisk Publishing Engine Tools Slordax: The Unknown Enemy 1991 Softdisk Engine Tools Rescue Rover 1991 Softdisk Programmer Rescue Rover 2 1991 Expert Software, Froggman, Softdisk Programmer Shadow Knights 1991 Softdisk Publishing Programmer, Level Designer Paragon 1991 Softdisk Engine Tools Paganitzu 1991 Apogee Software Special Thanks Hovertank 3D 1991 Softdisk Programmers Dangerous Dave in the Haunted Mansion 1991 Softdisk Programmer Commander Keen: Keen Dreams 1991 Softdisk Programmer Commander Keen 4: Secret of the Oracle 1991 Apogee Software Programmer, Level Designer Commander Keen 5: The Armageddon Machine 1991 Apogee Software Programmer, Level Designer Commander Keen 6: Aliens Ate My Baby Sitter! 1991 FormGen Programmer, Level Designer The Catacomb (Catacomb II) 1991 Softdisk Programmer Catacomb 3-D 1991 Softdisk Programming Wolfenstein 3D 1992 Apogee Software Programmer, Designer, Sound Spear of Destiny 1992 FormGen Level Designer Cyberchess 1992 Softdisk Engine Tools Terror of the Catacombs 1993 Froggman Engine Tools Street Ball 1993 Froggman Engine Tools Shadowcaster 1993 Origin Systems Engine Tools ScubaVenture: The Search for Pirate's Treasure 1993 Softdisk Engine Tools Dangerous Dave's Risky Rescue 1993 Softdisk Engine Tools Curse of the Catacombs 1993 Froggman Engine Tools Bio Menace 1993 Apogee Software Engine Tools Blake Stone: Aliens of Gold 1993 Apogee Software Programmer Doom 1993 id Software Programmer, Designer Corridor 7: Alien Invasion 1994 Capstone Software Engine Tools Super 3D Noah's Ark 1994 Wisdom Tree Programmer Doom II: Hell on Earth 1994 GT Interactive Programmer, Designer Blake Stone: Planet Strike 1994 FormGen Programmer Heretic 1994 id Software Executive Producer The Ultimate Doom 1995 GT Interactive Programmer, Designer Hexen: Beyond Heretic 1995 id Software Executive Producer Heretic: Shadow of the Serpent Riders 1996 id Software Executive Producer Final Doom 1996 id Software; Atari, Inc. Programmer, Designer Quake 1996 id Software Programmer, Designer Chex Quest 1996 Digital Café Engine Programmer Doom 64 1997 Midway Games Engine Tools, Designer Dominion: Storm Over Gift 3 1998 Eidos Interactive Music Director Daikatana 2000 Eidos Interactive Designer Red Faction (mobile version) 2001 THQ Wireless Programmer Anachronox 2001 Eidos Interactive Level Designer Hyperspace Delivery Boy! 2002 Monkeystone Games Lead Programmer Jewels and Jim 2003 THQ Wireless Level Designer Dig It! 2003 THQ Wireless Level Designer Congo Cube 2003 THQ Wireless, RealArcade Programmer Cartoon Network: Block Party 2004 Majesco Entertainment Programmer Gauntlet: Seven Sorrows 2005 Midway Games Special Thanks Area 51 2005 Midway Austin Additional Designer Ravenwood Fair 2010 Lolapps Programmer, Designer, Sound Marvel Super Hero Squad Online 2011 Gazillion Entertainment Inc. Special Thanks Tom Clancy's Ghost Recon: Commander 2012 Ubisoft, Inc. Designer Pettington Park 2012 Zynga Game Network, Inc. CEO, Additional Design Dodger Down 2013 Howljerk Games Testing and Feedback Play Gig-it 2013 Gig-it Corp Special Thanks Techno Dash 2014 Hammerwing Studios, Inc. Special Thanks Dangerous Dave in the Deserted Pirate's Hideout 2015 John Romero Programmer, Designer, Sound, Art Grom Skate 2015 Grom Social Inc. Designer, Sound Warpcop III 2017 indie published Designer, Sound July 4, 1976 2017 Playbarf Programmer, Sound, Designer, Writer Gunman Taco Truck 2017 Romero Games Ltd. Programmer, Sound, Designer, Writer SIGIL 2019 Romero Games Ltd. Programmer, Designer Empire of Sin 2020 Romero Games Ltd. Programmer SIGIL II 2023 Romero Games Ltd. Programmer, Designer
See also
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Consul Neowatt named No.1 Indian Power Electronics Company 2015
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Consul Neowatt named No.1 Indian Power Electronics Company 2015 - SD Awards
December 18, 2015 | Soft Disk
Consul Neowatt Power Solutions today announced that it has been recognized as the No 1 India Power Electronic company (PEC) 2015 at the Soft Disk (SD) 2015 Awards, the only awards for the UPS (Uninterrupted Power Supply) Industry in India.
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Make Your Day
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https://en.wikipedia.org/wiki/John_Carmack
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John Carmack
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https://en.wikipedia.org/wiki/John_Carmack
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American computer programmer and video game developer (born 1970)
For other people named John Carmack, see John Carmack (disambiguation).
John D. Carmack II[1] (born August 21,[a] 1970)[1] is an American computer programmer and video game developer. He co-founded the video game company id Software and was the lead programmer of its 1990s games Commander Keen, Wolfenstein 3D, Doom, Quake, and their sequels. Carmack made innovations in 3D computer graphics, such as his Carmack's Reverse algorithm for shadow volumes.
In 2013, he resigned from id Software to work full-time at Oculus VR as their CTO. In 2019, he reduced his role to Consulting CTO so he could allocate more time toward artificial general intelligence (AGI).[3] In 2022, he left Oculus to work on his AGI startup, Keen Technologies.[6]
Biography
Early life
Carmack was born in Shawnee Mission, Kansas,[1] the son of local television news reporter Stan Carmack. He grew up in the Kansas City metropolitan area, where he became interested in computers at an early age. He attended Shawnee Mission East High School in Prairie Village, Kansas and Raytown South High School in nearby Raytown, Missouri.
Carmack was introduced to video games with the 1978 shoot 'em up game Space Invaders in the arcades during a summer vacation as a child. The 1980 maze chase arcade game Pac-Man also left a strong impression on him. He cited Nintendo designer Shigeru Miyamoto as the game developer he most admired.[8]
As reported in David Kushner's Masters of Doom, when Carmack was 14, he broke into a school with other children to steal Apple II computers. To gain entry to the building, Carmack concocted a sticky substance of thermite mixed with Vaseline that melted through the windows. However, an overweight accomplice struggled to get through the hole and instead opened the window, setting off a silent alarm and alerting police. Carmack was arrested and sent for psychiatric evaluation. He was sentenced to a year in a juvenile home.[9] He attended the University of Missouri–Kansas City for two semesters before withdrawing to work as a freelance programmer.[11]
Career
Softdisk, a computer company in Shreveport, Louisiana, hired Carmack to work on Softdisk G-S (an Apple IIGS publication), introducing him to John Romero and other future key members of id Software such as Adrian Carmack (no relation). Later, Softdisk would place this team in charge of a new, but short-lived, bi-monthly game subscription product called Gamer's Edge for the IBM PC (DOS) platform. In 1990, while still at Softdisk, Carmack, Romero, and others created the first of the Commander Keen games, a series that was published by Apogee Software, under the shareware distribution model, from 1991 onwards. Afterwards, Carmack left Softdisk to co-found id Software.
Carmack has pioneered or popularized the use of many techniques in computer graphics, including "adaptive tile refresh" for Commander Keen, ray casting for Hovertank 3D, Catacomb 3-D, and Wolfenstein 3D, binary space partitioning which Doom became the first game to use, surface caching which he invented for Quake, Carmack's Reverse (formally known as z-fail stencil shadows) which he devised for Doom 3, and MegaTexture technology, first used in Enemy Territory: Quake Wars.[16] Quake 3 popularized the fast inverse square root algorithm.[17]
Carmack's engines have also been licensed for use in other influential first-person shooters such as Half-Life, Call of Duty and Medal of Honor. In 2007, when Carmack was on vacation with his wife, he ended up playing some games on his cellphone, and decided he was going to make a "good" mobile game.[18][19]
Main article: ZeniMax v. Oculus
On August 7, 2013, Carmack joined Oculus VR as their CTO.[20] On November 22, 2013, he resigned from id Software to work full-time at Oculus VR.[2][21] Carmack's reason for leaving was that id's parent company ZeniMax Media did not want to support Oculus Rift.[22] Carmack's role at both companies later became central to a ZeniMax lawsuit against Oculus' parent company, Facebook, claiming that Oculus stole ZeniMax's virtual reality intellectual property.[23][24][25] The trial jury absolved Carmack of liability, though Oculus and other corporate officers were held liable for trademark, copyright, and contract violations.[26]
In February 2017, Carmack sued ZeniMax, claiming the company had refused to pay him the remaining $22.5 million (~$27.5 million in 2023) owed to him from their purchase of id Software.[27] In October 2018, Carmack stated that he and ZeniMax had reached an agreement and that "Zenimax has fully satisfied their obligations to me", ending the suit.[28]
On November 13, 2019, Carmack stepped down from the Oculus CTO role to become a "Consulting CTO" in order to allocate more time to his work on artificial general intelligence (AGI).[3] On August 19, 2022, Carmack announced that he has raised $20M for Keen Technologies, his new AGI company.[29] On December 16, 2022, Carmack left Oculus to focus on Keen.[6]
Workstyle
Carmack has maintained a sixty-hour work week, working a 10-hour day, six days a week, throughout his career.[30] He has spoken publicly about the importance of long hours of uninterrupted focus in his work. Not only does high intensity allow him to make progress more quickly, but long hours are also critical to maintaining a focused mindset over time. Despite working such a demanding schedule, he has never experienced burnout.[30]
Carmack is also known for taking week-long programming retreats. These retreats involve a solitary, uninterrupted period away from his normal routine often sequestered in a random city and hotel. The goal of these retreats is to allow Carmack to operate at full cognitive capacity, tackling a specific, difficult problem or learning a new skill.[32] The solitude and physical isolation of these retreats offer the perfect environment for deep focus and reflection, making them an essential part of Carmack's creative process.
Carmack was vocal about his frustration with the bureaucratic inefficiencies he encountered during his time at Meta.[33] In his departure memo, he stated, "We have a ridiculous amount of people and resources, but we constantly self-sabotage and squander effort," he wrote. "I have never been able to kill stupid things before they cause damage, or set a direction and have a team actually stick to it."[34]
Carmack subscribes to the philosophy that small, incremental steps are the fastest route to meaningful and disruptive innovation.[30] He compares this approach to the "magic of gradient descent" where small steps using local information result in the best outcomes. According to Carmack, this principle is proven by his own experience, and he has observed this in many of the smartest people in the world. He states, "Little tiny steps using local information winds up leading to all the best answers."[30]
Armadillo Aerospace
Main article: Armadillo Aerospace
Around 2000, Carmack became interested in rocketry, a hobby of his youth. Reviewing how much money he was spending on customizing Ferraris,[citation needed] he began by giving financial support to a few local amateur engineers. Carmack funded the company, called Armadillo Aerospace, out of his own pocket, for "something north of a million dollars a year."[35] The company of hobbyists made steady progress toward their goals of suborbital space flight and eventual orbital vehicles. In October 2008, Armadillo Aerospace competed in a NASA contest known as the Lunar Lander Challenge, winning first place in the Level 1 competition along with $350,000 (~$486,412 in 2023).[36] In September 2009, they completed Level 2 and were awarded $500,000 (~$690,323 in 2023).[37][38][39] The company went into "hibernation mode" in 2013.[35]
According to Carmack, the work in the Aerospace industry is "simple" compared to the work he does in video games.[40]
Open-source software
Carmack is an advocate of open-source software, and has repeatedly voiced his opposition to software patents, equating them to robbery.[41] He has also contributed to open-source projects, such as starting the initial port of the X Window System to Mac OS X Server and working to improve the OpenGL drivers for Linux through the Utah GLX project.[42]
Carmack released the source code for Wolfenstein 3D in 1995 and the Doom source code in 1997, first under a custom license and then under the GNU General Public License (GPL) in 1999. When the source code to Quake was leaked and circulated among the Quake community underground in 1997 after licensee Crack dot Com was hacked,[43] a programmer unaffiliated with id Software named Greg Alexander used it to port Quake to Linux using SVGALib. As this was more feature rich than Dave Taylor's earlier X11 port, he sent the patches to Carmack.[44] Instead of pursuing legal action, id Software used the patches as the foundation for a company-sanctioned Linux port maintained by new hire Zoid Kirsch, who later ported Quakeworld and Quake II to Linux as well.[45]
id Software has since publicly released the source code to Quake in 1999, Quake 2 in 2001, Quake 3 in 2005 and lastly Doom 3 in 2011 (and later the BFG Edition in 2012). The source code for Hovertank 3D and Catacomb 3D (as well as Carmack's earlier Catacomb) was released in June 2014 by Flat Rock Software with Carmack's blessing.[46][47] He has since expressed regret on using the copyleft GPL over the more permissive BSD license.[48]
The release of id Tech 4 occurred despite patent concerns from Creative Labs over Carmack's reverse,[49] while the original Doom source release shipped without music due to complications with the Cygnus Studios developed DMX library (which lead to the Linux version being selected for release).[50] Carmack has since advised developers to be careful when utilizing middleware, noting how it can limit the possibilities of later releasing source code.[51] Tim Sweeney has implied this issue has hindered potential releases of older Unreal Engine source code.[52]
On the other hand, despite his technical admiration for the system,[53] Carmack has several times over the years voiced a sceptical opinion about Linux as a gaming platform.[54][55] In 2013, he argued for emulation as the "proper technical direction for gaming on Linux",[56] and in 2014 he voiced the opinion that Linux might be the biggest problem for the success of the Steam Machine.[57]
Carmack contributes to charities and gaming communities. Some of the recipients of Carmack's charitable contributions include his former high school, promoters of open-source software, opponents of software patents, and game enthusiasts.[58]
Personal life
Carmack was so successful at id that by mid-1994 he had purchased two Ferraris: a Ferrari 328 and a Ferrari Testarossa.[59] In 1997, he gave away the Ferrari 328 as a prize to Dennis Fong, the winner of the Quake tournament "Red Annihilation".[60]
He met his now ex-wife Katherine Anna Kang, at the 1997 QuakeCon when she visited id's offices. As a bet, Kang challenged Carmack to sponsor the first All Female Quake Tournament if she was able to produce a significant number of participants. Carmack predicted a maximum of 25 participants, but there were 1,500. Carmack and Kang married on January 1, 2000, and planned a ceremony in Hawaii. Steve Jobs requested that they would postpone the ceremony so Carmack could attend the MacWorld Expo on January 5, 2000. Carmack declined and suggested making a video instead.[62] Carmack and Kang had a son Christopher Ryan in August 2004.[63] Their second son was born in November 2009.
Carmack is divorced as of 2022. On May 26, 2022, he announced his divorce and how he met his partner Trista through the VR Beat Saber games he would host via Twitter.[64]
As a game developer, Carmack differed from many of his contemporaries by avoiding commitment to a final release date for any game he was developing. Instead, when asked for a release date on a new game, Carmack would usually reply that the game would be released "when it's done".[65] Employees at Apogee, in their past years the publishers of games by id Software, adopted this business practice as well.[66] In 2019, as a guest on The Joe Rogan Experience, Carmack stated that his beliefs have changed over time: "I largely recant from that now." On Rage's 6-year development time he says: "I think we should have done whatever it would have taken to ship it 2 years earlier". Carmack also reflected on the internal development of Quake in this regard and described it as "traumatic" and says id Software could have split the game into two parts and shipped it earlier.[67]
Carmack has a blog last updated in 2006 (previously a .plan, which could be accessed by making a finger request for johnc@idsoftware.com[68]), an active Twitter account, and also occasionally posts comments to Slashdot.[9]
Carmack supported the 2012 presidential campaign of Libertarian Ron Paul,[69] and is an atheist.[70][71] During a conversation with Joe Rogan, Carmack revealed that he had trained in Brazilian Jiu Jitsu and Judo for several years as a hobby.[72]
During his time at id Software, a medium pepperoni pizza would arrive for Carmack from Domino's Pizza almost every day, carried by the same delivery person for more than 15 years. Carmack had been such a regular customer that they continued to charge him 1995 prices.[73]
On occasion he has commended the efforts of similarly focused programmers – first Ken Silverman, who wrote the Build engine for 3D Realms, and later with Tim Sweeney of Epic Games, who wrote the Unreal Engine.[9]
Recognition
Accolades for John Carmack Date Award Description 1996 Named among the most influential people in computer gaming of the year and of all time #1 and #2 in GameSpot's lists.[74][75] 1997 Named among the most influential people of all time #7 in Computer Gaming World list, for game design.[76] 1999 Named among the 50 most influential people in technology #10 in Time's list.[77] March 2001 Award for community contribution for the Quake 3 engine Used in 12 games. Bestowed at 2001 Game Developer's Conference Award Ceremony. March 22, 2001 Inducted into Academy of Interactive Arts and Sciences' Hall of Fame The fourth person to be inducted, an honor bestowed upon those who have made revolutionary and innovative achievements in the video and computer game industry. 2002 Named to the MIT Technology Review TR100 Included as one of the top 100 innovators in the world under the age of 35.[78] 2003 One subject of book Masters of Doom Masters of Doom is a chronicle of id Software and its founders. 2005 Name in film The film Doom featured a character named Dr. Carmack, in recognition of Carmack who co-created the original game. March 2006 Added to the Walk of Game Walk of Game is an event that recognizes the developers and games with the most impact on the industry.[79] January 2007 Awarded 2 Emmy Awards Carmack and id Software were awarded with two Emmy Awards. The first was Science, Engineering & Technology for Broadcast Television, which includes broadcast, cable and satellite distribution. The second was for Science, Engineering and Technology for Broadband and Personal Television, encompassing interactive television, gaming technology, and for the first time, the Internet, cell phones, private networks, and personal media players. id Software is the first independent game developer to be awarded an Emmy since the Academy began honoring technology innovation in 1948.[80] September 2007 Television appearance Appeared on Discovery Channel Canada Daily Planet featuring his rocket designs along with the Armadillo Aerospace team. 2008 Honored Carmack was honored at the 59th Annual Technology & Engineering Emmy Awards for Quake's pioneering role of user modifiability.[81] He is the only game programmer ever honored twice by the National Academy of Television Arts & Sciences, having been given an Emmy Award in 2007 for his creation of the 3D technology that underlies modern shooter video games.[82] Along with Don Daglow of Stormfront Studios and Mike Morhaime of Blizzard Entertainment, Carmack is one of only three game developers to accept awards at both the Technology & Engineering Emmy Awards and at the Academy of Interactive Arts & Sciences Interactive Achievement Awards.[citation needed] October 2008 Won X-Prize Carmack's Armadillo Aerospace won the $350,000 Level One X-Prize Lunar Lander Challenge.[83] 2009 Named among the 100 top game creators of all time #10 in IGN's list.[84] March 11, 2010 Lifetime Achievement Award Was awarded the Game Developers Conference Lifetime Achievement award for his work.[85] March 7, 2016 BAFTA Fellowship Award Honoured with the Academy's highest honour, the Fellowship for "work that has consistently been at the cutting edge of games and his technical expertise helping the future arrive that little bit faster".[86] May 3, 2017 Honorary Doctorate Received a Doctor of Engineering Honoris Causa from the University of Missouri, Kansas City for "his work in cutting edge tech & comp sci".[87]
Games
Video games worked on by John Carmack Release date Game Developer Publisher Credited for October 16, 2012 Doom 3 BFG Edition id Software Bethesda Softworks Technical director, engine programmer, developer October 4, 2011 Rage id Software Bethesda Softworks Technical director, engine programmer, developer September 28, 2007 Enemy Territory: Quake Wars Splash Damage Activision Programming May 1, 2006 Orcs & Elves Fountainhead Entertainment Electronic Arts Producer/programmer/writer October 18, 2005 Quake 4 Raven Software Activision, Bethesda Softworks (republished 2012) Technical director September 13, 2005 Doom RPG Fountainhead Entertainment id Software Producer/programmer April 3, 2005 Doom 3: Resurrection of Evil Nerve Software Activision Technical director August 3, 2004 Doom 3 id Software Activision Technical director November 19, 2001 Return to Castle Wolfenstein id Software Activision Technical director December 18, 2000 Quake III: Team Arena id Software Activision Programming December 2, 1999 Quake III Arena id Software Activision Programming November 30, 1997 Quake II id Software Activision Programming March 31, 1997 Doom 64 Midway Games Midway Games Programming June 22, 1996 Quake id Software GT Interactive Programming May 31, 1996 Final Doom id Software GT Interactive Programming October 30, 1995 Hexen: Beyond Heretic Raven Software id Software 3D engine December 23, 1994 Heretic Raven Software id Software Engine programmer September 30, 1994 Doom II: Hell on Earth id Software GT Interactive Programming December 10, 1993 Doom id Software id Software Programming 1993 Shadowcaster Raven Software Origin Systems 3D engine September 18, 1992 Spear of Destiny id Software FormGen Software engineer May 5, 1992 Wolfenstein 3D id Software Apogee Software Programming 1991 Catacomb 3-D id Software Softdisk Programming 1991 Commander Keen in Aliens Ate My Babysitter! id Software FormGen Programming December 15, 1991 Commander Keen in Goodbye, Galaxy! id Software Apogee Software Programming 1991 Commander Keen in Keen Dreams id Software Softdisk Programming 1991 Shadow Knights id Software Softdisk Design/programming 1991 Rescue Rover 2 id Software Softdisk Programmer 1991 Rescue Rover id Software Softdisk Programmer 1991 Hovertank 3D id Software Softdisk Programming 1991 Dangerous Dave in the Haunted Mansion id Software Softdisk Programming 1991 Dark Designs III: Retribution Softdisk Softdisk Programmer/designer December 14, 1990 Commander Keen in Invasion of the Vorticons id Software Apogee Software Programming 1990 Slordax: The Unknown Enemy Softdisk Softdisk Programming 1990 Catacomb II Softdisk Softdisk Developer 1990 Catacomb Softdisk Softdisk Programmer 1990 Dark Designs II: Closing the Gate Softdisk Softdisk Programmer/designer 1990 Dark Designs: Grelminar's Staff John Carmack Softdisk Developer 1990 Tennis John Carmack Softdisk Developer 1990 Wraith: The Devil's Demise John Carmack Nite Owl Productions Developer 1989 Shadowforge John Carmack Nite Owl Productions Developer
References
Bibliography
Kushner, David (2003). Masters of Doom: How Two Guys Created an Empire and Transformed Pop Culture. New York: Random House. ISBN 0-375-50524-5.
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Prey Weekly Development Update #12
Wow... Friday already. And time for the Weekly Prey Update. Let's get right to it...
The animators are working hard on cleaning up the motion capture data, and tweaking the cinematic animations to blend together smoothly. It's been a hell of a lot of work, and they're doing a great job.
Well, I use the term cinematic loosely -- as Prey doesn't actually have any cutscenes. The game is always from Tommy's point of view, and the story unfolds around the player as they progress through the game.
So, I use the term cinematic animation to apply to any animation for a specific NPC. An example of this would be if a character has to point in a certain direction, or run over and kneel by another character. That type of stuff.
As mentioned in a previous update, we recorded around 250 new lines for Tommy. A good chunk of those were re-recording old lines to either fit the story better, or because we were unhappy with the previous takes, as opposed to totally "new" dialogue.
And of those 250 lines, we recorded multiple takes of each. Depending upon the line, there were anywhere from two to six takes of each. Ed, our audio director, will go through and choose the best take of each and add them into the game.
However, the level designers were ready now to start adding in the dialog. To multitask, we set up temporary sound shaders for each of Tommy's lines, which the designers can then incorporate immediately.
The end result is that there are a lot of default beeps throughout the game now -- but in less than a week, all of Tommy's new lines should be in the game.
I'm very much looking forward to seeing how the game feels like with all this additional dialog.
We've also been incorporating all the latest music from Jeremy Soule. There's still about a quarter of the music yet to come, but they are cranking away on it, and we should be getting it very soon.
If all goes as planned, we should have all music implemented in the game by next week as well.
Talking to 3DR, we discussed reviving the Ask Prey email address, and answer questions again in an up-coming Weekly Update.
I still have all of the unanswered questions from last time, so I'll look through them again. However, if you have any other questions, or anything you'd like to see discussed in these updates (that hasn't been discussed before), feel free to email us: [email protected] (Make sure to remove the NPSPAM. before sending)
Please have your questions in by next Friday, April 6th. We will answer as many as possible in a future Weekly Update.
The changelog for this week is pretty sizable, as we didn't send a new build to 3DR last week. Here it is:
New music system implemented for fading and crossfading
Grenade throw button - bind a key to _impulse25, should default to G
New directional damage indicator
tips for zooming in on the HUD
low-health (< 25%) HUD effect
Fixed problem with harvester gibs being nonsolid in some cases.
Reduced grace period for ragdolls to resolve being stuck in solid.
Fixed problem with wrench showing up in roadhouse mirror.
All levels end with a portal fade now
Door system: * Unlocked doors are light blue * Locked doors are red and play a locked sound when you approach * Doors that never open are dark and play a locked sound when you approach
GUI pass throughout the level, new guis added
Tommy Voices in progress--putting in placeholders; sound not yet ready
SpiritWalk symbols being added throughout the levels
All leech nodes now have a screen tip
Adjustments of items/characters/geometry to accommodate level fades
All music we have so far implemented (volumes need tweaking)
FTA crouch portals can be walked around now.
three fodders are now in the lighting training hallway
new exit from FTA to FTB
Item cabinet moved away from the forcefield
The door with the raving guy banging on it is now locked
First pod puzzle no longer has a pod right near the gak
Vomiter removed from first wallwalk area
Multiple Hunters now after the player wallwalks after the hologram
Moved the autosave in the mutilated human room, so you don't fall into it.
Art Bell gui moved to a new place
New Tri-flip combat room w/portal crates
Optimizations in several rooms and corridors
Hunters on vent in breakaway room
New airlock with keypad GUI
Portal Crate in Catwalk Hunter Combat room
combat chains increased in several levels
Added in additional security mounted guns.
Dimmed the lights in the BonusCloset area to give more broken/emergency feel.
Added in Thin-Thing (tm)
Lighting adjustments in Big Asteroid room to allow for smoother enemy lighting
Additional deathwalk map added
And that wraps up another Weekly Prey Update. Next week will be a bit of a detour from the usual updates. And, the week after that, will be the next Ask Prey questions. So, if you have any questions, make sure you email them to [email protected].
Chris Rhinehart - Prey Project Lead
Human Head Studios
Click the screenshot to watch Prey in action on the videos page!
Additionally, if you are a gaming news website, and wish to be updated directly with notification of these updates, please email us with a link to your website and a request to be added, and we'll email you with the next update.
Posted by Joe Siegler at 1:47 PM | Discuss this story on our forums
The Apogee Legacy #12 - Mike Maynard
Today our "Apogee Legacy" Interview series finishes up it's third month with an entry from Mike Maynard. Mike and his group ("Jam Productions") put out two games through us. The first was released on Dec 3, 1993, and was titled "Blake Stone: Aliens of Gold". The second was put out on Oct 28, 1994 and was titled "Planet Strike: A Blake Stone Adventure".
Mike was one of the three guys who made up "Jam Productions", and had the arduous task of working on the first 3D action game by us in the post Wolfenstein 3D era. Blake Stone had many firsts in 3D gaming, one of which was the rather common practice of NPC's, or "Non Player Characters". These were characters that would give you helpful information, so just going in and shooting everything you see was not the way to go here. Some other novelties in Blake Stone was the fact that you could go backwards to levels you already had visited. In some cases this was necessary to unlock certain locked areas in upper levels.
Planet Strike was also novel in our company history, as it was the first time we ever put out a game in the retail channel directly. Later on, some of our earlier games ended up there, but Planet Strike was our first ever foray into the arena of "Hey, pay attention to my box on the store shelf!" (that's why there's a woman on Planet Strike's cover art when there was no woman in the game at all).
Anyway, Mike has continued to stay active in the gaming industry since his time with Apogee in 1994. He's worked at such gaming companies as 7th Level, Ion Storm, Third Law Interactive, TKO Software, and is currently employed at id Software. Read on to hear what Mike has to say about his time with us (now 13 years ago).
The Apogee Legacy
Past Pioneers of the Shareware Revolution
Issue #12 - Mike Maynard
1) How did you first come in contact with Apogee?
The JAM team in 1993
(Mike's on the left)
In 1990, I worked at Softdisk Publishing in Shreveport, LA. It was a very interesting time because all the original guys that ultimately formed id Software also worked at Softdisk. Of course they ultimately left to form id and work with Apogee on the Commander Keen series and eventually Wolfenstien. With the success of Wolfenstien, Apogee wanted more games using that technology. John Romero recommended a friend (Jim Row) and me to Apogee and we signed a deal to create the shareware version of Blake Stone.
2) Was there a reason you decided to work with Apogee, say versus going on your own or working with another company?
We weren't necessarily shopping game ideas to different publishers and we certainly couldn't fund ourselves. (However, we did create a side-scrolling, space-themed shooter for the Amiga in our spare time called Outpost 13. We ended up selling it to Compute! magazine for $1000! woohoo!.)
Apogee was looking for a team to create a game using id's Wolfenstein technology. We had experience making games and had worked with id's previous technologies.
3) Looking back, was there anything Apogee could have done better, regarding the marketing and distribution of your game?
At the time, Apogee did several things to market their games. The most cost-effective was to send nice, color fliers to previous buyers of their games. For instance, anyone that bought Wolfenstien 3d was sure to get the advertising flier since they were similar games (FPS, using Wolf 3d technology). I believe they also included fliers with actual products that people bought, too. They also placed general 'Apogee' ads in magazines that listed several games so the cost of the ad could be spread over several products. We were fairly pleased with all of these methods.
Mike in 1992 before Blake Stone development started
4) Do you think your game was made better or worse by working with Apogee?
They made certain areas of the gameplay better by taking out monotonous gameplay (for example: traversing back and forth through various floors of the buildings) and adding bosses throughout the game to give the game intermediate goals. However, these changes (and others) were made fairly late in the development cycle which actually delayed the release a bit. I really don't remember a lot of input or even a need to see the game on a regular basis until at least 12 months of development. While that made for 'no-hassle' development I think it hurt us in the end.
Considering Blake Stone was released one week before another little game called DOOM, that delay pretty much sealed our fate. We had decent pre-orders and the first couple of months were pretty good but sales dropped pretty quickly. Had we gotten more input from Apogee earlier on in the development process I think we could've released the game 3-4 months earlier than we did.
5) Apogee had a policy of letting the designer or studio retain full intellectual property rights to their game. Nowadays, it's rare to find a publisher who allows this, especially if the publisher is providing the funding. Do you believe that it's best for the creator to retain IP rights? Why or why not?
You could argue either way on this topic. Since I'm not a publisher, I'll go with the argument that the developer should retain all IP rights.
Simply put, a publisher isn't going to fund a project that they think won't make them a reasonable profit. So whatever they fund (whether they own the IP or not) they're betting that the game will make them money.
If they own the IP and the project fails, the IP is worthless so it doesn't matter who owns it. If they DON'T own the IP and the project is a success, they'll still make money (and profit) on the HUGE percentage of royalties they'll get from that project. So a publisher taking ownership of a developer's idea is purely for control and greed.
5a) And if applicable, have you benefited from retaining ownership of your own IP?
5b) Do you think there'll ever be a sequel to your game(s)?
We did the sequel to Blake Stone shortly after it was released; it was called Planet Strike and published by FormGen. :)
As far as a sequel with up-to-date technology, I doubt it. I've talked to people that think a new game (FPS or otherwise) based on the Blake Stone IP would be cool. However, the IP alone wouldn't attract more than a handful of old-school gamers. Any new Blake Stone game would pretty much have to reinvent the IP and stand on its own.
6) Is there any story/incident that stands out as interesting during your time associated with Apogee?
Blake Stone Artwork
There's nothing that really stands out but some details about development include:
After a couple months of dealing with art problems Apogee was generous to increase our monthly funding so we could bring in a full-time artist, Jerry Jones.
Dr. Pyrus Goldfire was originally called Dr. Goldstern. One person sent an email to Apogee complaining about how the name "Goldstern" portrayed Jewish people as evil. So we had to change the name.
Joe Siegler sent an email on Thanksgiving Day saying that the version we uploaded for testing didn't work. So I went up to the freezing office and uploaded a new version of the game. I ended up calling the management at his house bitching about the lack of heat in the building.
Some people (bank tellers n such) would ask us if JAM Productions was a music company. JAM was Jim And Mike.
The game was so successful at one point we were making $1 million a month. .. Oh wait, that was Doom. Nevermind. haha
7) Apogee was an early pioneer in terms of teaming up with external designers and studios, and continues to do so even to this day (currently working with Human Head Studios on Prey). Why is it that so few other studios do this (mentor and fund outside projects with lesser known teams)?
It has to be money. Otherwise, every studio would be working with external teams and try to become the next EA or Activision. I know at Third Law Interactive and TKO Software / Dallas, we were happy just to get projects for the internal teams to work on. Working with external teams was the last thing on our minds.
8) What the biggest difference in the industry nowadays versus when you worked with Apogee?
Everything associated with making games has gotten bigger.
The size of the development team - While JAM Productions did contract out music and a small amount of art, the majority of the game was created by 2 programmers and 1 artist. We did our primary jobs (programming and art) as well as game design, level design, business matters, production, and publisher relations.
The budget needed to create the game - JAM's total budget for Blake Stone (18 months development time) could barely pay for a small team of, say, 12 people for 1 month. If you're licensing a quality engine, be prepared to spend the salary of several quality people.
The technology needed to compete against other games - The technology used in today's AAA games are much more impressive and more complex than when we created Blake Stone. And that doesn't just pertain to the graphics engine. Other things like AI, physics, networking, and animations have become much more complex.
9) What have you been doing since your time with Apogee?
Planet Strike Artwork
Making video games, of course! Ask me in another 12 years and the answer will be the same; that is unless I'm able to get my PGA Tour card! ;)
Here's a quick rundown of companies and games (newest to oldest):
ID SOFTWARE
<< wouldn't you like to know >>
TKO SOFTWARE
Call of Duty (Nokia NGage)
Leisure Suit Larry (Nokia NGage)
Ms Pacman: Maze Madness (PS2 / PC)
PARADIGM ENTERTAINMENT
Terminator 3: Redemption (PS2 / XBOX)
THIRD LAW INTERACTIVE
KISS: Psycho Circus (PC)
Aliens vs Predator 2: Primal Hunt (PC)
NOLF: Game of the Year Edition (PC)
WWII: Normandy (PC)
WWII: Iwo Jima (PC)
Minigolf Megaworld / Minigolf Master 2 (PC)
ION STORM
Daikatana (PC)
7TH LEVEL
Return To Krondor (PC)
10) If you're no longer making games, have you thought about returning to this industry? If not, why not?
N/A
11) Looking back, are there any missed opportunities that you wish you'd have jumped on?
I had the chance to join id Software early on but I was already knee-deep into JAM Productions and Blake Stone. I'm not the kind of person that just quits something I've started unless I'm really forced to. I wanted to finish Blake Stone and try to grow JAM into something cool. Besides, I finally got the chance to work at id Software again (been there about 6 months now) and I'm excited about helping them create their next generation of games!
Even still, the companies I've worked with has allowed me to interact with a lot of talented people and different technologies. But mostly, I really like the fact that I've been able to work on many different genres of games including: First Person Shooters, Real-time Strategy, Third Person Action, and even a couple games my son has been able to enjoy (Minigolf and Ms Pacman). There's nothing cooler than having your son enjoy games you've created.
12) Other than your game(s), what's your favorite game released or produced by Apogee (or 3D Realms)?
The games I played the most were Wolfenstein 3D and Balls of Steel.
12a) And what's your favorite 2-4 games released by anyone else?
(in no particular order)
Quake
Unreal Tournement
Tiger Woods Golf
Grand Theft Auto
Rollercoaster Tycoon / Sim City (sim games, in general)
Any game my son wants me to play with him.
13) Is there anything else you'd like to add about your time here or to fans of your title(s)?
Of all the games I've worked on, Blake Stone was probably the most fun and intense at the same time. Simply because there were only three of us (Jim Row, Jerry Jones, and Myself) to do pretty much everything. We did the Game Design, Programming, Art, Level design, Working with contractors, Business matters, and LOTS of other little things that simply take a ton of time and effort. It was the first big game I created from the ground up and except for the timeframe, I think it turned out pretty good.
Unused Title Screen from Blake Stone Beta
Mike in 2000 when at Third Law
Mike at home on March 28, 2006
Thanks again to Mike for helping out with his questions. Since Mike was local, it was easy enough to go over to id and say Hi. Was nice to go back and reminise with Mike about his time with Apogee back then. We still sell both Blake Stone & Planet Strike, and if you're interested in trying them out, you can do so with the links below. One other thing Planet Strike is notable for is being the only game in our history that does not have a shareware/demo version. As it was our first retail game, the decision was made back then not to have a demo. It was thought that the existing Blake Stone game was enough of a "demo" for the retail Planet Strike game.
One final comment about Blake Stone.. Just where were all those medics? ;)
Our Blake Stone Catalog Page
Our Blake Stone Catalog Page
Shareware Episode of Blake Stone
Wikipedia Entry for Blake Stone
Make sure and tune in again next Monday morning, when we bring you the next in our Legacy Interview series.
Posted by Joe Siegler at 2:04 PM | Discuss this story on our forums
Prey Weekly Development Update #11
Hey all; welcome to the eleventh edition of the Prey Weekly Web Update. As usual, this week has been rather busy here at Human Head. We've been splitting out time between implementing new feature requests from 3DR and fixing bugs.
At this point, though, many of the feature requests are fairly simple tweaks, things like adding in screen tips in sniper mode so you know how to zoom in and out, changing the HUD damage feedback system to something more intuitive, etc.
Check the changelog at the end of this update for even more info on what's happening with the game.
Typically (at least on nearly all the projects I've worked on), there comes a point where staff members start wrapping up their normal duties and transition over to game testing. We're nearly at this stage with the art staff. Oh, there's still a number of art tasks remaining and things will still crop up as we're headed towards gold, but many of the artists have been transitioning over to bug-finding.
Rather than have them try to play through the entire game over and over, we've split the maps up into groups and are having each artist concentrate on a group of maps for a short period of time. We'll then rotate them into different groups of maps to keep putting new eyes on each set of maps.
Next week, we're planning a more hardcore test of deathmatch. We have been regularly testing deathmatch both for bugs and balance, of course, but next week we want to get into it hardcore. There are a couple of bugs that QA is able to reproduce that we have yet to see in-house. Next week's hardcore test should flush out those issues.
2K has sent a tester on-site to work with the team directly for the next few weeks. So far, he's been working out well, and has been diving in and showing us bugs that we've had difficulty reproducing, as well as helping out with regression testing bugs after we've fixed them.
In case you aren't aware of how the process of QA works, here's a quick outline:
QA reports a bug, and enters it into a centralized database
We look at the bug, and determine if it really is a bug, or if there is a mix-up. If it's not a bug, we mark it the very obvious: "Not a Bug"
We then determine if we will be able to fix the bug. Occasionally a bug cannot be fixed due to engine limitations and so forth. We mark it "Will Not Fix"
We then try to reproduce the bug. If we are unable to reproduce it, or don't have enough information to recreate the bug, we mark it "Need More Info", and wait until we hear back from QA with the additional information
Finally we fix the bug. And mark it "Fixed."
Even though we fixed it, it's not closed out and considered final until QA has retested the bug. They retest it, and either mark it "Fix Verified", or if they still can reproduce the bug, then they mark it "Fix Denied"
If the bug is kicked back to us, then we swear repeatedly and the process starts over.
We received more music from Jeremy Soule last week, and are expecting more music from him early next week. We're close to having all music for the game in our hands for implementation. All told, we should have close to 2 hours of music in Prey.
A few Human Heads attended GDC this week, shmoozing with other developers and attending talks. As mentioned last week, our very own Ed Lima is giving a talk today (the 24th) on sound in the Doom 3 engine and on many of the enhancements that have been added both by us and by Creative Labs.
Yes, Ed will be showing some sound stuff in-engine. Don't expect a huge Prey demonstration, though -- it's tailored towards the sound, so he's just showing off a couple of rooms as he's demoing the sound enhancements. But, we did choose two pretty cool rooms. :-) One of them has one of my favorite portal effects.
Speaking of GDC. Every year, when I realize that GDC is upon us, I always start thinking about E3, since it's a bit less than two months away. We've already started discussing what we'll be showing of Prey at E3.
No final plans as of yet, so I can't mention anything in this update -- but we will be showing off Prey in some form at E3.
Okay, arguably the most popular feature of the weekly updates: the changelog. As we've been working on a number of things near the end of the game, quite a few spoilers had to be removed this week:
hunters have new projectile effects so the projectile stands out better
XXXXXXXXXX at the start of the map has a new texture on it
Tons of tweaks in the Harvester maps, in terms of creature placement and bug fixes
New combat room added to Salvage: a cool room involving multiple portals and many enemies
New animation for Tommy's intro
Preparation for a door color unification pass across all levels
New damage HUD, giving better directional feedback during combat
Lots of great AI tweaks and fixes to the Hunters
Animation work on various cinematics and to XXXXXXXXX-X scene
Removal of a poster in the Roadhouse that contained unlicensed images
New graphic effect on the health spore: much cheaper, and pretty much looks the same
New GUIs throughout the levels, providing more information about the ship and the inhabitants
New creature placements, providing more locations for wallwalk combat
HUD tips for sniper zoom
As always, thanks much for reading our Prey update. We have some pretty exciting Prey related things happening over the next few weeks -- can't talk about them just yet, but just keep your eyes peeled! Until next week....
Chris Rhinehart - Prey Project Lead
Human Head Studios
And for no good reason at all, Joe Siegler insisted upon another picture of Crystle Lightning. ;)
Click the screenshot to watch Prey in action on the videos page!
Additionally, if you are a gaming news website, and wish to be updated directly with notification of these updates, please email us with a link to your website and a request to be added, and we'll email you with the next update.
Posted by Joe Siegler at 1:26 PM | Discuss this story on our forums
The Apogee Legacy #11 - Dave Sharpless
Today our "Apogee Legacy" Interview series continues with a trip way into the past. Today we're going to bring you an interview with Dave Sharpless.
Dave is not a name that is known to most fans of our company, simply because he did one title with us, and it was withdrawn quickly after its initial release. This title was Jumpman Lives! which was put out in early 1991. For various reasons the game was withdrawn from distribution shortly after release, and (to this day) we no longer offer it in any capacity. The game however, has enjoyed a cult following over the years - mostly since the rise in public use of the Internet. To this day there remain fans who still create new levels for the game, which brings me to my next point. Jumpman Lives is a first in PC shareware gaming - it's the first game we're aware of that contained a level editor with the full product. This practice is common now, but back in early 1991 when this game was first released, it was quite a novel concept for a PC title.
Dave continued on with gaming after his brief time with Apogee about 15 years ago, and was glad to contribute to our series.
The Apogee Legacy
Past Pioneers of the Shareware Revolution
Issue #11 - Dave Sharpless
Dave during the Summer of 1990, about 6 months before Jumpman's release.
1) How did you first come in contact with Apogee?
Sometime around January 1991, I was a student attending the University of Toledo for a CSE degree and living in an apartment in a really bad neighborhood just off campus when I received a typed letter from Scott Miller. Scott got my home address from my shareware "Joust" and/or "Mario Brothers" games. In it he wrote about his appreciation for the two games, explained the Apogee business model a bit, and asked me to give him a call at the 800 number. During our phone conversation(s) we both agreed that JMLives would be a good game for Apogee to sell and for me to make.
2) Was there a reason you decided to work with Apogee, say versus going on your own or working with another company?
Yes, to try something new. My last two games were circulated on my own via BBSs, etc and generated very little revenue and I hated preparing the disks, mailing labels, and mailing them out.
3) Looking back, was there anything Apogee could have done better, regarding the marketing and distribution of your game?
Yes, somebody could have read the Jumpman owner's manual and realize he was from Jupiter and not Saturn! (The introductory screen to JMLives shows Jumpman coming from Saturn). Seriously, it would have been nice to avoid the legal issues that eventually surrounded JMLives by spending more time creating a variant of it instead of an exact copy. At the time Jumpman was still property of Epyx and they forced Apogee to discontinue selling it just months after it was released.
4) Do you think your game was made better or worse by working with Apogee?
Better... and definitely faster. Scott often let cash do the talking which is great motivation for a starving college student. Some folks at Apogee also contributed in the way of screen graphics and levels which was a big help at crunch time.
From 1992 - Employment badge of one of the coolest places to work in the world at the time.
5) Apogee had a policy of letting the designer or studio retain full intellectual property rights to their game. Nowadays, it's rare to find a publisher who allows this, especially if the publisher is providing the funding. Do you believe that it's best for the creator to retain IP rights? Why or why not?
If you're the creator, then of course it is! Back in the days of JMLives, Apogee didn't start paying for the game until it was mostly done so the IP rights were going to the right party.
5a) And if applicable, have you benefited from retaining ownership of your own IP?
This isn't really applicable.
5b) Do you think there'll ever be a sequel to your game(s)?
No.
6) Is there any story/incident that stands out as interesting during your time associated with Apogee?
Not particularly, since my time working with them was so short.
Jumpman Lives! Title Screen
7) Apogee was an early pioneer in terms of teaming up with external designers and studios, and continues to do so even to this day (currently working with Human Head Studios on Prey). Why is it that so few other studios do this (mentor and fund outside projects with lesser known teams)?
Good question. It seems like big companies would rather let the studio prove themselves by making a hit and then buy them outright.
8) What the biggest difference in the industry nowadays versus when you worked with Apogee?
The size/complexity of projects and the size of the development teams required to create them.
9) What have you been doing since your time with Apogee?
I finished school and took a job with WMS Gaming (casino & lottery games) in Chicago. It wasn't my dream job but it did land me in the same building with sister companies Midway, Bally Pinball, and Williams Electronics. After a few years of that I joined a startup company down the street in Chicago called GameWorks doing wacky products for the casino environment. Spielberg wanted the name so we became High Impact. High Impact was purchased by Anchor Gaming which relocated me to Las Vegas in 2001. Anchor was then purchased by the market leader International Game Technology and I'm still there today trying to give you the best possible gaming experience while money is slowly being extracted from your wallet.
Jumpman Lives! Level Editor Screenshot
10) If you're no longer making games, have you thought about returning to this industry? If not, why not?
All the time. I'm just waiting for the right opportunity I guess.
11) Looking back, are there any missed opportunities that you wish you'd have jumped on?
No, I'm pleased with the way things turned out. Life is good!
12) Other than your game(s), what's your favorite game released or produced by Apogee (or 3D Realms)?
I don't have a favorite Apogee game because I never played any of them. I don't mean any disrespect because I have seen most of them and it's obvious that they're of very high quality. Maybe I just don't allocate as much time as I should toward playing games!
12a) And what's your favorite 2-4 games released by anyone else?
Another World (Amiga). Magic Carpet (PC). Carmageddon I (PC). Conker's Bad Fur Day (N64).
13) Is there anything else you'd like to add about your time here or to fans of your title(s)?
Thanks for reading the interview. Keep up the good work. Feel free to contact me via email - don't be shy (and remove the "-nospam").
Screenshot from Jumpman Lives!
A recent picture of Dave - from 2005
Thanks again to Dave for helping out with the series - his was one interview we were eager to have here given the uniqueness of his title in the past history of our company. While we don't distribute this game anymore (either in shareware or registered form), we are making available for the first time online the original hint sheet that we sent out for a brief time when we did ship the game. Back then, all of our games came with a "hint sheet" which contained tips & cheats. In 1994, these things were done away with and converted into on disk files, but this one has never been available since the game was discontinued 15 years ago.
Additionally, there is plenty of information about the game on the web. Check out these links below:
Matty's Jumpman Lounge - by Matt @ classicgaming.com
Apogeegames.com Jumpman Page by Lon Matero
Interview with Dave Sharpless by Matt @ classicgaming.com - Sep 2004
Apogee's Jumpman Lives! Hint Sheet - in pdf format
Make sure and tune in again next Monday morning, when we bring you the next in our Legacy Interview series.
Posted by Joe Siegler at 1:37 PM | Discuss this story on our forums
Prey Weekly Development Update #10
Hello again and welcome to this week's edition of the Prey weekly update!
First off a huge thanks to Peter Johnson at Venom for taking the time out of his schedule to write the great update last week on the Xbox360 version of Prey.
Wow, so what's been going on here? It's been a crazy busy week:
In terms of production, we've been focusing on:
bug fixes from 3DR and Take 2 QA
map optimizations: Over the past couple of weeks, there's been some pretty large optimizations done to the maps. Visually they are essentially the same -- most of the optimizations have been ensuring that entities in other rooms cease thinking as necessary, additional corridors or doors added as needed for vis purposes, removing redundant geometry where found, etc.
feature tweaks: a number of game feature tweaks as requested by 3DR to polish the experience. For example, things like tweaks to how some of the weapons function, a screen effect when you are very low on health, some AI tweaks, etc.
level tweaks: similar to the feature tweaks above, the level designers have been adding in sections as needed to expand the gameplay in levels, and also moving elements around so they are properly introduced and utilized.
animation tweaks: The animators have been crunching hardcore to clean up the motion capture data. A lot of work has gone into cleaning up the motion capture data. The data had a lot of hitching, and issues when blending between different animations. So far the animators work has fixed things up pretty well -- only downside is that it's very time-consuming for them. Once the cinematic animations are complete, the animators have a good-sized list of things to tweak throughout the rest of the game, from weapon animations to creature animations.
A new contract animator has joined us to help finish Prey. Eric Weiss has a background in both film and computer game animation, having worked on such movies as Final Fantasy: The Spirits Within, Godzilla, and most recently, Superman Returns.
On Prey, he's been focusing first on learning the animation pipeline from Maya into Prey, and has been doing work on one of our boss creatures. Very cool having him aboard and helping make the animation rock.
Check out his IMDb page here.
Michael Greyeyes, the voice of Tommy, was here at Human Head on Monday and Tuesday recording new lines for the game, and re-recording some older lines. It was a busy couple of days, but we managed to record around 250 lines. Will we use all of those? Probably not -- our goal is that Tommy comment mainly about critical things. While it's very cool to hear his voice as you're playing, you obviously wouldn't want to hear him comment every 5 feet - you'd likely be saying "Shut up Tommy!" :)
As always, Michael was ever the professional who clearly enjoys his job. He nailed most of the lines in only a few takes, and had fun joking around a bit and ad-libbing a few lines.
Ed Lima, Audio Director at Human Head, along with some folks from Creative Labs will be giving a presentation at the Game Developers Conference next week on audio in Doom 3 engine games. Ed will be discussing some of the audio features added to the game to not only make things sound more realistic, but also features added to make the game more enjoyable. An example of this is voice ducking technology which lowers surrounding sounds when an NPC is talking, so their voice stands out above ambient sounds.
If you are at GDC, make sure you stop by and check out the presentation by Ed and Creative Labs. Additionally, Ed's talk at GDC will be next Friday the 24th at noon EST, so if you happen to be there, check it out to hear Ed's insight into Prey.
From the "No TV and no beer make Homer go something-something" department:
Of course, during all this hardcore crunching, we still have to take the time to blow off some steam. Now that the Guitar Hero craze seems to have all but died down here at the office, it's been replaced by some new sounds: The clang of swords and howls as heads are lopped off. A few of the guys here have taking up playing Rune Deathmatch again. Brings back such memories to hear those sounds once again echo through our offices.
We received some great feedback on the changelog from two weeks ago, so here's this last week's changelog as sent to 3DR. Warning, some spoilers might be in here -- but any major spoilers have been removed:
Leech node hints now give you an icon of the gun itself
Glowing blood sprays are visible when sniping an enemy
SpindleB: Turbine Room has gotten major optimizations
"Thin thing" portal trick added to Salvage (still requires some cleanup).
Pretty large optimization pass across most of the maps. Still more optimization to be done.
Key default changes:
- Lighter defaults to F key
- SpiritWalk defaults to MMB and E
- Crouch defaults to C and SHIFT
- Leech gun is now on key #4
Leech gun auto switches when out of ammo
Hunters can lean around corners to attack now. They occasionally decide to do the lean attack during normal attacks, too, to mix things up.
tweaks to hud tip system
added tips when entering a shuttle
made spectators show up on scoreboards
allowed spectators to go through forcefields
added "Resume Game" to out-of-game menu
put player portraits on scoreboard
added gametime played to loadgame screen
added "ready" tip to MP hud
made shuttle not thrust until transitioned in
tweaks to the motion capture animations for Grandfather and Jen.
added music volume control
tweaks to help screen
new negative feedback sound when shooting teammates in team dm, got rid of colored flash on teammates as well
New recorded lines for Tommy yelling at Grandfather as he is XXXXX XX XXX.
More save/load fixes
Playtime now displayed for savegames
Made vacuum robot explosion do radius damage
Spirit bridge updates throughout the levels
Ambience passes to newly added areas, thin thing, XXXXX XXXXXXXXX, etc.
Low health screen effect added
Thanks as usual for reading, and make sure to check in again next week.
Chris Rhinehart - Prey Project Lead
Human Head Studios
Here's level designer, artist, and prolific toy collector Ash Welch testing Prey DM.
Jimmy Shin, programmer takes a break from working on
creature AI to read a recent forum about Prey. You'll also notice that he's not a prolific toy collector.
Click the screenshot to watch Prey in action on the videos page!
Additionally, if you are a gaming news website, and wish to be updated directly with notification of these updates, please email us with a link to your website and a request to be added, and we'll email you with the next update.
Posted by Joe Siegler at 12:39 PM
The Apogee Legacy #10 - Allen Blum
Today our "Apogee Legacy" Interview series continues into its tenth edition, this time with long time Apogee staffer, Allen Blum.
Allen has had his hands in a ton of titles of ours, and goes all the way back to some of the earliest works of our company. He's been involved as a developer on all the Duke Nukem games released by Apogee/3D Realms (Duke Nukem I, Duke Nukem II, Duke Nukem 3D, & Duke Nukem Forever) directly. He's also been involved in many others such as Shadow Warrior, Dark Ages, Cosmo's Cosmic Adventure, as well as the aforementioned Duke games. He was however, the lead designer for our 1993 title, Major Stryker. Stryker was an (EGA) scroller game in the vein of our other such titles like Stargunner & Raptor.
Allen's also one of our internal beta test team, so even if's not listed above, he's played through it a lot and had input into the titles (some titles under this category are both Max Payne games as well as the forthcoming Prey). Allen (and his hats) have been a major part of our company history, and it's a pretty safe statement to say we wouldn't be where we are without him.
The Apogee Legacy
Past Pioneers of the Shareware Revolution
Issue #10 - Allen H. Blum III
Allen with Randy Pitchford, Doug Wood, & Dirk Jones.
1) How did you first come in contact with Apogee?
In 1990 my High School friend Todd Replogle was working on some games for Apogee such as Caves of Thor and Monuments of Mars. At the time I was into the graphic abilitys of the Amiga and was working on a Super Mario Brothers 3 clone for fun.
Todd started working on Dark Ages and needed a level editor so we used my Mario clone editor on the Amiga. I ended up doing art and level design on the Amiga while the game only ran on the PC. After that we did Duke Nukem 1 the same way with most content made on the Amiga and the game running on a PC. It was pretty nice being able to see most of a level and all the textures for the game on one high-res screen on the Amiga while the PC was only able to do 320x200 EGA. With the success of Duke Nukem 1, Todd moved to Texas to work closer to Apogee on Cosmo's Cosmic Adventure while I continued school at the Univisity of California at Santa Cruz. I little while later while I was out visiting Todd and checking out Apogee, I was working on a top down shooter for fun called Dr. Protons Revenge. Apogee happened to see it and asked me to make it into a complete game which was released as Major Stryker in 1993. After that I moved out to Dallas and did Duke Nukem 2, Duke Nukem 3d and currently working on Duke Nukem Forever.
Allen holding his gift from the gift exchange at the 2005 3D Realms company Christmas Party.
2) Was there a reason you decided to work with Apogee, say versus going on your own or working with another company?
Back in 1992 the "Shareware model" seemed like a great way for me to make my own game. It was easy enough to just release it on bulliten boards for people to play and if they liked it they could buy it.
I'm glad to see that a simular thing is part of the Xbox360 with the Live Marketplace. They just need to get rid of the "old tech" games like joust and have more games like Wik or Geometry Wars.
3) Looking back, was there anything Apogee could have done better, regarding the marketing and distribution of your game?
Other than bulletin boards and flyers sent out to thousands of people, I would have really liked a Superbowl commercial. :)
4) Do you think your game was made better or worse by working with Apogee?
No response to question.
Allen averting his eyes to the light at his desk at 3DR - May 2005
5) Apogee had a policy of letting the designer or studio retain full intellectual property rights to their game. Nowadays, it's rare to find a publisher who allows this, especially if the publisher is providing the funding. Do you believe that it's best for the creator to retain IP rights? Why or why not?
This didn't really apply to Major Stryker.
5a) And if applicable, have you benefited from retaining ownership of your own IP?
Not really, as I never did anything with the Major Stryker franchise. Can it be a franchise with just one title in the line?
5b) Do you think there'll ever be a sequel to your game(s)?
Duke Nukem Forever is getting closer to being done day by day.
6) Is there any story/incident that stands out as interesting during your time associated with Apogee?
It's all a blur, man!
Allen at the 2001 company Halloween Party
7) Apogee was an early pioneer in terms of teaming up with external designers and studios, and continues to do so even to this day (currently working with Human Head Studios on Prey). Why is it that so few other studios do this (mentor and fund outside projects with lesser known teams)?
I have no idea! Money? It's all about the bling-bling now, isn't it? You want to have the largest piece of the pie, I'd suppose, and that's diluted this way.
8) What the biggest difference in the industry nowadays versus when you worked with Apogee?
Back when I started you could really make a game from home. Major Stryker only had 3 people working on it, Bobby Prince in Florida doing music, Gary Sirois in the north east doing art, and me in California. We never worked in the same room and actually never even saw each other. We only worked over the phone. I'm sure you could probably do the same thing much easier and faster with todays tech and such for small games. But for anything else like DNF you need a big bunker filled with people. At least now I get some excecise running around to the other side of the building to the coders area.
9) What have you been doing since your time with Apogee?
Since? I'm still here!
Just WHAT is Allen doing with this Lara Croft statue at E3 2000?
10) If you're no longer making games, have you thought about returning to this industry? If not, why not?
I'm still here! Are you trying to get rid of me or something?
11) Looking back, are there any missed opportunities that you wish you'd have jumped on?
OK, why do all these questions make it seem like I'm some old fogey who has retired in a corner and drools on themselves? I'm still here!
12) Other than your game(s), what's your favorite game released or produced by Apogee (or 3D Realms)?
There's other games besides the ones I worked on?
12a) And what's your favorite 2-4 games released by anyone else?
Seeing that I live in an FPS working on DNF and play most all FPS games, I would say almost any racing game would be my favorite, just becuase it is completly different from an FPS. And I like to drive fast without worrying about wraping my car around a telephone pole. Current top of the list would be Trackmania, Burnout or Flatout.
13) Is there anything else you'd like to add about your time here or to fans of your title(s)?
....need more stripper research.
Thanks to Allen for sending in his answers, and being a good sport about so many goofy pictures of him being taken over the years. While Major Stryker was discontinued some years ago, here's a few links about some of the other games Allen has worked on over the years you might find interesting:
Cosmo's Cosmic Adventure Page
Duke Nukem I Page
Duke Nukem II Page
Duke Nukem 3D Page
Shadow Warrior Page
Major Stryker Page
Freeware Registered Version of Major Stryker
Make sure and tune in again next Monday morning, when we bring you the next in our Legacy Interview series.
Posted by Joe Siegler at 4:09 PM | Discuss this story on our forums
Prey Weekly Development Update #9
Welcome to the latest edition of the Prey Weekly Update series. A few weeks ago you were told you'd get an update from Venom games in the UK on the Xbox 360 version of Prey. That's what we're bringing you today. This week's update is not from Chris at Human Head, but it's by Peter Johnson at Venom Games in the UK.
Chris will return next week with the next Prey Weekly Update. There's plenty to read in Peter's update, so let's get right to it....
We started work in earnest on bringing Prey to the 360 in late June 2005, although we had been looking at the code a little before that to ready ourselves and plan our attack. It was amusing to see on some gaming forums that some posters seemed to think that the announcement about it last month meant that we had just started work on it, this is far from the case.
As our aim was to keep everything as faithful to the PC original as possible, we knew it would be mainly a coding job, with relatively little work needed on the art side. It broke down into a number of tasks - converting the engine itself to get it running on the 360 platform, and the areas where we needed to make changes to better suit the platform - such as the control system, the front end and the integration of Xbox Live.
Peter Johnson of Venom Games
THE ENGINE
As I am sure regular readers of Chrisââ¬â¢ column will know, ââ¬ÅPreyââ¬Â is based on an enhanced version of the Doom3 engine. It was initially suggested to us that we would use the conversion of this engine that was being done over at Raven to bring ââ¬ÅQuake 4ââ¬Â to the 360, but after waiting nearly 3 months for sight of that code, and it being apparent when we saw it that those guys were very much still in the process of development, shall we say, at the time- we felt that we had little choice but to do it ourselves rather than spend the next six months simply merging their code with Human Headââ¬â¢s without any forward progression ourselves. Taking this approach meant it was then much more likely that we would be in a position to resolve any problems we encountered.
In the last week of June 2005 Kevin Franklin, our lead coder here, and Ben Cosh rolled up their sleeves and started to convert the Prey code base from scratch. Their first move was to get the engine running on the PC in Direct X rather than Open GL, and then port that code across onto 360. The approach of hitting the PC first had the advantage that the turnaround time for compilation and execution could be much shorter than it currently was on 360 at the time. The guys did a great job- getting it running on 360, albeit at a low framerates, in around 8 or 9 weeks. There were still plenty of effects and graphical tricks to add at this point, but already it had the distinctive look of ââ¬ÅPreyââ¬Â and now we could let the rest of the programming team loose on it.
Prey really stretches the Doom3 engine, sometimes in ways it wasnââ¬â¢t designed for. It aims to create a convincingly organic-looking alien world full of curves and natural shapes from an engine designed around box-shaped rooms, and features many additional shaders and special effects that take the visuals far beyond the original Doom3 engine. This extra load meant the coding team had to work hard on optimising the code, removing bottlenecks and spreading the load across the three cores at the heart of the 360 to hit our target of a constant 30fps framerate. We have also had one coder, Mick, working for the best part of 6 months using the 360 performance analysis tools to identify the slower areas of code and rewrite, or in many cases replace routines with low-level machine code to squeeze the best from the machine.
I feel confident in saying that we are now graphically pixel-perfect with the PC version.
MULTIPLAYER
After the departure of our network programmer in the last week of November 2005, we had a difficult choice to make - whether to take his code and complete it, fixing any bugs we found and hoping we could patch around any problems we uncovered, or throw it all away and start again. This was a difficult call, as time was running short for an area of the game which is always known to be a challenging one to implement.
We took the option we all felt was right, which was the braver/more foolish one of replacing it all. Steve Sharp, the coder we tasked with it has done a great job in a short time in a coding area he was previously unfamiliar with, and we now have all of the Live support in place and working well. The recent addition of speech to the online game over the past few weeks has also added greatly to the player experience.
Screenshot showing controller layout
CONTROL SYSTEM
Over to Mark Sample, normally our game designer/ producer here, for a little on the controller code.
Our task for Xbox 360 was to make sure the game played right with the console controller. This is harder than most think as many gamers take the highly responsive keyboard and mouse feel of the home PC for granted and we knew from the outset that we wanted to be as faithful as possible to the way the game plays on PC rather than changing the experience for the gamer.
Assigning the action buttons to the pad was easy, however the fun started with getting the feel of the player movement and looking around right with the sticks. Using a vast array of tweakable values we set about tuning the turn-rate and acceleration. From the get-go we knew it was vitally important that the player felt completely in control at all times. They need to have enough low-down sensitivity to make small delicate moves, as well as fast response for sweeping, super-quick 180ââ¬â¢s ââ¬â as you never know who might pop up behind you =). After much testing and tuning, the stick controls now feel robust and razor-sharp; weââ¬â¢re really pleased with the results and think the gamer will be ready in no time to take out a hunter or two with what we have delivered.
Our QA team in LA recently suggested that the game could also benefit from a facility for user-assignable weapon switching on the D-pad, and we added this into the game. We designed a method which allows the player to assign and re-assign weapons to those buttons quickly at any time as they play, as simply as programming stations in on a car radio. It works great, and we confidently expect to see other games following suit soon.
FRONT END
Over to Phil Nixon, the artist redesigning the front end for 360.
ââ¬ÅWe had to replace the existing front end to allow for input via gamepad rather than mouse-driven ââ¬Åpoint and clickââ¬Â of the PC, and the idea behind the user interface we chose to adopt for 360 was to try and get as far away as possible from the established look of PC FPSââ¬â¢s.
I like the idea that the user interface should relate to the theme of the game itself as much as possible. I'll try and explain a little better what I'm on about...Tommy is aided throughout the game by Talon, his hawk, and we thought it would be cool to use this idea as a concept for the user interface. We focused on a super close-up of the eye, making the pupil dilate and contract in response to flashing lights around it (representing gunfire, or perhaps a smashed up computer). Occasionally the eye looks around too, adding movement in the background. The deeper you get into the interface, the deeper you zoom into Talonââ¬â¢s eye.
Stylistically, as far as the menu graphics, framing graphics and fonts are concerned, I tried to draw cues from the GUIs and designs that are featured in the game, again trying hard to ensure that our front end matched the 'look' that Human Head already had in place. Overall it works well, and I like to think it ties the game elements together a little better than some titles out there manage to do.ââ¬Â
XBOX LIVE ACHIEVEMENTS
Achievements are becoming a big thing within the Xbox 360 community, with websites springing up to cover the topic and gamers competing for bragging rights based on which achievements they have unlocked in the games they are playing, so we wanted to make sure we included a very full implementation of achievements in Prey. Over to Bruce Brodie who helped design this part of the game.
ââ¬ÅThe achievements have been a lot of fun to create! Currently there are 33 achievements in ââ¬ÅPreyââ¬Â which will be worth a total of 1000 points to a playerââ¬â¢s Gamer Score. These achievements are spread out between single and multiplayer modes. Major achievements such as game completion and death match kills are all present and correct, level-specific awards have also been included for players that attempt the game on the ââ¬ÅWickedââ¬Â difficulty ââ¬â we want people to explore the world of Prey and really master it in order to unlock some of the harder achievements ââ¬â be warned, some of the multiplayer ones will take a lot of skill to unlock!
There are also a number of secret achievements that players will have to look harder to find, which will be worth a good haul of points when discovered.
Our artists have created some great icons for the achievements, and they are looking good (I hate it when a game uses the same icon for everything). The final number of points to be awarded for each is still in discussion and tends to change depending on how evil the designer is feeling that day.
Here are some of the achievements that we have created, one from the single player, one from multiplayer and a secret achievement that we will leave to you to discover for yourself!
Young Blood
Unlock this achievement by killing 25 rival players on Xbox Live in a deathmatch game. Scrap Yard Master
This achievement is won by completing the Salvage levels on wicked difficulty! Grease Monkey
Can you guess what this achievement is for? Discuss it in our forums!
And finally...
THANKS
Doing ââ¬ÅPreyââ¬Â has necessitated putting progress on our other, unannounced, next-gen title on hold for over 6 months, and Iââ¬â¢d like to acknowledge the patience of our art team assigned to that project for soldering on with their work on it whilst almost all of our programming resources were diverted to bringing ââ¬ÅPreyââ¬Â to 360. Thanks Guys!
Peter Johnson - Studio Head
Venom Games - Newcastle upon Tyne, UK
The Venom Games gang gathers for a company picture.
Screenshot from Xbox 360 version of Prey
Click the screenshot to watch Prey in action on the videos page!
Additionally, if you are a gaming news website, and wish to be updated directly with notification of these updates, please email us with a link to your website and a request to be added, and we'll email you with the next update.
Posted by Joe Siegler at 3:01 PM
The Apogee Legacy #9 - Lindsay Whipp
Today our "Apogee Legacy" Interview series continues on with the latest edition, this time with programmer Lindsay Whipp. Lindsay was the author and developer of one of the more amusing titles in our line, "Mystic Towers". This featured a character that originally was in someone else's game, "Baron Baldric: A Grave Adventure".
Baron Baldric (the character) was funny in that he would scratch his butt and fart while during the game - something that was definitely not the case in any other game of ours at the time. Lindsay only worked on the one title with us, but it was definitely one of the funnier titles in our product line. Read on to hear Lindsay's opinions on the Mystic Towers development, and how he has a connection to the current "Destroy All Humans" game.
The Apogee Legacy
Past Pioneers of the Shareware Revolution
Issue #9 - Lindsay Whipp
A Lindsay Whipp "toon"
1) How did you first come in contact with Apogee?
...I was referred by the Australian distributor Manaccom.
2) Was there a reason you decided to work with Apogee, say versus going on your own or working with another company?
...Working out of Australia, I needed a bigger market, and one world publisher was the best option.
3) Looking back, was there anything Apogee could have done better, regarding the marketing and distribution of your game?
...No, I was pretty happy with the results. Modest by today's standards, but, hey! We're talking 286 computers and the end of the DOS era here!
4) Do you think your game was made better or worse by working with Apogee?
...It was made DIFFERENT. What started off as a comic graphic adventure ended up as a comic shoot-em-up. I went along with that quite happily, but still think it lost some of its original humor along the way.
5) Apogee had a policy of letting the designer or studio retain full intellectual property rights to their game. Nowadays, it's rare to find a publisher who allows this, especially if the publisher is providing the funding. Do you believe that it's best for the creator to retain IP rights? Why or why not?
...In my case, that didn't apply. I approached Apogee with a completed product, although it changed radically during Beta. These days, the budget demands are too great to allow small developers to do that, which is a pity in many ways - it cuts out the quirky individualism, and everything has the same blandness. My daughter recently worked as lead artist on Pandemic's "Destroy All Humans" and had to work damned hard to allow that element to be retained.
Lindsay in 1989 on the computer the original Amiga that Baron Baldric was written on.
5a) And if applicable, have you benefited from retaining ownership of your own IP?
...In my case - no.
5b) Do you think there'll ever be a sequel to your game(s)?
...What, Baron Baldric for Geriatrix? Barren Baldric more like...
6) Is there any story/incident that stands out as interesting during your time associated with Apogee?
...Yes. George telling me that there were 3 important aspects of all games and they were, in order of importance: 1. interface 2. interface 3. interface - not the sort of advice one forgets!
7) Apogee was an early pioneer in terms of teaming up with external designers and studios, and continues to do so even to this day (currently working with Human Head Studios on Prey). Why is it that so few other studios do this (mentor and fund outside projects with lesser known teams)?
...The cost! The complexity of todays games are horrifying. The days of the maverick like me are simply long gone, or even small studios.
Mystic Towers game manual cover art
8) What the biggest difference in the industry nowadays versus when you worked with Apogee?
...The scale of all productions, and the size of the teams needed to produce games at that level.
9) What have you been doing since your time with Apogee?
...Working with software publisher and distributor Manaccom in Australia - the company that distributed my stuff here at the time the Baron was active.
10) If you're no longer making games, have you thought about returning to this industry? If not, why not?
...I have a daughter in the games industry, one son in the media business, one in the IT business - enough is enough, already!
11) Looking back, are there any missed opportunities that you wish you'd have jumped on?
...No - I made products for public comsumption, and that's what happened.
12) Other than your game(s), what's your favorite game released or produced by Apogee (or 3D Realms)?
All the Dukes of course! (funny - my tongue seems to be glued to the inside of my cheek...)
12a) And what's your favorite 2-4 games released by anyone else?
Abe's Odyssey, GP3 (great driving fan)
13) Is there anything else you'd like to add about your time here or to fans of your title(s)?
...Get a life!
Screenshot from Mystic Towers
Thanks to Lindsay for sending in his answers, as well as the "toon" of himself used above. We still sell Mystic Towers, so if you've never checked it out, you can check it out with the links here:
Apogee Mystic Towers Page
Download Mystic Towers shareware
Buy Full Version of Mystic Towers
Mystic Towers Page at Wikipedia
Make sure and tune in again next Monday morning, when we bring you the next in our Legacy Interview series.
Posted by Joe Siegler at 12:44 PM | Discuss this story on our forums
Prey Weekly Development Update #8
Hey all -- welcome to the latest Prey Weekly Update. Originally, Peter Johnson from Venom was going to update this week on the status and progress of the Xbox 360 version, but due to their crunch his update will have to wait until a future update (possibly next week).
Like Venom, we're in crunch here at Human Head as the game is in late beta. We're getting tons of feedback from 3D Realms, Take2 QA, and other beta testers. Every day the game improves pretty noticeably.
I'm going to update with little snippets of thoughts on various things that have happened around here. Like I said, we're incredibly busy, so there's way more than this happening, but here are just a few:
Last week I was in Dallas visiting 3D Realms. Tom Chick from CGM flew in for the first single-player hands-on demo of the game. We showed him the first two hours of Prey, and then jumped around and showed him a few cool areas later in the game.
The game pretty much shows itself off now. In the past, it was 80% talking and 20% showing -- as we discussed the story and what we planned to do in certain sections. But now, those numbers have flipped. Most of the demo was just seeing the game and experiencing the story -- the 20% was us talking about what we had yet to fix and tweak, and talking about the history of the game and its development.
Recently I speed-ran through the entire game, taking stock of the following items:
Action/Puzzles: Any long stretches of the game without any action or puzzles? (not many!)
Tommy comments: Making notes of additional comments needed and which current comments could use reworking.
Combat frequency: Is there not enough combat in areas, or too much? Do certain creatures show up too much?
Death frequency: Did I die too many times in a given area before I was able to get through?
Animation tweaks: Which animations could use reworking
Sound tweaks: Any sounds that could use tweaking, or any places where the volume mix is off.
General bugs: Just anything that seems wrong or is broken.
Michael Greyeyes (the voice of Tommy) will be visiting us in a couple of weeks to record new lines and re-record some previous lines that didn't work well, or had to change due to story tweaks. I'm compiling a (pretty large) list of comments culled from suggestions here and from suggestions from 3D Realms. I doubt we'll have the in-game Tommy say everything from that list, but we're going to record all these lines just in case.
More voice recording fun:
We brought in a local actress/singer named CJ Schellback to provide additional female voices and screams for the game. She did a fantastic job, with some excellent screams of pain and yelling such things as "Help me!", "Where am I?!", "What's going on?!"
Our recording booth is apparently not entirely soundproof as her AMAZINGLY LOUD screams of pain heard by one of the offices directly below us.
After several minutes of her screams -- someone from the office finally came up stairs and asked "Is someone being raped up here?"
Seriously. They didn't ask if someone was hurt or needed help. They go straight to raped.
In the future, we'll be sure to inform our neighbors of our voice recording sessions.
We're reworking the final sequence of the game. The previous version was a bit abrupt and didn't properly convey the story in the way we wanted to wrap things up -- the new version is longer, better explains things, and is damn swanky-looking, too.
Can't mention more of this, though -- as it would be spoilers. I will say, however, that the end sequence has the coolest Earth model I've seen in a game yet!
Music: We're incorporating the latest Jeremy Soule music into the game. Very nice stuff. It's amazing how the mood of an area changes radically when music is added. There's still quite a bit more music from him coming soon -- all in all, Prey will have about 2 hours of music from Jeremy.
We're also looking at getting more bands for the jukebox (which is in the Roadhouse near the start of the game, and also makes an appearance a few times on the alien ship). We already have some major label stuff in the jukebox and Ed is looking at some more indie-bands as well. Also, music related and interesting: Killer music from development materializes.
Later today, we're having a multiplayer stress test here at Human Head. We have weekly multiplayer tests to check for bugs and generally playtest the levels. Typically it ranges from 4-6 people playing (whomever is free at the moment to test). Today, we're focusing on all 8 players in the game, and are looking for bugs and any places in the maps where the flow chugs down.
Each week, 3D Realms receives a new build from us. Typically, I include a changelog of some of the more interesting things that changed (based up their feedback of what they wanted changed/fixed). George mentioned that it would be a cool thing to include in this update. So here it is:
New weapon selection menu
Multiple quick save slots
New wrench alt-fire raise animation
DeathWraiths now have a probability of 50% blue, 50% red
Many more mutilated humans working on stuff and shuffling around throughout the game
You have three seconds of invincibility when you return from death walk
New initial load screen
Beer bottles no longer float in Roadhouse
Jenny properly holds and throws the sponge now
JukeBox should always have a mouse cursor
Roadhouse: Timing is different on the dialog now, so you can play with the games all you want, going back down by the bar will continue the dialog scripting
Drunks have fight animations -- still need stagger around animations, though.
FTC: New Hider sighting -- dialog is temp, though
Art Bell radio sequences now start and end with music snippets. Recognize it? :-)
Hunters are toned down slightly -- bigger pauses between their shots. Maybe toned down too much right now, though?
Spirit Arrows are much more dangerous now. Also, more spirit power is given from enemies. This seems to be creating a positive feedback loop that we don't necessarily want, though.
Leech Gun: The tips are in, but we are going to add a picture of the leech gun itself to make it more clear.
Swipe animations are in for using things (especially in Roadhouse). Anims will be tweaked further.
Many more leech nodes added throughout the game. Pass isn't final, though...will still be more added.
You can shoot the robot vacuums (done especially for George)
Laser beam eye stalks can not longer be shot. You have to avoid the beams, trigger them, or spiritwalk through them now.
LOTA D: In progress, but new set-up for Grandfather. Play it to see where he's located now.
Cilia are triggered by spiritwalking players (so you can't walk through them)
Jetpacks rockets are slower
Four-legged Harvesters have been debuffed slightly
Head shots from the sniper rifle decapitate the mutilated humans
Poker/blackjack rules fixes in Roadhouse
Lots and lots of bugfixes
Well, that's all for this week. Next week (hopefully, if he can tear himself away from crunch time), Peter from Venom will update on the 360 version and anything he feels like talking about with that. In the meantime, stay out of trouble.
Chris Rhinehart - Prey Project Lead
Human Head Studios
Click the screenshot to watch Prey in action on the videos page!
Additionally, if you are a gaming news website, and wish to be updated directly with notification of these updates, please email us with a link to your website and a request to be added, and we'll email you with the next update.
Posted by Joe Siegler at 2:40 PM
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EaseUS - Make It Easy to Protect Data and Manage Digital Devices!
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https://www.easeus.com/disk-copy/home-edition/
|
Upgrade Hard Drive Without Losing Data
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Clone An Old HDD/SSD to A New Computer
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wrong_mix_property_foundationPlace_00067
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FactBench
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3
| 70
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https://europeangaming.eu/portal/latest-news/2024/01/25/151399/doom-guy-john-romero-to-keynote-at-casinobeats-summit/
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en
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‘DOOM Guy’ John Romero to Keynote at CasinoBeats Summit
|
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[] |
[] |
[
""
] | null |
[
"Alan Campbell",
"Peter Tolan"
] |
2024-01-25T00:00:00
|
Award-winning programmer, game designer and level designer behind iconic classics such as Doom and Wolfenstein 3D, John Romero (pictured), is set to headline the upcoming CasinoBeats Summit. In his keynote entitled Bridging Worlds: Nostalgia, Innovation and the Future – A Journey with John Romero, Romero will offer insights drawn from his extensive experience in […]
|
en
|
European Gaming Industry News
|
https://europeangaming.eu/portal/latest-news/2024/01/25/151399/doom-guy-john-romero-to-keynote-at-casinobeats-summit/
|
Global gaming and esports brand GIANTX has acquired UK AI Esports Coaching start-up, iTero Gaming in a multi-million deal.
The new acquisition will offer AI coaching for GIANTX fans and competitive gamers globally across the leading title League of Legends, targeting players looking to improve and elevate their gameplay.
iTero Gaming Founder, Jack Joseph Williams, has also become the esports organisation’s new Head of Gaming Technology.
This acquisition paves the way for future innovations in AI-driven performance enhancement and strategic development in the global gaming and esports industry
Today, global gaming and esports brand GIANTX (GX) is proud to announce the acquisition of iTero Gaming, a UK start-up specialising in AI coaching solutions for competitive gamers. The acquisition represents a significant milestone for the gaming and technology industry, highlighting the growing integration of AI in esports.
With a focus on the title League of Legends, the multi-million deal represents the company’s ongoing commitment to the global esports community through delivering precise, individualised coaching for gamers looking to enhance their competitive performance. Integrating iTero’s innovative AI technology will also enable GIANTX to provide tailored training and strategic insights to its global fanbase. Founder of iTero Gaming, Jack Joseph Williams, has also become the esports organisation’s new Head of Gaming Technology following the acquisition.
The iTero Gaming League of Legends coaching app has amassed nearly a quarter million installs in less than two years, harnessing AI to pinpoint player weaknesses and optimise pre-game setup. Analysing millions of games every patch, their state-of-the-art AI assesses which champions from your pool would excel in team drafts, and suggests enemy bans, optimal runes, and item builds. During matches, it also offers real-time tools such as objective timers to support players striving for a competitive edge in destroying the enemy nexus.
With a shared vision to educate and elevate competitive players globally, the acquisition will harness both companies’ strengths to create an advanced training ecosystem that supports player development at every level. With ambitions to become the leading tool on the market for those looking to improve their gameplay in League of Legends, they are set to revolutionise the competitive gaming landscape, offering resources that cater to the needs of both professional and aspiring competitive gamers.
Proving popular among esports enthusiasts already, the app also aligns perfectly with the interests of esports fans following top-tier teams like GIANTX, looking to improve their gameplay strategies significantly. With access to over 500 account statistics for review, the potential for refining gameplay is endless.
The acquisition represents a significant milestone for the gaming and technology industry, highlighting the growing integration of AI in esports. iTero Gaming’s AI coaching offers a glimpse into the transformative potential of AI across the broader tech landscape, demonstrating how traditional coaching on classic esports titles such as League of Legends can be transformed. This acquisition not only sets a new benchmark for competitive training but also paves the way for future innovations in AI-driven performance enhancement and strategic development in gaming and esports.
Founder of iTero Gaming, Jack J, is a former financial analyst at HSBC who channelled his passion for AI into developing predictive models for esports competition outcomes in his spare time. This endeavour evolved into iTero Gaming, where he began offering decision-making tools for League of Legends players. iTero Gaming launched its app in September 2022, quickly amassing over 10,000 installs, along with glowing 5-star reviews and strong user retention rates. This success validated iTero Gaming’s product-market fit and potential to disrupt the gaming industry with the innovative use of AI.
GIANTX (GX) was formed from the amalgamation of London-based Excel Esports and Malaga-based Giants Esports last year. This strategic merger has consolidated the esports organisation’s position as a dominant force in global esports, with headquarters in London and Malaga, alongside a state-of-the-art performance centre in Berlin. This union has since supported GIANTX’s goals for global expansion, solidifying its status as a leading team across multiple competitive titles, supported by an unparalleled fan base.
Tim Reichert, Co-CEO of GIANTX, said: “We are thrilled to announce our acquisition of iTero Gaming to help elevate player performance to new heights! This marks a pivotal moment in GIANTX’s ongoing commitment to innovation and excellence in esports, empowering players worldwide to achieve their competitive best. We are excited to harness this new technology to optimise our team’s training during practice to unlock the full potential of our pro players and the global gaming community.”
Jose Diaz, Co-CEO of GIANTX, said: “We are excited to welcome AI pioneer Jack J to the GIANTX team. This acquisition represents a significant milestone in advancing AI in the gaming industry. The potential to enhance gameplay and provide tailored insights is enormous, and I can’t wait to see the positive impact it will have on the gaming community”
|
|||||
wrong_mix_property_foundationPlace_00067
|
FactBench
|
3
| 27
|
https://www.arviups.com/ups-manufacturers/vietnam.html
|
en
|
Online UPS Manufacturer at Vietnam
|
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[] |
[] |
[
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"True Online UPS",
"Industrial UPS",
"Industrial Invertor",
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"Solar UPS",
"Solar Invertor",
"Solar UPS for Pumps",
"Line Interactive UPS",
"Windmill UPS",
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] | null |
[
"SEO Expert Peter"
] | null |
ARVI Systems & Controls is a UPS manufacturer in Vietnam. Supplier UPS systems and devices, and manufacture online and power UPS systems.
|
en
|
assets/img/favicon.ico
| null |
Arvi Systems & Controls Pvt Ltd Vietnam
ARVI Systems & Controls Pvt. Ltd, Vietnam, is an ISO 9001:2008 certified company engaged in the manufacture, export and supply of UPS and other power management solutions since 1998. We at ARVI, offer customized and reliable solutions for all power related issues rather than offering readymade products. Solutions are offered based on application specific requirement, after an analysis from our team of power management experts.
With an expertise of over 12 years, and with more than 10,000 installations across the country on various types of application, we have an accurate knowledge of the power requirement for respective applications and our team is known for offering the best solution. We have a strong in-house R&D team and all the products are designed and manufactured for Indian power conditions with stringent process control ensuring highly reliable and quality products; always keeping in pace with the advanced technology incorporated.
Our products are designed, built and tested to perform in the most difficult situations in our state-of-the -art manufacturing facility and are certified as per IEC-62040-1,2,3 & CE marking. Our high standards of manufacturing process, quality, reliability and after sales has been evaluated and certified by leading testing agencies and consultants.
As an approved vendor by IAF, LRDE, ADE, GTRE and BEL we are sure to exceed your expectation of quality and support. A penchant for exceptional quality and customer satisfaction has been embedded in our infrastructure and is the reason for our success.
We have won the prestigious awards for best after sales service and for best in product category in 3ph-1ph models by the SD awards for 2010-11.
|
|||||
wrong_mix_property_foundationPlace_00067
|
FactBench
|
2
| 10
|
https://en.wikipedia.org/wiki/John_Carmack
|
en
|
John Carmack
|
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[] |
[] |
[
""
] | null |
[
"Contributors to Wikimedia projects"
] |
2002-02-25T15:51:15+00:00
|
en
|
/static/apple-touch/wikipedia.png
|
https://en.wikipedia.org/wiki/John_Carmack
|
American computer programmer and video game developer (born 1970)
For other people named John Carmack, see John Carmack (disambiguation).
John D. Carmack II[1] (born August 21,[a] 1970)[1] is an American computer programmer and video game developer. He co-founded the video game company id Software and was the lead programmer of its 1990s games Commander Keen, Wolfenstein 3D, Doom, Quake, and their sequels. Carmack made innovations in 3D computer graphics, such as his Carmack's Reverse algorithm for shadow volumes.
In 2013, he resigned from id Software to work full-time at Oculus VR as their CTO. In 2019, he reduced his role to Consulting CTO so he could allocate more time toward artificial general intelligence (AGI).[3] In 2022, he left Oculus to work on his AGI startup, Keen Technologies.[6]
Biography
Early life
Carmack was born in Shawnee Mission, Kansas,[1] the son of local television news reporter Stan Carmack. He grew up in the Kansas City metropolitan area, where he became interested in computers at an early age. He attended Shawnee Mission East High School in Prairie Village, Kansas and Raytown South High School in nearby Raytown, Missouri.
Carmack was introduced to video games with the 1978 shoot 'em up game Space Invaders in the arcades during a summer vacation as a child. The 1980 maze chase arcade game Pac-Man also left a strong impression on him. He cited Nintendo designer Shigeru Miyamoto as the game developer he most admired.[8]
As reported in David Kushner's Masters of Doom, when Carmack was 14, he broke into a school with other children to steal Apple II computers. To gain entry to the building, Carmack concocted a sticky substance of thermite mixed with Vaseline that melted through the windows. However, an overweight accomplice struggled to get through the hole and instead opened the window, setting off a silent alarm and alerting police. Carmack was arrested and sent for psychiatric evaluation. He was sentenced to a year in a juvenile home.[9] He attended the University of Missouri–Kansas City for two semesters before withdrawing to work as a freelance programmer.[11]
Career
Softdisk, a computer company in Shreveport, Louisiana, hired Carmack to work on Softdisk G-S (an Apple IIGS publication), introducing him to John Romero and other future key members of id Software such as Adrian Carmack (no relation). Later, Softdisk would place this team in charge of a new, but short-lived, bi-monthly game subscription product called Gamer's Edge for the IBM PC (DOS) platform. In 1990, while still at Softdisk, Carmack, Romero, and others created the first of the Commander Keen games, a series that was published by Apogee Software, under the shareware distribution model, from 1991 onwards. Afterwards, Carmack left Softdisk to co-found id Software.
Carmack has pioneered or popularized the use of many techniques in computer graphics, including "adaptive tile refresh" for Commander Keen, ray casting for Hovertank 3D, Catacomb 3-D, and Wolfenstein 3D, binary space partitioning which Doom became the first game to use, surface caching which he invented for Quake, Carmack's Reverse (formally known as z-fail stencil shadows) which he devised for Doom 3, and MegaTexture technology, first used in Enemy Territory: Quake Wars.[16] Quake 3 popularized the fast inverse square root algorithm.[17]
Carmack's engines have also been licensed for use in other influential first-person shooters such as Half-Life, Call of Duty and Medal of Honor. In 2007, when Carmack was on vacation with his wife, he ended up playing some games on his cellphone, and decided he was going to make a "good" mobile game.[18][19]
Main article: ZeniMax v. Oculus
On August 7, 2013, Carmack joined Oculus VR as their CTO.[20] On November 22, 2013, he resigned from id Software to work full-time at Oculus VR.[2][21] Carmack's reason for leaving was that id's parent company ZeniMax Media did not want to support Oculus Rift.[22] Carmack's role at both companies later became central to a ZeniMax lawsuit against Oculus' parent company, Facebook, claiming that Oculus stole ZeniMax's virtual reality intellectual property.[23][24][25] The trial jury absolved Carmack of liability, though Oculus and other corporate officers were held liable for trademark, copyright, and contract violations.[26]
In February 2017, Carmack sued ZeniMax, claiming the company had refused to pay him the remaining $22.5 million (~$27.5 million in 2023) owed to him from their purchase of id Software.[27] In October 2018, Carmack stated that he and ZeniMax had reached an agreement and that "Zenimax has fully satisfied their obligations to me", ending the suit.[28]
On November 13, 2019, Carmack stepped down from the Oculus CTO role to become a "Consulting CTO" in order to allocate more time to his work on artificial general intelligence (AGI).[3] On August 19, 2022, Carmack announced that he has raised $20M for Keen Technologies, his new AGI company.[29] On December 16, 2022, Carmack left Oculus to focus on Keen.[6]
Workstyle
Carmack has maintained a sixty-hour work week, working a 10-hour day, six days a week, throughout his career.[30] He has spoken publicly about the importance of long hours of uninterrupted focus in his work. Not only does high intensity allow him to make progress more quickly, but long hours are also critical to maintaining a focused mindset over time. Despite working such a demanding schedule, he has never experienced burnout.[30]
Carmack is also known for taking week-long programming retreats. These retreats involve a solitary, uninterrupted period away from his normal routine often sequestered in a random city and hotel. The goal of these retreats is to allow Carmack to operate at full cognitive capacity, tackling a specific, difficult problem or learning a new skill.[32] The solitude and physical isolation of these retreats offer the perfect environment for deep focus and reflection, making them an essential part of Carmack's creative process.
Carmack was vocal about his frustration with the bureaucratic inefficiencies he encountered during his time at Meta.[33] In his departure memo, he stated, "We have a ridiculous amount of people and resources, but we constantly self-sabotage and squander effort," he wrote. "I have never been able to kill stupid things before they cause damage, or set a direction and have a team actually stick to it."[34]
Carmack subscribes to the philosophy that small, incremental steps are the fastest route to meaningful and disruptive innovation.[30] He compares this approach to the "magic of gradient descent" where small steps using local information result in the best outcomes. According to Carmack, this principle is proven by his own experience, and he has observed this in many of the smartest people in the world. He states, "Little tiny steps using local information winds up leading to all the best answers."[30]
Armadillo Aerospace
Main article: Armadillo Aerospace
Around 2000, Carmack became interested in rocketry, a hobby of his youth. Reviewing how much money he was spending on customizing Ferraris,[citation needed] he began by giving financial support to a few local amateur engineers. Carmack funded the company, called Armadillo Aerospace, out of his own pocket, for "something north of a million dollars a year."[35] The company of hobbyists made steady progress toward their goals of suborbital space flight and eventual orbital vehicles. In October 2008, Armadillo Aerospace competed in a NASA contest known as the Lunar Lander Challenge, winning first place in the Level 1 competition along with $350,000 (~$486,412 in 2023).[36] In September 2009, they completed Level 2 and were awarded $500,000 (~$690,323 in 2023).[37][38][39] The company went into "hibernation mode" in 2013.[35]
According to Carmack, the work in the Aerospace industry is "simple" compared to the work he does in video games.[40]
Open-source software
Carmack is an advocate of open-source software, and has repeatedly voiced his opposition to software patents, equating them to robbery.[41] He has also contributed to open-source projects, such as starting the initial port of the X Window System to Mac OS X Server and working to improve the OpenGL drivers for Linux through the Utah GLX project.[42]
Carmack released the source code for Wolfenstein 3D in 1995 and the Doom source code in 1997, first under a custom license and then under the GNU General Public License (GPL) in 1999. When the source code to Quake was leaked and circulated among the Quake community underground in 1997 after licensee Crack dot Com was hacked,[43] a programmer unaffiliated with id Software named Greg Alexander used it to port Quake to Linux using SVGALib. As this was more feature rich than Dave Taylor's earlier X11 port, he sent the patches to Carmack.[44] Instead of pursuing legal action, id Software used the patches as the foundation for a company-sanctioned Linux port maintained by new hire Zoid Kirsch, who later ported Quakeworld and Quake II to Linux as well.[45]
id Software has since publicly released the source code to Quake in 1999, Quake 2 in 2001, Quake 3 in 2005 and lastly Doom 3 in 2011 (and later the BFG Edition in 2012). The source code for Hovertank 3D and Catacomb 3D (as well as Carmack's earlier Catacomb) was released in June 2014 by Flat Rock Software with Carmack's blessing.[46][47] He has since expressed regret on using the copyleft GPL over the more permissive BSD license.[48]
The release of id Tech 4 occurred despite patent concerns from Creative Labs over Carmack's reverse,[49] while the original Doom source release shipped without music due to complications with the Cygnus Studios developed DMX library (which lead to the Linux version being selected for release).[50] Carmack has since advised developers to be careful when utilizing middleware, noting how it can limit the possibilities of later releasing source code.[51] Tim Sweeney has implied this issue has hindered potential releases of older Unreal Engine source code.[52]
On the other hand, despite his technical admiration for the system,[53] Carmack has several times over the years voiced a sceptical opinion about Linux as a gaming platform.[54][55] In 2013, he argued for emulation as the "proper technical direction for gaming on Linux",[56] and in 2014 he voiced the opinion that Linux might be the biggest problem for the success of the Steam Machine.[57]
Carmack contributes to charities and gaming communities. Some of the recipients of Carmack's charitable contributions include his former high school, promoters of open-source software, opponents of software patents, and game enthusiasts.[58]
Personal life
Carmack was so successful at id that by mid-1994 he had purchased two Ferraris: a Ferrari 328 and a Ferrari Testarossa.[59] In 1997, he gave away the Ferrari 328 as a prize to Dennis Fong, the winner of the Quake tournament "Red Annihilation".[60]
He met his now ex-wife Katherine Anna Kang, at the 1997 QuakeCon when she visited id's offices. As a bet, Kang challenged Carmack to sponsor the first All Female Quake Tournament if she was able to produce a significant number of participants. Carmack predicted a maximum of 25 participants, but there were 1,500. Carmack and Kang married on January 1, 2000, and planned a ceremony in Hawaii. Steve Jobs requested that they would postpone the ceremony so Carmack could attend the MacWorld Expo on January 5, 2000. Carmack declined and suggested making a video instead.[62] Carmack and Kang had a son Christopher Ryan in August 2004.[63] Their second son was born in November 2009.
Carmack is divorced as of 2022. On May 26, 2022, he announced his divorce and how he met his partner Trista through the VR Beat Saber games he would host via Twitter.[64]
As a game developer, Carmack differed from many of his contemporaries by avoiding commitment to a final release date for any game he was developing. Instead, when asked for a release date on a new game, Carmack would usually reply that the game would be released "when it's done".[65] Employees at Apogee, in their past years the publishers of games by id Software, adopted this business practice as well.[66] In 2019, as a guest on The Joe Rogan Experience, Carmack stated that his beliefs have changed over time: "I largely recant from that now." On Rage's 6-year development time he says: "I think we should have done whatever it would have taken to ship it 2 years earlier". Carmack also reflected on the internal development of Quake in this regard and described it as "traumatic" and says id Software could have split the game into two parts and shipped it earlier.[67]
Carmack has a blog last updated in 2006 (previously a .plan, which could be accessed by making a finger request for johnc@idsoftware.com[68]), an active Twitter account, and also occasionally posts comments to Slashdot.[9]
Carmack supported the 2012 presidential campaign of Libertarian Ron Paul,[69] and is an atheist.[70][71] During a conversation with Joe Rogan, Carmack revealed that he had trained in Brazilian Jiu Jitsu and Judo for several years as a hobby.[72]
During his time at id Software, a medium pepperoni pizza would arrive for Carmack from Domino's Pizza almost every day, carried by the same delivery person for more than 15 years. Carmack had been such a regular customer that they continued to charge him 1995 prices.[73]
On occasion he has commended the efforts of similarly focused programmers – first Ken Silverman, who wrote the Build engine for 3D Realms, and later with Tim Sweeney of Epic Games, who wrote the Unreal Engine.[9]
Recognition
Accolades for John Carmack Date Award Description 1996 Named among the most influential people in computer gaming of the year and of all time #1 and #2 in GameSpot's lists.[74][75] 1997 Named among the most influential people of all time #7 in Computer Gaming World list, for game design.[76] 1999 Named among the 50 most influential people in technology #10 in Time's list.[77] March 2001 Award for community contribution for the Quake 3 engine Used in 12 games. Bestowed at 2001 Game Developer's Conference Award Ceremony. March 22, 2001 Inducted into Academy of Interactive Arts and Sciences' Hall of Fame The fourth person to be inducted, an honor bestowed upon those who have made revolutionary and innovative achievements in the video and computer game industry. 2002 Named to the MIT Technology Review TR100 Included as one of the top 100 innovators in the world under the age of 35.[78] 2003 One subject of book Masters of Doom Masters of Doom is a chronicle of id Software and its founders. 2005 Name in film The film Doom featured a character named Dr. Carmack, in recognition of Carmack who co-created the original game. March 2006 Added to the Walk of Game Walk of Game is an event that recognizes the developers and games with the most impact on the industry.[79] January 2007 Awarded 2 Emmy Awards Carmack and id Software were awarded with two Emmy Awards. The first was Science, Engineering & Technology for Broadcast Television, which includes broadcast, cable and satellite distribution. The second was for Science, Engineering and Technology for Broadband and Personal Television, encompassing interactive television, gaming technology, and for the first time, the Internet, cell phones, private networks, and personal media players. id Software is the first independent game developer to be awarded an Emmy since the Academy began honoring technology innovation in 1948.[80] September 2007 Television appearance Appeared on Discovery Channel Canada Daily Planet featuring his rocket designs along with the Armadillo Aerospace team. 2008 Honored Carmack was honored at the 59th Annual Technology & Engineering Emmy Awards for Quake's pioneering role of user modifiability.[81] He is the only game programmer ever honored twice by the National Academy of Television Arts & Sciences, having been given an Emmy Award in 2007 for his creation of the 3D technology that underlies modern shooter video games.[82] Along with Don Daglow of Stormfront Studios and Mike Morhaime of Blizzard Entertainment, Carmack is one of only three game developers to accept awards at both the Technology & Engineering Emmy Awards and at the Academy of Interactive Arts & Sciences Interactive Achievement Awards.[citation needed] October 2008 Won X-Prize Carmack's Armadillo Aerospace won the $350,000 Level One X-Prize Lunar Lander Challenge.[83] 2009 Named among the 100 top game creators of all time #10 in IGN's list.[84] March 11, 2010 Lifetime Achievement Award Was awarded the Game Developers Conference Lifetime Achievement award for his work.[85] March 7, 2016 BAFTA Fellowship Award Honoured with the Academy's highest honour, the Fellowship for "work that has consistently been at the cutting edge of games and his technical expertise helping the future arrive that little bit faster".[86] May 3, 2017 Honorary Doctorate Received a Doctor of Engineering Honoris Causa from the University of Missouri, Kansas City for "his work in cutting edge tech & comp sci".[87]
Games
Video games worked on by John Carmack Release date Game Developer Publisher Credited for October 16, 2012 Doom 3 BFG Edition id Software Bethesda Softworks Technical director, engine programmer, developer October 4, 2011 Rage id Software Bethesda Softworks Technical director, engine programmer, developer September 28, 2007 Enemy Territory: Quake Wars Splash Damage Activision Programming May 1, 2006 Orcs & Elves Fountainhead Entertainment Electronic Arts Producer/programmer/writer October 18, 2005 Quake 4 Raven Software Activision, Bethesda Softworks (republished 2012) Technical director September 13, 2005 Doom RPG Fountainhead Entertainment id Software Producer/programmer April 3, 2005 Doom 3: Resurrection of Evil Nerve Software Activision Technical director August 3, 2004 Doom 3 id Software Activision Technical director November 19, 2001 Return to Castle Wolfenstein id Software Activision Technical director December 18, 2000 Quake III: Team Arena id Software Activision Programming December 2, 1999 Quake III Arena id Software Activision Programming November 30, 1997 Quake II id Software Activision Programming March 31, 1997 Doom 64 Midway Games Midway Games Programming June 22, 1996 Quake id Software GT Interactive Programming May 31, 1996 Final Doom id Software GT Interactive Programming October 30, 1995 Hexen: Beyond Heretic Raven Software id Software 3D engine December 23, 1994 Heretic Raven Software id Software Engine programmer September 30, 1994 Doom II: Hell on Earth id Software GT Interactive Programming December 10, 1993 Doom id Software id Software Programming 1993 Shadowcaster Raven Software Origin Systems 3D engine September 18, 1992 Spear of Destiny id Software FormGen Software engineer May 5, 1992 Wolfenstein 3D id Software Apogee Software Programming 1991 Catacomb 3-D id Software Softdisk Programming 1991 Commander Keen in Aliens Ate My Babysitter! id Software FormGen Programming December 15, 1991 Commander Keen in Goodbye, Galaxy! id Software Apogee Software Programming 1991 Commander Keen in Keen Dreams id Software Softdisk Programming 1991 Shadow Knights id Software Softdisk Design/programming 1991 Rescue Rover 2 id Software Softdisk Programmer 1991 Rescue Rover id Software Softdisk Programmer 1991 Hovertank 3D id Software Softdisk Programming 1991 Dangerous Dave in the Haunted Mansion id Software Softdisk Programming 1991 Dark Designs III: Retribution Softdisk Softdisk Programmer/designer December 14, 1990 Commander Keen in Invasion of the Vorticons id Software Apogee Software Programming 1990 Slordax: The Unknown Enemy Softdisk Softdisk Programming 1990 Catacomb II Softdisk Softdisk Developer 1990 Catacomb Softdisk Softdisk Programmer 1990 Dark Designs II: Closing the Gate Softdisk Softdisk Programmer/designer 1990 Dark Designs: Grelminar's Staff John Carmack Softdisk Developer 1990 Tennis John Carmack Softdisk Developer 1990 Wraith: The Devil's Demise John Carmack Nite Owl Productions Developer 1989 Shadowforge John Carmack Nite Owl Productions Developer
References
Bibliography
Kushner, David (2003). Masters of Doom: How Two Guys Created an Empire and Transformed Pop Culture. New York: Random House. ISBN 0-375-50524-5.
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Softdisk, is the largest circulated Power Electronics & Solar PV magazine of India. The trusted Research, Survey, Analysis & Rating Agency with growing popul...
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‘Masters Of Doom’: Eduardo Franco & Patrick Gibson To Star In USA Network Pilot; Four More Cast
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Eduardo Franco (Booksmart) and Patrick Gibson (The OA) are set as the leads in USA Network's Masters of Doom pilot.
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Eduardo Franco (Booksmart) and Patrick Gibson (The OA) are set as the leads in USA Network‘s Masters of Doom pilot, a drama based on David Kushner’s nonfiction book, from James and Dave Franco’s Ramona Films, The Gotham Group and UCP. John Karna (Valley of the Boom), Jane Ackermann (Neptune) and Siobhan Williams (Deadly Class) round out the series regular cast. Peter Friedman (Succession) is set to recur, and Rhys Thomas (Documentary Now!, Saturday Night Live) has been tapped to direct.
Written and executive produced by WGA Award winner Tom Bissell (Gears of War), Masters of Doom is the true story of two computer geniuses in an obscure corner of America who, along with a group of rebellious misfits, created one of the biggest franchise hits of the ’90s, the video game Doom. Franco and Gibson play best friends who became bitter rivals, as they created a video game empire and transformed pop culture forever.
Franco’s John Romero is a brilliant young programmer and designer determined to become the video game industry’s first rock star.
Gibson’s John Carmack is a self-taught genius whose unparalleled programming skill allows him to help create the first-person-shooter genre – and lay the groundwork for the rise of virtual reality.
Karna will play Tom Hall, a tragically lovable young game designer who becomes the heart and soul of the two Johns’ groundbreaking company, iD Software.
Ackermann will portray Hannah Romero, a young wife and mother whose support for her husband, John Romero, is pushed to its breaking point by his unrelenting focus on games.
Williams will play Stevie Case, a brash and charismatic young woman who becomes one of the first female professional gamers—and John Romero’s girlfriend.
Friedman will recur as Al Vekovius, the 1987 Shreveport Businessman of the Year, whose Louisiana company, Softdisk, brings the two Johns together and sponsors their first forays as professional game designers.
Ellen Goldsmith-Vein, Eric Robinson and Jeremy Bell executive produce via The Gotham Group, along with James Franco, Dave Franco, Vince Jolivette and Elizabeth Haggard of Ramona Films, and Kushner. D.J. Goldberg of The Gotham Group will serve as co-executive producer. UCP is the studio.
Franco is best known for his role as Theo in the Olivia Wilde-directed feature Booksmart, as well as his role as Jeremy in the feature The Package, directed by Jake Szymanski. He’ll next be seen in feature The Binge directed by Jeremy Garelick. Franco recurred on the first season of the series American Vandal, and his other television credits include Adam Ruins Everything, You’re the Worst and The Skinny. Franco is repped by UTA and Mosaic.
Gibson has appeared in series/miniseries The OA, The White Princess and Guerrilla. Additional credits include Tolkien, The Darkest Minds, In a Relationship and What Richard Did. Gibson is repped by ARG in the UK and ICM Partners.
Karna was seen opposite Lucas Hedges and Saoirse Ronan in Greta Gerwig’s Lady Bird, produced by Scott Rudin. He also starred in limited series Valley of the Boom and Dirty John, and previously starred as the lead on Scream. Karna is repped by Gersh, Coronel Group, and McKuin Frankel Whitehead LLP.
Ackermann made her acting debut in the independent feature film Neptune, directed by Derek Kimball, which premiered at Slamdance Film Festival. Her other credits include the short film In His House and the horror anthology series 60 Seconds to Die. Ackermann is repped by Innovative Artists.
Williams recurred on Heartland and Level Up and had a lead role in the feature film Flicka: Country Pride, which garnered her a Young Artist Award nomination. She most recently wrapped production on Sacred Lies. Her film credits include Forsaken, Adventures in Public School and Welcome to Marwen. Williams is repped by Alchemy Entertainment, Play Management and Jackoway Tyerman Wertheimer.
Friedman is currently a series regular on the Emmy-nominated series Succession. Additionally, he has recurred on The Affair, The Path, and High Maintenance. Friedman is repped by Lasher Group, Cornerstone Talent and Felker, Toczek, Suddleson, Abramson.
Emmy-winning director/producer Thomas is best known for his work on Saturday Night Live and Documentary Now!, which he co-created and directed along with Fred Armisen, Bill Hader, and Seth Meyers. Thomas most recently directed the pilot for the upcoming series Chad starring Nasim Pedrad. On the feature side, Thomas is currently developing Captain Infinity and is in post-production on John Mulaney’s upcoming stand-up special. He is repped by WME, 3 Arts Entertainment, and Ziffren Brittenham.
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Gowen Research Foundation
Electronic Newsletter
May 2001
Volume 4 No. 5
RESIDENTS OF CYPRIOT MELUN DAG
JOIN MELUNGEONS IN DNA TESTING
By Col. Carroll Heard Goyne, Jr. & Betty Brantley Goyne
Editorial Boardmembers
10019 Canterbury Drive Shreveport, Louisiana, 71106
318/798-7108 [email protected]
Our plans to visit Turkey in June 2000 were nearing com-
pletion when Dr. N. Brent Kennedy, Vice Chancellor of the
University of Virginia's College at Wise [UVA/Wise], in-
formed us that our trip was being delayed until mid-July.
Dr. Kennedy had received a telephone call from the New
York representative of the Turkish Republic of Northern
Cyprus [TRNC], inviting our group to attend the annual
celebration of the Peace and Freedom Operation in North-
ern Cyprus. The event honors Turkey for its military in-
tervention on July 20, 1974, that halted an attempted
genocide of the Turkish Cypriots by the Greek Cypriots.
In addition to Dr. Kennedy, five members of the faculty
of the UVA/Wise were in the travel party. Others in the
group were: Ms. Connie Clark, President of the Melungeon
Heritage Association; Mr. and Mrs. Wayne Winkler, he be-
ing Director of National Public Radio Station WETS-FM at
East Tennessee State University; and my wife Betty Brant-
ley Goyne and myself.
Our group assembled at Chicago's O'Hare Airport on Friday,
July 14, 2000. We departed Chicago about 5 PM, and had
an overnight flight to Ataturk Airport in Istanbul. A
tour guide provided by the TRNC met us on arrival. She
had been retained to show us parts of Istanbul, take us
to lunch, and to otherwise keep us occupied for about
eight hours until boarding our flight to Cyprus.
We flew from Istanbul to Ercan Airport at Lefkosa [Nico-
sia], Cyprus, arriving a little after midnight on Sunday
morning. An attractive young lady greeted us, and escort-
ed us to the airport VIP Lounge. During our walk across
the tarmac, it became apparent that our escort was some-
one of importance in the government. One in our group
said to our escort: "I bet I can guess who you work for.
You work for the Prime Minister." Devrim Altiok respond-
ed: "Close, but not quite." We learned later that Devrim
was Third Secretary in the Foreign Ministry.
From Ercan airport, we were driven to the beautiful Olive
Tree Resort Hotel near Girne [Krynia], arriving at about
3 AM. When we finally settled into our beds, we had been
"out of bed" for about 40 hours.
Most of Sunday was spent recovering from jet lag. We re-
laxed around the hotel swimming pool, and talked with
some of the other delegates. That evening Devrim Altiok
escorted us to dinner at the Park Hotel near Gazimagusa
[Famagusta]. After a delightful dinner on the hotel pa-
tio, we attended a performance of the Bolshoi Ballet of
Belarus in the Roman Amphitheater in the ancient city of
Salamis. It was a brilliant performance, with beautiful
costumes, in a magnificent setting.
Monday morning we visited with His Excellency, Mr. Musta-
fa Akinci, Minister of State, and Deputy Prime Minister.
Previously, Mr. Akinci had been mayor of the Turkish part
of Lefkosa [Nicosia] for 14 years. Following our meeting,
Mr. Akinci hosted us for lunch in the 8th floor dining
room of a mid-city hotel. The panoramic view gave us a
good view of the entire city, including Ledra Palace, UN
Headquarters for Cyprus. That evening we had dinner at a
seaside restaurant near the ruins of Soli. From that lo-
cation we could see the Taurus Mountains of Turkey.
Tuesday morning we visited with His Excellency, Mr. Tah-
sin Ertugruloglu, Minister of Foreign Affairs and De-
fence. The Minister is a graduate of the University of
Arizona, and is very fond of the United States. Next, we
visited with His Excellency, President Rauf Dinktas.
President Dinktas had just returned from Geneva, where he
had been engaged in proximity talks with his Greek Cypri-
ot counterpart. We had very informative meetings with all
three of these senior members of the TRNC government.
After our meeting with President Dinktas, we had lunch at
the Dome Hotel in Girne [Kyrenia]. As we were having des-
ert, an assistant manager came to our table and extended
an invitation for us to have coffee with the General Man-
ager. We were escorted to Mr. Mete Hatay's office, where
he greeted us with a big smile. Mr. Hatay said: "Dr. Ken-
nedy, I have been wanting to meet you. I know about the
Melungeons. I have read your book." He then showed us his
copy of Dr. Kennedy's book published in the Turkish lan-
guage.
Mr. Hatay said that he had a story to tell us. He said in
the mountains east of Girne was a village named Melun Dag,
meaning Damned or Cursed Mountain. He informed us that a
man on his hotel staff was from that village. Mr. Hatay
then told the assistant manager to bring the man to his
office. Presently, a man dressed in chef's clothing en-
tered the office. Mr. Hatay asked the man to tell us of
the history of his village. The man proceeded to relate
the story in the Turkish language, with Mr. Hatay trans-
lating. He said long ago his ancestors were living on
the north coast of Cyprus, when sea-raiders attacked
them. The people fled into the mountains. They named the
mountain where they took refuge Melun Dag. Eventually the
people settled at the base of the mountain, and built a
new village. They named the village Melun Dag. Since that
day, the people of Melun Dag have referred to their an-
cestors as Melun Cans, meaning Damned or Cursed Souls.
[The Turkish word 'can' is pronounced 'jan.'] All three
words: melun, dag and can, are listed in current English-
Turkish Dictionaries, and have the meanings I have stated.
Wednesday morning we got an early start for Melun Dag.
The people of the village had been informed of our visit,
and received us warmly. They placed chairs on the shaded
porch of the village mosque, where they seated us. They
served us cold drinks and sweets. Dr. Kennedy explained
the purpose of our visit, and asked for volunteers to
give hair samples for a DNA project. The two oldest men
in the village came forward, as did other adults. After a
few giggles, and saying "you first," some of the children
got in line. The hair samples, with roots intact, were
placed in numbered plastic bags and returned to the USA
with us. The results of this test will become part of an
ongoing DNA study.
As is apparent from the foregoing, Cyprus, or the Turkic
world in general, is certainly a candidate for being the
source of the term Melungeon.
For several years we have researched the story of Piri
Reis, his maps, and his book "Kitab-l Bahriye." This led
us to the story of the "Book of Shah Iskender." The fol-
lowing poem from "Kitab-l Bahriye" is translated from the
Turkish language:
"Those sailors read, write and know about
The whole sea science
But they never share this knowledge
With anybody other than themselves.
Let me tell you why:
Once upon a time, Shah Iskender
Had traveled all over the seas,
What ever he had heard or seen
He had them written.
Therefore, all the world is
In that book of his.
The book is in Egypt
Kept in secret
Since Iskender.
They escaped with that book,
Traveled with its knowledge,
Translated it,
Let me tell you who translated it:
He was called Portolmiye."
This poem, written in the late 1400s or early 1500s,
tells of a world traveler who, in antiquity, wrote a book
and drew maps. That person was Shah Iskender, which is
the Turkish name for Alexander the Great. Alexander's
book of the world was recovered from the ruins of the Li-
brary of Alexandria, Egypt, and preserved in Egypt for
many years. At some point, Piri Reis obtained a copy of
the "Book of Iskender," and included parts of it in his
book "Kitab-l Bahriye." "Kitab-l Bahriye refers to elev-
en geographic features on the west coast of Africa having
Turkish names. The Piri Reis map, presented to the Turk-
ish Sultan in 1513, shows islands in the south Atlantic,
and parts of Antarctica, that had not been discovered in
1513. There is other evidence of a Mediterranean people
visiting the 'New World' long before Columbus' first voy-
age. Certainly, much research remains to be done to de-
termine the origin of the term Melungeon. Insallah, we
will continue with our research.
The information on Piri Reis and Shah Iskender comes to
us from the Ottoman Archives, the Turkish Naval Archives,
and the Turkic World Research Foundation. It was trans-
lated from the Turkish language by Aslihan Arul who lives
in Istanbul.
CALEB EMERY GOWEN AND FAMILY WERE "FREQUENT FLYERS"
THRU PORT OF NEW YORK A HUNDRED YEARS AGO.
Caleb Emery Gowen was a descendant of William Alexander
Gowen who was deported by Oliver Cromwell and who ar-
rived in New England in 1651. He inherited his wander-
lust.
Caleb Emery Gowen, with his son, Albert Younglove Gowen,
would have been the winners of any "frequent flyer" pres-
entations awarded to passengers moving through Ellis Is-
land and the Port of New York a century ago. They and
their families were recorded 22 times among the 101 Gowen
individuals who made a transit between 1892 and 1924, ac-
cording to the records of American Family Immigration
History Center.
Caleb Emery Gowen was a namesake of Caleb Emery who was
born in York County, Maine October 17, 1710. He was a
son of Daniel Emery and Margaret Gowen Emery, daughter of
William Alexander Gowen, who were married March 17, 1695
at Kittery, Maine.
Caleb Emery Gowen was enrolled in Harvard University from
1874 to 1878, receiving his A. B. Degree in 1878. In 1910
he was a resident of Cleveland, Ohio, living on Magnolia
Drive. He was engaged in "manufacturing and transporta-
tion" according to the alumni directory. From 1893 to
1910 he was recorded 11 times in the records of Ellis Is-
land. His wife and children frequently accompanied him.
They made crossings, mostly to English ports in 1893,
1894, 1896, 1903, 1904, 1906, 1909, 1910, 1914, 1920 and
1922.
Children born to Caleb Emery Gowen include:
Albert Younglove Gowen born about 1884
Margaret H. Gowen born about 1887
Harriett Gowen born about 1892
Albert Younglove Gowen, son of Caleb Emery Gowen, was
born about 1884. He was listed in the Harvard Alumni
Directory as a student at Harvard University from 1903
through 1905. In 1910 and in 1917 he was listed in "man-
ufacturing" with home address as 11120 Magnolia Drive,
Cleveland.
Albert Younglove Gowen was recorded four times from 1906
to 1923 in the records of Ellis Island , and then he
bought his own yacht.
In 1917 he was registered as the owner of a wooden motor
yacht, "Sweetheart," according to Lloyds of London. It
was built as Hull No. 796 in 1913 at Lawley Shipbuilders
of Quincy, Massachusetts. At the same time, an 18-foot
yacht tender, Hull No. 1252, named "Adelia" was built to
be carried on the "Sweetheart."
Albert Younglove Gowen was recorded as a member of the
Cleveland Yacht Club, and the vessel showed Chicago as
its home port. He changed the name of the yacht to "Spee-
jacks." In 1922, he sailed the vessel around the world
and became the first to circumnavigate the globe in a mo-
tor-driven yacht, according to "Guiness Book of Records."
Jeanne Couchet Gowen extracted information from the log
of the Speejacks on a voyage from New York to Australia.
Dale Collins used the data to write "Sea Tracks of the
Speejacks" which was published in 1923.
Brian Cartwright of Toronto, Ontario, Canada contacted
Gowen Research Foundation October 10, 1999 to report that
he had purchased the "Adelia" in 1985. He wrote:
"I took "Adelia" back to Boston [the Lawley boatyard
was in Quincy, south of Boston] last summer for the
Lawley Boatowners Rendezvous & Boston Antique Boat
Show. This was her first return visit since it was
built, over 85 years ago. Not only did I then find
out from Albert Hickey, LBOA Executive Director and
Burt Hasselbalch, curator, Hart Nautical Collection,
Massachusetts Institute of Technology, when "Adelia"
was built, but for whom and for what yacht.
Ideally, and perhaps, idealistically, I am very cur-
ious to know if the motoryacht for which it was
built, has survived two world wars and over nine
decades of use, to this present day. My fingers are
crossed. I look forward to any background informa-
tion and any insights you may be able to provide on
Albert Younglove Gowen. I would be interested to
know how he came about such good fortune to have
such fine yacht/boat commissioned."
Children born to Albert Younglove Gowen include:
Albert Younglove "Jaxie" Gowen, Jr. born about 1939
Albert Youngblood "Jacksie" Gowen, Jr, son of Albert
Younglove Gowen, was born about 1944 in Cleveland.
In 1993, he was living in Geneva, Switzerland where he
was the executive vice-president of Coutts & Company, an
investment banking arm of the National Wesminster Bank
Group of London. His office was located at 13 Quai de
l'Ile, 1211 Geneva [11].
In 1999 Albert Younglove "Jaxie" Gowen, Jr, was vice
chairman of Sarasin Geneva, part of Bank Sarasin, a
Swiss private bank. He was interviewed by a reporter of
the "International Herald-Tribune" of Paris, France who
was writing a news story which was published October 18,
1999.
==O==
After more than four years of work, millions of volunteer
hours and almost $25 million, the American Family Immi-
gration History Center opened its doors to the American
people. This center, housed in the Ellis Island Immigra-
tion Museum along with a companion Website provides easy
access to ships' passenger manifest records of more than
22 million immigrants who entered through the Port of New
York and Ellis Island from 1892 to 1924. While these rec-
ords have been available on microfilm for years through
the National Archives, this is the first time they are
available via an electronic database.
The millions of records available both through kiosks at
Ellis Island and via the Internet will provide the fol-
lowing types of information about the immigrants:
Immigrant's given name
Immigrant's surname
Gender
Age at arrival
Ethnicity/Nationality
Marital status
Last residence (town & country)
Date of arrival
Ship of travel
Port of origin
Current microfilm records at the National Archives cover
immigration through the Port of New York from 1820 to
1957. While the American Family Immigration History Cen-
ter's database currently includes only the records from
1892-1924, the peak years, they plan to continue adding
records until all Ellis Island records are available
electronically. Records of immigrants through other U.S.
ports will be added to database subsequently.
One hundred one members of the Gowen family made an en-
trance into the United States through the Port of New
York and Ellis Island in the 32 years between 1892 and
1924. They were among the 22 million immigrants, pass-
engers and crew members who made a transit through the
port facility, according to the website of the American
Family Immigration Center.
The Website is accessed at:
http://www.ellisislandrecords.org
The free electonic database has been overwhelmed by fam-
ily researchers since its announcement. The site quickly
became one of the 50 busiest in the United States with
1.9 hits during the month of April. Included in the rec-
ords were:
Name of Passenger Residence Arrived Age
1. Mrs. Albert Y. Gowen 1922 26
2. Mrs. Caleb E. Gowen Cleveland, OH 1910 52
3. Mrs. Caleb E. Gowen Cleveland 1906 47
4. Mrs. F. B. Gowen London 1892 59
5. Frederick C. Gowen 1894 34
6. Mrs. G. L. Gowen 1908
7. Albert Y. Gowen Cleveland 1914 30
8. Albert Y. Gowen Cleveland 1906 23
9. Albert Y. Gowen 1922 39
10. Albert Y. Gowen Chicago, Ill. 1923 39
11. Alfred Thomas Gowen 1919 40
12. Alice Gowen Philadelphia, 1922 63
13. Alice K. Gowen Philadelphia 1923 64
14. Alice Robinson Gowen Philadelphia, 1924 65
15. Arthur Gowen London, England 1912 34
16. Arthur Gowen London, England 1913 32
17. Arthur Gowen 1913
18. Benjamin Gowen England 1900 35
19. Bridget Gowen Fermoy, Ireland 1907 20
20. Burrell Gowen 1922 25
21. Caleb E. Gowen 1893 38
22. Caleb E. Gowen 1894 36
23. Caleb E. Gowen Liverpool 1896 41
24. Caleb E. Gowen 1903 47
25. Caleb E. Gowen 1904 48
26. Caleb E. Gowen Cleveland 1906 50
27. Caleb E. Gowen 1909 52
28. Caleb E. Gowen Cleveland, Ohio 1910 54
29. Catherine Gowen 1920
30. Cora Gowen Somerville, Ma 1910 35
31. David Gowen 1896 18
32. Delnivis Gowen 1893 29
33. Dorothy Gowen 1915 13
34. Eleanor Gowen Cambridge, Mass 1924 23
35. Elizabeth Gowen 1915 7
36. Ella Gowen Warren, Me. 1922 47
37. Ellen Gowen Ballyhooly, Ire 1911 22
38. Elma Gowen Buenos Aires,AR 1911 47
39. Elvia Gowen 1903 39
40. Elwyn G. Gowen Sanford, Me. 1922 27
41. F. C. Gowen 1895 42
42. F. H. Gowen 1897 24
43. Francis Gowen Philadelphia,Pa.1917 27
44. Francis Gowen Philadelphia,Pa.1922 66
45. Francis J. Gowen 1906 47
46. Francis N. Gowen Philadelphia 1923 67
47. Frank Gowen Mel.sham 1905 26
48. Frank Gowen Melksham 1905 25
49. Frank Gowen Waterville 1905 35
50. George Gowen 1923 24
51. ---- Gowen London 1892 20
52. Graffin Gowen 1921 22
53. Hannie Gowen Ballyhooley 1900 18
54. Hariette Gowen Cleveland, Ohio 1910 18
55. Harriett Gowen 1904 12
56. Harriett Gowen Cleveland 1906 14
57. Harriette Gowen 1909 16
58. Helene Gowen 1915 11
59. Helene B. Gowen 1915 31
60. Howard Gowen 1908
61. Isabel E. Gowen 1909 51
62. James Gowen 1919 21
63. James Gowen 1919 21
64. James B. Gowen 1915 42
65. James B. Gowen Hatiesburg, MS 1917 45
66. James E Gowen Philadelphia 1916 21
67. James Emmet Gowen Phila., Pa. 1919 24
68. John Gowen Achill 1903 26
69. John Gowen Fermoy, Ireland 1913 17
70. John Gowen 1924 17
71. John E. Gowen 1893 68
72. John Gilroy Gowen 1921 20
73. Josephine Gowen Bristol, Eng. 1923 19
74. Katie Gowen Fermoy, Ireland 1908 21
75. Kenny Gowen 1922
76. Leonard Gowen Salhouse, Eng. 1910 21
77. Marg. Gowen Ballghannis 1905 28
78. Margaret Fischer Gowen Boston, Mass. 1921 30
79. Margaret H. Gowen Cleveland 1914 27
80. Mary Gowen 1905
81. Mary Gowen 1915 1
82. Mary M. Gowen Philadelphia,PA 1916 26
83. Maurice Gowen Philadelphia 1920 51
84. Michael Gowen Ballyhooly, 1906 20
85. Mildred Gowen 1915 10
86. Morrie W Gowen 1920 51
87. Morris W Gowen 1894 25
88. Norah Gowen Fermoy, Ireland 1907 22
89. Patrick Gowen Fermoy, Ireland 1913 29
90. Philip Gowen Brooklyn, N.Y. 1920 33
91. Philip Gowen 1923 36
92. Ralph E. Gowen 1911 31
93. Reginald Syden Gowen 1918 17
94 Sarah Gowen Gavan, Ireland 1907 28
95. T. C. Gowen U.S. 1922 27
96. Vincent Gowen 1897 4
97. Wilber L. Gowen 1915 28
98. William Gowen Norwich, Eng. 1912 33
99. William Gowen 1923 32
100. Mrs. Gowen 1904 46
101. Mrs. Gowen 1906 48
[To Be Continued]
THEORIES STILL ABOUND FOR ORIGINAL MELUNGEON ETHNICITY:
AND THEORIES THEY ALL ARE
By Evelyn McKinley Orr
Editorial Boardmember
8310 Emmet Street, Omaha, Nebraska, 68134
402/571-3422[email protected]
I was chair for Gowen Research Foundation's Melungeon Re-
research Team from organization in December 1989 until
1997. I dedicated many hours to the Foundation's goals
of finding the "lost key" or truth for what I still con-
sider to be one of America's most interesting historical
mysteries.
The Foundation pledged then to print all views [of the
origin of the Melungeons], and still is doing so now. We
tried to clarify to members that not all Gowen related
families were tied to the Melungeons. In time I would
learn that there may be several partial truths from vari-
ous theories regarding the ethnicity of the original Me-
lungeons of Newmans Ridge, as well as 'some' their simi-
lar counterparts in the early Southeast. Until the mid
19th century, the first ones studied were the Appalachian
Melungeons, the Redbones of South Carolina, the Moors of
Delaware, and the Croatan [Lumbee Indians of NC].
Some of the original team members are still members of
GRF and we still have these same goals. Most serious re-
searchers who have controlled their human instincts to-
ward racial idealogy on this issue continue to believe
that the jury is still out.
Much has been discovered by many professionals since the
pioneer laymen of the 1990s took on the project. It rem-
ains incomplete as more theories surface, including Tim
Hashaws recent series. Yet, theories they all are. It
is such an emotional and complicated issue that it is
not unusual for different views on their ethnicity to be
disputed, with each giving many sources they consider ac-
curate and solid.
Hopefully the article regarding the DNA process by Dr. N.
Brent Kennedy in the April issue of the Newsletter may
resolve some of the questions. In the last few years
more of the so called experts have given us some convinc-
ing play on words to declare as fact who the Melungeons
were, and when minds are made up, even proper DNA results
may not change some minds.
A short critique of the Tim Hashaw Series: It is an ex-
tremely well written, fascinating story. One can under-
stand why Tim won journalism awards. I had hoped he
would cite original documents that show the early Angolan
Malange as Appalachian Melungeons, since his story was
written as historical fact.
The story of the first 20 Negroes to Virginia that Tim
ties to the Melungeon term was recently published in "The
William & Mary Quarterly" July 1998, by John Thorton,
and in "The New Light" April, 1997 by Engel Sluiter.
From my research so far, I would agree that Tim is right
to guess that the real Melungeons originally called them-
selves a name sounding similar to Melungeon. It may nev-
er have come from the French word "Melange" [meaning mix-
ed] as often suggested. There are several researchers
who have discovered this name being used in areas of the
world, other than guessing it came from the corruption of
Angolan "Malange." {See "Origin of Name Melungeon,"
Newsletter, September 2000 and Carroll Goyne's Melun Dag
Cyprus" story, May 2001.
Tim brought out an excellent point that has probably also
been a myth too long. All Negroes who come to the colo-
nies were not necessarily slaves. Freed endentured ser-
vants, black or white, were free to do as they wished and
inter marry as they pleased before the the anti-dark skin
laws began.
Tim seems to have taken the data from the Gowen Research
Manuscript, regarding the first Gowen Melungeons in Amer-
ica as solid fact to publish support for the ethnicity of
thousands of descendants. He leaves no room for "maybes"
or mistakes in genealogy. If possible errors are in the
manuscript as several members claim, the Foundation will
try to correct them. Honest mistakes or varying inter-
pretations have been made in research by most all of us.
The original Melungeon story has relied on guesswork of
scholars and lay writers since the 1880's. Are we to do
no better?
LDS CHURCH RELEASES 1880 CENSUS ON CD-ROMS
The complete 1880 census of the United States is being
released by the LDS Church in Salt Lake City. Approxi-
mately 50,000,000 names of U.S. citizens enumerated in
1880 have been transcribed into a set of 56 CD-ROM discs.
The entire set sells for $49.
Accompanying the CD-ROM set is a national index which
alphabetizes every name into a single index. A search
engine allows the user to search by names, states, towns
and other parameters. Although the collection is not a
reproduction of the entire 1880 census, it will point a
researcher to the exact location of his family 120 years
ago. The collection provides the following information
about each person listed:
* Last name
* First name, often including middle name or initials
* Age
* Sex
* Race
* Marital status
* Occupation
* Relationship to the head of household
* State or country of birth
* Father's state or country of birth
* Mother's state or country of birth
* National Archives microfilm number and page
* Family History Library microfilm number
From Melungeon Heritage Assn:
MELUNGEON HISTORY: A GATHERING AT VARDY ON JUNE 23, 2001
The annual Melungeon event this year is scheduled for
June 23 at Newman's Ridge, Vardy and Sneedville, Hancock
County, Tennessee [almost at the intersection of North
Carolina, Tennessee, Kentucky and Virginia].
This is where the two Melungeon patriarchs, Vardyman
"Vardy" Collins and Shepard "Buck" Gibson began leaving
records of their colorful lives. They and others used
the more limited definition of Melungeons; as Indians
with a Portuguese connection.
The "Registration for Vardy" on Saturday June 23, 2001
can be found at:
<www.GeoCities.com/BourbonStreet/Inn/1024/Registration_
for_Vardy.htm>
Register now by sending $10 payable to "MHA" at:
The Melungeon Heritage Association, Inc.
Box 4042
Wise, Va. 24293
JOHN PETER GOINS WAS ATTRACTED TO WAVING SEA OF GRASS
RESULTING IN HIS MOVE TO WEST TEXAS FROM TENNESSEE
Teenage Johnny Goins listened spellbound to the pitchman
describing the "waving sea of grass, stirrup-high and 300
miles wide" on the High Plains of West Texas to neighbor
J. C. Ausmus on a September day in 1908.
Land agent B. W. Ellison, while extolling the fertility
of the virgin land, unfolded a map of 90,000 acres of
land owned by the C-B Livestock Company "as flat as a
pool table, on top of a sawed-off mountain." Located in
newly-organized Crosby County, Texas, it could be bought
at the give-away price of $3 an acre.
When Ellison declared, "You'd have to ride a mile to
find a rock as big as your fist," both Ausmus and Johnny
Goins were convinced. Both families had struggled with
the rocky, mountainside land in Campbell County, Tennes-
see, trying to scratch a living out of the hard-scrabble.
Johnny Goins raced home to tell his parents about his de-
cision to head west. John Peter Goins had been born
there March 21, 1889 to Preston Goins and Annie Smith
Goins. His father was less than enthusiastic. "I don't
guess you will," he firmly told his son. But the deter-
mined Johnny Goins won out. He left his parents' home
on November 4, 1908, "the day William Howard Taft was
elected president of the United States."
Although he failed to realize fully the impact this de-
cision would have on the remainder of his life, John Pe-
ter Goins became a pioneer in a developing country. His
life was changed forever, according to an article in the
March 12, 1961 edition of "The Crosbyton Review" of
Crosbyton, Texas.
The Tennessee farm boy informed his parents, "I'll return
home in one year." He didn't! In fact, it was 16 years
before he returned to Tennessee for a visit.
Goins and the Ausmuses bought railroad tickets to Texas.
They changed cars in Kentucky and stayed overnight in
Kansas City where they turned south. The group "landed
in Seymour, Texas on November 4" and stayed at the B. W.
Ellison place three days. On the 11th, they hired John
Bradford to move them to Crosbyton with his wagon and
team. Ausmus paid Bradford $25 to deliver his family
and possessions, and Goins paid $10.
Leaving Seymour, they "didn't see one soul until we got
to Benjamin." They asked Bradford, "How could all these
counties get organized when nobody lived there?" Brad-
ford explained that all they had to do was to "throw a
dance," and cowboys would ride 'clear across three coun-
ties" to get there. Texas law required 75 residents to
organize a county, and the dance would continue until
they had 75 signatures on the petition. "Occasionally
a cowboy signed for his horse, as well."
Camping overnight at Benjamin, Texas, the Tennesseeans
met east-bound Henry Leatherwood. "Mr. Leatherwood was
the first Crosby County man I met" the slightly-built
Goins remembers. He also got acquainted rapidly with
the rawness of West Texas, observing Leatherwood handl-
ing wild mules. Stock back home in Tennessee was
"raised right in the pen and was always tame."
Isolation and primitiveness were all around. Goins re-
called that Mrs. Ausmus cried all night long when they
were camped at Benjamin, expressing a desire to "go back
home to Tennessee." The Ausmus family "didn't stay long;
they compromised and went to Illinois."
Despite the adversities of this austere, pioneer land,
Johnny Goins stayed! The 19-year-old lad had "$15 in
cash when I got to Crosbyton. I bought a little food,
and we stayed that night in a half dugout on B. W. El-
lison's place west of town. Along about midnight, Har-
ley Coffey, Ewing Lawson and Luther Collier reached the
dugout to overnight."
Early the next morning, "Harley Coffey made breakfast.
He cooked the first biscuits I ate in Crosby County.
Ausmus killed an antelope, and we had fresh meat."
Goins met ranch foreman Jay Walling, "one of the finest
men I ever knew" and became a cowboy. "When Mr. Walling
hired me, he sent me to Crawfish Ranch to feed cattle.
That ranch was in Fairview Community where Goins six
years later purchased land, which became his home for
the next 63 years.
While working for Walling on the ranch Goins helped "lay
off the route from Crosbyton to Petersburg." A sled
pulled by four mules was utilized to blaze a trail and
to outline the road. "We went across many farms; most
land owners were agreeable. There was a lot of give-and
-take in opening up a new land. It was hard, but there
were also some fond memories."
Johnny Goins remembers driving a chuck wagon with the
crew which was building the road. Goins jumped from the
chuck wagon to open a gate. He was unprepared to see
the half-broke horses running off with the chuck wagon.
The mounted cowboys soon had the runaway team under con-
trol.
Goins became friends with Frank White, newspaper editor
and helped him distribute the first issue of the "Cros-
byton Review" in January 1909. In fact, he had spent
part of Christmas Day in White's office watching him
handset type for that initial publication. A copy of
the first issue of the paper was sent "to my father in
Tennessee." Six decades later, Johnny Goins owned the
longest-running subscription the newspaper ever had.
The former Tennessee farmboy worked as a freighter in
1909. He hauled freight on a wagon, going to Plainview on
a route. The job had its good points. "You could get
good meals for 25 cents at a boarding house in Plainview.
It also had its bad features. "I had a full load of
Irish potatoes when it came up a freeze, and they all
spoiled. I burned out on that job because of the weather.
One night, me and my team nearly froze. We had some hard
winters. I took 90 hides to Plainview one time, hides of
cattle which had froze or starved."
With the arrival of barbed wire, Crosby County began to
change from ranchland to farmland. By 1910, it was evi-
dent that the fertile land was ideal for rowcrop produc-
tion.
John Peter Goins was married about 1910, wife's name, No-
ra L. "John Goen" was the father of an infant born in
Crosby County November 30, 1911, according to Texas Bu-
reau of Statistics File 19418. A son was born to them
in 1915.
After seven years in Crosby County, Goins, now a full-
fledged Texan, became a landowner. He made a deal with
the C-B Livestock Company for 160 acres of land in the
Fairview community. Actually it was an agriculture
lease for five years. The agreement called for $1 per
acre lease the first year, $1.25 the second year, $1.50
the third year, $1.75 the fourth year, and $2.00 the
fifth and final year.
At the end of the lease, the land contract was marked,
"Paid in Full." Goins moved to Fairview community in
1912 and "broke out the sod with a walking plow." He
farmed there until 1959.
"Exceptionally dry years" prevailed across West Texas in
1917 and 1918. And World War I was declared in 1917.
These were troubled years. The war ended November 11,
1918. The situation was improving. "The drought broke,
and we had a good crop in 1919." He planted and harvest-
ed "wheat, oats, and high-gear" [heigera, a form of
maize].
Goins "bought my first car" October 11, 1921. He retain-
ed his original registration papers issued by the late B.
W. Mitchell, then sheriff and tax collector, 40 years
later. He has "my first poll tax receipt from 1910." He
also kept his first auto license plates and his registra-
tion cards from two World Wars.
The spry pioneer points out that he vividly recalls
events from his childhood in Tennessee -- recalling the
Bible verse from his final Sunday school lesson there--
and "things when I first came out here are fresh in my
mind, but I don't remember other things" more recent.
Addressing the changing times, Goins says "people start-
ed gathering at Fairview before sundown to get a seat for
plays" presented at school. Community life was strong in
those days. He served 12 years on the Fairview school
board "before it was consolidated with Ralls in 1948."
Admitting that he "strongly opposed" the consolidation
move, Goins is emphatic that "when we lost our school,
we lost our community life."
Goins comes down hard on "farmers who talk about hard
times. Lord o' mercy, in the early days, many people
lost their land and did well to just live. We didn't
have disaster payments, or Social Security or anything."
Continuing on the changing times, Goins remembers "I
helped break out lots of sod land. I had three horses
to a plow and walked behind. "The first cotton I raised,
I hauled to Floydada in 1921 and sold for six cents a
pound."
John Peter Goins was remarried to Miss Ruth Pratt Febru-
ary 15, 1942, according to Crosby County Marriage Book 3,
page 451. This pioneer man who will celebrate his 92nd
birthday on March 21 "if the Lord let's me live," says.
"when farmers lived on a quarter or a half section, they
had milk cows, chickens, and meat hogs. They had their
living at home. They took milk and eggs to town on Sat-
urday and sold them. This kept the little man on the
farm."
Goins and his third wife, the former Alice Holmes "who I
met by accident November 14, 1964 and married June 18,
1966" will be allowed to maintain their residence on the
Fairview farm for the remainder of their lives. "I hated
to sell the land after living here 73 years because I
knew we'd never own another home," the pioneer admits.
Children born to John Peter Goins and Nora L. Goins
include:
Samuel Preston Goins born in 1915
GENEALOGICAL RESEARCH IN THE 2000 CENSUS
WILL BE MORE DIFFICULT IN THE NEXT CENTURY
The federal census of 2000 suggests that genealogy may be
a little more complicated when family researchers a hun-
dred years from now begin to discover their 20th century
roots. It is because more and more couples are living
together "without the benefit of clergy."
Five and a half million unmarried couples were living to-
gether in 2000. That's almost double the three million
singles living together in 1990, according to the U.S.
Census Bureau.
Over 25% of the U.S. population now live alone. In 1960,
only eight percent of the population lived alone. Today
the typical family of father, mother and 1.6 children
compose only 25% of the total; In 1960, they composed 40%
of all households in America.
There seems to be no consistant pattern of determining
surnames for children of unmarried parents and unwed mo-
thers. Perhaps genetic genealogy will have to be used
in 22nd century research.
==Dear Cousins==
The 11 children of Shadrack Going named in his 1805 Pat-
rick Co., VA, will: Obadiah, Keziah, John, David [David
Smith], James, Claborne, Laban/Leeborne, Shadrack Jr.,
Caleb, Fanny (w/o Edward Bowlin), and Hannah (w/o Thomas
Beasley). There were at least two others: Jerusha, not
named in her father's will but named in an 1807 deed in
which she and Keziah jointly released claim to their fa-
ther's estate; and Nathan, who was murdered September 21
1793 by Robert Hall (who struck him in the head with a
weeding hoe).
Of the 12 surviving children, 8 were in Grainger Co., TN,
at the time of their father's death. Keziah, Jerusha,
Obadiah, and Hannah were still in Patrick County. Obadi-
ah was the major beneficiary of Shadrack's will; in mid-
1806, six of his brothers in TN signed over power-of-at-
torney to a Patrick County lawyer to break the will.
They finally made an out-of-court settlement in late
1807, at which time the land was sold and Obadiah, too,
moved to TN. Kesiah [Keziah] was in Patrick as late as
1813; not sure what became of her. Jerusha was there too,
listed with Kesiah on the special 1813 free persons of
color tax list.
She was counted in neighboring Stokes Co., NC, in 1820,
and registered as a free woman of color in Patrick in
1821, at which time she, her daughter, and her grandson
moved to Ohio.
This left Hannah (Going) Beasley the last of Shadrack's
children in Virginia. Thomas Beasley's 1835 will lists
his six children. They were: Polly (bc1790, never mar-
ried, but had a family in Patrick County); Shadrack
(bc1790, m1821 in Surry County to Martha Harris); Harden
(b. 1790s); Hannah (m1831 in Patrick County to Seaton
Chandler); Catherine (m1821 in Surry County to Benjamin
Harris) and Thomas Jr. (inherited bulk of his father's
estate but washed out financially in Patrick in 1845-46).
All of these folks moved freely around between Patrick,
Surry, and Stokes. Catherine and Shadrack left the area,
I think, Catherine about 1848 and Shadrack in the 1860s.
Thomas Beasley, Sr.'s widow, Hannah (Going) Beasley, died
in early 1845 (estate sale in Patrick County).
Some of the other Beasleys you will see in Stokes & Pat-
rick Counties are the families of Benjamin Beasley (c1762
-1841), who was Thomas's brother, and his wife Rachel
Prather; and the family of Robert Beasley & Caty Beasley.
Robert may have been another brother--not sure.
Hope this helps,
G. C. Waldrep III
Box 687
Yanceyville, NC, 22379
[email protected]
==Dear Cousins==
The Tim Hashaw report was certainly an informative and
well researched report for all our quests of our Melun-
geon origins. These types of documented materials stimu-
late many of us to continue the ever elusive search for
selected minorities in our great melting pot called the
United States of America.
Unfortunately,we must take his papers as yet another
speculative study that is yet to be resolved. We cannot
start with a hypothetical premise that the core of what
we call Melungeons came from Angola, Africa and then
trace their migrations throughout the Eastern Seaboard.
The last Gowen newsletter with Mr. Hashaw's conclusions
included Brent Kennedy's management of new studies of
DNA at the University of Virginia. This type of research
is probably our best hope to eventually solve the Melun-
geon mystery. This group is collecting selected Melun-
geon DNA materials for present and future studies. Cur-
rently even this study has its shortcomings as our genet-
icists are just now mapping the entire DNA makeup of the
human species. Most researchers feel we will understand
our genetic map in the near future. Eventually there is
hope that through genetics we can actually trace the ex-
act paths of the first man from Africa, as well as iden-
tify migratory routes of and origins of many different
peoples over our entire planet.
There is still some hope that archeologists will make
some unique find to help identify the source of the Me-
lungeons, but with limited labor and resources, as well
as little interest in this minority this does not seem
too feasible at this time. Surveillance equipment will
improve for looking under the ground and sea, but cur-
rently only a limited amount of people are interested in
this mystery. Perhaps future finds of artifacts of an-
cient peoples in selected sites of the coastal waters or
lands of America will add confirmation to new knowledge
and understanding of genetic findings.
We must applaud cousin Tom Hashaw for his fine work and
added stimulation for our thoughts. At this time,we must
not take his fine investigative efforts and theories as
gospel as we store away his materials in our libraries
for future reference. We do not yet know whether we are
Portuguese, Turkish, Angolan, or one of the many others
theorized in history. We must all continue to follow
the quest!
Jim Callahan
696 E. Freeman Ridge
Nashville, Indiana, 47448
812/988-9337
[email protected]
==Dear Cousins==
Your Revolutionary ancestors will come to life in South-
ern Vermont during the 9th Annual Ethan Allen Days on
June 16, & 17, 2001. Whether your ancestors served in
the Revolution or supported it from home, you will be
able to see how they lived and fought for independence
as the roar of revolutionary cannons and the crack of
musket fire echo along the old Ethan Allen Highway
(Historic Route 7A) and through the historic Battenkill
River Valley in Sunderland, Vermont, where Allen mustered
his band of Green Mountain Boys. The weekend will fea-
ture battle reenactments, music, food, crafters, arti-
sans, and fun for the entire family as Ethan Allen Days
returns for its ninth year.
Information is available from:
[email protected]
==Dear Cousins==
I am still perusing cousin's Gowen/Gowan emails; and hav-
ing absolutely no luck finding the elusive William Gowen
/Gowan/Goban/Gobin of Island Creek District, Granville NC
His daughter Susannah, born 04/23/1769, was married to
John Greenway c1793, but no marriage record exists. John
& Susannah had 5 children in Granville County, moved to
Rutherford County, NC c1805, then had 3 more children.
Does anyone have information on them?
Susan Georgion
[email protected]
==Dear Cousins==
All of the early-day Gowen/Goins/etc descendants of East
Tennessee pioneers are invited to a get-together June 16
and 17 at Bell's Campground in Powell, TN. Entertainment
will continue from noon until 'til dark.
Bring a picnic lunch and drinks and your lawn chair(s)
and join the fun. This "reunion" will include descend-
ants of any and all of the earlist settlers of the Pow-
ell area as well as pioneers of all of Knox Co., Jeffer-
son Co., Grainger Co., Union Co., Blount Co., Sevier Co.
as well as early Greene Co., Hawkins Co., and Washington
Co., Tennessee.
We are hoping that this will become an annual affair so
please try to join us if your family was in any of these
counties in early 1800's 'til present times. Lots of gen-
ealogy..lots of entertaiment..lots of good times...and we
hope lots of new cousins found.
Thanks and hope to see many of you there.
Terri Brown Jurca
For details, contact Terri Jurca:[email protected]
http://community.webtv.net/TeddyB_52/TerrisSearchPage
==Dear Cousins==
Announcing the Fifth Annual Angelina College Genealogy
Conference Friday & Saturday, July 27-28, 2001. Fea-
turing Alvie L. Davideson, CGRS of Lakeland, Florida.
Pre-Conference activities begin Thursday, July 26, An-
gelina College Community Services Conference Center.
Highway 59 South [3500 South First], Box 1768, Lufkin,
Texas, 75902. Phone 409/663-5206.
For details:
[email protected]
==O==
Copyright (C) 2001 by Gowen Research Foundation. All
rights reserved.
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
To Subscribe and Unsubscribe to the Foundation Forum . .
You are currently subscribed to the Forum which means
that you will receive at no cost each message and each
Electronic Newsletter posted to the list as a separate
piece of E-mail.
You may unsubscribe at any time by sending the following
message:
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that contains in the body of the message the command
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[and no additional text]
Notice that all characters following the "@" symbol must
be in lower case.
If you are instructing your friends how to subscribe to
the Forum, tell them to send the following message:
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that contains in the body of the message the command:
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[and no additional text; turn off all signature files
and leave subject line blank]
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Arlee Gowen, Editor
Gowen Research Foundation
A non-profit heritage society
5708 Gary Avenue
Lubbock, Texas, 79413-4822, 806/795-8758 or 806/795-9694
E-mail: [email protected]
Website:
http://freepages.genealogy.rootsweb.com/~gowenrf
The Foundation Website offers:
Foundation Newsletters--All editions published since 1989
Foundation Electronic Newsletters
"Melungia" Home of the Melungeons-Articles published by
our Melungeon writers
"Dear Cousins" Letters from Foundation Researchers
Foundation Manuscript--10,000+ pages of research on the
following Families:
Gawan, Gawans, Gawen, Gawens, Gawin,
Gawins, Gawn, Gawne, Gawnes, Goain,
Goains, Goan, Goane, Goans, Goen,
Goene, Goens, Goin, Goines, Going,
Goings, Goins, Gorin Gouen, Gouens,
Gowain, Gowan, Gowane, Gowanes, Gowan,
Gowans, Gowen, Gowene, Gowens, Gowin,
Gowine, Gowing, Gowins, Gown, Gowne,
Gownes, Gowyn, Goyen, Goyens, Goyne,
Goynes, Goynne, McGowan, McGowen, McGowin,
O'Gowan, O'Gowen O'Gowin."
=========================================================
Membership Application
Gowen Research Foundation 806/795-8758 or 795-9694
5708 Gary Avenue E-mail: [email protected]
Lubbock, Texas, 79413
Website: http://freepages.genealogy.rootsweb.com/~gowenrf
I enclose payment as indicated below for
[ ] New Membership,
[ ] Renewal Membership
in Gowen Research Foundation.
$15 [ ] Member
$25 [ ] Contributing Member
$100 [ ] Sustaining Member
[ ] Please E-mail a sample copy of the Electronic
Newsletter to the family researcher(s)
listed on sheet attached.
[ ] Please send Gift Membership(s) as indicated above
to individual(s) listed on sheet attached.
Name(s)________________________________________________
Address______________________Phone_____________________
City________________State_____Zip________[+4]__________
E-mail Address_________________________________________
|
|||||||||
wrong_mix_property_foundationPlace_00067
|
FactBench
|
3
| 6
|
https://a2central.com/2023/02/john-romero-lifetime-achievement-award/
|
en
|
John Romero to receive Lifetime Achievement Award
|
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] |
[] |
[] |
[
""
] | null |
[
"Ken Gagne"
] |
2023-02-25T15:52:31+00:00
|
The Game Developers Choice Awards will honor Softdisk alumnus John Romero of Wolfenstein 3D and Doom fame at this year's GDC.
|
en
|
A2Central.com
|
https://a2central.com/2023/02/john-romero-lifetime-achievement-award/
|
John Romero — Softdisk alumnus, programmer and designer for Wolfenstein 3D and Doom, and KansasFest 2012 keynote speaker — will be honored with the Lifetime Achievement Award from the Game Developers Choice Awards. This award “recognizes the career and achievements of a developer who has made an indelible impact on the craft of game development and games as a whole”.
Reports Brendan Sinclair:
Romero … is best known for his work on seminal first-person shooters like Wolfenstein 3D and Doom in the early ’90s, but his career extends considerably beyond that period in both directions.
Romero’s game development career began in 1979, and he spent much of the ’80s working on a slew of Apple II titles before co-founding Id Software in 1991 and helping the company not only establish the first-person shooter genre but revamp game distribution with successful shareware hits like Commander Keen.
GamesIndustry.biz
With this award, Romero joins the ranks of other Apple II alumni to have been so honored, including Richard Garriott (Ultima), John Carmack (Softdisk), and Tim Schafer (Maniac Mansion).
The award will be bestowed at this year’s Game Developers Conference (GDC), held March 20–24, 2023, in San Francisco, California.
|
|||||
wrong_mix_property_foundationPlace_00067
|
FactBench
|
2
| 13
|
https://dallasinnovates.com/tag/softdisk/
|
en
|
Softdisk Archives
|
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[] |
[] |
[
""
] | null |
[
"Kevin Cummings",
"Dallas Innovates"
] | null |
en
|
Dallas Innovates
|
https://dallasinnovates.com/tag/softdisk/
|
North Texas is a big place, with plenty to do, see, hear, and watch. So, we scour the internet every week to find events and activities for you. As always, things may change at any time, so be sure to check the official website or registration page for the latest details....
In a city known for big ideas, two successful Dallas tech entrepreneurs are thinking life-size.
Daniel Black, founder of retail technology powerhouse Glass-Media, and Steve Deitz, founder of experience design agency 900lbs, have combined their expertise to launch PeerVsn (pronounced Peer Vision), a new venture that makes life-size, real-time streaming communication accessible across industries....
The Fort Worth-based Eosera Foundation has announced its third annual pitch competition, calling it “a dynamic platform aimed at propelling female-led businesses in Texas to new levels.”
The competition is open to Texas-based women entrepreneurs with businesses that are less than three years old....
Plano-based PepsiCo Foods North America today announced a new program called Planting Pathways Initiative that it said will chart an industry-leading and transformative course for expanding agricultural opportunities for young people and people from varied backgrounds to enter the agriculture sector....
|
||||||
wrong_mix_property_foundationPlace_00067
|
FactBench
|
1
| 4
|
https://a2central.com/2023/02/john-romero-lifetime-achievement-award/
|
en
|
John Romero to receive Lifetime Achievement Award
|
[
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] |
[] |
[] |
[
""
] | null |
[
"Ken Gagne"
] |
2023-02-25T15:52:31+00:00
|
The Game Developers Choice Awards will honor Softdisk alumnus John Romero of Wolfenstein 3D and Doom fame at this year's GDC.
|
en
|
A2Central.com
|
https://a2central.com/2023/02/john-romero-lifetime-achievement-award/
|
John Romero — Softdisk alumnus, programmer and designer for Wolfenstein 3D and Doom, and KansasFest 2012 keynote speaker — will be honored with the Lifetime Achievement Award from the Game Developers Choice Awards. This award “recognizes the career and achievements of a developer who has made an indelible impact on the craft of game development and games as a whole”.
Reports Brendan Sinclair:
Romero … is best known for his work on seminal first-person shooters like Wolfenstein 3D and Doom in the early ’90s, but his career extends considerably beyond that period in both directions.
Romero’s game development career began in 1979, and he spent much of the ’80s working on a slew of Apple II titles before co-founding Id Software in 1991 and helping the company not only establish the first-person shooter genre but revamp game distribution with successful shareware hits like Commander Keen.
GamesIndustry.biz
With this award, Romero joins the ranks of other Apple II alumni to have been so honored, including Richard Garriott (Ultima), John Carmack (Softdisk), and Tim Schafer (Maniac Mansion).
The award will be bestowed at this year’s Game Developers Conference (GDC), held March 20–24, 2023, in San Francisco, California.
|
|||||
wrong_mix_property_foundationPlace_00067
|
FactBench
|
3
| 49
|
https://www.newswire.ca/news-releases/sbc-events-doom-guy-john-romero-to-keynote-at-casinobeats-summit-843162984.html
|
en
|
SBC Events: 'DOOM Guy' John Romero to Keynote at CasinoBeats Summit
|
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[
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] | null |
[
"SBC Events"
] |
2024-04-29T02:00:00-04:00
|
/CNW/ -- Award-winning programmer, game designer, and level designer behind iconic classics such as 'Doom' and 'Wolfenstein 3D,' John Romero, is set to...
|
en
|
/content/dam/cision/icons/favicon.png
|
https://www.newswire.ca/news-releases/sbc-events-doom-guy-john-romero-to-keynote-at-casinobeats-summit-843162984.html
|
LONDON, April 29, 2024 /CNW/ -- Award-winning programmer, game designer, and level designer behind iconic classics such as 'Doom' and 'Wolfenstein 3D,' John Romero, is set to headline the upcoming CasionBeats Summit.
In his keynote titled "Bridging Worlds: Nostalgia, Innovation, and the Future – A Journey with John Romero," Romero will offer insights drawn from his extensive experience in video gaming, tailored to inspire and advance the mindset of the online casino sector. The keynote will feature as part of the 'Product' conference track and kick off the first day of the summit on Wednesday, 22nd May, at the InterContinental Hotel in Malta.
Romero commented: "The beauty of game design is that its core principles go beyond video games — you can use them in any industry where creating a positive experience for people is key.
"I'm really excited to present to an audience of casino experts and to share my own journey in creating some of the most successful video game titles out there. My keynote is all about inspiring casino developers to push boundaries, get creative, and build the kind of immersive experiences that really reel in players in new and exciting ways."
Hailed as the 'father of first-person shooters,' Romero boasts an illustrious career spanning over 40 years in the video gaming industry. Considered one of the earliest indie game developers, his initial work began in 1979, honing his skills on mainframes before making the move to Apple II in 1981.
After programming indie games for eight years, Romero secured his first official industry job at Origin Systems in 1987, before co-founding the companies Inside Out Software (1988) and Ideas From The Deep (1989). In March 1989, Romero moved to Softdisk and would go on to establish the company's first PC Games division.
In February 1991, Romero co-founded the gaming company id Software with fellow Softdisk colleagues John D. Carmack, Adrian Carmack and Tom Hall. His time at id Software marked the brightest period in his career, where he played an instrumental role in developing historic titles such as Doom, Doom II: Hell On Earth, Wolfenstein 3D, Commander Keen and Quake. During this period, Romero served as an executive producer and game designer on Heretic and Hexen and personally designed levels for Doom, Quake, Commander Keen and Wolfenstein 3D.
More recently, Romero and his wife Brenda Romero established Romero Games in August 2015, releasing the games Gunman Taco Truck in 2017, SIGIL in 2019 and Empire of Sin in 2020. In March 2022, in response to the Russian invasion of Ukraine, Romero created a new level of Doom II, with all proceeds going to the Ukrainian Red Cross. In July 2022, Romero released his first memoir 'DOOM Guy'.
Rasmus Sojmark, CEO and Founder of SBC said: "We're thrilled to welcome John Romero to CasinoBeats Summit. A true legend. As soon as his name appeared on my desk, it was an immediate yes. A trailblazer behind numerous honestly genre-defining video games, he's indeed the perfect keynote speaker to talk innovative game mechanics, creativity and how to make a hit, whether we're talking video gaming or casino.
"This is an incredible opportunity for game designers, developers and the broader industry to get a glimpse into the inner workings of an industry that has on multiple occasions inspired ideas behind slot games and other casino products."
During the keynote, Romero will reminisce about his extensive career in the video gaming industry. He will look back at his most successful titles and provide delegates with insights that transcend industry barriers, inspiring them and helping them innovate the casino gaming landscape.
SOURCE SBC Events
|
|||||
wrong_mix_property_foundationPlace_00067
|
FactBench
|
2
| 33
|
https://bluerenga.blog/tag/planet-of-the-robots/
|
en
|
planet-of-the-robots
|
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Posts about planet-of-the-robots written by Jason Dyer
|
en
|
https://s1.wp.com/i/favicon.ico
|
Renga in Blue
|
https://bluerenga.blog/tag/planet-of-the-robots/
|
In the genre of magazines-on-disk-or-tape, we’ve so far experienced CLOAD (for TRS-80) and CURSOR (for Commodore PET). We could also reasonably count the Softside Adventure of the Month even though that counts more as a single-game subscription service, and we could stretch to include Micro-Fantasy Magazine although no copies of that has ever surfaced and it may have been vaporware.
Softdisk, which started on Apple II in September 1981, is similar but different.
THE BABY ON OUR ELECTRONIC COVER IS SYMBOL OF…
1. THE POTENTIAL OF 1982
2. SOFTDISK IS AN INFANT.
3. THE INFORMATION AGE IS JUST A BABY.
At least in the era we’re talking about, it was almost a “community magazine”. While this is another publication on disk, to get any issues past an initial disk, subscribers would send back their disks to receive a new one. Rather like CLOAD and CURSOR, there were user-written programs:
YOU ARE ENCOURAGED TO CONTRIBUTE PROGRAMS. THEY DON’T HAVE TO BE MAJOR CREATIONS EITHER. WE AWARD COUPONS GOOD FOR FREE ISSUES OF SOFTDISK IF WE USE YOUR CONTRIBUTED PROGRAM.
Rather unlike the other two, there was “magazine-like” content on the disk itself, and some of it was collated directly from those returned disks. Issue 1 had a survey about piracy…
and there were “classifieds”.
A good analogy might be to the various “exchanges” that were popping up in local places. Call-A.P.P.L.E., started in 1978, has the acronym deconstruct to “Apple Pugetsound Program Library Exchange”. Their publication was not by any means a “magazine on disk” but they still served as an informal community distribution outlet, and plenty of other local groups with no associated magazine at all existed (like Rhode Island in the late 70s and Sydney’s in the late 80s). The difference is that Softdisk was entirely “virtual” — as much as having disks traded back and forth by mail is virtual — not associated with a physical group at its origin locale of Louisiana.
The whole enterprise was the brainchild of Jim Mangham, who wanted to place ads for what he was calling The Harbinger Magazette in the Apple II magazine Softalk (one that was free for Apple users and funded entirely by advertising). Al Tommervik (who ran Softalk) liked the idea enough to agree to be a partner, leading to the magazine being renamed Softdisk to be considered a parallel publication. This ended up being trouble when Softalk went under in 1984 but not Softdisk; Mangham bought back the shares in order to re-separate, although this connection helped jump-start the original subscription numbers.
The subscription service eventually extended to C64 (Loadstar) and PC (Big Blue Disk). The Softdisk family are the most important of the early diskmags, in not just longevity (chugging until the late 90s), but also becoming the launching point for both Apogee and id Software.
Issues 0 (September 1981) through 2 (November 1981) have nothing resembling a game. Issue 3 has a handful, including Keno and a Simon clone, and it also includes Planet of the Robots, essentially Softdisk’s first original game.
In other words, even for someone not interested in adventure games this is an important moment in gaming history.
Dan Tobias describes himself as a “charter member” of the publication and worked off and on for Softdisk, including even in the 2000s when it tried to pivot to being an internet service provider as opposed to a software distributor. This is, as noted earlier, back when no money was involved, but his involvement led to his getting a job in 1984 for the launch of Loadstar, which ended up including a “reprint” of his game Planet of the Robots.
The premise involves a “time warp” having transported you into the future where humans have been wiped out, but the robots that remain aren’t aware this has happened. You start outside a mall which includes a restaurant and clothing store and other things which robots clearly have no need of.
The “humans are all dead, but the robots keep going on” premise makes the game tragic and comedic at the same time. I admit I was originally still expected something styled after Forbidden City with lots of robot combat, especially since the first item I found was a ray gun, but there’s only two moments where there is a “berserk robot” you have to shoot. Otherwise all robots have a force field and can’t be hurt.
Ignoring the mall for the moment, I found a “city hall” with two guards requiring ID, a working subway, a library with a book explaining how to log on to future-Internet and check census data, a “university” which asked about a room number I wanted to see, and a plain destroyed by a bomb blast.
The plain was a small maze that intentionally foils the ability to drop objects (they fall into cracks in the ground) so you just have to wander, but fortunately it is easy to find the only intact structure, a phone booth that has over $100 in cash. The cash can then be toted back to the mall for some shopping.
Some items, like a comic (THE ADVENTURES OF SUPERROBOT) are entirely fluff. The only useful thing to buy is the tie, which lets you get into the restaurant (otherwise a robot stops you). Once in the restaurant, rather like a similar scene in Time Zone, the idea is to order something too expensive and get into trouble. The catch here (or at least thing that makes the puzzle easier) is that everything is too expensive.
This whole sequence land you in jail, but the bars are incredibly fragile and you can just bend your way out, and the guard robots don’t seem to care (I assume the bad maintenance is due to the humans being dead, so this is another moment of tragicomedy). Breaking out of jail lands you near an ID card which you can then use to sneak upstairs in city hall and get some login information and a room number of the university. You can then go over back to the mall and the computer with an Apple X and take it for a test run, getting a door code in the process.
The room number and door code be carted back to the university in order to find a time machine, which can then be used to warp back safely to the 20th century (you actually get to choose exactly when, so if you hate the 80s you can go straight to the 90s, say).
This game was clearly intended as minimal but still managed to eke out some fascinating interaction in the process. The premise of an aging robot civilization was interesting enough in itself to allow the bar-bending puzzle to be simultaneously a moment of puzzle-solving and a moment of tragic world-building at the same time.
Mr. Tobias returned the next month with another text adventure, so we’re not done with him yet.
|
||||
wrong_mix_property_foundationPlace_00067
|
FactBench
|
0
| 1
|
https://www.linkedin.com/pulse/shreveport-tops-charts-brandon-dennis
|
en
|
Shreveport Tops The Charts
|
https://media.licdn.com/dms/image/C4E12AQE6aV76qR-gAw/article-cover_image-shrink_600_2000/0/1520077447092?e=2147483647&v=beta&t=pCfvgFANbsfJINShVIFdFOSqbfuc2Na5p1iP7Nt3gFo
|
https://media.licdn.com/dms/image/C4E12AQE6aV76qR-gAw/article-cover_image-shrink_600_2000/0/1520077447092?e=2147483647&v=beta&t=pCfvgFANbsfJINShVIFdFOSqbfuc2Na5p1iP7Nt3gFo
|
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[] |
[
""
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[
"Brandon Dennis, CCISO"
] |
2015-06-23T18:58:51+00:00
|
Shreveport, Louisiana ranks #1 in a 2015 Best Location for New Business Startups study conducted by WalletHub! While it may be obvious that local media like The Shreveport Times and KTBS cover this story, Shreveport's success has wide reach and unbiased coverage from Inc to Time Magazine to Fortune!
|
en
|
https://static.licdn.com/aero-v1/sc/h/al2o9zrvru7aqj8e1x2rzsrca
|
https://www.linkedin.com/pulse/shreveport-tops-charts-brandon-dennis
|
Shreveport, Louisiana ranks #1 in a 2015 Best Location for New Business Startups study conducted by WalletHub!
While it may be obvious that local media like The Shreveport Times and KTBS cover this story, Shreveport's success has wide reach and unbiased coverage from Inc to Time Magazine to Fortune!
Tucked away quietly in Northwest Louisiana, those of us that live and work here in Shreveport are already familiar with the local charm, great weather, warm hospitality and easy access to resources local and nation-wide. For everyone else, there's no better time than now to come join our beautiful city!
WalletHub analyzed 13 metrics to determine its rankings, including cost of office space, education of local workforce, small businesses per capita and more. At a time when more and more people are choosing to work for themselves, choosing the right location can be an important part of your startup success!
But - perhaps surprisingly - this isn't the first time Shreveport has been pinpointed as an excellent business location. In 2012, Fast Company published a detailed article on Why You Should Start Your Startup In Shreveport, with a focus on the High Tech industry and CoHabitat Foundation.
Shreveport's also been awarded the All-America City Award three times - in 1953, 1979, and 1999.
And whether you've always been here, are new to the town, or are looking for the best place to be, here's a few resources to help you start your business, and ensure its ongoing success!
Read on below the resources for even more tidbits of fun and fascinating trivia about our small town with big ambitions!
Shreveport, Louisiana Business Resources
Louisiana Secretary of State - Find a business, check for names that are already registered, and even file your business documents online inexpensively and quickly.
SCORE - SCORE of Northwest Louisiana provides free assistance with business planning and review from retired and current professional business leaders.
Greater Shreveport Leadership Program - For more than 30 years, the Greater Shreveport Chamber of Commerce has been identifying and preparing future leaders through its Greater Shreveport Leadership Program.
Louisiana Small Business Development Center - Providing Business Planning and assistance for Small Businesses looking to success in Louisiana.
Louisiana Startup Prize - Up to $75,000 in prizes for simply attending a networking event with other small business and startup leaders in Shreveport & Bossier City.
A City That Captures Your Heart
I was born in Louisville, Kentucky, went to school in Richmond, Virginia, and loved both of those places. I've traveled for business or pleasure to both coasts, and plenty of places in-between. But when I moved down to Shreveport, Louisiana in 1995 to marry my wonderful wife, I fell in love with this area and never looked back.
What makes Shreveport a truly great city transcends the analytics and statistics that lead it to the top of many lists. It's something difficult to describe with words. The way the warm spring days seem to last forever. The heat of deep summer afternoons leaving a sheen over the quaint and tree-filled neighborhoods like an Instagram filter.
The fresh air of early morning that lasts the entire day. The green and vibrant colors of nature that even stand out from satellite images. But even painted words fail to capture the spirit of a city that is unlike any other I've ever known.
Our close proximity to Dallas, lends a sophisticated approach to our resources, access to technology, and architectural style. Our Louisiana roots provide some of the best food in the world, and a playful spirit to overcome any obstacle. While our influence from the Ouachita Mountains and Arkansas to the north promotes a laid-back, friendly approach that makes helping a stranger more important than climbing a corporate ladder.
Placing value on the worthless, disregarding priceless wealth - Ray Stevens, "Mr. Businessman"
It's easy to lose sight of the important things in life, so it's no surprise to me that Shreveport, Louisiana gets the attention it does. What used to be a small, unknown gem, has gained prominence not because of its business culture, or its megacity lifestyle, but in some cases, in spite of it.
Shreveport has gained recognition because it is built on a culture of appreciation, of communication, and of understanding. Those traits have built a humble foundation that has endured, and cultured the companies and people within its boundaries, allowing them to grow far beyond superficial rockstar status.
I'm proud to not only be a Shreveport citizen, but to run a Shreveport small business. I started Hyper-VPS as a Louisiana LLC in 2013, so whether you are a Shreveport startup or small business, or want to chat about creating a Shreveport business, let me know! And if you find yourself needing Web Design or IT Consulting / Technical Support services, I'd be honored to work with you whether you're in Shreveport or Singapore!
Some Fun Shreveport, LA Trivia
From the birthplace of Jared Leto, to the resting place of John Scopes (defendant teacher from the Scopes Monkey Trial), Shreveport has plenty of famous connections.
It's found its way into songs, partially due to its hosting of the radio show "Louisiana Hayride," which has been credited with launching the careers of Johnny Cash, Elvis Presley, and Hank Williams.
Shreveport became the capital of Louisiana for a brief spell during the Civil War, after Baton Rouge and Opelousas were succeeded under Union control.
R. W. Norton Art Foundation is home to the extremely rare double elephant folio of John James Audubon's The Birds of America.
Approximately 20,000 rose bushes are on display at the American Rose Center.
Many exterior scenes in the HBO series "True Blood" were filmed on a plantation near Shreveport.
The world's first Shriner's Hospital was founded in Shreveport in 1922.
One of the largest art murals in the U.S. is located in Shreveport. The “Once In A Millennium Moon Mega Mural” covers 25,000 sq. ft. on the side of an AT&T building.
In the late 1980s and early 1990s, John Carmack joined Softdisk in Shreveport, where he met John Romero, Adrian Carmack and Tom Hall and developed technology that would lead to the creation of Wolfenstein 3D and Doom. (As a side note, I actually worked at Softdisk in 1996, joining just shortly after the Id guys moved to Dallas).
On the music side, Shreveport and the close surrounding area is the birthplace of many Country artists, such as Kix Brooks, Trace Adkins, Hank Williams, Jr., Joe Stampley, Claude King, Faron Young, David Houston and Floyd Cramer. And extends to other music formats in the likes of James Burton, Kenny Wayne Shepherd and Concert Pianist, Van Cliburn.
And on the sports side, Shreveport is the birthplace of numerous NFL and Golfing legends includes Terry Bradshaw, Joe Ferguson, Hal Sutton, Stan Humphries, David Woodley, David Toms, Brock Berlin, Craig Bradshaw and Don Mullins. Even NBA Hall of Famer, Robert Parish.
There's no doubt that Shreveport leaves its mark in a number of fields and areas, whether by fate or fact, it's a great place to visit, a wonderful place to live, and apparently, an awesome place to go into business. Come on down, y'all! ;)
- Brandon
|
|||
wrong_mix_property_foundationPlace_00067
|
FactBench
|
3
| 28
|
https://bluerenga.blog/tag/planet-of-the-robots/
|
en
|
planet-of-the-robots
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Posts about planet-of-the-robots written by Jason Dyer
|
en
|
https://s1.wp.com/i/favicon.ico
|
Renga in Blue
|
https://bluerenga.blog/tag/planet-of-the-robots/
|
In the genre of magazines-on-disk-or-tape, we’ve so far experienced CLOAD (for TRS-80) and CURSOR (for Commodore PET). We could also reasonably count the Softside Adventure of the Month even though that counts more as a single-game subscription service, and we could stretch to include Micro-Fantasy Magazine although no copies of that has ever surfaced and it may have been vaporware.
Softdisk, which started on Apple II in September 1981, is similar but different.
THE BABY ON OUR ELECTRONIC COVER IS SYMBOL OF…
1. THE POTENTIAL OF 1982
2. SOFTDISK IS AN INFANT.
3. THE INFORMATION AGE IS JUST A BABY.
At least in the era we’re talking about, it was almost a “community magazine”. While this is another publication on disk, to get any issues past an initial disk, subscribers would send back their disks to receive a new one. Rather like CLOAD and CURSOR, there were user-written programs:
YOU ARE ENCOURAGED TO CONTRIBUTE PROGRAMS. THEY DON’T HAVE TO BE MAJOR CREATIONS EITHER. WE AWARD COUPONS GOOD FOR FREE ISSUES OF SOFTDISK IF WE USE YOUR CONTRIBUTED PROGRAM.
Rather unlike the other two, there was “magazine-like” content on the disk itself, and some of it was collated directly from those returned disks. Issue 1 had a survey about piracy…
and there were “classifieds”.
A good analogy might be to the various “exchanges” that were popping up in local places. Call-A.P.P.L.E., started in 1978, has the acronym deconstruct to “Apple Pugetsound Program Library Exchange”. Their publication was not by any means a “magazine on disk” but they still served as an informal community distribution outlet, and plenty of other local groups with no associated magazine at all existed (like Rhode Island in the late 70s and Sydney’s in the late 80s). The difference is that Softdisk was entirely “virtual” — as much as having disks traded back and forth by mail is virtual — not associated with a physical group at its origin locale of Louisiana.
The whole enterprise was the brainchild of Jim Mangham, who wanted to place ads for what he was calling The Harbinger Magazette in the Apple II magazine Softalk (one that was free for Apple users and funded entirely by advertising). Al Tommervik (who ran Softalk) liked the idea enough to agree to be a partner, leading to the magazine being renamed Softdisk to be considered a parallel publication. This ended up being trouble when Softalk went under in 1984 but not Softdisk; Mangham bought back the shares in order to re-separate, although this connection helped jump-start the original subscription numbers.
The subscription service eventually extended to C64 (Loadstar) and PC (Big Blue Disk). The Softdisk family are the most important of the early diskmags, in not just longevity (chugging until the late 90s), but also becoming the launching point for both Apogee and id Software.
Issues 0 (September 1981) through 2 (November 1981) have nothing resembling a game. Issue 3 has a handful, including Keno and a Simon clone, and it also includes Planet of the Robots, essentially Softdisk’s first original game.
In other words, even for someone not interested in adventure games this is an important moment in gaming history.
Dan Tobias describes himself as a “charter member” of the publication and worked off and on for Softdisk, including even in the 2000s when it tried to pivot to being an internet service provider as opposed to a software distributor. This is, as noted earlier, back when no money was involved, but his involvement led to his getting a job in 1984 for the launch of Loadstar, which ended up including a “reprint” of his game Planet of the Robots.
The premise involves a “time warp” having transported you into the future where humans have been wiped out, but the robots that remain aren’t aware this has happened. You start outside a mall which includes a restaurant and clothing store and other things which robots clearly have no need of.
The “humans are all dead, but the robots keep going on” premise makes the game tragic and comedic at the same time. I admit I was originally still expected something styled after Forbidden City with lots of robot combat, especially since the first item I found was a ray gun, but there’s only two moments where there is a “berserk robot” you have to shoot. Otherwise all robots have a force field and can’t be hurt.
Ignoring the mall for the moment, I found a “city hall” with two guards requiring ID, a working subway, a library with a book explaining how to log on to future-Internet and check census data, a “university” which asked about a room number I wanted to see, and a plain destroyed by a bomb blast.
The plain was a small maze that intentionally foils the ability to drop objects (they fall into cracks in the ground) so you just have to wander, but fortunately it is easy to find the only intact structure, a phone booth that has over $100 in cash. The cash can then be toted back to the mall for some shopping.
Some items, like a comic (THE ADVENTURES OF SUPERROBOT) are entirely fluff. The only useful thing to buy is the tie, which lets you get into the restaurant (otherwise a robot stops you). Once in the restaurant, rather like a similar scene in Time Zone, the idea is to order something too expensive and get into trouble. The catch here (or at least thing that makes the puzzle easier) is that everything is too expensive.
This whole sequence land you in jail, but the bars are incredibly fragile and you can just bend your way out, and the guard robots don’t seem to care (I assume the bad maintenance is due to the humans being dead, so this is another moment of tragicomedy). Breaking out of jail lands you near an ID card which you can then use to sneak upstairs in city hall and get some login information and a room number of the university. You can then go over back to the mall and the computer with an Apple X and take it for a test run, getting a door code in the process.
The room number and door code be carted back to the university in order to find a time machine, which can then be used to warp back safely to the 20th century (you actually get to choose exactly when, so if you hate the 80s you can go straight to the 90s, say).
This game was clearly intended as minimal but still managed to eke out some fascinating interaction in the process. The premise of an aging robot civilization was interesting enough in itself to allow the bar-bending puzzle to be simultaneously a moment of puzzle-solving and a moment of tragic world-building at the same time.
Mr. Tobias returned the next month with another text adventure, so we’re not done with him yet.
|
||||
wrong_mix_property_foundationPlace_00067
|
FactBench
|
2
| 48
|
https://games.mxdwn.com/news/john-carmack-to-receive-prestigious-bafta-fellowship/
|
en
|
John Carmack to Receive Prestigious BAFTA Fellowship -
|
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""
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[
"Nile Koegel"
] |
2016-03-24T15:20:09-07:00
|
If there’s one debate that defines the contested realm of 21st century pop culture, it’s something along the lines of: “are video games culturally significant contributions to human society?” Regardless of what your stance might be, the British Academy of Film and Television Arts (BAFTA) certainly thinks so (and if
|
en
|
https://games-b26f.kxcdn.com/wp-content/uploads/2015/02/favicon.ico
|
mxdwn Games
|
https://games.mxdwn.com/news/john-carmack-to-receive-prestigious-bafta-fellowship/
|
Nile Koegel March 24th, 2016 - 3:20 PM
If there’s one debate that defines the contested realm of 21st century pop culture, it’s something along the lines of: “are video games culturally significant contributions to human society?” Regardless of what your stance might be, the British Academy of Film and Television Arts (BAFTA) certainly thinks so (and if you’re reading this website, chances are that you’d fully agree). In fact, they’ve given their prestigious BAFTA Fellowship to several video game design legends in the recent past, including Will Wright (2007), Shigeru Miyamoto (2010), and Gabe Newell (2013). Today, BAFTA announced that they will be awarding id Software co-founder John Carmack with the BAFTA Fellowship.
The BAFTA Fellowship is no small honor. According to BAFTA’s website, “the Fellowship is the highest accolade bestowed by BAFTA upon an individual in recognition of an outstanding and exceptional contribution to film, television or games.”
For those not in the know, Carmack has had a rather illustrious career in the world of video gaming. Described in an early psychiatric report as “a brain on legs,” a young Carmack began his journey at a Louisiana-based software company called Softdisk. He would meet many of his future contemporaries, like equally renowned John Romero, at Softdisk. During their stay at Softdisk, Carmack and Romero created the first game in their classic DOS platformer series, Commander Keen.
Carmack and Romero left Softdisk in 1991 to found id Software. There, Carmack and friends set the genesis of the shooter genre in motion with titles like Wolfenstein 3D, Doom, and Quake. Carmack also pioneered and popularized a plethora of game design techniques while at id Software, like surface caching for Quake and Carmack’s Reverse in Doom 3.
Carmack left id Software in 2013 to work full-time at Oculus VR as their CTO. His reason for leaving? id’s parent company, Zenimax Media, didn’t want to support the Oculus Rift. Likely a tactical misstep for them, in retrospect.
In addition to pushing the boundaries of video game design, Carmack also takes an interest in rocketry. He founded Armadillo Aerospace in 2000; the company’s goals included achieving suborbital space flight and creating orbital vehicles. The company went into “hibernation mode” in 2013.
Carmack is also notable for his fervent advocacy of open-source software, his “it’s done when it’s done” philosophy for announcing game release dates, and his love of pizza.
In response to receiving the BAFTA Fellowship, Carmack stated:
Receiving a BAFTA Fellowship is a great honour. Over the course of my career, I’ve remained passionate about the potential for engineering and technology improvements to expand the range of human creativity. Graphics, networking, extendable platforms, and now virtual reality; each has enabled magnificent new things that delight millions of people. I am as excited about the future today as I was when I started.
Harvey Elliot, Chairman of BAFTA’s Games Committee, commented that Carmack is deserving of the award because he “embodies creativity through all of his work and is a true pioneer in the field of computer engineering.”
|
||||
wrong_mix_property_foundationPlace_00067
|
FactBench
|
0
| 51
|
https://mix931fm.com/men-your-day-is-coming/
|
en
|
Men, Your Day is Coming!
|
[
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] |
[] |
[] |
[
"battle of the sexes",
"men vs. women",
"relationships",
"dating",
"marriage",
"funny",
"lifestyle"
] | null |
[
"Erin Bristol"
] |
2021-02-26T01:43:43+00:00
|
In the age-old battle of the sexes, we threw a match on the fire today. It's always fun to see the guys and gals battle it out for gender superiority!
|
en
|
https://townsquare.media/site/185/files/2014/09/favicon.ico
|
Mix 93.1
|
https://965kvki.com/men-your-day-is-coming/
|
In the age-old battle of the sexes, we threw a match on the fire today. It's always fun to see the guys and gals battle it out for gender superiority!
All of the discussion of gender and how you identify aside, it's true... men and women communicate differently. Some even say they think differently. If that weren't so, there wouldn't be a multi-gazillion dollar industry aimed at deciphering how to deal with the other sex! Hello? Men are from Mars, Women are from Venus? Anybody?
So today, I stirred the pot in the interest of good-natured fun to hilarious results! I simply proclaimed on Facebook, 'Don't forget this month we're celebrating those three days when men are always right; February 29, 30, and 31.' I won't lie, an evil little giggle may have slipped out as I hit 'post.' Then, I sat back to watch the magic of social media. I've listed some of my favorite responses below.
Peter Ziello
So you are admitting that men are correct one every four years on February 29th.
Mary Celichowski
I have promised myself to drink no alcoholic beverages on those days.
Tony Rice
Let's see you post this in 2024.
Haley Lawson
Priceless.
Gerald Efferson Jr.
I think we are right for five days... this is fake news... lol
Julie Craig McCoy
Amen.
Ed DeWerff
Once every 4 years? I’ll take it!
Richard McBroom
So we get to imagine it for 3 imaginary days, you girls get to imagine it for 365 real days, damn my ass is going to catch HELL for that
Michael Cassell
I have two exes that will argue with you on that.
Chris P Davis
I'll buy you dinner on any one of those three nights.
Isn't social media grand? Add your comments to the post below, check out some of the other responses, and I'd love it if you gave me a follow!
Intersting Facts About Shreveport-Bossier
|
||||
wrong_mix_property_foundationPlace_00067
|
FactBench
|
2
| 3
|
https://www.hitachi-hirel.com/news/awards/no-1-spcu-solar-power-control-unit-manufacturer-of-the-year-2022-award-to-hitachi-hi-rel
|
en
|
NO. 1 SPCU (SOLAR POWER CONTROL UNIT) MANUFACTURER OF THE YEAR 2022 AWARD to Hitachi Hi
|
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[] |
[
""
] | null |
[] | null |
en
|
/var/www/hitachi-hirel.com/vendor/craftcms/cms/src/favicon.ico
| null |
Award Details Date Dec 10, 2022 Location Bengaluru, Karnataka, India
Hitachi Hi-Rel Power Electronics Private Limited has been awarded as “NO. 1 SPCU (SOLAR POWER CONTROL UNIT) MANUFACTURER OF THE YEAR 2022 AWARD” at Softdisk (SD)’s Solar Award 2022 held on 10th December 2022 (Saturday) at The Chancery Pavilion, Ashok Nagar, Bengaluru, Karnataka, India. Mr. Sheshagiri Rao V, Sr. Manager - Sales & Marketing and Mr. Showkath Ali R M, Manager - Sales & Marketing received the award on behalf of the Company in the presence of eminent stalwarts of the target industries.
It is a prestigious honor that serves to recognize Hitachi Hi-Rel’s Grid Tied Solar Inverters with Highly Efficient Conversion Technology. The award audience comprised management and representatives from leading corporates and thought leaders.
Hitachi Hi-Rel started its solar inverter business in 2012 here in India and so far it has supplied & installed more than 3 GW grid tied central and string solar inverters. Today Hitachi Hi-Rel Power Electronics Private Limited is being viewed as one of the most trustworthy partners for Solar Inverters Solutions in the country as they are delivering considerably high output & also consolidates the reliability of the plant operations. Hitachi Solar inverters score over the competition with the help of technology which they inherited from their principle in Japan which offers high efficiency levels.
|
||||||
wrong_mix_property_foundationPlace_00067
|
FactBench
|
2
| 2
|
https://a2central.com/2023/02/john-romero-lifetime-achievement-award/
|
en
|
John Romero to receive Lifetime Achievement Award
|
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[] |
[] |
[
""
] | null |
[
"Ken Gagne"
] |
2023-02-25T15:52:31+00:00
|
The Game Developers Choice Awards will honor Softdisk alumnus John Romero of Wolfenstein 3D and Doom fame at this year's GDC.
|
en
|
A2Central.com
|
https://a2central.com/2023/02/john-romero-lifetime-achievement-award/
|
John Romero — Softdisk alumnus, programmer and designer for Wolfenstein 3D and Doom, and KansasFest 2012 keynote speaker — will be honored with the Lifetime Achievement Award from the Game Developers Choice Awards. This award “recognizes the career and achievements of a developer who has made an indelible impact on the craft of game development and games as a whole”.
Reports Brendan Sinclair:
Romero … is best known for his work on seminal first-person shooters like Wolfenstein 3D and Doom in the early ’90s, but his career extends considerably beyond that period in both directions.
Romero’s game development career began in 1979, and he spent much of the ’80s working on a slew of Apple II titles before co-founding Id Software in 1991 and helping the company not only establish the first-person shooter genre but revamp game distribution with successful shareware hits like Commander Keen.
GamesIndustry.biz
With this award, Romero joins the ranks of other Apple II alumni to have been so honored, including Richard Garriott (Ultima), John Carmack (Softdisk), and Tim Schafer (Maniac Mansion).
The award will be bestowed at this year’s Game Developers Conference (GDC), held March 20–24, 2023, in San Francisco, California.
|
|||||
wrong_mix_property_foundationPlace_00067
|
FactBench
|
1
| 9
|
https://www.hykonindia.com/event/award-ceremony-conducted-by-softdisk-india/
|
en
|
Power electronics, solar,Lithium,EV company
|
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[] |
[] |
[
""
] | null |
[] | null |
en
|
/static/images/icons/favicon-3.png
| null | |||||||
wrong_mix_property_foundationPlace_00067
|
FactBench
|
2
| 49
|
https://emagazine.softdiskindia.com/
|
en
|
SOFTDISK INDIA
|
[
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[] |
[] |
[
""
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[] | null |
Digital Edition of the Oldest & Largest Circulated Computer Magazine from Central India.
|
en
|
sdlogo.png
|
https://softdiskindia.com/e-magazine/
| ||||||
wrong_mix_property_foundationPlace_00067
|
FactBench
|
3
| 29
|
https://funsparks.com/products/easy-disk
|
en
|
Easy Disk
|
http://funsparks.com/cdn/shop/products/ED1000-Side-View1500px1500pxAmz_1200x1200.jpg?v=1658178760
|
http://funsparks.com/cdn/shop/products/ED1000-Side-View1500px1500pxAmz_1200x1200.jpg?v=1658178760
|
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[
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] |
[] |
[
""
] | null |
[] | null |
Unique cushioned design made from nylon material providing a comfortable grip and makes it easy to catch. This lightweight saucer is great for kids hand-eye coordination and keeps them active! The Easy Disk can fly through the air over 100 ft because of the soft gentle material. The ultimate no-pain soft flying disc!
|
en
|
//funsparks.com/cdn/shop/files/funsparks-favicon_32x32.png?v=1613527817
|
Funsparks
|
https://funsparks.com/products/easy-disk
|
WORLDS BEST SOFT DISK: It flies like a hard disk, up to 110 feet and flies extremely well even in windy conditions. Its safe to play outdoors or indoors
FOR PLAYERS OF ALL AGES AND SKILL LEVELS: For beginners, professionals or even your dog. Great for teaching kids how to toss flying discs without the fear of catching it. It wont hurt your fingers, hands, face or break nails and it does NOT dent cars
FOLD IT UP AND TUCK IT INTO YOUR POCKET: The outer part of the flying disc ring bends, tuck it into your pocket and before use shape it back into its original shape and the excitement begins
HAVE FUN WITH OTHERS: Leave the video games and phones. Build and enhance your active life with family and friends and enjoy hours of fun
EXTREMELY DURABLE AND FLOATS: Designed to hold up under intense play so you can play with your dog. It floats making it a great beach, lake and pool toy. Its 8.5 inches in diameter and 117g/4.12oz perfect for 6 year olds and up
Description
The Easy Disk innovation allows for hours of nonstop fun featuring its soft, lightweight and durable material. This flying disc can be played indoors and outdoors and even floats allowing for endless places to play and have fun. The performance is similar to a pro disk and can soar over 100ft. The spandex sleeve makes for a comfortable grip and fun to play fetch with your dog. Gather your family and friends and get started with Easy Disk! Great for the beach, the park, in the back yard or even indoors and it doesn’t matter if you’re a beginner or experienced. The compact flexible design makes it easy to take anywhere, anytime.
Easy Disk Awards
|
||
wrong_mix_property_foundationPlace_00067
|
FactBench
|
2
| 65
|
https://flexfits.com/pages/the-flex-co-newsroom
|
en
|
The Flex Company
|
http://flexfits.com/cdn/shop/files/flexfits_logo_4cd7bf9b-5147-4662-adfc-3ec780edce62.webp?v=1697663722
|
http://flexfits.com/cdn/shop/files/flexfits_logo_4cd7bf9b-5147-4662-adfc-3ec780edce62.webp?v=1697663722
|
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[] |
[] |
[
""
] | null |
[] | null |
Flex is on a mission to create period products that are truly innovative by solving real period problems, like cramping, bloating, odor and unnecessary waste.
|
en
|
//flexfits.com/cdn/shop/files/favicon_f365b9a7-4fd0-438e-9871-169c1c5d7f38_32x32.png?v=1698254181
|
The Flex Company
|
https://flexfits.com/pages/the-flex-co-newsroom
|
Our Story
After silently suffering from chronic yeast infections for 15 years related to organic tampon use, I felt it was time to change the status-quo--not just for myself, but for menstruators everywhere. I set out to create period products that were truly innovative by solving real period problems, like cramping, bloating, odor and unnecessary waste.
In 2014, I began researching product alternatives and hosting focus group dinners to discuss periods and period products with consumers. Weekly dinner conversations turned into a movement that we call the Uterati, a community invested in improving the future of period products.
In 2016, I launched The Flex Co. after discovering the menstrual disc technology and innovating to improve its materials, comfort, and efficacy. Flex was created to give those who menstruate products that prioritize comfort, support an active lifestyle and are better for the environment.
Flex aims to transform the lives of people with periods and offer period freedom™.
|
||
wrong_mix_property_foundationPlace_00067
|
FactBench
|
3
| 91
|
https://www.deltapowersolutions.com/en/mcis/product-awards-india.php
|
en
|
India
|
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[] |
[
""
] | null |
[] |
2024-07-23T08:36:17
|
/favicon.ico
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wrong_mix_property_foundationPlace_00067
|
FactBench
|
3
| 68
|
https://store.steampowered.com/app/1601900/Slordax_The_Unknown_Enemy/
|
en
|
Slordax: The Unknown Enemy on Steam
|
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[
""
] | null |
[] | null |
In this classic top-down shoot 'em up, fly the deadliest ship in the galaxy on a dangerous first-strike mission to annihilate an alien threat before they become too powerful to stop. Pick up upgrades from fallen enemies along the way and become an unstoppable force!
|
en
|
/favicon.ico
|
https://store.steampowered.com/app/1601900/Slordax_The_Unknown_Enemy/
|
You can use this widget-maker to generate a bit of HTML that can be embedded in your website to easily allow customers to purchase this game on Steam.
Enter up to 375 characters to add a description to your widget:
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|||||
wrong_mix_property_foundationPlace_00067
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FactBench
|
1
| 10
|
https://dallasinnovates.com/tag/softdisk/
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en
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Softdisk Archives
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[] |
[] |
[
""
] | null |
[
"Kevin Cummings",
"Dallas Innovates"
] | null |
en
|
Dallas Innovates
|
https://dallasinnovates.com/tag/softdisk/
|
John Carmack [Video still from his 2019 VR Awards Lifetime Achievement Award acceptance speech/Twitter]
Legendary Dallas Innovator John Carmack Raises $20M for Artificial General Intelligence Startup Keen Technologies
by Kevin Cummings |
|
||||||
wrong_mix_property_foundationPlace_00067
|
FactBench
|
3
| 25
|
https://www.pinterest.com/pin/424464333619798969/
|
en
|
[] |
[] |
[] |
[
""
] | null |
[] |
2017-05-16T13:54:40+00:00
|
This Pin was discovered by Micro Technology Group. Discover (and save!) your own Pins on Pinterest
|
en
|
Pinterest
|
https://in.pinterest.com/pin/424464333619798969/
| |||||||
wrong_mix_property_foundationPlace_00067
|
FactBench
|
3
| 72
|
https://www.wikiwand.com/en/John_Carmack
|
en
|
John Carmack
|
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John D. Carmack II is an American computer programmer and video game developer. He co-founded the video game company id Software and was the lead programmer of its 1990s games Commander Keen, Wolfenstein 3D, Doom, Quake, and their sequels. Carmack made innovations in 3D computer graphics, such as his Carmack's Reverse algorithm for shadow volumes.
|
en
|
Wikiwand
|
https://www.wikiwand.com/en/John_Carmack
|
John D. Carmack II[1] (born August 21,[lower-alpha 1] 1970)[1] is an American computer programmer and video game developer. He co-founded the video game company id Software and was the lead programmer of its 1990s games Commander Keen, Wolfenstein 3D, Doom, Quake, and their sequels. Carmack made innovations in 3D computer graphics, such as his Carmack's Reverse algorithm for shadow volumes.
For other people named John Carmack, see John Carmack (disambiguation).
Quick Facts Born, Occupation(s) ...
Close
|
|||||
wrong_mix_property_foundationPlace_00067
|
FactBench
|
2
| 28
|
https://helloperiod.com/en-us/blogs/menstrual-cup-articles-and-blog/troubleshooting-menstrual-disc-life
|
en
|
Menstrual Disc Leaking and Other Common Issues and Fixes
|
http://helloperiod.com/cdn/shop/articles/hello-cup-disc-386-Edit-LowRes.jpg?v=1647919679
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[] |
[
""
] | null |
[
"Hello Period"
] |
2022-03-22T16:27:58+00:00
|
Your menstrual disc is leaking heavily, maybe because it is not inserted correctly. Your disc needs to be tucked below and behind your cervix.
|
en
|
//helloperiod.com/cdn/shop/files/Favicon_6782f720-f725-46a3-9e3d-a66611242f40.png?crop=center&height=32&v=1639446843&width=32
|
Hello Period
|
https://helloperiod.com/en-us/blogs/menstrual-cup-articles-and-blog/troubleshooting-menstrual-disc-life
|
If you're new to menstrual disc life, you might find getting the hang of using it is a bit of a learning curve. So give yourself time and be patient. We're pretty confident that you won't look back once you've nailed inserting and removing your menstrual disc.
Here are our top tips for common menstrual disc questions:
1. Menstrual disc leaking
If your menstrual disc is leaking heavily, it may not be inserted correctly. Your disc needs to be tucked below and behind your cervix to collect your menstrual blood.
If it has managed to sneak in front of your cervix it won't be catching anything. Of course, without supersonic vision, it's impossible to see if you've got the position of your disc correct or not so if it's leak we recommend you remove your disc and follow these steps:
Fold your disc in half and insert angling it back toward your tailbone. Don't push it 'straight up' as this can cause the disc to end up in front of your cervix as mentioned above.
Push the front of your disc up high until it tucks behind your pubic bone. This is quite high up, so don't be afraid to push higher than you might expect to.
If you have a tilted cervix (ask your OBGYN or smear nurse where your cervix sits) if might take a bit more practice to work out how to get your menstrual disc to sit in a position that works. If menstrual cup leaking continues to be an issue and you know you have a tilted cervix, you might want to try a menstrual cup to see if have works better for you.
2. Menstrual disc isn't staying put / is untucking
If your menstrual disc is coming untucked, it might actually be a case of it not having been tucked properly in the first place. Because discs sit higher than menstrual cups, many first time users don't push the front of their disc high enough. It's normal to feel nervous and a bit apprehensive about using a disc, but sometimes that means we're a bit shy when it comes to pushing it high enough. If your disc is slipping and feels like it could fall out, try reinserting it and pushing the front up higher. You're aiming to tuck it behind your pubic bone - the area at the top of your vagina that feels like a notch. While everyone is different, there's a small number of people who might not have a pubic bone that is pronounced enough for a menstrual disc to tuck behind. If that's the case, we'd recommend using a menstrual cup instead as they are held in place with suction.
3. Menstrual disc empties itself
Okay, so this is actually seen as a bonus by most people. Discs can auto empty, and while that prospect sounds horrifying, 99% of the time this happens only when you go to the loo. This is because your muscles release slightly and allow the disc to empty while urinating. As your muscles contract, your disc will move back into place. Pretty amazing, huh? However, because the same rule can apply for orgasms - we recommend you empty your menstrual disc before sex.
4. Struggling to remove menstrual disc
Most menstrual discs on the market are basically as they sound - a round disc. While they work fine if your cervix is high or you have reach issues, discs without a removal aide can be a challenge to remove. The Hello Disc™ is the first disc on the market to have a double looped tab to help make removal easier. The loop can be worn in several ways to allow for cervix height differences as well as individual preferences. If you don't have a Hello Disc and struggle to remove your menstrual disc, you can try gently bearing down. This will help dislodge your disc from behind the pubic bone. If removal continues to be a problem, we suggest getting a disc with a removal tab.
5. I'm finding removal messy
Because menstrual discs are wider and hold more blood than other period products, removing them without mess can take practice. There's definitely an art to it! With menstrual cups you squeeze the base and pull them out upright thus keeping your blood inside. When you remove your disc, it goes from sitting happily in a disc shape to squashing through your vagina, making spillage more common. However, if you are using a Hello Disc™ it's possible to have no mess removal thanks to the double looped removal tabs. Just hook your finger through one of the tabs (the one closest the rim of the disc will give the best control). As you remove you want to be pulling the tab upwards and back toward your body so the disc empties away from your hand - this is the secret to no mess removal!
|
||
wrong_mix_property_foundationPlace_00067
|
FactBench
|
1
| 76
|
https://www.theguardian.com/games/2023/dec/08/doom-at-30-what-it-means-by-the-people-who-made-it
|
en
|
Doom at 30: what it means, by the people who made it
|
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[
"Keith Stuart",
"www.theguardian.com"
] |
2023-12-08T00:00:00
|
In 1993, a team of five coders released what would become one of the most influential video games ever made. Three decades on, they explain how they did it
|
en
|
the Guardian
|
https://www.theguardian.com/games/2023/dec/08/doom-at-30-what-it-means-by-the-people-who-made-it
|
In late August 1993, a young programmer named Dave Taylor walked into an office block on the Lyndon B Johnson freeway in Mesquite, Texas, to start a new job. The building had a jet black glass exterior and sat utterly incongruent amid acres of car parks, single-storey industrial units and strip malls. Game designer Sandy Petersen called it the Devil’s Rubik’s Cube. Taylor’s new workplace was on the sixth floor in office 615. The carpets, he discovered, were stained with spilled soda, the ceiling tiles yellowed by water leaks from above. But it was here that a team of five coders, artists and designers were working on arguably the most influential action video game ever made. This was id Software. This was Doom.
By the time Taylor joined the company that day, fresh from his electrical engineering degree, id had already hammered out a dozen small-scale games for the digital magazine publisher Softdisk and the shareware pioneer Apogee. Its most recent title, Wolfenstein 3D, was an edgy Nazi shooter with fast-paced action and rudimentary polygonal environments. But when Taylor met id’s charismatic designer and coder John Romero, he was shown their next project, whose name was partly inspired by a line from the movie Color of Money. (“Doom” is what pool hustler Tom Cruise called his cue.) The concept was simple: Aliens meets The Evil Dead. But into this new project, Romero, the brilliant coder John Carmack and the artist Adrian Carmack had thrown all their obsessions: heavy metal, Dungeons & Dragons, gore, cutting-edge programming.
“There were no critters in it yet,” recalls Taylor of that first demo. “There was no gaming stuff at all. It was really just a 3D engine. But you could move around it really fluidly and you got such a sense of immersion it was shocking. The renderer was kick ass and the textures were so gritty and cool. I thought I was looking at an in-game cinematic. And Romero is just the consummate demo man: he really feeds off of your energy. So as my jaw hit the floor, he got more and more animated. Doom was amazing, but John was at least half of that demo’s impact on me.”
Romero brought a range of sensibilities to his game design ethos. As a kid, his home was full of board games and he adored building things, using the classic construction toys Lincoln Logs and Tinker Toys to create his own little worlds. When video games arrived in the late 1970s, he was fortunate enough to live beside a test arcade where new coin-ops were regularly swapped in to gauge popularity. Romero loved Pac-Man but he was also getting to play rarer titles – Mousetrap, Venture, Make Trax – and learning about the breadth of possible worlds and interactions.
In late 1992, it had become clear that the 3D engine John Carmack was planning for Doom would speed up real-time rendering while also allowing the use of texture maps to add detail to environments. As a result, Romero’s ambition was to set Doom in architecturally complex worlds with multiple storeys, curved walls, moving platforms. A hellish Escher-esque mall of death.
“Everything we’d seen before Doom was 90-degree hallways,” Romero says. “Bard’s Tale, Dungeon Master – all these games did the same kind of thing. I still classify Wolfenstein 3D as a maze game, just like everything that came before it. Doom was the first to combine huge rooms, stairways, dark areas and bright areas, and lava and all that stuff, creating a really elaborate abstract world. That was never possible before.”
Romero had visited Disneyland as a child, and the exploratory nature of the experience, how each attraction allowed a glimpse at the next, had an impact on him. You can see it in the way the game uses dense verticality to add visual and navigational interest; the way windows, ledges and secret corridors were used to give tantalising glimpses of rooms or powerful weapons just out of reach. “I wanted the player to get these little peeks … to see that there’s something to get but they have to figure out how to get it, even if they feel like they’re breaking the rules,” says Romero.
“The way that Disney wants to delight their customers, I want to delight the player. I want them to have fun when they find things which they feel only they’ve discovered. Pacing is what’s really important. There’s fighting and then there’s exploration, and you usually aren’t doing them at the same time. When you’re killing stuff, the focus is on that. And then when that’s done, you can look around and go, ‘OK, where am I? How do I get to the next thing?’ A lot of my level design is about letting the player have those spaces to think, absorb the environment and try and figure things out, because that’s really fun.”
Romero wasn’t the only designer on Doom. Sandy Petersen joined id in the Summer of 1993. He had worked on Civilization at Microprose, and before that was at tabletop gaming company Chaoisum, where he’d designed for RuneQuest and created the influential horror classic Call of Cthulhu. He brought a different but complimentary sensibility, geared around the structure of role-playing adventures. He had just three months to create 20 maps, so he started building, using Romero’s DoomEd map editor. “I didn’t know what I was supposed to do, but I’d made plenty of D&D campaigns so I knew how a dungeon worked,” he says. “I built levels with hidden doors and monsters that would fight you, and lots of traps. I would sometimes get old dungeons I’d done for D&D and use them as the basis for making a map in Doom.”
Using D&D as inspiration for a video game wasn’t new – it was well-established in computer role-playing games such as Ultima and Wizardry. But the way Doom combined fast-paced 3D action with elaborate, highly staged level design would prove hugely influential in the years to come. It’s there in every first-person action game we play today.
Petersen loved to make maps that operated somewhere between theatre sets and escape rooms, enticing the player into micro narratives of risk and reward. “My signature thing was getting the player to walk knowingly into a trap,” laughs Petersen. “You enter a room and there’s a pillar with the [in-game weapon] BFG on it or something, and there’s a spotlight on that. And you know if you go pick it up, all hell’s going to break loose, but you can’t resist. John Romero was more likely to just teleport a monster behind you, and you had to know in advance where that was coming in. But there was always a clue in mine that you were about to get hit.”
But Doom wasn’t just a single-player game. Carmack consumed an entire library of books on computer networking before working on the code that would allow players to connect their PCs via modem to a local area network (LAN) and play in the game together. Before Doom, two-player modem games were usually strategy or simulation titles with slow 2D visuals, such as Tele Chess or the Electronic Arts battle tactics game, Modem Wars, Genuinely multiplayer titles tended to be the preserve of mainframe computers running at university programming labs, where adventure games such as MUD prospered. But Doom brought fast-paced, real-time action, both competitive and cooperative, into the gaming mainstream. Seeing your friends battling imps and zombie space marines beside you in a virtual world was an exhilarating experience.
“It was a high speed multiplayer death fest,” says Romero, who coined the term Deathmatch for the vs mode. “I was just like, obviously this will be all-consuming. This is going to be the best game that has ever existed on the planet.” But he also saw how it could influence the whole games industry, not just shooters. “I thought, this could really be the killer mode for any game, and it’s only going to get better because at that time, networking cards and cables were just barely being sold ... This was the future.”
He was right. When Doom was launched on 10 December 1993, it became immediately clear that the game was all-consuming – id Software had chosen to make the abbreviated shareware version available via the FTP site of the University of Wisconsin-Madison, but that crashed almost immediately, bringing the institution’s network to its knees. Large Doom communities sprang up on bulletin boards and forums, and within a couple of months a homebrew level editor had been hacked together by fans. It wasn’t just the fast-paced action that drew people in, it was the entire structure of the game.
“We changed the rules of design,” says Romero. “Getting rid of lives, which was an arcade holdover that every game had; getting rid of score because it was not the goal of the game. We wanted to make it so that, if the player died, they’d just start that level over – we were constantly pushing them forward. The game’s attitude was, I want you to keep playing. We wanted to get people to the point where they always needed more.”
Everything in the game serves that sense of momentum. Early on in development, there were collectible items such as treasure chests – the standard loot of the role-player adventure. But they were jettisoned, because score was irrelevant. Collection was irrelevant. Instead, pick-ups were there to aid the player’s progress: new guns, more ammo, more power. As Romero explains, “We were just putting the cool stuff in there like invincibility and radiation suits and the invisibility artefacts and full maps … all of those things contribute to what you’re trying to do in the game. Design-wise, we defined our core loop – which is running and shooting, and anything that supported that.”
Cheats and secrets were also a part of this recipe. It was programmer Dave Taylor who ensured that there were plenty of ways – usually involving typable codes – to skip sections and earn power-ups. “We needed it for debugging,” he says. “When you’re running through a level over and over again trying to find some bug, you don’t want to actually play the game, you want to get to the bug – especially in my case, because the game made me so nauseous, I was well motivated to get those cheat codes in.” But it was also Taylor’s idea to leave them in for players to find, ensuring that key-press combinations such as IDKFA and IDDQD became legendary.
There’s a tendency to characterise id Software at this time as a kind of chaotic geek’s frathouse – all pounding heavy metal, pizza deliveries and caffeine-charged soda. But what drove the company was efficiency and craftsmanship. “It was sort of a productiv-ocracy,” says Taylor. “If you could deliver, then you could do whatever. So yeah, when I added those cheat codes, I didn’t have to ask for permission or anything, I just put ’em in. That freed us up to really focus on polishing, how it felt, how satisfying it was, the little subtleties. The artist drew buttholes on every bad guy, even though most people didn’t realise because you generally only see them from the front. But other little things – like when a monster shoots another monster, it makes him mad and he shoots back – that adds a lot of character, I think.”
There will be many essays written this month, talking about the multifaceted legacy of Doom. And it’s true that this thing effectively invented the modern PC games industry, as a place dominated by technologically advanced action shooters. It created the online multiplayer deathmatch, and it allowed players to access the scripting tools to create their own maps, boosting the modding community. Romero’s decision to license the Doom engine to other developers – famously to Raven for Heretic and Hexen – created a whole new business model of marketable development middleware. The fact that the game allowed players to record their routes through the levels kickstarted the speed-running scene. This is all vitally important stuff.
But that’s not really why we remember Doom 30 years later. There’s a joke now, which is asked of any new technology: does it run Doom? And invariably, if it has a screen and a CPU, it does. Doom runs on every console and computer, it runs on a cash machine, an electronic pregnancy tester and on internet-connected fridge freezers. Doom now even runs inside Doom.
Why?
Because Doom remains a brilliant, thrilling game experience. It is so pure, so focused. Not a single pixel is wasted. “Today, playing Doom at full speed, it’s [still] one of the fastest games you can play,” says Romero, who is currently working on Sigil 2, a spiritual successor to the original Doom series. “You still get an amazing experience, even better than when we released it, because it’s a little smoother. Doom is still very fast, very challenging. It doesn’t matter what the resolution is … it’s all gameplay.”
|
|||||
wrong_mix_property_foundationPlace_00067
|
FactBench
|
2
| 35
|
https://flexfits.com/pages/milestones
|
en
|
Milestones
|
http://flexfits.com/cdn/shop/files/flexfits_logo_4cd7bf9b-5147-4662-adfc-3ec780edce62.webp?v=1697663722
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http://flexfits.com/cdn/shop/files/flexfits_logo_4cd7bf9b-5147-4662-adfc-3ec780edce62.webp?v=1697663722
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Explore Flex's journey of creating period-positive solutions. Discover key milestones & innovations that redefined comfort and confidence during your cycle.
|
en
|
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The Flex Company
|
https://flexfits.com/pages/milestones
|
Sorry, looks like we don't have enough of this product.
|
||
wrong_mix_property_foundationPlace_00067
|
FactBench
|
0
| 7
|
https://k945.com/10-shreveport-urban-legends/
|
en
|
Real or Not? Here are the Top 10 Urban Legends About Shreveport
|
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2023-01-13T14:30:16+00:00
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Northwest Louisiana is steeped in local legends. But are these long-told tales true? We asked residents about their favorite myths regarding Shreveport-Bossier City with interesting results!
|
en
|
https://townsquare.media/site/182/files/2011/10/favicon.ico
|
K945
|
https://k945.com/10-shreveport-urban-legends/
|
Northwest Louisiana is steeped in local legends. But are these long-told tales true? We asked residents about their favorite myths regarding Shreveport-Bossier City with interesting results!
I remember growing up watching Midsouth wrestling with my father on Saturday mornings. He told me that it had to be 'real' because fake matches were prohibited in Louisiana. Believe it or not, that statute is actually on the books. Who knew? But what about those stories that we all heard growing up like the legend of JuJu Road off of Swan Lake Road in Bossier City? My friends and I all took our turns driving out JuJu Road as teens and scaring ourselves silly with tales of satanic rituals and sacrifices. Were those stories true? I have no idea, we never stuck around long enough to find out!
It turns out that I wasn't alone in hearing tons of local lore as a child growing up in our area. Here are some of my favorite local legends sourced from residents via social media. Have you heard any of these stories? I'd love to hear from you! Hit me up at erin.bristol@townsquaremedia.com or just hit 'chat' in our free app!
1. Superior Margaritas contain Everclear or grain alcohol - We can't prove or disprove this one. Some people who have worked there swear it's in there and that's why they're so potent. Others say it's a myth perpetuated by locals who want an excuse for their 'excesses' while drinking. Either way, the owners of Superior Grill aren't talking.
2. The Barksdale Bubble - Many locals believe there is a force field that the military can activate at Barksdale AFB to avoid severe weather. While I'm pretty sure this technology doesn't exist, after personally watching Shreveport-Bossier weather radar for years, we do seem to have a 'bubble' of protection often enough to support the theory.
3. Tarantulas rule Oakland Cemetery in downtown Shreveport next to Municipal Auditorium - This is TRUE! They're actually Texas Brown Tarantulas according to Jack Pride.
4. George D’Artois didn’t die, he escaped to Mexico - While we can't go back in time to prove this one, George D'Artois was a prominent law enforcement officer and politician in Shreveport during the 1960s and '70s. He was investigated for fraud as well as murder and suspected of being involved in organized crime. However, he never faced murder charges. Wikipedia says he died of a heart attack in 1976.
5. There's an elephant buried under St. Mark's Church - I had always heard there was an elephant buried at the Piggly Wiggly in Springhill, LA, but local Levette Fuller says, 'The owners of a circus lived in the mansion next to St. Mark’s, Pine Wold Manor. They would be there in warm seasons with the circus animals. The elephant reportedly died and was buried on the grounds. Back then that could have included the property where St Mark's is because the church was built in the 1950s.'
6. Barksdale AFB and the old Army Ammunition Plant are connected by underground tunnels - I can't find anything to prove or disprove this, but then again, it's the military. I always heard there were nuclear missile silos on the east reservation on base, too.
7. Shreveport considered buying the monorail from the New Orleans World’s Fair - While I couldn't find this information directly, I did see that on NewOrleansHistorical.org that all of the assets from the Louisiana World Exposition were actioned off in 1985 to help cover the debt the event incurred and that included the monorail.
8. Flashing your high beams at another driver can get you shot - I remember this urban legend going around in the late '80s, and early '90s when gang activity was at an all-time high in our area. Supposedly, if someone flashed their headlights at you and you flashed back, you'd be shot as a part of a rite of initiation for gang membership.
9. The legend of the Mittie Stevens - In 1869, the Mittie Stevens, a paddle wheeler wrecked at Swanson's Landing on Caddo Lake on the way to Jefferson, TX, reportedly carrying a load of cotton, hay, and anywhere from 60 - 90 passengers. Legend says the captain was running late and decided to continue pushing forward to their destination into the night. At the time, light was provided by lanterns, which in turn, caught the cargo on fire, killing everyone aboard. Some locals say you can still hear the screams of the passengers at night. However, there are some conflicting reports saying that some of the passengers were safely recovered.
10. Shreveport's Municipal Auditorium is one of the most haunted buildings in the south - I don't know how you would quantify this, but the Muni has seen its fair share of history since it was built in the 1920s. Yes, it's where Elvis and many other legends like Johnny Cash, Hank Williams and more have played and was known as the 'Stage of the Stars' or 'Cradle of the Stars' as the host venue for the Louisiana Hayride. It also reportedly served as the Shreveport morgue and they say that the morgue was located in the basement directly under the famous stage. I've also heard that the basement was home to a medical clinic. However, I verified that the building was a billeting station for soldiers during WWII and also housed an Early Aircraft Warning System, the technology used prior to radar. Is it haunted? I've done a ghost tour there and was pretty spooked. Ghost hunting teams and paranormal investigators have climbed all over the building and have reported a ton of unexplained phenomena, so I guess it all depends on your personal beliefs.
Interesting Facts About Shreveport-Bossier
Read More: Shreveport-Bossier's Most Unique Landmarks
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wrong_mix_property_foundationPlace_00067
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FactBench
|
2
| 5
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http://www.cyberpower.media/3F1217A7
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en
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FactBench
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1
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http://www.cyberpower.media/3F1217A7
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wrong_mix_property_foundationPlace_00067
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FactBench
|
1
| 17
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https://www.hykonindia.com/event/soft-disk-awards/
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en
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Power electronics, solar,Lithium,EV company
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UPS-Solar Day Celebrations of Soft Disk at Bengaluru.
Hykon Ranked #No.6 in Power Electronic Industry, #No.3 in Line-Interactive UPS Companies & #No. 4 in SPCU Manufacturers
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||||||
wrong_mix_property_foundationPlace_00067
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FactBench
|
3
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https://en.wikipedia.org/wiki/John_Carmack
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en
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John Carmack
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2002-02-25T15:51:15+00:00
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https://en.wikipedia.org/wiki/John_Carmack
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American computer programmer and video game developer (born 1970)
For other people named John Carmack, see John Carmack (disambiguation).
John D. Carmack II[1] (born August 21,[a] 1970)[1] is an American computer programmer and video game developer. He co-founded the video game company id Software and was the lead programmer of its 1990s games Commander Keen, Wolfenstein 3D, Doom, Quake, and their sequels. Carmack made innovations in 3D computer graphics, such as his Carmack's Reverse algorithm for shadow volumes.
In 2013, he resigned from id Software to work full-time at Oculus VR as their CTO. In 2019, he reduced his role to Consulting CTO so he could allocate more time toward artificial general intelligence (AGI).[3] In 2022, he left Oculus to work on his AGI startup, Keen Technologies.[6]
Biography
Early life
Carmack was born in Shawnee Mission, Kansas,[1] the son of local television news reporter Stan Carmack. He grew up in the Kansas City metropolitan area, where he became interested in computers at an early age. He attended Shawnee Mission East High School in Prairie Village, Kansas and Raytown South High School in nearby Raytown, Missouri.
Carmack was introduced to video games with the 1978 shoot 'em up game Space Invaders in the arcades during a summer vacation as a child. The 1980 maze chase arcade game Pac-Man also left a strong impression on him. He cited Nintendo designer Shigeru Miyamoto as the game developer he most admired.[8]
As reported in David Kushner's Masters of Doom, when Carmack was 14, he broke into a school with other children to steal Apple II computers. To gain entry to the building, Carmack concocted a sticky substance of thermite mixed with Vaseline that melted through the windows. However, an overweight accomplice struggled to get through the hole and instead opened the window, setting off a silent alarm and alerting police. Carmack was arrested and sent for psychiatric evaluation. He was sentenced to a year in a juvenile home.[9] He attended the University of Missouri–Kansas City for two semesters before withdrawing to work as a freelance programmer.[11]
Career
Softdisk, a computer company in Shreveport, Louisiana, hired Carmack to work on Softdisk G-S (an Apple IIGS publication), introducing him to John Romero and other future key members of id Software such as Adrian Carmack (no relation). Later, Softdisk would place this team in charge of a new, but short-lived, bi-monthly game subscription product called Gamer's Edge for the IBM PC (DOS) platform. In 1990, while still at Softdisk, Carmack, Romero, and others created the first of the Commander Keen games, a series that was published by Apogee Software, under the shareware distribution model, from 1991 onwards. Afterwards, Carmack left Softdisk to co-found id Software.
Carmack has pioneered or popularized the use of many techniques in computer graphics, including "adaptive tile refresh" for Commander Keen, ray casting for Hovertank 3D, Catacomb 3-D, and Wolfenstein 3D, binary space partitioning which Doom became the first game to use, surface caching which he invented for Quake, Carmack's Reverse (formally known as z-fail stencil shadows) which he devised for Doom 3, and MegaTexture technology, first used in Enemy Territory: Quake Wars.[16] Quake 3 popularized the fast inverse square root algorithm.[17]
Carmack's engines have also been licensed for use in other influential first-person shooters such as Half-Life, Call of Duty and Medal of Honor. In 2007, when Carmack was on vacation with his wife, he ended up playing some games on his cellphone, and decided he was going to make a "good" mobile game.[18][19]
Main article: ZeniMax v. Oculus
On August 7, 2013, Carmack joined Oculus VR as their CTO.[20] On November 22, 2013, he resigned from id Software to work full-time at Oculus VR.[2][21] Carmack's reason for leaving was that id's parent company ZeniMax Media did not want to support Oculus Rift.[22] Carmack's role at both companies later became central to a ZeniMax lawsuit against Oculus' parent company, Facebook, claiming that Oculus stole ZeniMax's virtual reality intellectual property.[23][24][25] The trial jury absolved Carmack of liability, though Oculus and other corporate officers were held liable for trademark, copyright, and contract violations.[26]
In February 2017, Carmack sued ZeniMax, claiming the company had refused to pay him the remaining $22.5 million (~$27.5 million in 2023) owed to him from their purchase of id Software.[27] In October 2018, Carmack stated that he and ZeniMax had reached an agreement and that "Zenimax has fully satisfied their obligations to me", ending the suit.[28]
On November 13, 2019, Carmack stepped down from the Oculus CTO role to become a "Consulting CTO" in order to allocate more time to his work on artificial general intelligence (AGI).[3] On August 19, 2022, Carmack announced that he has raised $20M for Keen Technologies, his new AGI company.[29] On December 16, 2022, Carmack left Oculus to focus on Keen.[6]
Workstyle
Carmack has maintained a sixty-hour work week, working a 10-hour day, six days a week, throughout his career.[30] He has spoken publicly about the importance of long hours of uninterrupted focus in his work. Not only does high intensity allow him to make progress more quickly, but long hours are also critical to maintaining a focused mindset over time. Despite working such a demanding schedule, he has never experienced burnout.[30]
Carmack is also known for taking week-long programming retreats. These retreats involve a solitary, uninterrupted period away from his normal routine often sequestered in a random city and hotel. The goal of these retreats is to allow Carmack to operate at full cognitive capacity, tackling a specific, difficult problem or learning a new skill.[32] The solitude and physical isolation of these retreats offer the perfect environment for deep focus and reflection, making them an essential part of Carmack's creative process.
Carmack was vocal about his frustration with the bureaucratic inefficiencies he encountered during his time at Meta.[33] In his departure memo, he stated, "We have a ridiculous amount of people and resources, but we constantly self-sabotage and squander effort," he wrote. "I have never been able to kill stupid things before they cause damage, or set a direction and have a team actually stick to it."[34]
Carmack subscribes to the philosophy that small, incremental steps are the fastest route to meaningful and disruptive innovation.[30] He compares this approach to the "magic of gradient descent" where small steps using local information result in the best outcomes. According to Carmack, this principle is proven by his own experience, and he has observed this in many of the smartest people in the world. He states, "Little tiny steps using local information winds up leading to all the best answers."[30]
Armadillo Aerospace
Main article: Armadillo Aerospace
Around 2000, Carmack became interested in rocketry, a hobby of his youth. Reviewing how much money he was spending on customizing Ferraris,[citation needed] he began by giving financial support to a few local amateur engineers. Carmack funded the company, called Armadillo Aerospace, out of his own pocket, for "something north of a million dollars a year."[35] The company of hobbyists made steady progress toward their goals of suborbital space flight and eventual orbital vehicles. In October 2008, Armadillo Aerospace competed in a NASA contest known as the Lunar Lander Challenge, winning first place in the Level 1 competition along with $350,000 (~$486,412 in 2023).[36] In September 2009, they completed Level 2 and were awarded $500,000 (~$690,323 in 2023).[37][38][39] The company went into "hibernation mode" in 2013.[35]
According to Carmack, the work in the Aerospace industry is "simple" compared to the work he does in video games.[40]
Open-source software
Carmack is an advocate of open-source software, and has repeatedly voiced his opposition to software patents, equating them to robbery.[41] He has also contributed to open-source projects, such as starting the initial port of the X Window System to Mac OS X Server and working to improve the OpenGL drivers for Linux through the Utah GLX project.[42]
Carmack released the source code for Wolfenstein 3D in 1995 and the Doom source code in 1997, first under a custom license and then under the GNU General Public License (GPL) in 1999. When the source code to Quake was leaked and circulated among the Quake community underground in 1997 after licensee Crack dot Com was hacked,[43] a programmer unaffiliated with id Software named Greg Alexander used it to port Quake to Linux using SVGALib. As this was more feature rich than Dave Taylor's earlier X11 port, he sent the patches to Carmack.[44] Instead of pursuing legal action, id Software used the patches as the foundation for a company-sanctioned Linux port maintained by new hire Zoid Kirsch, who later ported Quakeworld and Quake II to Linux as well.[45]
id Software has since publicly released the source code to Quake in 1999, Quake 2 in 2001, Quake 3 in 2005 and lastly Doom 3 in 2011 (and later the BFG Edition in 2012). The source code for Hovertank 3D and Catacomb 3D (as well as Carmack's earlier Catacomb) was released in June 2014 by Flat Rock Software with Carmack's blessing.[46][47] He has since expressed regret on using the copyleft GPL over the more permissive BSD license.[48]
The release of id Tech 4 occurred despite patent concerns from Creative Labs over Carmack's reverse,[49] while the original Doom source release shipped without music due to complications with the Cygnus Studios developed DMX library (which lead to the Linux version being selected for release).[50] Carmack has since advised developers to be careful when utilizing middleware, noting how it can limit the possibilities of later releasing source code.[51] Tim Sweeney has implied this issue has hindered potential releases of older Unreal Engine source code.[52]
On the other hand, despite his technical admiration for the system,[53] Carmack has several times over the years voiced a sceptical opinion about Linux as a gaming platform.[54][55] In 2013, he argued for emulation as the "proper technical direction for gaming on Linux",[56] and in 2014 he voiced the opinion that Linux might be the biggest problem for the success of the Steam Machine.[57]
Carmack contributes to charities and gaming communities. Some of the recipients of Carmack's charitable contributions include his former high school, promoters of open-source software, opponents of software patents, and game enthusiasts.[58]
Personal life
Carmack was so successful at id that by mid-1994 he had purchased two Ferraris: a Ferrari 328 and a Ferrari Testarossa.[59] In 1997, he gave away the Ferrari 328 as a prize to Dennis Fong, the winner of the Quake tournament "Red Annihilation".[60]
He met his now ex-wife Katherine Anna Kang, at the 1997 QuakeCon when she visited id's offices. As a bet, Kang challenged Carmack to sponsor the first All Female Quake Tournament if she was able to produce a significant number of participants. Carmack predicted a maximum of 25 participants, but there were 1,500. Carmack and Kang married on January 1, 2000, and planned a ceremony in Hawaii. Steve Jobs requested that they would postpone the ceremony so Carmack could attend the MacWorld Expo on January 5, 2000. Carmack declined and suggested making a video instead.[62] Carmack and Kang had a son Christopher Ryan in August 2004.[63] Their second son was born in November 2009.
Carmack is divorced as of 2022. On May 26, 2022, he announced his divorce and how he met his partner Trista through the VR Beat Saber games he would host via Twitter.[64]
As a game developer, Carmack differed from many of his contemporaries by avoiding commitment to a final release date for any game he was developing. Instead, when asked for a release date on a new game, Carmack would usually reply that the game would be released "when it's done".[65] Employees at Apogee, in their past years the publishers of games by id Software, adopted this business practice as well.[66] In 2019, as a guest on The Joe Rogan Experience, Carmack stated that his beliefs have changed over time: "I largely recant from that now." On Rage's 6-year development time he says: "I think we should have done whatever it would have taken to ship it 2 years earlier". Carmack also reflected on the internal development of Quake in this regard and described it as "traumatic" and says id Software could have split the game into two parts and shipped it earlier.[67]
Carmack has a blog last updated in 2006 (previously a .plan, which could be accessed by making a finger request for johnc@idsoftware.com[68]), an active Twitter account, and also occasionally posts comments to Slashdot.[9]
Carmack supported the 2012 presidential campaign of Libertarian Ron Paul,[69] and is an atheist.[70][71] During a conversation with Joe Rogan, Carmack revealed that he had trained in Brazilian Jiu Jitsu and Judo for several years as a hobby.[72]
During his time at id Software, a medium pepperoni pizza would arrive for Carmack from Domino's Pizza almost every day, carried by the same delivery person for more than 15 years. Carmack had been such a regular customer that they continued to charge him 1995 prices.[73]
On occasion he has commended the efforts of similarly focused programmers – first Ken Silverman, who wrote the Build engine for 3D Realms, and later with Tim Sweeney of Epic Games, who wrote the Unreal Engine.[9]
Recognition
Accolades for John Carmack Date Award Description 1996 Named among the most influential people in computer gaming of the year and of all time #1 and #2 in GameSpot's lists.[74][75] 1997 Named among the most influential people of all time #7 in Computer Gaming World list, for game design.[76] 1999 Named among the 50 most influential people in technology #10 in Time's list.[77] March 2001 Award for community contribution for the Quake 3 engine Used in 12 games. Bestowed at 2001 Game Developer's Conference Award Ceremony. March 22, 2001 Inducted into Academy of Interactive Arts and Sciences' Hall of Fame The fourth person to be inducted, an honor bestowed upon those who have made revolutionary and innovative achievements in the video and computer game industry. 2002 Named to the MIT Technology Review TR100 Included as one of the top 100 innovators in the world under the age of 35.[78] 2003 One subject of book Masters of Doom Masters of Doom is a chronicle of id Software and its founders. 2005 Name in film The film Doom featured a character named Dr. Carmack, in recognition of Carmack who co-created the original game. March 2006 Added to the Walk of Game Walk of Game is an event that recognizes the developers and games with the most impact on the industry.[79] January 2007 Awarded 2 Emmy Awards Carmack and id Software were awarded with two Emmy Awards. The first was Science, Engineering & Technology for Broadcast Television, which includes broadcast, cable and satellite distribution. The second was for Science, Engineering and Technology for Broadband and Personal Television, encompassing interactive television, gaming technology, and for the first time, the Internet, cell phones, private networks, and personal media players. id Software is the first independent game developer to be awarded an Emmy since the Academy began honoring technology innovation in 1948.[80] September 2007 Television appearance Appeared on Discovery Channel Canada Daily Planet featuring his rocket designs along with the Armadillo Aerospace team. 2008 Honored Carmack was honored at the 59th Annual Technology & Engineering Emmy Awards for Quake's pioneering role of user modifiability.[81] He is the only game programmer ever honored twice by the National Academy of Television Arts & Sciences, having been given an Emmy Award in 2007 for his creation of the 3D technology that underlies modern shooter video games.[82] Along with Don Daglow of Stormfront Studios and Mike Morhaime of Blizzard Entertainment, Carmack is one of only three game developers to accept awards at both the Technology & Engineering Emmy Awards and at the Academy of Interactive Arts & Sciences Interactive Achievement Awards.[citation needed] October 2008 Won X-Prize Carmack's Armadillo Aerospace won the $350,000 Level One X-Prize Lunar Lander Challenge.[83] 2009 Named among the 100 top game creators of all time #10 in IGN's list.[84] March 11, 2010 Lifetime Achievement Award Was awarded the Game Developers Conference Lifetime Achievement award for his work.[85] March 7, 2016 BAFTA Fellowship Award Honoured with the Academy's highest honour, the Fellowship for "work that has consistently been at the cutting edge of games and his technical expertise helping the future arrive that little bit faster".[86] May 3, 2017 Honorary Doctorate Received a Doctor of Engineering Honoris Causa from the University of Missouri, Kansas City for "his work in cutting edge tech & comp sci".[87]
Games
Video games worked on by John Carmack Release date Game Developer Publisher Credited for October 16, 2012 Doom 3 BFG Edition id Software Bethesda Softworks Technical director, engine programmer, developer October 4, 2011 Rage id Software Bethesda Softworks Technical director, engine programmer, developer September 28, 2007 Enemy Territory: Quake Wars Splash Damage Activision Programming May 1, 2006 Orcs & Elves Fountainhead Entertainment Electronic Arts Producer/programmer/writer October 18, 2005 Quake 4 Raven Software Activision, Bethesda Softworks (republished 2012) Technical director September 13, 2005 Doom RPG Fountainhead Entertainment id Software Producer/programmer April 3, 2005 Doom 3: Resurrection of Evil Nerve Software Activision Technical director August 3, 2004 Doom 3 id Software Activision Technical director November 19, 2001 Return to Castle Wolfenstein id Software Activision Technical director December 18, 2000 Quake III: Team Arena id Software Activision Programming December 2, 1999 Quake III Arena id Software Activision Programming November 30, 1997 Quake II id Software Activision Programming March 31, 1997 Doom 64 Midway Games Midway Games Programming June 22, 1996 Quake id Software GT Interactive Programming May 31, 1996 Final Doom id Software GT Interactive Programming October 30, 1995 Hexen: Beyond Heretic Raven Software id Software 3D engine December 23, 1994 Heretic Raven Software id Software Engine programmer September 30, 1994 Doom II: Hell on Earth id Software GT Interactive Programming December 10, 1993 Doom id Software id Software Programming 1993 Shadowcaster Raven Software Origin Systems 3D engine September 18, 1992 Spear of Destiny id Software FormGen Software engineer May 5, 1992 Wolfenstein 3D id Software Apogee Software Programming 1991 Catacomb 3-D id Software Softdisk Programming 1991 Commander Keen in Aliens Ate My Babysitter! id Software FormGen Programming December 15, 1991 Commander Keen in Goodbye, Galaxy! id Software Apogee Software Programming 1991 Commander Keen in Keen Dreams id Software Softdisk Programming 1991 Shadow Knights id Software Softdisk Design/programming 1991 Rescue Rover 2 id Software Softdisk Programmer 1991 Rescue Rover id Software Softdisk Programmer 1991 Hovertank 3D id Software Softdisk Programming 1991 Dangerous Dave in the Haunted Mansion id Software Softdisk Programming 1991 Dark Designs III: Retribution Softdisk Softdisk Programmer/designer December 14, 1990 Commander Keen in Invasion of the Vorticons id Software Apogee Software Programming 1990 Slordax: The Unknown Enemy Softdisk Softdisk Programming 1990 Catacomb II Softdisk Softdisk Developer 1990 Catacomb Softdisk Softdisk Programmer 1990 Dark Designs II: Closing the Gate Softdisk Softdisk Programmer/designer 1990 Dark Designs: Grelminar's Staff John Carmack Softdisk Developer 1990 Tennis John Carmack Softdisk Developer 1990 Wraith: The Devil's Demise John Carmack Nite Owl Productions Developer 1989 Shadowforge John Carmack Nite Owl Productions Developer
References
Bibliography
Kushner, David (2003). Masters of Doom: How Two Guys Created an Empire and Transformed Pop Culture. New York: Random House. ISBN 0-375-50524-5.
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American computer programmer and video game developer (born 1970)
For other people named John Carmack, see John Carmack (disambiguation).
John D. Carmack II[1] (born August 21,[a] 1970)[1] is an American computer programmer and video game developer. He co-founded the video game company id Software and was the lead programmer of its 1990s games Commander Keen, Wolfenstein 3D, Doom, Quake, and their sequels. Carmack made innovations in 3D computer graphics, such as his Carmack's Reverse algorithm for shadow volumes.
In 2013, he resigned from id Software to work full-time at Oculus VR as their CTO. In 2019, he reduced his role to Consulting CTO so he could allocate more time toward artificial general intelligence (AGI).[3] In 2022, he left Oculus to work on his AGI startup, Keen Technologies.[6]
Biography
Early life
Carmack was born in Shawnee Mission, Kansas,[1] the son of local television news reporter Stan Carmack. He grew up in the Kansas City metropolitan area, where he became interested in computers at an early age. He attended Shawnee Mission East High School in Prairie Village, Kansas and Raytown South High School in nearby Raytown, Missouri.
Carmack was introduced to video games with the 1978 shoot 'em up game Space Invaders in the arcades during a summer vacation as a child. The 1980 maze chase arcade game Pac-Man also left a strong impression on him. He cited Nintendo designer Shigeru Miyamoto as the game developer he most admired.[8]
As reported in David Kushner's Masters of Doom, when Carmack was 14, he broke into a school with other children to steal Apple II computers. To gain entry to the building, Carmack concocted a sticky substance of thermite mixed with Vaseline that melted through the windows. However, an overweight accomplice struggled to get through the hole and instead opened the window, setting off a silent alarm and alerting police. Carmack was arrested and sent for psychiatric evaluation. He was sentenced to a year in a juvenile home.[9] He attended the University of Missouri–Kansas City for two semesters before withdrawing to work as a freelance programmer.[11]
Career
Softdisk, a computer company in Shreveport, Louisiana, hired Carmack to work on Softdisk G-S (an Apple IIGS publication), introducing him to John Romero and other future key members of id Software such as Adrian Carmack (no relation). Later, Softdisk would place this team in charge of a new, but short-lived, bi-monthly game subscription product called Gamer's Edge for the IBM PC (DOS) platform. In 1990, while still at Softdisk, Carmack, Romero, and others created the first of the Commander Keen games, a series that was published by Apogee Software, under the shareware distribution model, from 1991 onwards. Afterwards, Carmack left Softdisk to co-found id Software.
Carmack has pioneered or popularized the use of many techniques in computer graphics, including "adaptive tile refresh" for Commander Keen, ray casting for Hovertank 3D, Catacomb 3-D, and Wolfenstein 3D, binary space partitioning which Doom became the first game to use, surface caching which he invented for Quake, Carmack's Reverse (formally known as z-fail stencil shadows) which he devised for Doom 3, and MegaTexture technology, first used in Enemy Territory: Quake Wars.[16] Quake 3 popularized the fast inverse square root algorithm.[17]
Carmack's engines have also been licensed for use in other influential first-person shooters such as Half-Life, Call of Duty and Medal of Honor. In 2007, when Carmack was on vacation with his wife, he ended up playing some games on his cellphone, and decided he was going to make a "good" mobile game.[18][19]
Main article: ZeniMax v. Oculus
On August 7, 2013, Carmack joined Oculus VR as their CTO.[20] On November 22, 2013, he resigned from id Software to work full-time at Oculus VR.[2][21] Carmack's reason for leaving was that id's parent company ZeniMax Media did not want to support Oculus Rift.[22] Carmack's role at both companies later became central to a ZeniMax lawsuit against Oculus' parent company, Facebook, claiming that Oculus stole ZeniMax's virtual reality intellectual property.[23][24][25] The trial jury absolved Carmack of liability, though Oculus and other corporate officers were held liable for trademark, copyright, and contract violations.[26]
In February 2017, Carmack sued ZeniMax, claiming the company had refused to pay him the remaining $22.5 million (~$27.5 million in 2023) owed to him from their purchase of id Software.[27] In October 2018, Carmack stated that he and ZeniMax had reached an agreement and that "Zenimax has fully satisfied their obligations to me", ending the suit.[28]
On November 13, 2019, Carmack stepped down from the Oculus CTO role to become a "Consulting CTO" in order to allocate more time to his work on artificial general intelligence (AGI).[3] On August 19, 2022, Carmack announced that he has raised $20M for Keen Technologies, his new AGI company.[29] On December 16, 2022, Carmack left Oculus to focus on Keen.[6]
Workstyle
Carmack has maintained a sixty-hour work week, working a 10-hour day, six days a week, throughout his career.[30] He has spoken publicly about the importance of long hours of uninterrupted focus in his work. Not only does high intensity allow him to make progress more quickly, but long hours are also critical to maintaining a focused mindset over time. Despite working such a demanding schedule, he has never experienced burnout.[30]
Carmack is also known for taking week-long programming retreats. These retreats involve a solitary, uninterrupted period away from his normal routine often sequestered in a random city and hotel. The goal of these retreats is to allow Carmack to operate at full cognitive capacity, tackling a specific, difficult problem or learning a new skill.[32] The solitude and physical isolation of these retreats offer the perfect environment for deep focus and reflection, making them an essential part of Carmack's creative process.
Carmack was vocal about his frustration with the bureaucratic inefficiencies he encountered during his time at Meta.[33] In his departure memo, he stated, "We have a ridiculous amount of people and resources, but we constantly self-sabotage and squander effort," he wrote. "I have never been able to kill stupid things before they cause damage, or set a direction and have a team actually stick to it."[34]
Carmack subscribes to the philosophy that small, incremental steps are the fastest route to meaningful and disruptive innovation.[30] He compares this approach to the "magic of gradient descent" where small steps using local information result in the best outcomes. According to Carmack, this principle is proven by his own experience, and he has observed this in many of the smartest people in the world. He states, "Little tiny steps using local information winds up leading to all the best answers."[30]
Armadillo Aerospace
Main article: Armadillo Aerospace
Around 2000, Carmack became interested in rocketry, a hobby of his youth. Reviewing how much money he was spending on customizing Ferraris,[citation needed] he began by giving financial support to a few local amateur engineers. Carmack funded the company, called Armadillo Aerospace, out of his own pocket, for "something north of a million dollars a year."[35] The company of hobbyists made steady progress toward their goals of suborbital space flight and eventual orbital vehicles. In October 2008, Armadillo Aerospace competed in a NASA contest known as the Lunar Lander Challenge, winning first place in the Level 1 competition along with $350,000 (~$486,412 in 2023).[36] In September 2009, they completed Level 2 and were awarded $500,000 (~$690,323 in 2023).[37][38][39] The company went into "hibernation mode" in 2013.[35]
According to Carmack, the work in the Aerospace industry is "simple" compared to the work he does in video games.[40]
Open-source software
Carmack is an advocate of open-source software, and has repeatedly voiced his opposition to software patents, equating them to robbery.[41] He has also contributed to open-source projects, such as starting the initial port of the X Window System to Mac OS X Server and working to improve the OpenGL drivers for Linux through the Utah GLX project.[42]
Carmack released the source code for Wolfenstein 3D in 1995 and the Doom source code in 1997, first under a custom license and then under the GNU General Public License (GPL) in 1999. When the source code to Quake was leaked and circulated among the Quake community underground in 1997 after licensee Crack dot Com was hacked,[43] a programmer unaffiliated with id Software named Greg Alexander used it to port Quake to Linux using SVGALib. As this was more feature rich than Dave Taylor's earlier X11 port, he sent the patches to Carmack.[44] Instead of pursuing legal action, id Software used the patches as the foundation for a company-sanctioned Linux port maintained by new hire Zoid Kirsch, who later ported Quakeworld and Quake II to Linux as well.[45]
id Software has since publicly released the source code to Quake in 1999, Quake 2 in 2001, Quake 3 in 2005 and lastly Doom 3 in 2011 (and later the BFG Edition in 2012). The source code for Hovertank 3D and Catacomb 3D (as well as Carmack's earlier Catacomb) was released in June 2014 by Flat Rock Software with Carmack's blessing.[46][47] He has since expressed regret on using the copyleft GPL over the more permissive BSD license.[48]
The release of id Tech 4 occurred despite patent concerns from Creative Labs over Carmack's reverse,[49] while the original Doom source release shipped without music due to complications with the Cygnus Studios developed DMX library (which lead to the Linux version being selected for release).[50] Carmack has since advised developers to be careful when utilizing middleware, noting how it can limit the possibilities of later releasing source code.[51] Tim Sweeney has implied this issue has hindered potential releases of older Unreal Engine source code.[52]
On the other hand, despite his technical admiration for the system,[53] Carmack has several times over the years voiced a sceptical opinion about Linux as a gaming platform.[54][55] In 2013, he argued for emulation as the "proper technical direction for gaming on Linux",[56] and in 2014 he voiced the opinion that Linux might be the biggest problem for the success of the Steam Machine.[57]
Carmack contributes to charities and gaming communities. Some of the recipients of Carmack's charitable contributions include his former high school, promoters of open-source software, opponents of software patents, and game enthusiasts.[58]
Personal life
Carmack was so successful at id that by mid-1994 he had purchased two Ferraris: a Ferrari 328 and a Ferrari Testarossa.[59] In 1997, he gave away the Ferrari 328 as a prize to Dennis Fong, the winner of the Quake tournament "Red Annihilation".[60]
He met his now ex-wife Katherine Anna Kang, at the 1997 QuakeCon when she visited id's offices. As a bet, Kang challenged Carmack to sponsor the first All Female Quake Tournament if she was able to produce a significant number of participants. Carmack predicted a maximum of 25 participants, but there were 1,500. Carmack and Kang married on January 1, 2000, and planned a ceremony in Hawaii. Steve Jobs requested that they would postpone the ceremony so Carmack could attend the MacWorld Expo on January 5, 2000. Carmack declined and suggested making a video instead.[62] Carmack and Kang had a son Christopher Ryan in August 2004.[63] Their second son was born in November 2009.
Carmack is divorced as of 2022. On May 26, 2022, he announced his divorce and how he met his partner Trista through the VR Beat Saber games he would host via Twitter.[64]
As a game developer, Carmack differed from many of his contemporaries by avoiding commitment to a final release date for any game he was developing. Instead, when asked for a release date on a new game, Carmack would usually reply that the game would be released "when it's done".[65] Employees at Apogee, in their past years the publishers of games by id Software, adopted this business practice as well.[66] In 2019, as a guest on The Joe Rogan Experience, Carmack stated that his beliefs have changed over time: "I largely recant from that now." On Rage's 6-year development time he says: "I think we should have done whatever it would have taken to ship it 2 years earlier". Carmack also reflected on the internal development of Quake in this regard and described it as "traumatic" and says id Software could have split the game into two parts and shipped it earlier.[67]
Carmack has a blog last updated in 2006 (previously a .plan, which could be accessed by making a finger request for johnc@idsoftware.com[68]), an active Twitter account, and also occasionally posts comments to Slashdot.[9]
Carmack supported the 2012 presidential campaign of Libertarian Ron Paul,[69] and is an atheist.[70][71] During a conversation with Joe Rogan, Carmack revealed that he had trained in Brazilian Jiu Jitsu and Judo for several years as a hobby.[72]
During his time at id Software, a medium pepperoni pizza would arrive for Carmack from Domino's Pizza almost every day, carried by the same delivery person for more than 15 years. Carmack had been such a regular customer that they continued to charge him 1995 prices.[73]
On occasion he has commended the efforts of similarly focused programmers – first Ken Silverman, who wrote the Build engine for 3D Realms, and later with Tim Sweeney of Epic Games, who wrote the Unreal Engine.[9]
Recognition
Accolades for John Carmack Date Award Description 1996 Named among the most influential people in computer gaming of the year and of all time #1 and #2 in GameSpot's lists.[74][75] 1997 Named among the most influential people of all time #7 in Computer Gaming World list, for game design.[76] 1999 Named among the 50 most influential people in technology #10 in Time's list.[77] March 2001 Award for community contribution for the Quake 3 engine Used in 12 games. Bestowed at 2001 Game Developer's Conference Award Ceremony. March 22, 2001 Inducted into Academy of Interactive Arts and Sciences' Hall of Fame The fourth person to be inducted, an honor bestowed upon those who have made revolutionary and innovative achievements in the video and computer game industry. 2002 Named to the MIT Technology Review TR100 Included as one of the top 100 innovators in the world under the age of 35.[78] 2003 One subject of book Masters of Doom Masters of Doom is a chronicle of id Software and its founders. 2005 Name in film The film Doom featured a character named Dr. Carmack, in recognition of Carmack who co-created the original game. March 2006 Added to the Walk of Game Walk of Game is an event that recognizes the developers and games with the most impact on the industry.[79] January 2007 Awarded 2 Emmy Awards Carmack and id Software were awarded with two Emmy Awards. The first was Science, Engineering & Technology for Broadcast Television, which includes broadcast, cable and satellite distribution. The second was for Science, Engineering and Technology for Broadband and Personal Television, encompassing interactive television, gaming technology, and for the first time, the Internet, cell phones, private networks, and personal media players. id Software is the first independent game developer to be awarded an Emmy since the Academy began honoring technology innovation in 1948.[80] September 2007 Television appearance Appeared on Discovery Channel Canada Daily Planet featuring his rocket designs along with the Armadillo Aerospace team. 2008 Honored Carmack was honored at the 59th Annual Technology & Engineering Emmy Awards for Quake's pioneering role of user modifiability.[81] He is the only game programmer ever honored twice by the National Academy of Television Arts & Sciences, having been given an Emmy Award in 2007 for his creation of the 3D technology that underlies modern shooter video games.[82] Along with Don Daglow of Stormfront Studios and Mike Morhaime of Blizzard Entertainment, Carmack is one of only three game developers to accept awards at both the Technology & Engineering Emmy Awards and at the Academy of Interactive Arts & Sciences Interactive Achievement Awards.[citation needed] October 2008 Won X-Prize Carmack's Armadillo Aerospace won the $350,000 Level One X-Prize Lunar Lander Challenge.[83] 2009 Named among the 100 top game creators of all time #10 in IGN's list.[84] March 11, 2010 Lifetime Achievement Award Was awarded the Game Developers Conference Lifetime Achievement award for his work.[85] March 7, 2016 BAFTA Fellowship Award Honoured with the Academy's highest honour, the Fellowship for "work that has consistently been at the cutting edge of games and his technical expertise helping the future arrive that little bit faster".[86] May 3, 2017 Honorary Doctorate Received a Doctor of Engineering Honoris Causa from the University of Missouri, Kansas City for "his work in cutting edge tech & comp sci".[87]
Games
Video games worked on by John Carmack Release date Game Developer Publisher Credited for October 16, 2012 Doom 3 BFG Edition id Software Bethesda Softworks Technical director, engine programmer, developer October 4, 2011 Rage id Software Bethesda Softworks Technical director, engine programmer, developer September 28, 2007 Enemy Territory: Quake Wars Splash Damage Activision Programming May 1, 2006 Orcs & Elves Fountainhead Entertainment Electronic Arts Producer/programmer/writer October 18, 2005 Quake 4 Raven Software Activision, Bethesda Softworks (republished 2012) Technical director September 13, 2005 Doom RPG Fountainhead Entertainment id Software Producer/programmer April 3, 2005 Doom 3: Resurrection of Evil Nerve Software Activision Technical director August 3, 2004 Doom 3 id Software Activision Technical director November 19, 2001 Return to Castle Wolfenstein id Software Activision Technical director December 18, 2000 Quake III: Team Arena id Software Activision Programming December 2, 1999 Quake III Arena id Software Activision Programming November 30, 1997 Quake II id Software Activision Programming March 31, 1997 Doom 64 Midway Games Midway Games Programming June 22, 1996 Quake id Software GT Interactive Programming May 31, 1996 Final Doom id Software GT Interactive Programming October 30, 1995 Hexen: Beyond Heretic Raven Software id Software 3D engine December 23, 1994 Heretic Raven Software id Software Engine programmer September 30, 1994 Doom II: Hell on Earth id Software GT Interactive Programming December 10, 1993 Doom id Software id Software Programming 1993 Shadowcaster Raven Software Origin Systems 3D engine September 18, 1992 Spear of Destiny id Software FormGen Software engineer May 5, 1992 Wolfenstein 3D id Software Apogee Software Programming 1991 Catacomb 3-D id Software Softdisk Programming 1991 Commander Keen in Aliens Ate My Babysitter! id Software FormGen Programming December 15, 1991 Commander Keen in Goodbye, Galaxy! id Software Apogee Software Programming 1991 Commander Keen in Keen Dreams id Software Softdisk Programming 1991 Shadow Knights id Software Softdisk Design/programming 1991 Rescue Rover 2 id Software Softdisk Programmer 1991 Rescue Rover id Software Softdisk Programmer 1991 Hovertank 3D id Software Softdisk Programming 1991 Dangerous Dave in the Haunted Mansion id Software Softdisk Programming 1991 Dark Designs III: Retribution Softdisk Softdisk Programmer/designer December 14, 1990 Commander Keen in Invasion of the Vorticons id Software Apogee Software Programming 1990 Slordax: The Unknown Enemy Softdisk Softdisk Programming 1990 Catacomb II Softdisk Softdisk Developer 1990 Catacomb Softdisk Softdisk Programmer 1990 Dark Designs II: Closing the Gate Softdisk Softdisk Programmer/designer 1990 Dark Designs: Grelminar's Staff John Carmack Softdisk Developer 1990 Tennis John Carmack Softdisk Developer 1990 Wraith: The Devil's Demise John Carmack Nite Owl Productions Developer 1989 Shadowforge John Carmack Nite Owl Productions Developer
References
Bibliography
Kushner, David (2003). Masters of Doom: How Two Guys Created an Empire and Transformed Pop Culture. New York: Random House. ISBN 0-375-50524-5.
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https://www.hitachi-hirel.com/news/awards/hitachi-hi-rel-wins-no-1-solar-inverter-mfr-award-no-2-power-electronics-co-award-by-softdisk
|
en
|
Rel wins No.1 Solar Inverter Mfr. Award & No.2 Power Electronics Co. Award by Softdisk
|
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[
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] | null |
[] | null |
en
|
/var/www/hitachi-hirel.com/vendor/craftcms/cms/src/favicon.ico
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Award Details Date Dec 18, 2017 Location Bangalore, Karnataka, India
Hitachi Hi-Rel Power Electronics Pvt. Ltd. has been awarded as the No.1 Solar Inverter Manufacturer of the Year 2016-17 under Solar Power Control Units (SPCU) Manufacturer category. Company has been also awarded as the No.2 Power Electronics Company of the Year 2016-17 for its UPS and other power electronics products sales during 25th SD Awards 2017 - 12th UPS cum Solar Day celebrations and 25th SD Award presentation ceremony, at The Grand Magarath Hotel in Bangalore on 9th Dec. 2017 (Saturday).
SD Award is the only award ceremony for the UPS industry in India, organized by SOFTDISK INDIA - a media and publication house with monthly magazine named Softdisk. Nominees were evaluated by Softdisk team solely based on the financial figures for the FY 2016-17.
Hitachi range of single phase and three phase UPS systems has also secured A++ satisfaction ratings in SD’s (Softdisk’s) User’s Satisfaction Survey 2017.
Receiving this awards is a great honor and recognition of Hitachi Hi-Rel’s efforts in providing reliable UPS solutions and solar inverters for customers across the country. Winning the award for No.1 Solar Inverter Manufacturer Company and No.2 Power Electronics Company of the Year 2016-17 is a testimony for Hitachi Hi-Rel as a power electronics leader in Indian power electronics industry.
On behalf of Hitachi Hi-Rel Power Electronics, Mr. A. Gopal (General Manager - Sales & Marketing) of UPS division received the award for No.2 Power Electronics Company of the year 2016-17 and Mr. Rakshith Bhat (Engineer - Sales & Marketing) of Solar division received the No.1 award for Solar Inverter Manufacturer from Dr. Sai Krishnan, Editor-in-Chief of Softdisk.
|
||||||
wrong_mix_property_foundationPlace_00067
|
FactBench
|
1
| 16
|
https://www.deltapowersolutions.com/en/mcis/product-awards-india.php
|
en
|
India
|
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[] |
[] |
[
""
] | null |
[] |
2024-07-23T08:36:17
|
/favicon.ico
| null | ||||||||
wrong_mix_property_foundationPlace_00067
|
FactBench
|
2
| 14
|
https://www.hykonindia.com/event/soft-disk-awards/
|
en
|
Power electronics, solar,Lithium,EV company
|
[
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"https://www.hykonindia.com/static/images/hykon-logo.png"
] |
[] |
[] |
[
""
] | null |
[] | null |
en
|
/static/images/icons/favicon-3.png
| null |
UPS-Solar Day Celebrations of Soft Disk at Bengaluru.
Hykon Ranked #No.6 in Power Electronic Industry, #No.3 in Line-Interactive UPS Companies & #No. 4 in SPCU Manufacturers
|
||||||
wrong_mix_property_foundationPlace_00067
|
FactBench
|
3
| 58
|
https://www.europapress.es/comunicados/internacional-00907/noticia-comunicado-sbc-events-doom-guy-john-romero-to-keynote-at-casinobeats-summit-20240429080044.html
|
en
|
SBC Events: 'DOOM Guy' John Romero to Keynote at CasinoBeats Summit
|
[
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[] |
[] |
[
""
] | null |
[
"Europa Press Comunicados",
"Europa Press"
] |
2024-04-29T08:00:44+02:00
|
LONDON, April 29, 2024 /PRNewswire/ -- Award-winning programmer, game designer, and level designer behind...
|
es
|
https://s01.europapress.net/imagenes/estaticos/favicons/ep3/icon/favicon-32.ico
|
europapress.es
|
https://www.europapress.es/comunicados/internacional-00907/noticia-comunicado-sbc-events-doom-guy-john-romero-to-keynote-at-casinobeats-summit-20240429080044.html
|
(Información remitida por la empresa firmante)
LONDON, April 29, 2024 /PRNewswire/ -- Award-winning programmer, game designer, and level designer behind iconic classics such as 'Doom' and 'Wolfenstein 3D,' John Romero, is set to headline the upcoming CasionBeats Summit.
In his keynote titled "Bridging Worlds: Nostalgia, Innovation, and the Future – A Journey with John Romero," Romero will offer insights drawn from his extensive experience in video gaming, tailored to inspire and advance the mindset of the online casino sector. The keynote will feature as part of the 'Product' conference track and kick off the first day of the summit on Wednesday, 22nd May, at the InterContinental Hotel in Malta.
Romero commented: "The beauty of game design is that its core principles go beyond video games — you can use them in any industry where creating a positive experience for people is key.
"I'm really excited to present to an audience of casino experts and to share my own journey in creating some of the most successful video game titles out there. My keynote is all about inspiring casino developers to push boundaries, get creative, and build the kind of immersive experiences that really reel in players in new and exciting ways."
Hailed as the 'father of first-person shooters,' Romero boasts an illustrious career spanning over 40 years in the video gaming industry. Considered one of the earliest indie game developers, his initial work began in 1979, honing his skills on mainframes before making the move to Apple II in 1981.
After programming indie games for eight years, Romero secured his first official industry job at Origin Systems in 1987, before co-founding the companies Inside Out Software (1988) and Ideas From The Deep (1989). In March 1989, Romero moved to Softdisk and would go on to establish the company's first PC Games division.
In February 1991, Romero co-founded the gaming company id Software with fellow Softdisk colleagues John D. Carmack, Adrian Carmack and Tom Hall. His time at id Software marked the brightest period in his career, where he played an instrumental role in developing historic titles such as Doom, Doom II: Hell On Earth, Wolfenstein 3D, Commander Keen and Quake. During this period, Romero served as an executive producer and game designer on Heretic and Hexen and personally designed levels for Doom, Quake, Commander Keen and Wolfenstein 3D.
More recently, Romero and his wife Brenda Romero established Romero Games in August 2015, releasing the games Gunman Taco Truck in 2017, SIGIL in 2019 and Empire of Sin in 2020. In March 2022, in response to the Russian invasion of Ukraine, Romero created a new level of Doom II, with all proceeds going to the Ukrainian Red Cross. In July 2022, Romero released his first memoir 'DOOM Guy'.
Rasmus Sojmark, CEO and Founder of SBC said: "We're thrilled to welcome John Romero to CasinoBeats Summit. A true legend. As soon as his name appeared on my desk, it was an immediate yes. A trailblazer behind numerous honestly genre-defining video games, he's indeed the perfect keynote speaker to talk innovative game mechanics, creativity and how to make a hit, whether we're talking video gaming or casino.
"This is an incredible opportunity for game designers, developers and the broader industry to get a glimpse into the inner workings of an industry that has on multiple occasions inspired ideas behind slot games and other casino products."
During the keynote, Romero will reminisce about his extensive career in the video gaming industry. He will look back at his most successful titles and provide delegates with insights that transcend industry barriers, inspiring them and helping them innovate the casino gaming landscape.
|
||||
wrong_mix_property_foundationPlace_00067
|
FactBench
|
1
| 41
|
https://www.youtube.com/channel/UCiUIE8eB_5EawZ5WusXs5Qw/videos
|
en
|
SOFTDISK INDIA
|
https://yt3.googleusercontent.com/EaTLDCXNbICT55f6e8EQej-7jdTqsZiT3Ord22Q9u9boTDU4_0TFu_zNMr4OBbYiUCGiGw3nOQ=s900-c-k-c0x00ffffff-no-rj
|
https://yt3.googleusercontent.com/EaTLDCXNbICT55f6e8EQej-7jdTqsZiT3Ord22Q9u9boTDU4_0TFu_zNMr4OBbYiUCGiGw3nOQ=s900-c-k-c0x00ffffff-no-rj
|
[] |
[] |
[] |
[
"Video",
"teilen",
"Kamerahandy",
"Videohandy",
"kostenlos",
"hochladen"
] | null |
[] | null |
Softdisk, is the largest circulated Power Electronics & Solar PV magazine of India. The trusted Research, Survey, Analysis & Rating Agency with growing popul...
|
de
|
https://www.youtube.com/s/desktop/07dce725/img/favicon.ico
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YouTube
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https://www.youtube.com/channel/UCiUIE8eB_5EawZ5WusXs5Qw
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wrong_mix_property_foundationPlace_00067
|
FactBench
|
3
| 74
|
https://store.steampowered.com/app/1601930/ScubaVenture_The_Search_for_Pirates_Treasure/
|
en
|
ScubaVenture: The Search for Pirate's Treasure on Steam
|
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[
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[] | null |
Scour the wreckage of a pirate ship in this colorful 2D side scrolling underwater action adventure! Fight off all manner of sea creatures and rival divers with your harpoon gun and bombs as you gather treasure but beware of ghastly pirate ghosts seeking to reclaim what was once theirs!
|
en
|
/favicon.ico
|
https://store.steampowered.com/app/1601930/ScubaVenture_The_Search_for_Pirates_Treasure/
|
You can use this widget-maker to generate a bit of HTML that can be embedded in your website to easily allow customers to purchase this game on Steam.
Enter up to 375 characters to add a description to your widget:
|
|||||
wrong_mix_property_foundationPlace_00067
|
FactBench
|
3
| 62
|
https://www.wisecleaner.com/wise-disk-cleaner.html
|
en
|
Wise Disk Cleaner
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[
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"disk cleaner",
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] | null |
[] |
2024-06-27T00:00:00
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Download Wise Disk Cleaner to clean up your disk of useless and outdated junk files, browser traces, cookies, and history on your disks. Free up your disk space, protect your privacy, and make your PC run faster.
|
en
|
/favicon.ico
| null |
Appearance Upgrade: Light & Dark Mode
The user interface of Wise Disk Cleaner has two modes, light mode, and dark mode. According to your usage habits, you can freely choose to switch between the two modes. If you have normal vision or are receiving correction, you will see more clearly in light mode. While working in the light mode for a long time late at night may make your eyes sensitive, switching to dark mode can relax your eyes.
Securely Cleans Up Useless Files & Makes Your Computer Run Faster
Over time, junk files, temporary files, all kinds of system files and other items you do not need at all accumulate on your Windows Computer. Those useless files take up valuable hard disk space and slow down your computer. Wise Disk Cleaner can delete these unnecessary files on your hard disk to free up disk space and make your computer run faster. It also provides many custom options to allow advanced users to clean up more files they donât need. Equipped with advanced algorithms, Wise Disk Cleaner can scan and remove them within seconds, making it one of the most efficient disk cleaners out there.
Cleans Internet History & Other Traces - Protecting Your Privacy
Wise Disk Cleaner can clean Internet histories, cache files, and cookies of Internet Explorer, MS Edge, Chrome, Firefox, Opera, Safari and other browsers. It also detects and cleans all other traces caused by Windows System, components and other applications. By removing all these traces thoroughly, your privacy will be well protected from prying eyes.
Do you want to know how to prevent items pinned to Quick Access from being cleaned?
Improve Your PC Performance by Defragging & Re-arranging Files on Your Disks
Your hard disk drive will get fragmented over time. Fragmentation makes your hard disk do extra work that can slow down your computer. The Disk Defrag feature of Wise Disk Cleaner can rearrange fragmented data so your disks and drives can work more efficiently. It also offers you a clear graphic chart of the selected drive, letting you know the drive usage at a glance. You can also use it to analyze and defragment any external storage devices.
Scheduled Automatic Disk Cleaning
You can set Wise Disk Cleaner to clean the disk on a daily, weekly, or monthly schedule according to your own need. Wise Disk Cleaner will automatically clean up the useless files in the background when the scheduled time is up. In settings, you can also create a Clean with 1-click icon and place it on the desktop. With this feature, you can clean up the junk files by just clicking the icon without opening Wise Disk Cleaner.
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|||||
wrong_mix_property_foundationPlace_00067
|
FactBench
|
2
| 79
|
https://www.glamourmagazine.co.uk/article/menstrual-disc
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en
|
What are menstrual discs and should you be using one?
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[
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] | null |
[
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"Lian Brooks",
"Lucy Morgan",
"Elle Turner",
"Georgia Lockstone",
"Alice Barraclough",
"Sophie Cockett",
"Condé Nast"
] |
2023-08-25T11:25:58.339000+01:00
|
The latest intimate hygiene product to gain popularity.
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en
|
https://www.glamourmagazine.co.uk/verso/static/glamour-international/assets/favicon.ico?v=1
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Glamour UK
|
https://www.glamourmagazine.co.uk/article/menstrual-disc
|
Feminine hygiene options have been moving beyond just pads and tampons – and the menstrual disc is the latest alternative to join newer innovations like the menstrual cup and period pants. These two methods, together with the sponge and the practice of free bleeding, have rightly opened up the options available to women and people who menstruate.
Although some of these options have been on the market for more than a decade, we've definitely seen the conversation around menstruation get louder, bolder and less embarrassed (as it should be), with social media helping women to access more resources and platforms to discuss the options open to them. But along with finding something that's comfortable to us and our lifestyle, many of us are conscious about the impact our cycle can have on the planet, and are therefore we're seeking out solutions that are sustainable, too.
What is the menstrual disc?
It shares its function (collecting period blood) and material (medical-grade silicone) with the menstrual cup but differs slightly in shape. It is more elongated, with a much shorter base than the cup. However it's usually equipped with a double rim that's more rigid and designed to prevent leakage. And some models come with a ribbed bottom to make removal a little easier.
How to use the menstrual disc?
As with the cup, learning to insert the menstrual disc is a process and, as such, requires some learning time. Inserting it is divided into the following steps:
Squeeze the central part with your index finger and thumb until it has a figure eight shape.
Insert it with the top side up and the cupped end closest to the hole.
Push it gently with one finger behind your pelvic bone.
To make sure it is well positioned and will not leak, you can run your finger along the top of it.
To remove it, simply insert your finger, hook it under the rim and pull it out by gently.
What is the difference between the menstrual cup and the menstrual disc?
The menstrual disc is generally more comfortable to wear when having penetrative sex since the shape is shallower
It can offer a better alternative for women who have a shorter cervix (and do not feel comfortable with the cup) or a weakened pelvic floor.
Where and how to insert them also differs. While the menstrual cup sits very close to the vaginal entrance and creates a vacuum, the disc sits below the cervix. And that means that they also have a different removal process.
Many people find the menstrual disc messier as it's more difficult to keep it level and stop the blood from spilling out, so make sure you're over the toilet when you remove it. Plus it doesn't have a stem, like the menstrual cup, to grab onto when removing, which can make it trickier.
The lifespan of each product is a little different, too. It depends on the manufacturer, but in general, a cup can be used for up to 10 years but, while a menstrual disc can be used for 2 years. Even so, both work out cheaper and better for the planet than single-use products.
Variety: there are currently many brands and designs of menstrual cups available on the market, but there are less options when it comes to menstrual discs.
However, they also share certain characteristics:
Both need to be sterilised before and after each use.
Both can be kept in for between 8 and 12 hours, depending on the amount of flow of each person and the model of the disc or cup.
Instagram content
This content can also be viewed on the site it originates from.
The best menstrual discs to buy now:
1. Lumma
One of the most affordable models is the Lumma disc. Aesthetically it stands out for its multicolour tie-dye design, but its the ease of use that makes it one of the most popular models of discs, especially among new users since it has a silicone string incorporated in its design to make insertion and removal easier.
It is available in 3 sizes: S, M and L (depending on the height of the cervix).
It can be worn for up to 12 hours.
It is very comfortable.
It has an affordable price, similar to menstrual cups.
Save when you shop with these Amazon promo codes.
The Ziggy Cup from Swedish brand Intimina is one of the pioneers. It is characterised by its hexagonal textured surface, designed for easy removal, and a petal shape, to do the same with the placement.
Available in two sizes: A and B.
Up to 8 hours of protection.
It has a double rim, which prevents leakage.
Recommended for light to medium flow.
Can be used for 2 years.
Its price can be a little higher.
Intimina Ziggy Cup 2
Save when you shop with these Amazon promo codes.
3. Softdisc
Although less environmentally friendly than reusable ones, it is also possible to find single-use menstrual discs. Softdiscs are the best-rated on platforms like Amazon, where they have more than 17,000 reviews and an average score of 4.4 out of 5.
They can be worn for up to 12 hours.
They are disposable.
They have a smaller capacity.
Save when you shop with these Amazon promo codes.
This feature originally appeared on GLAMOUR Spain.
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wrong_mix_property_foundationPlace_00067
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FactBench
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2
| 18
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https://www.deltapowersolutions.com/en/mcis/product-awards-india.php
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en
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India
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[
""
] | null |
[] |
2024-07-23T08:36:17
|
/favicon.ico
| null | ||||||||
wrong_mix_property_foundationPlace_00067
|
FactBench
|
0
| 6
|
https://1130thetiger.com/the-doom-video-game-franchise-started-in-this-louisiana-city/
|
en
|
The Doom Video Game Franchise Started In This Louisiana City
|
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2023-06-20T11:20:39+00:00
|
One of the most important video games of all time was developed by a team that formed in Louisiana
|
en
|
https://townsquare.media/site/184/files/2011/10/favicon.ico
|
1130 AM: The Tiger
|
https://1130thetiger.com/the-doom-video-game-franchise-started-in-this-louisiana-city/
|
The Shreveport-Bossier area has a lot of historical relevance to America pop culture. Elvis getting his start and "leaving the building", multiple movies being filmed locally, the birthplace of one of America's most notorious serial killers, the basis for Sam Cooke's "A Change Is Gonna Come", home to Academy Award winner Bill Joyce, multiple world-class athletes call Shreveport home, and Shreveport is even the birthplace to one of America's most successful video game franchises of all time.
Back in the late 1980s and early 1990s, a group of developers working for a company in Shreveport called Softdisk wanted to change the video game world. They were developing computer games for their company, but were limited by what could be done on computers at the time, especially compared to video game consoles like the Nintendo Entertainment System.
Those Softdisk employees were John Carmack, John Romero, Adrian Carmack (not related to John Carmack), and Tom Hall. These men would start working on a project, on their own time at home, that would forever change video games.
The team would work inside a house on Cross Lake during the night and over weekends. They were attempting to find a way to do what the Nintendo Entertainment System (NES) when it came to "side scrolling". That's where your character, for example Mario, was able to run left and right on your screen, and the environment would move with the character...scrolling to the side. Most computer games at the time were locked into one static screen with little movement.
During these long work sessions on Cross Lake in Shreveport, this team was able to forever change American history. They were able to break the mold of computer gaming at the time, and build a "side scrolling" computer game...just like a Nintendo.
The group formed some separate companies, including one called Ideas From The Deep, and most notably id Software. Both were formed and established in Shreveport, Louisiana. After a few months, id Software moved to Texas, where they would launch their gaming empire.
After the move to Texas, id released Wolfenstein 3D in May of 1992. Then in December of 1993, they changed pop culture forever when they released Doom. That may sound like an overstatement, but its not. The Doom franchise is the most important first-person shooter game of all time. Which is a large portion of a multi-billion industry today. It has been ranked as the #1 game of all time by some industry experts, and is regularly in the Top 10 in any "all time" video game list.
All of that, and it was built off from work in Shreveport.
The book Masters of Doom explores some of these early days. Fans of the book, and the source material, have even gone out of their way to explore parts of the book that focus on Shreveport. Including exploring parts of Shreveport covered in the book on Google Maps.
|
||||
wrong_mix_property_foundationPlace_00067
|
FactBench
|
0
| 95
|
https://groups.google.com/g/comp.sys.ibm.pc.games.action/c/k2jyc5pP4VU
|
en
|
Apogee FAQ v3.0 (first post) (lots of new stuff!)
|
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https://groups.google.com/g/comp.sys.ibm.pc.games.action/c/k2jyc5pP4VU
|
Gobs of new things -- in particular, check the cameos section for a cameo
appearance in Wacky Wheels. Also, there's a section on hardware requirements,
the Keen language, and more.
- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -
T h e ___ " O f f i c i a l "
/ _ \ _ __ ___ __ _ ___ ___
| |_| | '_ \ / _ \ / _` |/ _ \/ _ \
| _ | |_) | (_) | (_| | __/ __/
|_| |_| .__/ \___/ \__, |\___|\___| F A Q
|_| |___/ Version 3.0
Current as of March 24, 1995
(changes and additions since v2.4 are denoted by leading '}' marks)
- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -
Contents:
[1] Introduction
[1.1] A word from me
} [1.2] About this FAQ
} [1.2.1] Obtaining the latest version of the FAQ
} [1.2.1.1] Obtaining the text based version
} [1.2.1.2] Obtaining the HTML based version
} [1.2.2] Revision history
} [1.3] Obtaining other Apogee-related FAQs
[1.4] What is Apogee?
[1.5] What does "Apogee" mean?
[1.6] How Apogee markets its games
[1.7] Getting the latest information
[1.7.1] Electronic news
} [1.7.2] Apogee's internet mailing list
[1.7.3] Finger files
} [1.8] Apogee's staff
[2] Historical Information
} [2.1] Other companies
} [2.1.1] What's Apogee's relationship with 3D Realms?
} [2.1.2] What's Apogee's relationship with id?
} [2.1.3] What's Apogee's relationship with Parallax?
[2.2] What awards has Apogee won?
} [2.3] History of specific games
} [2.3.1] The Kroz Series
} [2.3.2] Commander Keen
} [2.3.3] Wolfenstein 3D, Spear of Destiny, and Rise of the Triad
} [2.3.3.1] "Call Apogee and say Aardwolf"
} [2.3.4] Halloween Harry and Alien Carnage
} [2.3.5] Paganitzu and Realms of Chaos
}[3] Lists
} [3.1] Games
} [3.1.1] What games are currently available from Apogee?
} [3.1.2] The games are too big to download! Are there "split" versions?
} [3.1.3] What upgrade patches are currently available?
} [3.1.4] Hardware requirements and support
} [3.1.5] Which of Apogee's games are good?
} [3.2] Past projects
} [3.2.1] What Apogee games are no longer supported?
} [3.3] Previews
[3.3.1] What slide shows are currently available from Apogee?
} [3.3.2] What are upcoming releases from Apogee?
[4] The Almanac
} [4.1] Release dates
} [4.1.1] Games
[4.1.2] Slide shows
} [4.1.3] Miscellaneous
[4.2] Cast of characters
[4.2.1] Heroes
[4.2.2] Villains
} [4.2.3] Cameos
[4.3] Behind the scenes
[4.3.1] Programmers
[4.3.2] Artists
[4.3.3] Musicians
} [4.4] Miscellaneous charts and tables
} [4.4.1] The Commander Keen language
}[5] Obtaining the Games
[5.1] The Shareware Episodes
[5.1.1] Software Creations BBS
} [5.1.2] Anonymous FTP
[5.1.3] CompuServe
[5.1.4] America On Line
[5.1.5] Fidonet
[5.2] The Registered Episodes
[5.2.1] Ordering information
[5.2.2] Software Creations BBS
} [5.2.3] What combination deals does Apogee offer?
[6] Troubleshooting
[6.1] Things to try first
} [6.2] Setting the BLASTER environment variable
[6.3] By game
[7] Cheats
[7.1] Overview
[7.2] What's that about cows and monkeys in Raptor?
} [7.3] Complete cheat list
[7.4] Hex editing
[8] Contacting Apogee
[8.1] By phone
[8.2] By fax
[8.3] By snail mail
} [8.4] Through networks
}[9] Credits
[10] Dopefish and Friends
- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -
Legal Quagmire: This FAQ is copyright (c) 1994-5 by Samuel Stoddard. No part
of this FAQ may be distributed unless it remains intact, with all credits,
attributions, and other miscellaneous praises to myself preserved. You may
keep as many copies of this FAQ as you like, on whatever and however many
different mediums that you like, and you can even read more than one copy
at one time. There's a whole lot of trademarks in here that are acknowledged
implicitly even if they aren't acknowledged explicitly in the following
statement: I hereby explicitly acknowledge the following trademarks: Apogee,
3D Realms, id, Parallax, Interplay, FormGen, Softdisk, GT, Cygnus, Argo Games,
Microsoft, Stacker, all game titles, operating system titles, and other
software titles and company names, and all the other trademarks in here. All
the trademarks that are not explicitly explicitly acknowledged are implicitly
acknowledged as explicitly acknowledged trademarks. All trademarks (including,
but not limited to, those that are explicitly acknowledged, those that are
implicitly acknowledged as explicitly acknowledged, and those that are
explicitly implicitly acknowledged) are also implicitly acknowledged here to
boot. The header for this FAQ was done with the aid of "Figlet." Finally, I
take no responsibility whatsoever for anything that happens as a result of
this FAQ's existence. Except for the good things.
- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -
[1] Introduction
- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -
[1.1] A word from me
Who am I? I'm just another Apogee fan, the primary difference between you and
me being that I'm the one flaunting my vast sea of Apogee knowledge. I don't
guarantee that all of the facts in this FAQ are true, but I try to make
this as informative and truthful a document as I humanly can without playing
hookey from work or school. (I do have priorities, after all.) If you have
some tidbits of information, or, heck, a whole flood of information tidbits,
let me know and I'll put it in the FAQ along with your name in the credits.
The best way to reach me is through the internet. Try these addresses in
this order: ri...@unh.edu, s...@christa.unh.edu, stod...@ctron.com.
[1.2] About this FAQ
This FAQ is copyrighted (see above) by Samuel Stoddard. While it is
authorized and "officialized" by Apogee, it is not the property nor the
work of Apogee. However, Apogee has contributed generously to its
creation and growth; for that, I offer my sincere thanks.
}As of version 2.4w, this FAQ is also available in HTML format (see the
}section on "obtaining the latest version of the FAQ" for information on
}how to access it). The HTML versions of the FAQ will always have a
}trailing "w" as part of the version number; this denotes it as an HTML
}version as opposed to a text version of the FAQ. The text versions will
}always be quicker to appear, and, for minor updates, I may skip
}the HTML release altogether. However, I will try to keep both versions
}reasonably up to date.
[1.2.1] Obtaining the latest version of the FAQ
}There are a few ways to get the latest copy of either the text based
}version or the HTML version of the Apogee FAQ. These are listed below.
}[1.2.1.1] Obtaining the text based version
- Via anonymous FTP: a latest version of the Apogee FAQ can be found
in the following places:
- ftp.uml.edu /msdos/games/apogee/faq/apogee.faq
- wcl-l.bham.ac.uk /pub/djh/faqs/Apogee.faq
- ftp.wustl.edu /pub/MSDOS_UPLOADS/game_faq/apogeeXX.faq
- ftp.wustl.edu /pub/MSDOS_UPLOADS/games/Apogee/apogeeXX.faq
"XX" is the version number. Note that since I upload to ftp.wustl.edu
directly, this site will receive new versions more quickly than the
other two sites.
}- Through Usenet: I try to post the FAQ in alt.games.apogee,
} comp.sys.ibm.pc.games.misc, and comp.sys.ibm.pc.games.action on a regular
} basis. New versions will be posted to all three newsgroups immediately
} upon release.
- Email: write me at s...@kepler.unh.edu or stod...@ctron.com.
}[1.2.1.2] Obtaining the HTML based version
}
}- Using a World Wide Web client, connect to URL http://pubpages.unh.edu/~ss1.
} From there, enter the PC Gaming Forum, followed by the FAQ library, and,
} lastly, the Apogee FAQ itself.
}- Alternatively, you can get to the FAQ directly by using the URL
} http://pubpages.unh.edu/~ss1/apogeefaq.html.
[1.2.2] Revision history
The revision history of this FAQ is as follows:
} Version 3.0 - Major changes, additions, revisions, and reorganization.
} Addition of the hardware requirements and some of the
} history sections.
} Version 2.4w - First HTML version, roughly equivalent to 2.4.
Version 2.4 - Hex editing section added. Almanac release date
updates and additions. Cheats additions. Other minor
updates.
Version 2.3 - Revision of the "blaster environment variable" section.
Updated "behind the scenes." Other updates.
Version 2.2 - Behind the scenes sections added. Other minor updates.
Version 2.1 - Minor updates.
Version 2.0 - The almanac added. Game release dates added. Tech
support addresses added. Other major changes,
additions, and revisions.
Version 1.1 - Minor updates and additions to several sections.
Version 1.0 - Cheats section completed. Many major additions.
Version 0.4 - Formatting and typo fixes. Minor additions. Not
publicly released.
Version 0.3 - First public release. The first batch of Joe Siegler's
additional information incorporated.
Version 0.2 - Minor changes made before Joe Siegler's response.
Version 0.1 - Sent to Joe Siegler for suggestions and corrections.
[1.3] Obtaining other Apogee-related FAQs
Several FAQs about individual Apogee games are available. A list,
with instructions for obtaining the latest versions, follows:
Game Maintainer How To Get It
---- ---------- -------------
Rise of the Triad Rylan Hilman FTP to ftp.uml.edu, and download
/msdos/games/apogee/faq/rott.faq, or
send mail to rhi...@oasis.rain.com.
} Wolfenstein 3D Adam Williamson FTP to wcl-l.bham.ac.uk and download
} /pub/djh/faqs/Wolfenstein-3D.faq, or
} send mail to ad...@scss.demon.co.uk.
Commander Keen Bill Amon FTP to wcl-l.bham.ac.uk and download
/pub/djh/faqs/commander.keen.faq, or
send mail to wa...@mbunix.mitre.org.
Note that you could probably get copies of any or all of these by simply
posting a request to alt.games.apogee or comp.sys.ibm.pc.games.action.
However, to keep requests posts to a minimum, please do not do this, unless
you are unable to obtain it via the other means listed here.
[1.4] What is Apogee?
Apogee is a games distributor for PC games of many sorts. It is a diverse
gaming company, contributing to several different genres of games. While
much of what Apogee publishes are games written primarily by other companies,
such as Cygnus or Argo Games, Apogee writes their own games as well. Apogee's
staff includes an array of talented programmers, artists, and musicians. For
many years now, Apogee has been among the leading shareware games companies
for the PC and compatible market.
[1.5] What does "Apogee" mean?
According to the American Heritage dictionary, "apogee" means: "the point
in the orbit of the moon or of an artificial satellite most distant from
the earth." Or, more generally, "the farthest or highest point; apex."
Related words are the Greek "apogaion," the neuter form of "apogaios"
which means "away from the earth." There is also the New Latin word
"apogaeum," which is derived from the Greek word. There is a French word
"Apogee" (with an accent over the first 'e'). In English, there is the
related word "apogean" and the antonym "perigee."
All this is academic, however, for according to the Apogee slogan, "Apogee
means action." :-)
[1.6] How Apogee markets its games
In 1987, Apogee came up with a unique method of marketing their games. Since
then, other shareware companies have adopted their strategy. Their scheme is
this: each game they produce is divided into three to four, sometimes even
six episodes. The first episode is free. It can be downloaded from
CompuServe, BBS's, or the Internet, or bought in a store that distributes
shareware games for disk copying charges. You can distribute the shareware
episode to your friends yourself, if you like, provided you leave all the
original files intact.
If you like the shareware episode of a game, Apogee requires that you register
it. This is the normal rule regarding shareware. Upon registration, you will
receive the complete game. Apogee uses this marketing scheme so that people
can have a good idea about the game they are buying before they put their cash
on the line.
[1.7] Getting the latest information
There are a few ways to get the latest information about Apogee, even if you
want it more quickly than keeping up with the latest revisions of this FAQ
would do. These methods are mentioned briefly in the following sections:
[1.7.1] Electronic news
On Usenet, the newsgroups alt.games.apogee, comp.sys.ibm.pc.games.misc.action,
and comp.sys.ibm.pc.games.misc all carry discussion about Apogee's latest.
Apogee monitors these, plus the gaming, shareware, and Apogee support
conferences on Fidonet, Rime, Intelec, ILink, U'NI-Net, and Smartnet.
[1.7.2] Apogee's internet mailing list
Apogee has an Internet mailing list. Whenever new games or slide shows are
released (or other important information), Apogee sends the information out in
a mailing. If you would like to be on this mailing list, contact Joe Siegler
}(joe.s...@apogee1.com, joe.s...@swcbbs.com, or apo...@metronet.com, in
}that order). Those email addresses send directly to Joe Siegler, and not
}to a list daemon or robot. The mailing list is free of charge.
[1.7.3] Finger files
On the internet, you can finger apo...@fohnix.metronet.com, and receive all
the latest information about Apogee. Usually this entails both recent and
upcoming releases, among other things. If apo...@fohnix.metronet.com does
not work, try apo...@metronet.com.
[1.8] Apogee's staff
Scott Miller - President, Co-owner
George Broussard - Executive VP, Co-owner
Steven Blackburn - VP Operations
Tom Hall - Creative Director
Greg Malone - Creative Director
Dennis Scarff - Vice President, World Operations
Joe Siegler - On-Line Support Manager & Technical Support
Kevin Green - Customer Support Supervisor & Technical Support
Dan Linton - SysOp/Owner of Software Creations BBS
Lee Jackson - Technical Support
} Dennis DeSmeth - Technical Support
- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -
[2] Historical Information
- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -
[2.1] Other companies
[2.1.1] What is Apogee's relationship with 3D Realms?
Apogee and 3D Realms are sister companies, both divisions of Action
Entertainment, Inc. Originally, Action Entertainment's next-generation
of 3D games were going to be published under the Apogee name. However,
in late August of 1994, 3D Realms was born, and the four next-generation
}3D games that Action had under production (namely, "Blood," "Duke Nukem 3D,"
}"Ruins: Return of the Gods," and "Shadow Warrior," all of which use the
}"build" engine) are now under the 3D Realms label.
[2.1.2] What is Apogee's relationship with id?
}Apogee and id Software are two completely different companies. They
}always have been, always will be. Apogee doesn't own id; id doesn't own
}Apogee; nor is one a division of the other.
}
}Apogee Software writes and distributes software. Of the many games that
}Apogee has published, only a handful have not been written by Apogee as
}well. id Software wrote three of these games, namely, Keen Vorticons, Keen
}Galaxy, and Wolfenstein 3D.
}
}id Software writes software, and up until Doom, had never published anything
}themselves. id has published through a few companies, Apogee being one of
}them. As mentioned before, Keen Vorticons, Keen Galaxy, and Wolfenstein 3D
}were distributed by Apogee. (At later dates, id went on and also published
}Keen Galaxy and Wolf3D in the stores through GT Software, but that's another
}story.) Some earlier id efforts such as Catacombs Abyss are distributed
}through Softdisk. (Technically, games like Catacombs Abyss, Dangerous Dave,
}and Rescue Rover are Softdisk games, and not "id Software" games. id's first
}official game as "id Software" was Keen Vorticons. While the same people
}worked at Softdisk on the previously mentioned games, they are not
}officially id Software games.)
}
}id has published three commercial only games. Two of these were published
}by FormGen, those being Keen: Aliens Ate My Babysitter and Spear of Destiny.
}These two are quite frequently assumed to be Apogee games, but they are not.
}Check them; the name Apogee does not appear within. Apogee does, however,
}*resell* those two games, adding to the confusion. But again, they do not
}distribute them; they only sell them. Apogee has to buy them from FormGen
}like any other computer store would. The third id retail game is Doom II,
}published in the retail markets by GT Software.
}
}Starting with Doom, id has been publishing on their own. Apogee has absolutely
}nothing to do with Doom, nor future titles by id Software. Furthermore,
}starting with the release of Heretic, id Software will also be publishing games
}on their own label. They licensed their Doom engine to two companies, Cygnus
}Studios (the people who did Raptor), and Raven Software. The two games
}produced under this agreement (Strife & Heretic respectively), are going to be
}published under the "id" label exactly the same way that id Software themselves
}published Wolfenstein 3D under the "Apogee" label.
}
}There has been no "big divorce," or "feud" or something along those lines
}between id and Apogee. The id guys and the Apogee guys are all good friends,
}and in fact get together every once in a while to shoot pool at the id
}offices. Other mutual activities include paintball (which also involves
}Cygnus). There was never a fallout between Apogee and id. Anyone trying to
}imply this is driving a wedge where it doesn't belong or exist.
}[2.1.3] What's Apogee's relationship with Parallax?
}
}In the credits for the game Descent, written by Parallax and distributed by
}Interplay, there is a thank you note to "Scott Miller and Apogee Software."
}Mike Kulas, the leader for the project, was asked why that was in there,
}and his response is given below.
}
} Hi Joe,
}
} We put Scott and Apogee in there because we truly appreciate
} all that Apogee did for us. Scott showed a lot of faith in
} us when we didn't really have anything to show anybody. If
} not for Scott, I don't think we would be anywhere near where
} we are today.
}
} You can tell people exactly this, if you like.
}
} Mike
[2.2] What awards has Apogee won?
Apogee has won over a hundred national and international awards -- far too
many to list here -- but here are some of the highlights:
Commander Keen - Best Entertainment Software - 1992
Commander Keen - Best Overall - 1992
Math Rescue - Best Education Software - 1993
Wolfenstein 3D - Best Entertainment Software - 1993
Wolfenstein 3D - Best New Home, Hobby, Entertainment - 1993
Wolfenstein 3D - Best Overall, People's Choice - 1993
[2.3] History of specific games
}[2.3.1] The Kroz Series
}
}Scott Miller had been programming games since 1975, when he was in high
}school. In 1987 he wrote Kingdom of Kroz in Turbo Pascal, and, with the
}full knowledge that, at the time, 99% of shareware was not profitable for
}its authors, released it into the shareware market. Thus, it was a
}mystifying surprise when Kroz turned out to be a smash hit. The letters
}poured in, expressing love of the game and demanding sequels. In 1988,
}Kingdom of Kroz I received top honors in the game category of a national
}programming contest, and came in second overall (it lost to a spreadsheet
}program). Scott Miller himself said, in the notes to a later version of
}the game, "Thanks to Kroz I now know what a mutual fund is, but on the
}downside my taxes require a book two inches thick to figure out."
}
}In short, Kroz marked Apogee's birth, emergence into the national
}mainstream, and coronation as one of the earliest kings of shareware.
}
}What inspired Kroz? At the time, Scott Miller's favorite games were
}M.U.L.E., Archon, and Spelunker, among others. He liked games where puzzle
}solving was first, and the action secondary. Kroz's main inspiration was
}probably Rogue, which Scott used to play, but disliked for its randomness
}and reliance on chance. So Kroz was born. Another of Scott's favorite
}games is evident from the title; Kroz spelled backwards is "Zork," one of
}Infocom's most famous and successful text adventure games.
}
}The various episodes and versions of Kroz are many. To confuse the issue,
}Kroz, as well as many of the other early Apogee games, were not sold
}strictly in a single bundle of three or four episodes. The shareware
}episode, Kingdom of Kroz, could be registered at a cost of $7.50, and this
}registration made the customer eligible to buy other episodes at $7.50 each,
}or several episodes at some savings. The episodes of Kroz are as follows:
}
} 1. Caverns of Kroz
} 2. Dungeons of Kroz
} 3. Kingdom of Kroz
} 4. Return to Kroz
} 5. Temple of Kroz
} 6. The Final Crusade of Kroz
} 7. The Lost Adventures of Kroz
}
}Episodes 1-3 comprised "The Kroz Trilogy." These episodes were later
}redone in 1990, their names changing to "Caverns of Kroz II," "Dungeons of
}Kroz II," and "Kingdom of Kroz II." Since Kingdom of Kroz II had
}significant map changes to 17 different levels, the original "Kingdom of
}Kroz I" remained available for purchase to registered owners of "Kingdom of
}Kroz II."
}
}Episodes 3-6 comprised "The Super Kroz Trilogy." These contained more
}levels, more items, and more effects. This trilogy was intended to complete
}the Kroz series, but the letters kept pouring in, including one from
}Patricia Baker, RI, who said, "I have lived in Kroz for almost a month and
}was sorry tonight to finally find the Amulet."
}
}So one final episode of Kroz was to be made, namely Episode 7, "The Lost
}Adventures of Kroz." This contained 75 new levels, and, as such, was sold
}at the slightly steeper rate of $20. As said earlier, however, the rates
}were lowered if more episodes were purchased at once. In early 1991, one
}could buy the first six episodes for $35 total, or $45 for all seven.
}
}"The Lost Adventures of Kroz" was the final episode to be completed. At
}one time, another episode had been planned for release in March 1991
}entitled "The Underground Empire of Kroz," but this never saw the light of
}day. Apogee, along with the rest of the gaming community, started moving
}on toward more ambitious projects.
}
}Unlike most of Apogee's early games, the Kingdom of Kroz is still
}commercially available from Apogee. The episodes you'll get upon a $24.95
}registration are the revised Kroz Trilogy, the Super Kroz Trilogy, and
}the Lost Adventures. You cannot buy the individual episodes for Kroz or
}any other Apogee game any longer; Apogee stopped doing this in mid 1993.
[2.3.2] Commander Keen
Joe Siegler's explanation of the history of the Keen series:
Here's a short history of the Commander Keen games. First, I'll list
all the games and their titles. All of them were written by id
Software.
1) Marooned on Mars ---\
2) The Earth Explodes | ---> Invasion of the Vorticons
3) Keen Must Die ---/
3.5) Keen Dreams
4) Secret of the Oracle --\__ Goodbye Galaxy
5) The Armageddon Machine --/
6) Aliens Ate My Babysitter
Episodes 1-3 are collectively called "Invasion of the Vorticons,"
and are published by Apogee Software. This series of Commander Keen
was released on December 14th, 1990, according to Tom Hall, Apogee's
Creative Director, and at the time, Creative Director of id Software.
Episodes 4 and 5 are collectively called "Goodbye Galaxy," and are also
published by Apogee Software. This series of Commander Keen was
released somewhere around June of 1991. There was also a special CGA
edition of Keens 4-5 made. The game is functionally exactly the same
as the standard EGA version of the game, but the graphics are in CGA.
Episode 6 is a "stand alone" game, and is entitled "Aliens Ate my
Babysitter." This episode of Keen is distributed by FormGen. It is
commercial software, and is available at your local software store
(such as CompUSA). This is also sold by Apogee, but Apogee only
resells this product, we don't actually distribute it. FormGen also
decided to put off-disk copy protection on the full version of this
game. Furthermore, FormGen also has a playable 3 level commercial
demo available for perusal before purchase. Apogee Software sells a
version of Keen 6 in CGA. I do not know if FormGen sells the CGA
version of Keen 6 in the stores; it may only be available from Apogee
Software. Check with FormGen for more details.
Keen Dreams has kind of an interesting story. This is referred to as
the "Lost Episode" of Commander Keen. I like to think of it as "Keen
Episode 3.5." The reason for that is that Keen Dreams falls in between
Vorticons and Galaxy, both in terms of technology and story line.
Before the id guys actually formed id, the majority of them worked at
Softdisk, a computer software publisher in Shreveport, LA. The
founding members of id Software left Softdisk to do the Vorticons
series of Keen for Apogee Software. However, they were contractually
obligated to deliver another game to Softdisk, and since development
had started on the Galaxy series, they threw together a Keen game for
Softdisk, and Keen Dreams was born. This game is not sold by Apogee
Software, nor does Apogee have anything at all to do with it. You'd
need to contact Softdisk for any further information regarding Keen
Dreams.
Episodes 1, 3.5, 4, and the 3 level demo for Episode 6 are
the only ones that you are legally allowed to upload and download
anywhere. Episodes 2, 3, 5, and the full version of Episode 6 are
commercial software, and should not appear on any BBS, online service,
or should otherwise be sold except for authorized sellers of the
games.
Here are the BBS filenames as currently available from Apogee for the
various Keen games from Apogee.
Keen 1 -> #1KEEN.ZIP
Keen 4 -> #4KEEN.ZIP
Keen 4 -> #4KEENC.ZIP (Special CGA Version)
I've seen the 3 level Aliens Demo available with the filename
}#6K-DEMO.ZIP and K6DEMO.ZIP. I've seen Keen Dreams available with
the filename KDREAMS.ZIP. However, neither of these are Apogee
products, and I cannot vouch for the files' names.
If you played Keen 5, there was a screen that said something to the
effect of "Join us in December 1992 for the greatest Keen adventure
yet." There was a picture of Keen smiling, with a Santa Claus hat on.
At the time, id Software was intending to do a third series of
Commander Keen, tentatively entitled "Commander Keen: The Universe is
Toast." However, other projects came up (Wolfenstein 3D, Spear of
Destiny, and later, Doom). At this time, there is no development
}going on in the Commander Keen department. There will probably be
more Commander Keen games by Apogee Software. However, even if the
work were to commence on the game TODAY, it would still take about twelve
months to see the light of day. The earliest development could start
}on this game would be late in 1995, so I would not look for any new
}Commander Keen games before the third quarter of 1996.
}On a different note, Commander Keen, and artifacts from the Keen games have
}found their way into other games. Commander Keen is listed in the default
}scoreboards of a handful of Apogee games, mentioned in the instructions of
}one, and has made a few more prominent appearances, which are listed under
}the "Cameos" section of this FAQ.
}[2.3.3] Wolfenstein 3D, Spear of Destiny, and Rise of the Triad
Joe Siegler's explanation of the history of the Wolfenstein series:
On May 5, 1992, Apogee Software released the shareware episode of Wolfenstein
3D, and has been distributing it in the shareware market since. Apogee
is the official distributor of Wolfenstein 3D's original six episodes in the
shareware market.
Somewhere around September of 1992, FormGen Corp released Spear of Destiny.
This is a retail sequel to Wolfenstein 3D. This game consisted of one episode
with 20 levels. This game consists of some new wall art, a couple of new
objects, and new boss creatures. This game is essentially the same as Wolf3D
generally, but is completely new in the level design aspect. This game is
available in stores like CompUSA. Apogee also resells this product, but is not
responsible for its distribution. Apogee has to buy it from FormGen
like any other store would. There is a two level playable demo floating around
for Spear of Destiny. It's the same first two levels that appear in the full
version of the game. It is not shareware; commercial demos are for the most
part non-interactive, however, this one *is* interactive, and since it bears
a close resemblance to Wolfenstein 3D, which is shareware, the SOD demo is
frequently mistaken for being shareware, which it is not.
There have been numerous editors and extra levels created by users for both
Wolfenstein 3D and Spear of Destiny. With regard to Wolf3D, Apogee
respectfully requests that you not make or distribute any editors, extra
levels, or other add-ons that will work on the shareware episode. If you
choose to make add-ons, please make these items for the registered version
only, and be aware that Apogee cannot support user-created items.
Sometime in mid/late 1993, id Software decided that they were going to publish
these same six original episodes in the retail market. These are the same six
episodes that Apogee had been selling since May of 1992. Since Apogee was at
that time not set up for retail distribution, id Software went with another
company called is GT Software. This package is available in CompUSA and
contains the same six episodes that Apogee distributes. Apogee has absolutely
nothing at all to do with this product. The GT Software version of
Wolfenstein 3D is totally a GT product. Apogee has no control over the
packaging, quality control, or price.
In May of 1994, FormGen Corporation released an update to Spear of Destiny. It
was two new epsiodes and are available in the stores. The collective name of
the product is "Spear of Destiny Mission Add-On Packs." The new new epsiodes
each have their own individual titles, these being "Mission 2: Return to
Danger," and "Mission 3: Ultimate Challenge." These are add-ons to Spear of
Destiny and have some new level graphics, some differently colored actors,
but is essentially more levels for Spear of Destiny. These extra versions do
require that you have the first Spear of Destiny game (the original six Apogee
Wolf episodes are not required). Neither Apogee Software nor id software
has anything to do with these add-on packs. Neither Apogee nor id sells the
packs or supports it. It is strictly a FormGen product.
id Software has also either written or released versions of Wolfenstein 3D for
other platforms over time. Apogee Software has nothing to do with any
of them. id Software holds the copyright to Wolfenstein 3D and can
license it to others for other platforms or do whatever they want with it.
These versions are listed for completeness' sake only.
The Super Nintendo version was released around Jan/Feb of 1994. This was
published through a company called "Imagineer." Due to Nintendo restrictions,
some elements of the game had to be removed. These were, 1) all Nazi
references, 2) the dogs (replaced with rats), and 3) blood (replaced with
sweat). This is still a good game, considering what it's programmed for.
There was a version released for the Atari Jaguar around August of 1994, and
this version is probably the best graphically of any version published. When
you go up right against walls and the like, they do not become as blocky or
chunky, as compared to previous versions of Wolfenstein 3D. This version was
published by Atari. id also licensed Wolf3D so that it could be published
on the Macintosh computer. This version was released in October 1994 and is
being distributed by MacPlay, a division of Interplay. WolfMac is a
shareware title, and there is a shareware version of it available. When you
register, you get something like 30 levels. Again, Apogee has nothing to do
with these versions of Wolfenstein 3D; you would need to contact the various
}companies, or id Software directly for more information on them. There was
}yet another version published in late 1994 by Vitesse, this version being done
}for the Apple IIGS. This brings the game full circle, as the original Castle
}Wolfenstein was written for the Apple IIe. The IIGS version was done by Burger
}Bill Heinemann (as was the Mac version).
The premiere issue of Game Developer's Magazine stated that Apogee Software was
working on a game called "Wolfenstein 3D: Part II," which was to be a totally
new game, with completely new actors, and new everything; the only thing the
same being the title Wolfenstein 3D. This information is partially
incorrect; there is no such title under production at either Apogee or id
}Software. However, this was under production at Apogee for a while back in
}early 1994, but this was dropped, and the project changed to "Rise of the
}Triad." This game is now available from Apogee Software.
}[2.3.3.1] "Call Apogee and say Aardwolf"
}
}Joe Siegler's explanation of "Aardwolf":
}
}"Call Apogee and say Aardwolf." It's a sign that to this day is something
}that I get asked about a lot. This is a sign that appears on a wall in a
}particularly nasty maze in Episode 2 Level 8 of Wolfenstein 3D. The sign
}was to be the goal in a contest Apogee and if was going to have, but
}almost immediately after the game's release, a large amount of cheat and
}mapping programs were released. With these programs running around, we felt
}that it would have been unfair to have the contest and award a prize. The
}sign was still left in the game, but in hindsight, probably should have
}been taken out, since we still get calls now, almost three years after the
}game's release.
}
}Also, in a somewhat related issue, the registered version had letters after the
}highest score in the score table in some revisions of the game. These letters
}were to be part of another contest that got scrapped before it got started,
}where we were going to have people call in with their scores and tell us the
}code; we'd then be able to verify their score. However, with the cheat
}programs out there, this got scrapped too.
[2.3.4] Halloween Harry and Alien Carnage
Halloween Harry was written by Sub-Zero software, located in Australia.
Apogee is the game's distributor. In October of 1993, Apogee released
v1.1 of Halloween Harry in the United States. As with both Mystic Towers
and Wacky Wheels, the first American version was 1.1, not 1.0. The reason
}for this is that an incomplete version of the game was released overseas
}as a cover program and referred to as v1.0. Please note, however, that
these are not complete, finished versions of the games.
A month later, v1.2 of the game was released. A year after that, Apogee
suggested a title change to "Alien Carnage." Sub-Zero agreed. Thus, in
early November of 1994, "Halloween Harry" was dropped from Apogee's
distribution, and "Alien Carnage" added. Alien Carnage v1.0 is essentially
Halloween Harry v1.2 with a name change, price change, and episode
reorganization. The shareware version of Alien Carnage (its first episode)
is Halloween Harry's episode three. With the exception of this
reorganization, Alien Carnage consists of the same episodes as Halloween
Harry. The shareware version of Halloween Harry is still legal to
distribute; however, Apogee prefers you distribute the shareware version of
Alien Carnage only, as this version has the new pricing information
screens.
}[2.3.5] Paganitzu and Realms of Chaos
}
}About a year before Keith Schuler wrote Paganitzu for Apogee, he wrote
}another game called Chaganitzu for Softdisk. These two games were almost
}identical, containing the same characters and story and so forth. Unlike
}Paganitzu, however, Chaganitzu does not adapt to the speed of your computer,
}making it virtually unplayable on fast computers.
}
}Following his success with Apogee's Paganitzu, Schuler began a sequel
}in early 1992 entitled, "Paganitzu II: the Bloodfire Pendant." Later, it
}went through a name change to "Alabama Smith and the Bloodfire Pendant."
}Still later, its name became "Realms of Chaos," losing all its Paganitzu
}references in the process.
}
}Realms of Chaos was originally supposed to be a 16 color EGA game, slated
}for a 1994 release, but, with the increasing popularity of VGA games, it was
}decided that time should be spent converting Realms of Chaos to a 256 color
}VGA game. Realms of Chaos should be available from Apogee sometime in the
}second quarter of 1995.
}
}Contrary to what one might think, the 3D Realms project "Ruins: Return of the
}Gods" was not ever associated with Paganitzu, even in its early days.
- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -
[3] Lists
- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -
[3.1] Games
Please note that this information is constantly changing, especially when new
games are added to the list of Apogee products. Some of the information given
here could become out of date rather quickly.
[3.1.1] What games are currently available from Apogee?
A list of Apogee games follows. The filename given is the file -- on
CompuServe, BBS's, and the Internet -- which contains the first episode of
each game. Note that on the Internet, the filenames do not contain the
leading '#' mark. On CompuServe, there are no numbers or punctuation in
the filenames at all.
The price given is the cost of the *complete* game with all episodes. The "Ep"
field contains the number of episodes in the complete version. The "Ver"
field contains the latest version number of the game. "Gph" is the best
graphics mode that the game utilizes.
Name Genre Filename Price Ep Ver Gph
---- ----- ------------ ------ -- --- ---
}Rise of the Triad 3D Action #1rott12.zip $29.95 5 1.2a VGA*~=
Boppin Puzzle #1bop11.zip $29.95 4 1.1 VGA*~
Wacky Wheels Auto Racing #1wacky.zip $34.95 6 1.1 VGA*
Mystic Towers 3D Puzzle #1mystic.zip $24.95 6 1.1 VGA
Hocus Pocus Platform #1hp11.zip $24.95 4 1.1 VGA
Raptor: Call of the Shadows Shooter #1rap12.zip $34.95 3 1.2 VGA
Blake Stone: Planet Strike 3D Action [none] $24.95 1 1.01 VGA+~
Blake Stone: Aliens of Gold 3D Action #1bs30.zip $29.95 6 3.0 VGA~
Duke Nukem II Platform #4duke.zip $34.95 4 1.0 VGA
Alien Carnage Platform #1ac.zip $19.95 4 1.0 VGA^
Wolfenstein 3D 3D Action #1wolf14.zip $49.95 6 1.4 VGA~
Bio Menace Platform #1bio11.zip $29.95 3 1.1 EGA~
Monster Bash Platform #1bash21.zip $34.95 3 2.1 EGA*~
Commander Keen: Galaxy Platform #4keen.zip $34.95 2 1.4 EGA*^
Commander Keen: Vorticons Platform #1keen.zip $29.95 3 1.31 EGA^
Cosmo's Cosmic Adventure Platform #1cosmo.zip $34.95 3 1.2 EGA
Duke Nukem I Platform #1duke.zip $29.95 3 2.0 EGA
Major Stryker Shooter #1majr14.zip $29.95 3 1.4 EGA
Crystal Caves Platform #1crystl.zip $29.95 3 1.0 EGA
Secret Agent Platform #1agent.zip $29.95 3 1.0 EGA
Math Rescue Edu-Game #1math.zip $29.95 3 2.0 EGA
Word Rescue Edu-Game #1rescue.zip $29.95 3 2.0 EGA
Dark Ages Platform #1dark.zip $29.95 3 1.0 EGA
Paganitzu Puzzle #1paga.zip $29.95 3 1.02 EGA*~
Arctic Adventure Platform #1arctic.zip $24.95 4 2.0 CGA
Pharaoh's Tomb Platform #1ptomb.zip $24.95 4 3.0 CGA
Monuments of Mars Platform #1mars.zip $24.95 4 1.0 CGA
The Kroz Series Puzzle #1kroz.zip $24.95 7 1.0 TEXT
Spear of Destiny 3D Action $34.95 1 1.4 VGA+~
Commander Keen: Aliens Ate My BabySitter Platform $34.95 1 1.4 EGA+*
+ - Spear of Destiny and Aliens Ate My Babysitter are commercial pieces of
software by FormGen Corporation. id Software wrote both of them, and
FormGen distributes them. Apogee only resells these titles. There are
demos available from FormGen for these games, but they are not Apogee
titles, and Apogee does not distribute the demos for these games.
Blake Stone: Planet Strike is also distributed by FormGen, but written
by Apogee. There is no demo or shareware version of the game.
* - There is an optional CGA mode in Paganitzu.
There are CGA versions of Keen: Galaxy and Keen: Aliens.
There is a "Monster Bash Lite" version of this game, which contains the
first three levels of the shareware episode. Apogee does not
distribute this version anymore, but it is still legal to pass
around. If it still exists on an FTP site or BBS, its filename
will probably be "1mblite.zip".
There is a smaller registered version of Wacky Wheels, which contains
only the first three sets of tracks, available for $24.95.
There is a smaller registered version of Boppin called Basic Boppin which
contains only the first two episodes of the game, is available for
$19.95. This version does not contain the level editor, nor the
ability to play user-created levels. The $29.95 version is
called Super Boppin, and contains the complete game and level
editor.
There are several versions of Rise of the Triad available. The regular
registered is $29.95, and contains 32 regular levels and 30
comm-bat zones. The power pack add-on contains 10 extra comm-bat
zones, a random level generator, and BMP and WAV files from the
game. Super Triad is for CD only, costs $34.95, and contains
everything in the regular registered, plus the power pack, plus
more BMP and WAV files, plus some extra Apogee shareware games.
The Site License version is also for CD only, costs $89.95,
includes 10 more comm-bat zones, a signed site license agreement,
and eleven command cards. For people to play a networked game
using the registered version, each member must have either their
own registered versions, or a site license version owned between
them.
^ - The full titles of these are "Commander Keen: Goodbye Galaxy!"
and "Commander Keen: Invasion of the Vorticons."
Alien Carnage used to be known as "Halloween Harry."
~ - These games contain some measure of graphic violence, and may be
unsuitable for young game players.
Of these, Rise of the Triad, Blake Stone, and Wolfenstein 3D have
official notices about violent content.
Boppin v1.0 has an option to minimize the violence somewhat. Boppin v1.1
does not have violent content unless a command line parameter is
given. (See the cheats section.)
Rise of the Triad has adjustable violence levels.
}= - The file specifications for Rise of the Triad are available as
} ROTSPEC1.ZIP in any official Apogee area.
} - RTSMaker, a RemoteRidicule sound editor for Rise of the Triad, is
} available as RTSMAKER.ZIP in any official Apogee area.
[3.1.2] The games are too big to download! Are there "split" versions?
Most of the larger games have split versions available from Software
Creations, the Internet, etc. Again, the filenames have a leading '#'
mark except on the Internet.
Game Split Filenames
---- ---------------
}Rise of the Triad 1rot12a.zip 1rot12b.zip 1rot12c.zip 1rot12d.zip
Boppin 1bop11a.zip 1bopp11.zip 1bopp11.zip
Wacky Wheels 1ww-a.zip 1ww-b.zip 1ww-c.zip 1ww-d.zip
Mystic Towers 1mt-a.zip 1mt-b.zip 1mt-c.zip
Hocus Pocus 1hp11-a.zip 1hp11-b.zip 1hp11-c.zip
Raptor 1rap12a.zip 1rap12b.zip 1rap12c.zip 1rap12d.zip 1rap12e.zip
Blake Stone 1bs30-a.zip 1bs30-b.zip 1bs30-c.zip 1bs30-d.zip
Duke Nukem II 4duke-a.zip 4duke-b.zip 4duke-c.zip
Alien Carnage 1ac-a.zip 1ac-b.zip 1ac-c.zip 1ac-d.zip
Wolfenstein 3D 1wolf-a.zip 1wolf-b.zip
Monster Bash 1bash2a.zip 1bash2b.zip 1bash2c.zip
[3.1.3] What upgrade patches are currently available?
These are the upgrades that are available on BBS's and networks only; if
you need an upgrade that isn't listed, call Apogee. The "S/R" field says
whether the patch is for the shareware or registered version of the game.
Filename Game S/R From To
-------- ---- --- ---- ---
} rot12arp.zip Rise of the Triad Reg 1.2 1.2a
} rot12asp.zip Rise of the Triad SW 1.2 1.2a
} rot12spt.zip Rise of the Triad SW 1.1 1.2
} rot11spt.zip Rise of the Triad SW 1.0 1.1
bops11pt.zip Super Boppin Reg 1.0 1.1
bopb11pt.zip Basic Boppin Reg 1.0 1.1
hppat-r.zip Hocus Pocus Reg 1.0 1.1
rpat_12r.zip Raptor Reg 1.1 1.2
rpat_12s.zip Raptor SW 1.1 1.2
rappat-r.zip Raptor Reg 1.0 1.1
rappat-s.zip Raptor SW 1.0 1.1
bs30pat6.zip Blake Stone Reg 2.1 3.0
bs21pat6.zip Blake Stone Reg 2.0 2.1
bspatch6.zip Blake Stone Reg 1.0 2.0
}[3.1.4] Hardware requirements and support
}
}[Rise of the Triad]
}
}Required: 386SX-40, VGA, 4 megs RAM, Local Bus
}Recommended: 486DX2-66, VGA, 8 megs RAM, Local Bus
}Supported: Control - Keyboard, Joystick, Mouse, Gamepad, Cyberman,
} Space Player
} Sound - Soundblaster 16/Pro, Soundblaster, AWE 32,
} Waveblaster, Adlib, Roland Sound Cavas, Gravis
} Ultrasound, Ensoniq Soundscape, Pro Audio
} Spectrum 16, Logitech Soundman 16, Disney Sound
} Source, Tandy Sound Source, and General MIDI
}Features: network play, modem play, null modem cable play, 5 character
} selections, skill levels, saved games
}Notes: For modem or serial play, a 8250 serial port is required, and
} a 16550 serial port is recommended.
}
}[Boppin]
}
}Required: 386SX-16, VGA, 2 megs RAM, Joystick (for two player games)
}Recommended: Joystick, Mouse (for level editor)
}Supported: Control - Keyboard, Joystick, Mouse
} Sound - Soundblaster 16/Pro, Soundblaster, AWE 32,
} Waveblaster, Adlib, Roland Sound Cavas, Gravis
} Ultrasound, Ensoniq Soundscape, Pro Audio
} Spectrum 16, Logitech Soundman 16, Disney Sound
} Source, Tandy Sound Source, and General MIDI
}Features: level editor (in Super Boppin), 2 player mode, 8 saved games
}
}[Wacky Wheels]
}
}Required: 386SX-25, VGA, 4 megs RAM
}Recommended: 486SX-33 (for split screen mode), Local Bus
}Supported: Control - Keyboard, Joystick, Gamepad
} Sound - Gravis Ultrasound, Pro Audio Spectrum 16,
} Sound Canvas, Soundblaster 16/Pro, Soundblaster,
} Waveblaster, General MIDI
}Features: modem play, null modem cable play, 2 player mode,
} 8 character selections, 2 skill levels
}
}[Mystic Towers]
}
}Required: 286, VGA
}Supported: Control - Keyboard, Joystick, Mouse
} Sound - Soundblaster, Adlib
}Features: 4 mid-level saved games, practice mode
}
}[Hocus Pocus]
}
}Required: 386SX, VGA
}Supported: Control - Keyboard, Joystick, Gamepad
} Sound - Gravis Ultrasound, Soundblaster 16/Pro,
} Soundblaster, Adlib, Sound Man 16, Sound Source,
} Roland Sound Canvas, General MIDI, and others
}Features: 3 skill levels, 9 saved games
}
}[Raptor]
}
}Required: 386SX, VGA, 2 megs RAM
}Recommended: 386SX, VGA, 4 megs RAM
}Supported: Control - Keyboard, Joystick, Mouse, Thrustmaster
} Sound - Soundblaster 16/Pro, Soundblaster, Waveblaster,
} AWE 32, Pro Audio Spectrum 16, Gravis Ultrasound,
} Adlib, Roland Sound Canvas, and General MIDI
}Features: 4 character selections, 4 skill levels, unlimited auto-saved
} games, practice mode
}
}[Blake Stone: Aliens of Gold and Planet Strike]
}
}Required: 386SX, VGA
}Supported: Control - Keyboard, Joystick, Mouse, Gamepad
} Sound - Soundblaster, Adlib
}Features: control config, 4 skill levels, 10 mid-level saved games
}
}[Duke Nukem II]
}
}Required: 286, VGA
}Recommended: 386DX-33, VGA
}Supported: Control - Keyboard, Joystick, Gamepad
} Sound - Soundblaster, Adlib
}Features: 3 skill levels, 8 saved games
}
}[Alien Carnage]
}
}Required: 286, VGA
}Recommended: 386DX-33, VGA
}Supported: Control - Keyboard, Joystick
} Sound - Soundblaster
}Features: 3 skill levels, 5 saved games
}
}[Wolfenstein 3D and Spear of Destiny]
}
}Required: 286, VGA
}Recommended: 386DX-33, VGA
}Supported: Control - Keyboard, Joystick, Mouse, Gamepad
} Sound - Soundblaster Pro, Soundblaster, Adlib,
} Disney Sound Source
}Features: 4 skill levels, 10 mid-level saved games
}
}[Bio Menace]
}
}Required: 286, EGA
}Recommended: 386DX-33, EGA
}Supported: Control - Keyboard, Joystick, Gamepad
} Sound - Soundblaster, Adlib
}Features: 3 skill levels, 6 saved games per episode, practice mode
}
}[Monster Bash]
}
}Required: 286, EGA
}Recommended: 386DX-33, EGA
}Supported: Control - Keyboard, Joystick
} Sound - Soundblaster, Adlib
}Features: 3 skill levels, 10 saved games per episode
}
}[Commander Keen: Goodbye Galaxy and Aliens Ate My Baby Sitter]
}
}Required: 286, CGA
}Recommended: 286, EGA
}Supported: Control - Keyboard, Joystick, Gamepad
} Sound - Adlib
}Features: 3 skill levels, 6 mid-level saved games per episode
}
}[Commander Keen: Vorticons]
}
}Required: EGA
}Supported: Control - Keyboard, Joystick
}Features: 9 saved games per episode
}
}[Cosmo's Cosmic Adventure]
}
}Required: 286, EGA
}Supported: Control - Keyboard, Joystick
} Sound - Adlib
}Features: 9 saved games per episode
}
}[Duke Nukem I]
}
}Required: EGA
}Supported: Control - Keyboard, Joystick
}Features: 9 saved games per episode
}
}[Major Stryker]
}
}Required: EGA
}Supported: Control - Keyboard, Joystick
} Sound - Soundblaster, Adlib
}Features: 3 skill levels, 10 saved games
}
}[Crystal Caves]
}
}Required: EGA
}Supported: Control - Keyboard, Joystick
}Features: keyboard config, 10 saved games
}
}[Secret Agent]
}
}Required: EGA
}Supported: Control - Keyboard, Joystick
}Features: keyboard config, 10 saved games
}
}[Math Rescue]
}
}Required: EGA
}Supported: Control - Keyboard, Joystick
} Sound - Adlib
}Features: 2 character selections, 3 skill levels, saved games
}Notes: The music may sound scrambled on fast computers; if this
} happens, slow your computer down before running.
}
}[Word Rescue]
}
}Required: EGA
}Supported: Control - Keyboard, Joystick
} Sound - Adlib
}Features: 2 character selections, 3 skill levels, saved games
}Notes: The music may sound scrambled on fast computers; if this
} happens, slow your computer down before running.
}
}[Dark Ages]
}
}Required: 286, EGA
}Supported: Control - Keyboard
} Sound - Adlib
}Features: keyboard config, 3 skill levels, 1 saved game
}Notes: This is the first game ever to support the Adlib sound card.
} This game may run too fast on fast computers; if this
} happens, slow your computer down before running.
}
}[Paganitzu]
}
}Required: CGA
}Recommended: EGA
}Supported: Control - Keyboard
}Features: 5 saved games
}
}[Arctic Adventure]
}
}Required: CGA
}Supported: Control - Keyboard
}Features: limited keyboard config, 1 saved game
}Notes: This game may run too fast on fast computers; if this
} happens, slow your computer down before running.
}
}[Pharaoh's Tomb]
}
}Required: CGA
}Supported: Control - Keyboard
}Features: limited keyboard config, 1 saved game
}Notes: This game may run too fast on fast computers; if this
} happens, slow your computer down before running.
}
}[Monuments of Mars]
}
}Required: 8086, CGA
}Supported: Control - Keyboard
}Features: limited keyboard config, 1 saved game
}Notes: This game may run too fast on fast computers; if this
} happens, slow your computer down before running.
}
}[The Kroz Series]
}
}Supported: Control - Keyboard
}Notes: This game may run too fast on fast computers; if this
} happens, slow your computer down before running.
[3.1.5] Which of Apogee's games are good?
What follows is my own personal evaluation of each game. Ratings are given
in several different categories. I try to make the ratings fairly objective,
compensating as best I can for any personal bias. Ratings are given on a
scale of 1-5. 2.5 is a mediocre rating. Anything less is substandard.
A 3 rating would only impress fans of the genre (or games in general). 4 is
excellent. 5 does not mean perfect (in the computer gaming world, perfection
is never achieved, for somebody always comes out with something one step
better), but it does mean you're nuts if you don't love it. :-)
For the "graphics" field, the letter indicates (T)ext, (C)GA, (E)GA, (V)GA,
or (S)VGA. The rating rates how artistically the graphics are used. The
"sound" field rates the sound. The "enemies" field rates how unique and
interesting the enemies are. The "level" field rates the design of the
levels. The "gameplay" field rates how well the game "works." The "overall"
field is not an average, but rather how lastingly enjoyable the game is to
play. "Gameplay" as a strong influence on this rating. Blank fields mean
that I don't (yet) feel qualified enough to give an opinion.
One final note: in Joe Siegler's words, "Ultimately, you, the reader, are
the only person who can make up your own mind about whether a game is good.
Beauty is in the eye of the beholder, and so is the enjoyment factor of
computer games. Only you can decide whether you'll like our games or not."
Name Graphics Sound Enemies Level Gameplay Overall
---- -------- ----- ------- ----- -------- -------
Spear of Destiny V 4 4 4 4.5 5 5
Wolfenstein 3D V 4 4 4 4 5 5
Raptor: Call of the Shadows V 5 5 2.5 3.5 4 5
Duke Nukem I E 2.5 1.5 4.5 5 4.5 4.5
Duke Nukem II V 4.5 4.5 5 4 4 4.5
Alien Carnage V 4.5 4 3 4 3.5 4
}Monster Bash E 2.5 5 4.5 4 3.5 4
}Blake Stone: Aliens of Gold V 3.5 3.5 3.5 3.5 4 3.5
Bio Menace E 2.5 2 4.5 4 3.5 3.5
Crystal Caves E 2 1.5 3.5 4.5 4 3.5
Secret Agent E 2 1.5 3 4 3.5 3.5
Commander Keen: Aliens E 3.5 3 3 3.5 3.5 3.5
Commander Keen: Galaxy E 3.5 3 3 3.5 3.5 3.5
Major Stryker E 3 3.5 3 3.5 3.5 3.5
Wacky Wheels V 3.5 3 N/A 3 3.5 3
Mystic Towers V 3.5 4 2 3 3 3
Cosmo's Cosmic Adventure E 3 2 3 4 3 3
Commander Keen: Vorticons E 1.5 1.5 2 2.5 3 3
Word Rescue E 1.5 3 3 3 3 3
Math Rescue E 1.5 3 3 3 2.5 3
Paganitzu E 1 2.5 N/A 3 3 3
Hocus Pocus V 4.5 1.5 2.5 1.5 2 2.5
Arctic Adventure C 1 1 1.5 3 3 2.5
Dark Ages E 1.5 2 2 2 2.5 2
The Kroz Series T 1 1 1 3 3 2
Monuments of Mars C 1 1 1.5 2.5 2.5 2
Pharaoh's Tomb C 1 1 1.5 2.5 2.5 2
Boppin V 2.5 1 N/A 2.5 1.5 1.5
Blake Stone: Planet Strike V
Rise of the Triad V
[3.2] Past projects
[3.2.1] What Apogee games are no longer supported?
Apogee no longer takes orders, technical support calls, or offers any other
form of support for the following games: The Thor Trilogy, SuperNova, Beyond
the Titanic, Word Whiz, and Trivia Whiz. Apogee retains the copyright on
}these games, but not much else. Apogee requests that these games no longer
}be distributed.
There are three games that Apogee does not distribute, sell, or register
any more. These three are Jumpman Lives!, Star Trek Trivia, and Star Trek:TNG
Trivia. Apogee retains no copyright on these and requests that the shareware
episodes (if they exist) on any Apogee site be removed from distribution.
[3.3] Previews
[3.3.1] What slide shows are currently available?
Filename Gph Game
-------- --- ----
#1xp-pix.zip VGA XenoPhage: Alien Bloodsport
#1rotpx2.zip VGA Rise of the Triad
#1rotpix.zip VGA Rise of the Triad
#1boppix.zip VGA Boppin
#1ww-pix.zip VGA Wacky Wheels
#1mt-pix.zip VGA Mystic Towers (includes Triad and Ruins shots)*
#1hp-pix.zip VGA Hocus Pocus (includes Shadow Warrior shots)*
#1rappix.zip VGA Raptor: Call of the Shadows
#1bspix3.zip VGA Blake Stone: Aliens of Gold
#4dn-pix.zip VGA Duke Nukem II
#1hhpix2.zip VGA Halloween Harry
#1bm-pix.zip EGA Bio Menace
#1mb-pix.zip EGA Monster Bash
* - "Ruins: Return of the Gods" and "Shadow Warrior" are upcoming games from
3D Realms, Apogee's sister company.
[3.3.2] What are Apogee's upcoming releases?
Game Genre Release Date
---- ----- ------------
} Stargunner Shooter 2nd Quarter 1995
} Realms of Chaos Platform 2nd Quarter 1995
} Monster Bash VGA Platform 2nd/3rd Quarter 1995
Crazy Baby Platform 2nd/3rd Quarter 1995
XenoPhage: Alien Bloodsport Fighting 2nd/3rd Quarter 1995
} Crystal Carnage Combat 2nd/3rd Quarter 1995
} Fumes Auto Racing 3rd Quarter 1995
And from 3D Realms:
} Terminal Velocity 3D Shooter Spring/Summer 1995
} Blood 3D Action Summer/Fall Quarter 1995
} Duke Nukem 3D 3D Action Summer/Fall Quarter 1995
} Ruins: Return of the Gods 3D Action Summer/Fall Quarter 1995
} Shadow Warrior 3D Action Summer/Fall Quarter 1995
- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -
[4] The Almanac
- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -
[4.1] Release dates
What follows are lists of games and slide shows and the dates they
were released. The lists are not complete.
[4.1.1] Games
Game Version Date Released
---- ------- -------------
} Rise of the Triad 1.2a 02/25/95
} Rise of the Triad 1.2 02/17/95 ~
} Rise of the Triad 1.1 02/08/95
Rise of the Triad 1.0 12/21/94 *
Boppin 1.1 12/09/94
Boppin 1.0 11/15/94 *
Alien Carnage 1.0 11/02/94 *
Blake Stone: Aliens of Gold 3.0 11/02/94
Blake Stone: Planet Strike 1.01 10/28/94
Blake Stone: Planet Strike 1.0 10/28/94 *
Wacky Wheels 1.1 10/17/94 *
Hocus Pocus 1.1 10/05/94
Raptor: Call of the Shadows 1.2 09/26/94
Mystic Towers 1.1 07/15/94 *
Blake Stone: Aliens of Gold 2.1 07/15/94
Hocus Pocus 1.0 06/01/94 *
Raptor: Call of the Shadows 1.1 06/01/94
Raptor: Call of the Shadows 1.0 04/01/94 *
Blake Stone: Aliens of Gold 2.0 02/11/94
Blake Stone: Aliens of Gold 1.0 12/02/93 *
Duke Nukem II 1.0 12/02/93 *
Halloween Harry 1.2 11/07/93
Halloween Harry 1.1 10/10/93 *
Bio Menace 1.1 08/24/93
Bio Menace 1.0 08/03/93 *
Math Rescue 2.0 08/01/93
Word Rescue 2.0 08/01/93
Monster Bash Lite 2.1 07/27/93
Monster Bash 2.1 05/23/93
Monster Bash 2.0 05/11/93
Monster Bash 1.1 04/26/93
Monster Bash 1.02 04/12/93
Monster Bash 1.01 04/10/93
Monster Bash 1.0 04/09/93 *
Major Stryker 1.4 02/20/93 +
Major Stryker 1.0 01/93 *
Wolfenstein 3D 1.4 01/01/93 +
Math Rescue 1.0 10/92 *
Wolfenstein 3D 1.2 06/28/92
Wolfenstein 3D 1.1 06/25/92
Wolfenstein 3D 1.0 05/05/92 *
Word Rescue 1.0 Spring 92 *
Cosmic Cosmo 1.2 04/15/92
Cosmic Cosmo 1.0 03/92 *
Secret Agent 1.0 02/01/92 *
Commander Keen: Goodbye Galaxy! 1.4 02/01/92
Paganitzu 1.02 12/01/91
Paganitzu 1.0 1991 *
Duke Nukem 2.0 11/01/91
Crystal Caves 1.0 10/23/91 *
Duke Nukem 1.0 06-07/91 *
Commander Keen: Goodbye Galaxy! 1.0 06/91 *
Dark Ages 1.0 02/01/91 *
Commander Keen: Vorticons 1.31 01/23/91
Commander Keen: Vorticons 1.0 12/14/90 *
Arctic Adventure 1.0-2.0 1990 *^
Pharaoh's Tomb 1.0-3.0 1990 *^
Monuments of Mars 1.0 1990 *
Beyond the Titanic 1990 *
Star Trek: TNG Trivia 1990 *
Star Trek Trivia 1990 *
Word Whiz 1990 *
Trivia Whiz 1990 *^
Caves of Thor 1989/1990 *
SuperNova 1989 *
The Kroz Series 1.0 1987 *
* - This indicates the first U.S. release of the game.
^ - These games were originally published under the name Micro F/X. Micro F/X
was the name of the software company that George Broussard ran before
he teamed up with Scott Miller in 1990.
+ - Major Stryker versions 1.1, 1.2, and 1.3, and Wolfenstein 3D version 1.3
were never released to the public.
}~ - The registered version of the game started shipping with this shareware
} version.
[4.1.2] Slide shows
Game Date Released
---- -------------
Boppin 10/18/94 *
Rise of the Triad #2 10/11/94
Wacky Wheels 08/30/94 *
XenoPhage: Alien Bloodsport 08/15/94 *
Rise of the Triad #1 07/15/94 *
Mystic Towers 07/01/94 *
Hocus Pocus 05/16/94 *
Blake Stone: Aliens of Gold #3 02/11/94
Raptor: Call of the Shadows 01/27/94 *
Duke Nukem II 11/18/93 *
Halloween Harry #2 10/06/93
Halloween Harry #1 08/93 *
Monster Bash 06/11/93 *
Bio Menace 05/23/93 *
Blake Stone: Aliens of Gold #1 03/25/93 *
* - This indicates the first U.S. release of a slide show of the particular
game.
}[4.1.3] Miscellaneous
}
} Product Filename Associated With... Date Released
} ------- -------- ------------------ -------------
} RTS Maker rtsmaker.zip Rise of the Triad 03/13/95
} ROTT Specs rotspec1.zip Rise of the Triad 02/14/95
[4.2] Cast of characters
[4.2.1] Heroes
Game Name Comments
---- ---- --------
Boppin Yeet
Boppin Boik
Wacky Wheels Tigi The tiger.
Wacky Wheels Blombo The elephant.
Wacky Wheels Ringo The raccoon.
Wacky Wheels Razer The shark.
Wacky Wheels Uno The panda bear.
Wacky Wheels Sultan The camel.
Wacky Wheels Morris The moose.
Wacky Wheels Peggles The pelican.
Mystic Towers Baron Baldric First appeared in "Baron
Baldric," by Manaccom.
Hocus Pocus Hocus Pocus
Blake Stone Robert Wills Stone III Alias Blake Stone.
Duke Nukem II Duke Nukem
Duke Nukem I Duke Nukem
Alien Carnage Halloween Harry
Spear of Destiny B. J. Blazkowicz
Wolfenstein 3D B. J. Blazkowicz
Bio Menace Snake Logan
Monster Bash Johnny Dash
Commander Keen: Aliens Billy Blaze
Commander Keen: Galaxy Billy Blaze
Commander Keen: Vorticons Billy Blaze
Cosmo's Cosmic Adventure Cosmo
Major Stryker Harrison Stryker Related to Duke Nukem.
Crystal Caves Mylo Steamwitz
Secret Agent Agent 006 1/2 A short Duke Nukem?
Paganitzu Alabama Smith Related to Nevada?
Arctic Adventure Nevada Smith His second adventure.
Pharaoh's Tomb Nevada Smith His first adventure.
[4.2.2] Villains
Game Villains
---- --------
Boppin Hunnybunz
Hocus Pocus Trolodon (Terexin isn't really a villain)
Blake Stone: Planet Strike Dr. Pyrus W. Goldfire
Blake Stone: Aliens of Gold Dr. Pyrus W. Goldfire
Duke Nukem II The Rigelatins
Duke Nukem I Dr. Proton
Spear of Destiny Trans Grosse, Barnacle Wilheim, UberMutant,
Death Knight, Angel of Death
Wolfenstein 3D Hans, Dr. Schabbs, Hitler, Otto Giftmacher,
Greta Grosse, General Fettgesicht
Bio Menace Dr. Mangle, Master Cain
Monster Bash Count Chuck
Commander Keen 4-5 The Shikadi
Commander Keen 1-3 The Vorticons
Major Stryker The Kretons
Secret Agent Dr. No Body, DVS terrorist leader
Math Rescue The Gruzzles
Word Rescue The Gruzzles
Dark Ages Garth
[4.2.3] Cameos
Frequently, the star of one Apogee game will make a cameo appearance in
another. Or, sometimes, someone from the real world shows up. A list of
such cameos follows. Appearances of Apogee characters in the default
scoreboards of games are not mentioned here, however, since there would be
too many to list.
WARNING: much of the fun of these games is running across these
things during play. Do not read this section if you want to be
surprised!
Game Description
---- -----------
}Wacky Wheels The Dopefish (voiced by Joe Siegler) *
Bio Menace Commander Keen as one of the hostages in episode 2.
Bio Menace Scott Miller, George Broussard, and Jim Norwood, in
episode 2; also artifacts from other Apogee games
including Keen and Duke. Yorp aliens from Keen
are there, among other things, as is a portrait
of Duke Nukem on the wall.
Cosmo's Cosmic Adventure Duke Nukem, in episode 2, level 7.
Duke Nukem I Commander Keen, mentioned by Dr. Proton in the
first episode.
Secret Agent Commander Keen, mentioned in the instructions.
Paganitzu Yorp from Keen: Vorticons; also Keen's helmet.
}* - To see the Dopefish, start any single player race. When everybody else
} moves, stand still. Hold down the break, and turn left all the way around
} until the Dopefish shows up. Note: the lion that starts the race must
} remain on the screen the entire time; otherwise, the Dopefish won't
} appear. You can do this as many times as you like, so long as the lion
} doesn't leave the screen.
[4.3] Behind the scenes
[4.3.1] Programmers
Name Games
---- -----
Darren Baker Mystic Towers
Steve Baker Mystic Towers
Jason Blochowiak Keen: Galaxy Keen: Aliens XenoPhage^
George Broussard Pharaoh's Tomb Arctic Adventure
Allen H Blum III Major Stryker Duke Nukem 3D*^
John Carmack Keen: Vorticons Keen: Galaxy Keen: Aliens
Wolfenstein 3D
Robert Crane Alien Carnage Fumes^
Karen Crowther Word Rescue Math Rescue
Mark Dochtermann Rise of the Triad
Jim Dose Rise of the Triad
Andrew Edwardson Wacky Wheels
Scott Host Raptor
Steve Hovelroud Mystic Towers
Stephen P Lepisto Boppin
Peder Jungck Secret Agent
Frank Maddin Crystal Caves Monster Bash Shadow Warrior*^
Nolan Martin Rise of the Triad
Michael Maynard Blake Stone
Scott Miller Word Whiz Trivia Whiz Beyond the Titanic
SuperNova The Kroz Series
Jim Norwood Bio Menace Shadow Warrior*^
Todd J Replogle The Thor Trilogy Monuments of Mars Dark Ages
Duke Nukem I Cosmo's Adventure Duke Nukem II
Duke Nukem 3D*^
John Romero Keen: Vorticons Keen: Galaxy Keen: Aliens
Wolfenstein 3D
James T Row Blake Stone
William Scarboro Rise of the Triad
Keith Schuler Paganitzu Realms of Chaos^
Dave Sharpless Jumpman Lives!
Mike Voss Hocus Pocus
Lindsay Whipp Mystic Towers
* - A 3D Realms game.
^ - Not yet released.
[4.3.2] Artists
Name Games
---- -----
Randy Abraham Duke Nukem II
Debra Berry Blake Stone
Allen H Blum III Dark Ages Major Stryker Duke Nukem I
George Broussard Pharaoh's Tomb Arctic Adventure Secret Agent
Crystal Caves Duke Nukem I
Adrian Carmack Keen: Vorticons Keen: Galaxy Keen: Aliens
Wolfenstein 3D
Jeff Dee Blake Stone
Manda Dee Monster Bash
Rich Fleider Raptor
Shaun Gadala Wacky Wheels
Dale Homburg Math Rescue
Jimmie Homburg Math Rescue
Stephen A Hornback Major Stryker Cosmo's Adventure Duke Nukem II
Rise of the Triad Duke Nukem 3D*^
Chuck Jones Rise of the Triad Duke Nukem 3D*^
Jerry K Jones Blake Stone
Frank Maddin Crystal Caves
Lucinda Maddin Crystal Caves
Tim Neveu Raptor Rise of the Triad
Jim Norwood Secret Agent Crystal Caves Duke Nukem I
Bio Menace Shadow Warrior*^
Les Pardew Major Stryker
Bud Pembroke Word Rescue
Jennifer D Keitz Boppin
Todd J Replogle Monuments of Mars
Keith Schuler Paganitzu Realms of Chaos^
Susan Singer Rise of the Triad Realms of Chaos^ Duke Nukem 3D*^
Gary Sirois Major Stryker
Steven Stamatiadis Alien Carnage Fumes^
* - A 3D Realms game.
^ - Not yet released.
[4.3.3] Musicians
Name Games
---- -----
Steven Baker Alien Carnage Fumes^
Lee Jackson Rise of the Triad
Mark Klem Wacky Wheels
Andrew J Lepisto Boppin
Matt Murphy Raptor
Bobby Prince Major Stryker Cosmo's Adventure Bio Menace
Wolfenstein 3D Duke Nukem II Blake Stone
Rise of the Triad
Keith Schuler Dark Ages
George Stamatiadis Alien Carnage Fumes^
Rob Wallace Monster Bash
* - A 3D Realms game.
^ - Not yet released.
}[4.4] Miscellaneous charts and tables
}
}[4.4.1] The Commander Keen language
}
}In all episodes of Commander Keen, signs are written in an alien language.
}The comment is made, "too bad you don't know the language." Well, now you
}do. The language is a simple symbol substitution, the key of which is
}given below. This key appears only twice in all the Keen games; in the
}secret areas of the secret levels of episodes three and six.
}
} A B C D E F G H I J K L M
} # # # #### # # ##### # ### # # # # # #
} # # # # # # # # # #
} # # # # ## # # # # ### ### # # # # # # #
} # # # ## ### # # # # # # ###
} # #### # # # # # # #
}##
}
} N O P Q R S T U V W X Y Z
} # # ## # # # # ## # # # # # #
} # # # # # # # # # ### # # # # # #
} # # # # ### # # # # # # #
} # # # # # # # # ##### ### # # # # # # #
} # # # # ### # #
- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -
[5] Obtaining the Games
- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -
[5.1] The Shareware Episodes
[5.1.1] Software Creations BBS
Apogee's home BBS is the Software Creations BBS. There are over a hundred
lines. Apogee's games are released here first before anywhere else in
the world. The numbers are:
(508) 365-2359 2400 baud
(508) 368-7036 @ 9600-14.4k v.32bis
(508) 365-4035 @ 28.8k v.fc / v.34
[5.1.2] Anonymous FTP
The official FTP site for Apogee is ftp.uml.edu. uml has several mirror sites
which can be used in the event that uml is down or too crowded. Mirrors are
generally updated on a daily basis. A list of sites follows:
Site Name Directory Notes
--------- --------- -----
ftp.uml.edu /msdos/games/apogee the official site
} ftp.uml.edu /msdos/games/id/home-brew Keen/Wolf3D stuff
ftp.uml.edu /msdos/games/editors crippled Duke I editor
} ftp.uwp.edu /msdos/games/apogee uml mirror
ftp.ulowell.edu /msdos/games/apogee uml mirror
wuarchive.wustl.edu /systems/msdos/msdos-games uml mirror
ftp.uni-paderborn.de /pcsoft/msdos/games uml mirror
ftp.sun.ac.za /pub/msdos/uml uml mirror
nctuccca.edu.tw /Ulowell/msdos uml mirror
src.doc.ic.ac.uk /computing/systems/ibmpc/ uml mirror
msdos-games/games
swcbbs.com /pub/apogee Software Creations
ftp.cdrom.com /.3/games/Games/Apogee misc Apogee games
ftp.cdrom.com /.3/games/historic/msdos/* older games
ftp.cc.umanitoba.ca /wolf3d Keen/Wolf3D stuff
wuarchive.wustl.edu /pub/MSDOS_UPLOADS/games/Apogee user-supported
[5.1.3] CompuServe
Type "GO APOGEE" at a ! prompt. Remember that on CompuServe, the filenames
do not match those in the filenames list given previously; on CompuServe,
Apogee games have neither the leading episode number nor a version number
embedded in the filename.
[5.1.4] America On Line
Use the keyword "APOGEE" to go to Apogee's forum.
[5.1.5] Fidonet
If you are a Fidonet SysOp, you can get Apogee's games on the Fido Filebone.
Talk to your local filebone hub about the four Apogee areas. See FILEBONE.NA
for more information. Send netmail to 1:124/9006 for more information on
these areas.
[5.2] The Registered Episodes
The registered versions of the software are the complete versions, and, as
they are not shareware, cannot legally exist on public BBS's or FTP sites.
The registered versions of the software must be purchased directly from
Apogee or from one of Apogee's dealers.
In many of Apogee's newer games, a DEALERS.EXE executable is archived with
the game. This is an executable readme containing a list of the foreign
dealers that sell Apogee's software.
[5.2.1] Ordering information
To order directly from Apogee, call 1-800-APOGEE1. The line is open 24 hours
a day. They'll need to know what disk size you desire, the best graphics
mode you are able to run (CGA, EGA, VGA, SVGA), and whether you have an XT,
286, 386, 486, or Pentium. Note that some games have minimum CPU and
graphics requirements. Also note that Apogee's VGA games come only on high
density disks.
Use the ORDER.FRM file, which comes with virtually all of Apogee's games, if
you want to send in an order by mail. Send it to:
Apogee Software, Ltd.
P.O. Box 496389,
Garland TX 75049-6389
Or, you can fax a copy of your order to (214) 278-4670. Please include a
return fax number if you make use of this facility.
[5.2.2] Software Creations BBS
Very soon now, you will be able to download the full registered versions
of any Apogee game by using a credit card for payment. (Apogee will mail
you the game manual and catalog, which you will receive a few days later.)
See the previous Software Creations section for information on calling
Software Creations.
}[5.2.3] What combination deals does Apogee offer?
Combo Name Games in Combo Price Save
---------- -------------- ------ ----
Blast'em Raptor, Major Stryker $49.95 $15
Duke Duke Nukem I, Duke Nukem II $39.95 $25
Duke/Cosmo Duke Nukem I, Duke Nukem II, Cosmo $59.95 $35
Kid Word Rescue, Math Rescue $39.95 $20
Keen Galaxy/Aliens Keen: Galaxy, Aliens $59.95 $10
Keen Vort/Galaxy Keen: Vorticons, Galaxy $49.95 $15
Keen Fun Pack Keen: Vorticons, Galaxy, Aliens $69.95 $30
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[6] Troubleshooting
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[6.1] Things to try first
If you have a program with an Apogee game not starting correctly, there are a
few things you can try. First, make sure your system meets the hardware
requirements of the game. If they don't, you probably can't run the game
without upgrading your hardware.
Second, make sure you have the most recent version of the game. Many older
versions of games have bugs that are fixed in the most recent versions.
Third, if there is a XXX-HELP.EXE file that came with the game, read it.
(Most registered Apogee games have such a file on the first game disk;
with shareware versions, you might find it there and possibly in the directory
the game was installed to as well.) This file will contain numerous common
technical problems with their solutions. There are plans underway to make
a file available on-line which will contain all the current versions of
the technical support files in them.
If the game is failing to start due to insufficient memory, you can try
removing TSRs, or booting "clean." With MS-DOS 6.0 or greater, you can do
this by holding down either the shift key or F5 while the system is booting.
This causes your autoexec.bat and config.sys files to be bypassed. If you
are running a memory manager, try removing the manager altogether; this
seems to fix most problems Apogee games have with EMS/XMS memory. Additional
suggestions on how to free up memory may be in the XXX-HELP.EXE file.
Also, you may want to check the cheats section of this FAQ, as, for some
games, it lists several technical support parameters you can pass to the
game. Sometimes this fixes problems with certain pieces of hardware.
If you problem is your Soundblaster card (or a Soundblaster emulating card),
then the problem may be the settings on the card or the BLASTER environment
variable. Check the section on that subject below.
With regard to drive compression, Apogee has tested their entire product
line with Stacker 3.1, Stacker 4.0, and MS-DOS 6.22's DriveSpace. The
products all worked fine, except for Monster Bash which suffered a slowdown
using DriveSpace.
If you've tried everything and still can't get an Apogee game to work
correctly, contact Apogee's technical support services. These are listed
under "Contacting Apogee."
[6.2] Setting the BLASTER environment variable
This section may be useful if you are having problems with sound or music in
an Apogee game.
Apogee games that use Sound Blasters look at the BLASTER environment variable
to figure out where to send its sound output. Check to make sure that you
have the SET BLASTER line in your AUTOEXEC.BAT file. This code is an example,
and probably isn't exactly what you need to put in your system.
NOTE: Some of these parameters (P, H, & E) are dependant on certain types of
cards. For example, the E is only needed if you have an AWE 32. The
minimum requirements are to have the A, I, D, & T parameters. The other
three may or may not be needed depending on what type of card you have.
Please read this entire section to see if you need any of them. If you
are using a clone card, or some card that's not a "true" Sound Blaster,
then you will most likely only need A, I, D, & T.
SET BLASTER=A220 I5 D1 T3 P330 H6 E620
| | | | | | | | |
| | | | | | | | |_______ AWE 32 Only Parameter
| | | | | | | |__________ "High" DMA Channel
| | | | | | |_______________ MIDI Port
| | | | | |__________________ Type of Card
| | | | |_____________________ DMA Channel
| | | |________________________ Interrupt
| | |_____________________________ Port Address
| |___________________________________ Environment Variable
|________________________________________ DOS Command
NOTE: There can be no spaces between the word BLASTER and the equal sign (=).
If you have a space in there, your system will read the parameter incorrectly,
and it will not be recognized by our games.
Now, these may not (most likely not) be the same for your board, because the
Port Address, Interrupt and DMA Channel can be set by adjusting "jumpers" on
your sound board. Some newer cards have this information controlled by
software, please consult your card's manual for more information on how to set
these things. You should also check your manual if you are unclear as to how
to tell what settings your card is set at. The information *IS* important, so
it's recommended that you know precisely what the settings are. If you are
using a card that "emulates" the Sound Blaster (such as the Gravis UltraSound
through software, or the PAS16), you should check your card's manual on how to
set the card for Sound Blaster emulation.
For PORT ADDRESS, it's almost always 220. That seems to be the default for
most sound cards out there, and unless you know you've switched it away from
220, it's a safe bet it's still there.
The INTERRUPT is something that varies from system to system. Mystic Towers
and games prior to Raptor require that your IRQ be set at 7 or less. Apogee
does not recommend using IRQ2, as it causes problems.
The DMA CHANNEL sometimes causes problems if it isn't set to 1, which is the
usual default. If it is not set to one, some Apogee games may lock up.
The TYPE OF CARD should be 1 if you have an older Sound Blaster, or a Sound
Blaster emulating card. Use 3 if you have a newer plain Sound Blaster. Use
2 for an older Sound Blaster Pro. Use 4 for a newer Sound Blaster Pro.
The MIDI PORT parameter will only be needed if you are using a card that has
MIDI capabilites. If so, this is where you define what MIDI port you are
using. 330 seems to be the default, so if you have a MIDI card, and you
haven't changed anything from factory defaults, this is probably where it still
is.
The HIGH DMA CHANNEL is something that is used primarily on Sound Blaster 16
cards. This is not the same as the standard DMA channel, this is a different
one. This is only used if you're using a 16 bit sound card capable of playing
16 bit Sound Blaster sounds. By default, this is usually 5, so unless you know
that it's something else, it's probably still 5.
The E620 parameter is something that is needed _only_ if you have a Creative
Labs AWE 32 sound card. If you have one of these, this parameter will have
been set up properly assuming you've installed the software that came with the
card. Check your AWE 32 documentation for a more thorough explanation of what
this parameter is used for.
[6.3] By game
This section contains some common problems, and their solutions, for specific
Apogee games. In addition to perusing this section, you might want to look
at the cheats section; technical support parameters are listed there also,
which may help to fix your problem. Again, please make sure you are running
the most recent version of the game, since older versions may contain bugs
that are fixed in newer versions.
[Raptor: Call of the Shadows]
Problem: I can't save or load games.
Solution: Increase the value "files" is set to in your config.sys. Note that
if you booted clean, this would have been bypassed.
Problem: My mouse will only go in a corner of the screen.
Solution: This is usually due to an old version of your mouse driver. Check
with the mouse manufacturer to see if a more recent version is
available.
[Duke Nukem II]
Problem: Certain levels lock on me.
Solution: There's no good solution for this yet. It's a sprite problem,
and Apogee isn't really sure how to fix it. You could try
rebooting and trying the level again. If the problem persists,
then playing on a lower difficulty level might help.
[Monster Bash]
Problem: In episode 3, I can take the broom and, in one place, fly off the
top of the screen. Then the game crashes.
Solution: Don't go up there; there's nothing of value there.
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[7] Cheats
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[7.1] Overview
Apogee has almost always made a point of putting cheats in their games, both
documented and undocumented. In their later games, however, these cheats are
only available in the registered versions of the games. From 1987 to
around May 1993, Apogee games came with a hint sheet, which often contained
cheats in them. From May 1993 to December 1993, Apogee games were shipped
with a XXXXHINT.EXE file, which had the same text as the old hint sheets.
Beginning in 1994, the XXXXHINT.EXE files are done away with too; the
information is now contained in the actual game manuals.
The cheats listed in the complete cheat list are subdivided by category.
The customer cheats are the cheats listed in the hint sheet, hint file, or
game manual that comes with the game. Some of the games also have a debugging
mode, which is not generally documented. Their original purpose is to aid in
the beta testing of the game. Lots of times, however, the debugging mode is
left intact, available for the regular game-player to use. Finally, there are
technical support parameters, which are not really cheats, but are used to
correct some technical problems.
[7.2] What's that about cows and monkeys in Raptor?
Raptor was written by Cygnus, and it seems to be a birthday present to
themselves. Whenever Raptor is started when your system's clock matches the
birthday of one of the people at Cygnus (a list can be found in the complete
cheat list section), then Raptor behaves a little strangely. First, the
Apogee logo is displayed, but not with Apogee's trademark music. Instead,
you hear the Cygnus folks, sounding a little tipsy, humming the Apogee theme
music themselves. In addition, some of the Raptor levels contain enemies
that don't normally appear such as monkeys who throw coconuts at you, raptor
dinosaurs scurrying across he screen, and cows with machine guns concealed
beneath their hides. Most of these peculiar enemies appear on the first
mission of the game, and they are invariably difficult to kill.
Finally, when you exit the game, you get to hear the member of Cygnus whose
birthday it is give an impersonation of a monkey. This might consist of
hooting or screeching sounds, or simply an eloquent rendering of the word
"monkey."
Now the reason this section is in with the cheats is because there is a way,
beyond setting the system time to a particular birthday, of getting the
monkeys and raptors and cows to fight you. When the screen comes up where you
must choose a sector to fly, flip the switch at the bottom center of the
screen by clicking on it with the mouse. It should darken. This activates
the three lights to the right of this switch. In version 1.0 of Raptor, you
should turn on the first and third lights; in v1.1 and v1.2 of Raptor, you
should turn all three lights on. Then you can select a sector or "auto
pilot" and fly the level. You'll know the cheat worked if you hear a static-
like sound. All levels have some new enemy that appears by using this cheat,
though sometimes they are small and inconspicuous. Besides monkeys, cows,
and raptors, there are: the ship from 2001: A Space Odyssey, the ship from
Space 1999, pedestrians, a woman sunbathing on a roof, and other miscellaneous
items.
[7.3] Complete cheat list
This section contains a variety of cheats from various Apogee games.
Actually, in the words of Joe Siegler, it's "the first comprehensive cheat
[list] ever published for all Apogee titles."
Note that while the customer cheat keys are officially supported by Apogee,
the debug keys are not. If you use the debug keys, Apogee cannot provide
any support, since this alters game performance to a state where their
standard support comments and issues might not apply. In short, neither
Apogee or I can be held responsible for damage caused by usage of the debug
keys. (Though, as a word of reassurance, I have never heard of such a thing
happening, save where expressly noted below.)
[Rise of the Triad]
+ Customer Cheat - Type in each cheat code, letter by letter, to get the
} desired effect. You can type in either the "code" or
} the "alternate". Note that for the codes, the slash
} is a backslash, not a forward slash. The codes are not
} case sensitive. The "dipstick" code must be given before
} any others, to enable the other cheats. Note that any
} cheats marked by an asterisk work only in the registered
} version of the game. All other cheats work in both the
} shareware and registered versions.
Code Alternate Description
---- --------- -----------
\ECC DIPSTICK Enable/disable cheat codes.
Control:
\GTL GOTO Go to another level.
\GOO GOOBERS Restart current level.
\REL REEN Re-enter level.
\L8R GOGATES Exit to DOS.
\ECL GOARCH Exit current level.
} \FUN [none] Pause and enter rotation mode (use mouse).
} \EKG [none] Extreme Gib mode.
} \LEE MAESTRO Game jukebox.
Gameplay:
\WWW CHOJIN Woundless with weapons.
\GOD TOOSAD God mode (temporary invulnerability).
} * \DOG WOOF Dog mode (temporary invulnerability).
\MER FLYBOY Mercury mode (flying).
\SHR BADTRIP Shrooms mode (drunk?).
\ELA BOING Elasto mode (bounce; no friction).
\RFA SPEED Enable autorun.
\PAN PANIC Reset to normal; full health; no modes, keys,
or extra guns.
\OOF WHACK Hurt yourself.
\DIE 86ME Kill yourself.
Effects:
\DON DIMON Light diminishing on.
\DOF DIMOFF Light diminishing off.
\FON LONDON Fog on.
\FOF NODNOL Fog off.
\SON SHINEON Light sourcing on.
\SOF SHINEOFF Light sourcing off.
\CON GOTA386 Turn off floor and ceiling textures.
} \COF GOTA486 Turn on floor and ceiling textures.
Equipment:
\BAR SHOOTME Bulletproof armor.
\FAR BURNME Asbestos armor.
\GAR LUNGDUNG Gas mask.
\GAI SIXTOYS Get items (keys and bulletproof armor).
\OFP HUNTPACK Outfit player (bulletproof armor, keys,
} heatseeker, and, in the registered version,
} a split missile).
\GW2 JOHNWOO Double pistols.
\GW3 PLUGME MP40 machine gun.
\GW4 VANILLA Bazooka.
} \GW5 HOTTIMES Heakseeker.
} \GW6 BOOZE Drunk missile.
} \GW7 FIREBOMB Firebomb.
\GW8 BONES Flamewall.
} \GW9 SEEYA Hand of god (permanent god mode).
} * \GWA SPLIT Split missile.
} * \GWB KESOFDEATH Kinetic energy sphere.
} * \GWC HOMERUN Excalibat.
} * \GWD CUJO Dog weapon (sort of a permanent dog mode).
Views:
\CAM RIDE Missile camera on/off.
\HUD WHERE HUD on/off (x,y,room coordinates).
} \MAP CARTIER Show entire map (doesn't work *from* the map).
Demos:
RECORD Record a demo (does not work in v1.0).
STOP Stop a demo (does not work in v1.0).
PLAY Play a demo (does not work in v1.0).
[Boppin]
+ Customer Cheat - The following cheats are available:
From the main menu, these are available in both the shareware and
registered versions of the game:
[ctrl] [V] - gives a slide show of all episodes (while the
show is playing, you can hit the left and right
arrow keys to go to the previous and next levels,
or esc to quit)
[ctrl] [T] - sound testing dialogue
During gameplay, the following are available in both the shareware and
registered versions of the game:
[ctrl] [B] - display the mystery spot
[ctrl] [L] - moves you to the next level, at the expense of
a life; will not work during the final battle
[shift] [ctrl] [L] - moves you back a level; this will not work on
either the first level of an episode, or the
final battle
During gameplay, the following are available provided the password
"TOYSS" is given to activate them. These work only in the registered
version:
[ctrl] [F] - go to the final battle for the episode
[alt] [H] - delivers one maximum hit during the final battle
[ctrl] [F5] - add one credit to player one (nine maximum)
[ctrl] [F8] - add one credit to player two (nine maximum)
[1] or [!] - set lives for player one to zero *
[2] or [@] - set lives for player two to zero *
* These two cheats may not work if the shift key is used for a button.
Finally, in v1.1 of Boppin, the command line parameter "blood" may
be used to access the violence mode from v1.0.
[Wacky Wheels]
+ Customer Cheat - The following command line parameters can be used in
both the shareware and registered versions of the game:
/2 Fast gameplay.
/3 Really fast gameplay.
/debug Create a ERR.LOG file as you play.
turbo Activate the turbo key [brake]+[fire].
jump Activate the jump key [brake]+[accelerate].
Additionally, you can specify ONE of the following three weapon parameters:
hog Get 99 hedgehogs.
ice Get 99 ice cubes.
fire Get 99 fireballs.
[Mystic Towers]
+ Customer Cheat - Cheats are activated by typing "BALDRIC" during a level.
Once actived, your score is reset to zero, and you can
press the following key combos to achieve what is listed:
[lshift] R xx - where xx is a number of a room to jump to (01-45)
[lshift] H - to get maximum health, also food and drink
[lshift] K - to get all keys except the end tower key
[lshift] W - to get full weapons
[lshift] C - to get ten coins
Only the health cheat works in the shareware version; the
rest require the registered version.
[Hocus Pocus]
+ Customer Cheat - Type these:
FEELGOOD - full health
BLAKE - both keys
BANANA - laser shots (registered version only)
QUARK - rapid fire (registered version only)
[Raptor: Call of the Shadows]
+ Customer Cheat - The backspace key will restore all your energy and give
you a death ray, at the cost of all your money. This
will only work in the registered version.
+ Debug mode - Set the environment variable "S_HOST" to the value "CASTLE"
at the DOS prompt by typing "SET S_HOST=CASTLE" (it must be
in caps). Then, when you play Raptor, you become completely
invincible, and have all the weapons at your disposal.
+ Warp - There is a level warp built into the game, so you can see any level
you want at any time. What you need to do is to get to the screen
where you see the level selection (Bravo Sector, etc...). The warp
combination is a 2 key entry. The keys are not to be pressed at the
same time. Note that you cannot use the level warp unless debug
mode (see above) is active.
Key 1 - Z, X, or Y (Z is Episode 1, X is Episode 2, and Y is Episode 3)
Key 2 - Any key between Q and O on the keyboard. Q is Level 1, and O is
Level 9.
This works in both the shareware and registered versions. Note that if you
try and warp to a registered episode from the shareware version, it will
crash the game.
+ Other notes - With a hex editor, change bytes 27h and 28h of a Raptor saved
game file (char????.fil) to the value FF. When you load this
saved game, you'll have a few million dollars to spend on
equipment. If you don't have a hex editor, there are some
programs available that do this for you. RapCheat is one;
RapCash is another. Both should be available at ftp.uwp.edu
under the directory /pub/msdos/games/romulus/cheats. Some
people have reported problems using RapCash; I don't know if
these problems have been fixed since or not.
+ Birthday Mode - As mentioned above, the "Birthday Mode" will automatically
put you into "Battle Cow" mode, and it will also play the
goofy Apogee theme song. To get it, change the system's
date to the birthday of one of the Cygnus programmers, given
below. Any year should be ok, as long as it's not in the
past:
March 12 Bobby Prince
May 16 Scott Host
August 28 Rich Fleider
October 2 Jim Molinets
Note that in v1.0 of Raptor, Bobby Prince's birthday wasn't
recognized, but that the birthday of Tim Neveu *was*.
You can also get "Battle Cow" mode by darkening the switch
on the "choose sector" screen, and turning on all three
lights on the right (for v1.0, don't turn on the middle
light). You don't get the goofy Apogee theme song if you do
it this way, however.
[Blake Stone: Aliens of Gold and Planet Strike]
+ Customer Cheat - [J] [A] [M] [Enter] - These keys are to be pressed one at a
time. When all are pressed, the message "Now you're
Jammin'" appears, and you will be given all keys, and you
will get 100% health. Your score will also be taken to 0.
This will only work on the registered version of the game.
+ Debug Mode - Command Line Parameters
POWERBALL - Enables debug keys. This also requires that you hold down the
left and right shift keys during the JAM Logo intro. Don't
hold them down until the white letters start to appear.
Once the PC-13 screen is loaded, you can let go. You will hear
a "ching" sound during the intro when debug mode has been
successfully enabled. The "ching" sound will only happen if
you have a sound card. If you have a PC speaker, you won't hear
this.
TICS - Display TIC INFO in score area.
MUSIC - Enable music test mode: [backspace] [arrows] changes music.
RADAR - Displays a rotating overhead view during gameplay. Please note
that this REALLY slows the game down, to the point of being
unplayable.
These cheat keys can be use during gameplay only if you invoked
the program with the "powerball" parameter:
[backspace] W - Warp to level ([shift] [W] loads the default map)
[backspace] D - Player invisible (dumb objects)
[backspace] G - God mode
[backspace] I - Item cheat
[backspace] M - Memory info
[backspace] P - Pause screen
[backspace] Q - Fast quit
[backspace] A - Add Actors to AutoMapper.
[backspace] U - Unlock all floors
[backspace] O - Show hidden walls on auto mapper
[backspace] E - Quick Win Mission
[backspace] B - Border color
[backspace] C - Count objects
[backspace] F - Facing spot
[backspace] H - Hurt self (only if not in God mode)
[backspace] S - Slow motion
[backspace] V - Extra VBLs (Vertical Blanking Signal -- this will do
nothing for most users)
[backspace] [home] - Dec sky color (if ceiling textures are OFF)
[backspace] [pgup] - Inc sky color (if ceiling textures are OFF)
[backspace] [end] - Dec ground color (if ground textures are OFF)
[backspace] [pgdn] - Inc ground color (if ground textures are OFF)
[backspace] + - Add shading depth (if textures are OFF)
[backspace] - - Dec shading depth (if textures are OFF)
[backspace] ] - Inc shading drop off (if textures are OFF)
[backspace] [ - Dec shading drop off (if textures are OFF)
[shift] [tab] - Show full automap containing all live actors.
These cheat keys can be used during gameplay:
[6] [7] - Collect all bonus items (gold, ammo, health, etc).
[7] [8] - Kill all actors.
[6] [8] - Collect all bonus items and kill all actors.
+ Tech Support Command Line Parameters - These aren't really debug codes, or
cheats, either. They're in here for Apogee's Tech Support to use in
assisting customers who might be having problems running the game.
VERSION - Display version information.
SYSTEM - Display system information.
HIDDENCARD - Disable checking for video card.
NOJOYS - Disable checking for joysticks.
NOMOUSE - Disable checking for mouse.
NOMAIN - Disable checking for main memory.
NOEMS - Disable checking for EMS memory.
NOXMS - Disable checking for XMS memory.
NOAL - Disable checking for Adlib.
NOSB - Disable checking for Sound Blaster.
NOPRO - Disable checking for Sound Blaster Pro.
NOSS - Disable checking for Sound Source.
SST - Disable checking for Tandy Sound Source.
SS1 - Disable checking for Sound Source on LPT1.
SS2 - Disable checking for Sound Source on LPT2.
SS3 - Disable checking for Sound Source on LPT3.
NO386 - Disable checking for 386.
ENABLEGP - Enables NoteBook GamePort checking. (This will do bad things if
you try it on an Acer.)
[Duke Nukem II]
+ Customer Cheat - For the registered version only, the following two codes
can be used during gameplay. Please note that all three
letters have to be pressed at the same time.
[E] [A] [T] - health is restored to maximum, but score is reset to zero
[N] [U] [K] - get a random weapon, plus all inventory required to finish
the current level
[Alien Carnage]
+ Customer Cheat - Pressing [B] [I] [G] all at the same time will give you
full health and jetpack power.
+ Debug mode - The following debug keys work for version 1.1 of Halloween
Harry only:
[ctrl] [R] [E] [N] - Gives you all weapons, and activates
god mode for several seconds.
[alt] [L] - Level warp. Type the number of the
episode (1-4), followed by the number of
the level (1-5). Illegal input will dump
you to DOS. This can not be used in the
shareware version to access levels in the
registered version.
[alt] [=] - Change location within a level. Type
coordinates after this code; illegal
input will probably crash the game.
+ Tech Parameter - Pressing these four keys at the same time will show you the
coordinates you are at on the level. This serves no real
function on its own, but it is used by Apogee's Game Hint
Line sometimes to locate a player in a level. The keys are
[ctrl] [alt] [rshift] [F12]
+ Misc Command Line Parameter - "skip" will start the game directly from the
main menu.
[Wolfenstein 3D / Spear of Destiny]
+ Customer Cheat - Pressing [I] [L] [M] all at the same time, will give you
both keys, and will give you 100% health. It will also
take your score to zero. This cheat will work in both the
shareware and the registered version.
+ Debug mode -
The debug mode is activated with a different command line parameter
depending on what version of the game you have.
v1.0 -> -next
Once in the game, press [ctrl] [tab] [enter] to activate.
v1.1+ -> -goobers
Once in the game, press [lshift] [alt] [backspace] to activate.
Spear -> -debugmode
Once in the game, press [lshift] [alt] [backspace] to activate.
Once activated, these are the keys you can use.
[tab] [Q] - Quit
[tab] [W] - Warp to level xx
[tab] [E] - Exit to next level
[tab] [T] - Debug info in memory
[tab] [I] - Free items
[tab] [O] - Map of level (only works in beta versions of Wolf3D)
[tab] [S] - Slow motion
[tab] [F] - Position info
[tab] [G] - God mode (no damage)
[tab] [H] - Hurt yourself
[tab] [X] - Extra stuff (???)
[tab] [C] - Statistics
[tab] [V] - Add extra VBLs (Vertical Blanking Signal -- this will do nothing
for most users except maybe increase or decrease
the game speed.)
[tab] [B] - Change border color
[tab] [M] - Memory map
[tab] [N] - No clipping (walk through walls)
(This works only in Wolf3D v1.0 shareware. This mode can cause
really bad things to happen to the game, including corrupting
itself, which is why it was taken out.)
+ Tech Support Command Line Parameters are the same as in Blake Stone, except
VERSION, SYSTEM, and ENABLEGP do nothing in Wolf3D.
+ Misc Command Line Parameter - "NOWAIT" will start the game directly from
the main menu.
+ Note 1: If you press [B] [A] [T] all at once, you'll get a message wondering
why you're trying to cheat, since this is the old Keen Galaxy cheat
code.
+ Note 2: For Spear only, if you do nothing in the game for 30 seconds, BJ
will either cross his eyes or stick his tongue out at you. It
happens quickly, so you have to watch carefully.
[Bio Menace]
+ Customer Cheat - [C] [A] [T] - During gameplay, you can press these three
letters at the same time, and you will receive the machine
gun, 99 ammo, & 99 grenades. This works only in the
registered version.
+ Tech Support Command Line Parameters -
COMP - Turn on SVGA compatibility
NOAL - Disable Adlib sound card detection
NOJOYS - Disable joystick detection
NOMOUSE - Disable mouse detection
HIDDENCARD - Disable video card detection
+ Other Notes - The following secret weapons are available in both the
shareware and registered versions:
Super Plasma Bolt - Hold the up arrow until you hear a charge sound,
then hit fire; this causes one hit point of damage.
Fireball Attack - Turn left and right 6 or 7 times in succession,
then hit fire.
Electron Shield - Turn left and right 6 or 7 times in succession,
then hit the jump key.
Invincibility Burst - Hold the up arrow until you hear a charge sound,
then hit the down arrow.
[Monster Bash]
+ Customer Cheat - In the registered version only, you can press the [Z] and
[F10] keys down simultaneously to receive five lives. Hold
down [Z] first; since the [F10] key, by itself, has meaning
in the game, the cheat won't work if you push both down at
the same time and the [F10] is the first to register.
[Commander Keen: Goodbye Galaxy! and Aliens Ate My Baby Sitter]
+ Customer Cheat - Pressing the [B] [A] [T] keys all at once will give you 99
shots, an extra life, and all the gems. This does not work
on early versions of Aliens Ate My Babysitter.
+ Debug Mode - Pressing [A] [2] [enter] all at once will activate debug mode.
Once activated, these keys will perf
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2024-07-03T16:38:30+00:00
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John D. Carmack II[2] (born August 20, 1970) is an American computer programmer, video game developer and engineer. He co-founded id Software and was the lead programmer of its video games Commander Keen, Wolfenstein 3D, Doom, Quake, Rage and their sequels. Carmack made innovations in 3D...
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/skins-ucp/mw139/common/favicon.ico
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Ultimate Pop Culture Wiki
|
https://ultimatepopculture.fandom.com/wiki/John_Carmack
|
For other people named John Carmack, see John Carmack (disambiguation).
John D. Carmack II[2] (born August 20, 1970) is an American computer programmer, video game developer and engineer. He co-founded id Software and was the lead programmer of its video games Commander Keen, Wolfenstein 3D, Doom, Quake, Rage and their sequels. Carmack made innovations in 3D graphics, such as his Carmack's Reverse algorithm for shadow volumes. In August 2013, he took the position of CTO at Oculus VR.[3]
Biography[]
Early life[]
Carmack was born in Shawnee Mission, Kansas, the son of local television news reporter Stan Carmack. He grew up in the Kansas City metropolitan area, where he became interested in computers at an early age. He attended Shawnee Mission East High School in Prairie Village, Kansas and Raytown South High School in nearby Raytown, Missouri.
Carmack was introduced to video games with the 1978 shoot 'em up title Space Invaders in the arcades during a summer vacation as a child. The 1980 maze chase arcade game Pac-Man also left a strong impression on him. He cited Shigeru Miyamoto as the game developer he most admired.[4]
As reported in David Kushner's Masters of Doom, when Carmack was 14, he broke into a school to help a group of children steal Apple II computers. To gain entry to the building, Carmack concocted a sticky substance of thermite mixed with Vaseline that melted through the windows. However, an overweight accomplice struggled to get through the hole, and opened the window, setting off a silent alarm and alerting police. Carmack was arrested, and sent for psychiatric evaluation (the report mentions "no empathy for other human beings" and describes Carmack as "a brain on legs"). Carmack was then sentenced to a year in a juvenile home.[5][6]
He attended the University of Missouri–Kansas City for two semesters before withdrawing to work as a freelance programmer.[7]
Career[]
Softdisk, a computer company in Shreveport, Louisiana, hired Carmack to work on Softdisk G-S (an Apple IIGS publication), introducing him to John Romero and other future key members of id Software such as Adrian Carmack (not related). Later, Softdisk would place this team in charge of a new, but short-lived, bi-monthly game subscription product called Gamer's Edge for the IBM PC (DOS) platform. In 1990, while still at Softdisk, Carmack, Romero, and others created the first of the Commander Keen games, a series that was published by Apogee Software, under the shareware distribution model, from 1991 onwards. Afterwards, Carmack left Softdisk to co-found id Software.
Carmack has pioneered or popularized the use of many techniques in computer graphics, including "adaptive tile refresh" for Commander Keen, ray casting for Hovertank 3-D, Catacomb 3-D, and Wolfenstein 3-D, binary space partitioning which Doom became the first game to use, surface caching which he invented for Quake, Carmack's Reverse (formally known as z-fail stencil shadows) which he devised for Doom 3, and MegaTexture technology, first used in Enemy Territory: Quake Wars.
Carmack's engines have also been licensed for use in other influential first-person shooters such as Half-Life, Call of Duty and Medal of Honor. In 2007, when Carmack was on vacation with his wife, he ended up playing some games on his cellphone, and decided he was going to make a "good" mobile game.[8][9]
Main article: ZeniMax v. Oculus
On August 7, 2013, Carmack joined Oculus VR as their CTO.[10] On November 22, 2013, he resigned from id Software to work full-time at Oculus VR.[1][11] Carmack's reason for leaving was because id's parent company ZeniMax Media didn't want to support Oculus Rift.[12] Carmack's role at both companies later became central to a ZeniMax lawsuit against Oculus parent company Facebook, claiming that Oculus stole ZeniMax's virtual reality intellectual property.[13][14][15] The trial jury absolved Carmack of liability, though Oculus and other corporate officers were held liable for trademark, copyright, and contract violations.[16]
In February 2017 Carmack sued ZeniMax, claiming the company had refused to pay him the remaining $22.5 million owed him from their purchase of id Software.[17] By October 2018, Carmack stated that he and ZeniMax reached an agreement and that "Zenimax has fully satisfied their obligations to me", ending the suit.[18]
Armadillo Aerospace[]
Main article: Armadillo Aerospace
Around 2000, Carmack became interested in rocketry, a hobby of his youth. Reviewing how much money he was spending on customizing Ferraris,[citation needed] Carmack realized he could do significant work in hobby aerospace. He began by giving financial support to a few local amateur engineers. Carmack funded the company out of his own pocket, for "something north of a million dollars a year."[19] The company of hobbyists made steady progress toward their goals of suborbital space flight and eventual orbital vehicles. In October 2008, Armadillo Aerospace competed in a NASA contest known as the Lunar Lander Challenge, winning first place in the Level 1 competition along with $350,000. In September 2009, they completed Level 2 and were awarded $500,000.[20][21][22] The company went into "hibernation mode" in 2013.[19]
Open-source software[]
Carmack is a well-known advocate of open-source software, and has repeatedly voiced his opposition to software patents, equating them to robbery.[23] He has also contributed to open source projects, such as starting the initial port of the X Window System to Mac OS X Server and working to improve the OpenGL drivers for Linux through the Utah GLX project.
Carmack released the source code for Wolfenstein 3D in 1995 and the Doom source code in 1997. When the source code to Quake was leaked and circulated among the Quake community underground in 1996, a programmer unaffiliated with id Software used it to port Quake to Linux, and subsequently sent the patches to Carmack. Instead of pursuing legal action, id Software, at Carmack's behest, used the patches as the foundation for a company-sanctioned Linux port.[citation needed] id Software has since publicly released the source code to Quake, Quake 2, Quake 3 and lastly Doom 3 (including, later, the BFG Edition), all under the GNU General Public License (GPL). The Doom source code was also re-released under the GPL in 1999. The id Tech 4 engine, more commonly known as the "Doom 3 engine", has also been released as open-source license under the GPL.[24] The source code for Hovertank 3D and Catacomb 3D (as well as Carmack's earlier Catacomb) was released in June 2014 by Flat Rock Software with Carmack's blessing.[25][26] On the other hand, Carmack has several times over the years voiced a skeptical opinion about Linux as a gaming platform;[27] for instance in 2013 he argued for emulation "as proper technical direction for gaming on linux"[28] and in 2014 he voiced the opinion that Linux might be the biggest problem for the success of the Steam Machine.[29]
Carmack contributes to charities and gaming communities. Some of the recipients of Carmack's charitable contributions include his former high school, promoters of open-source software, opponents of software patents, and game enthusiasts.
Personal life[]
Carmack was so successful at id that by mid-1994 he had purchased two Ferrari Testarossa.[30] In 1997, he gave away one of his Ferrari (a 328 model) as a prize to Dennis Fong, the winner of the Quake tournament "Red Annihilation".[31]
He met his wife Katherine Anna Kang at the 1997 QuakeCon when she visited id's offices. As a bet, Kang challenged Carmack to sponsor the first All Female Quake Tournament if she was able to produce a significant number of participants. Carmack predicted a maximum of 25 participants, but there were 1,500.[32] Carmack and Kang married on January 1, 2000 and planned a ceremony in Hawaii. Steve Jobs requested that they would postpone the ceremony so he could attend the MacWorld Expo on January 5, 2000. John C. declined and suggested making a video instead.[citation needed] Carmack and his wife had a son in 2004. Carmack has a blog last updated in 2006 (previously a .plan), an active Twitter account, and also occasionally posts comments to Slashdot.
As a game developer, he differs from many of his contemporaries by avoiding commitment to a final release date for any game he is developing. Instead, when asked for a release date on a new title, Carmack will usually reply that the game will be released "when it's done."[33] Employees at Apogee, in their past years the publishers of games by id Software, adopted this business practice as well.[34]
Carmack supported the 2012 presidential campaign of Republican Ron Paul.[35]
Carmack is an atheist.[36][37]
Carmack loves pizza. During his time at id Software, a medium pepperoni pizza would arrive for Carmack from Domino's Pizza almost every day, carried by the same delivery person for more than 15 years. Carmack had been such a regular customer that they still charge him 1995 prices.[38]
On occasion he has commended the efforts of similarly focused programmers — first Ken Silverman, who wrote the Build engine for 3D Realms, and later with Tim Sweeney of Epic Games, who writes the Unreal Engine.[39]
Recognition[]
Date Award Description 1996 Named among the most influential people in computer gaming of the year and of all time #1 and #2 in GameSpots lists.[40][41] 1997 Named among the most influential people of all time #7 in Computer Gaming World list, for game design.[42] 1999 Named among the 50 most influential people in technology #10 in Time's list.[43] March 2001 Award for community contribution for the Quake 3 engine Used in 12 games. Bestowed at 2001 Game Developer's Conference Award Ceremony. March 22, 2001 Inducted into Academy of Interactive Arts and Sciences' Hall of Fame The fourth person to be inducted, an honor bestowed upon those who have made revolutionary and innovative achievements in the video and computer game industry. 2002 Named to the MIT Technology Review TR100 Included as one of the top 100 innovators in the world under the age of 35.[44] 2003 One subject of book Masters of Doom Masters of Doom is a chronicle of id Software and its founders. 2005 Name in film The film Doom featured a character named Dr. Carmack, in recognition of Carmack who co-created the original game. March 2006 Added to the Walk of Game Walk of Game is an event that recognizes the developers and games with the most impact on the industry.[45] January 2007 Awarded 2 Emmy Awards Carmack and id Software were awarded with two Emmy Awards. The first was Science, Engineering & Technology for Broadcast Television, which includes broadcast, cable and satellite distribution. The second was for Science, Engineering and Technology for Broadband and Personal Television, encompassing interactive television, gaming technology, and for the first time, the Internet, cell phones, private networks, and personal media players. id Software is the very first independent game developer to be awarded an Emmy since the Academy began honoring technology innovation in 1948.[46] September 2007 Television appearance Appeared on Discovery Channel Canada Daily Planet featuring his rocket designs along with the Armadillo Aerospace team. 2008 Honored Carmack was honored at the 59th Annual Technology & Engineering Emmy Awards for Quake's pioneering role of user modifiability.[47] He is the only game programmer ever honored twice by the National Academy of Television Arts & Sciences, having been given an Emmy Award in 2007 for his creation of the 3D technology that underlies modern shooter video games.[48] Along with Don Daglow of Stormfront Studios and Mike Morhaime of Blizzard Entertainment, Carmack is one of only three game developers to accept awards at both the Technology & Engineering Emmy Awards and at the Academy of Interactive Arts & Sciences Interactive Achievement Awards.[citation needed] October 2008 Won X-Prize Carmack's Armadillo Aerospace won the $350,000 Level One X-Prize Lunar Lander Challenge.[49] March 11, 2010 Lifetime Achievement Award Was awarded the Game Developers Conference Lifetime Achievement award for his work.[50] March 7, 2016 BAFTA Fellowship Award Honoured with the Academy's highest honour, the Fellowship for "work that has consistently been at the cutting edge of games and his technical expertise helping the future arrive that little bit faster".[51] May 3, 2017 Honorary Doctorate Received a Doctor of Engineering Honoris Causa from the University of Missouri, Kansas City for "his work in cutting edge tech & comp sci".[52]
Games[]
Titles are listed below in reverse chronological order.
Release date Title Developer Publisher Credited for May 13, 2016 Doom[53] id Software Bethesda Softworks Former technical director, former engine programmer, former developer October 16, 2012 Doom 3 BFG Edition id Software Bethesda Softworks Technical director, engine programmer, developer October 4, 2011 Rage id Software Bethesda Softworks Technical director, engine programmer, developer September 28, 2007 Enemy Territory: Quake Wars Splash Damage Activision Programming May 1, 2006 Orcs & Elves Fountainhead Entertainment Electronic Arts Producer/programmer/writer October 18, 2005 Quake 4 Raven Software Activision, Bethesda Softworks (republished 2012) Technical director September 13, 2005 Doom RPG Fountainhead Entertainment id Software Producer/programmer April 3, 2005 Doom 3: Resurrection of Evil Nerve Software Activision Technical director August 3, 2004 Doom 3 id Software Activision Technical director November 19, 2001 Return to Castle Wolfenstein id Software Activision Technical director December 18, 2000 Quake III: Team Arena id Software Activision Programming December 2, 1999 Quake III Arena id Software Activision Programming November 30, 1997 Quake II id Software Activision Programming March 31, 1997 Doom 64 Midway Games Midway Games Programming June 22, 1996 Quake id Software GT Interactive Programming May 31, 1996 Final Doom id Software GT Interactive Programming October 30, 1995 Hexen: Beyond Heretic Raven Software id Software 3D engine December 23, 1994 Heretic Raven Software id Software Engine programmer September 30, 1994 Doom II: Hell on Earth id Software GT Interactive Programming December 10, 1993 Doom id Software id Software Programming 1993 Shadowcaster Raven Software Origin Systems 3D engine September 18, 1992 Spear of Destiny id Software FormGen Software engineer May 5, 1992 Wolfenstein 3D id Software Apogee Software Programming 1991 Catacomb 3-D id Software Softdisk Programming 1991 Commander Keen in Aliens Ate My Babysitter! id Software FormGen Programming December 15, 1991 Commander Keen in Goodbye, Galaxy! id Software Apogee Software Programming 1991 Commander Keen in Keen Dreams id Software Softdisk Programming 1991 Shadow Knights id Software Softdisk Design/programming 1991 Rescue Rover 2 id Software Softdisk Programmer 1991 Rescue Rover id Software Softdisk Programmer 1991 Hovertank 3D id Software Softdisk Programming 1991 Dangerous Dave in the Haunted Mansion id Software Softdisk Programming 1991 Dark Designs III: Retribution Softdisk Softdisk Programmer/designer December 14, 1990 Commander Keen in Invasion of the Vorticons id Software Apogee Software Programming 1990 Slordax: The Unknown Enemy Softdisk Softdisk Programming 1990 Catacomb II Softdisk Softdisk Developer 1990 Catacomb Softdisk Softdisk Programmer 1990 Dark Designs II: Closing the Gate Softdisk Softdisk Programmer/designer 1990 Dark Designs: Grelminar's Staff John Carmack Softdisk Developer 1990 Tennis John Carmack Softdisk Developer 1990 Wraith: The Devil's Demise John Carmack Nite Owl Productions Developer 1989 Shadowforge John Carmack Nite Owl Productions Developer
References[]
Further reading[]
Kushner, David (2003). Masters of Doom: How Two Guys Created an Empire and Transformed Pop Culture, New York: Random House. ISBN 0-375-50524-5.
[]
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John Carmack on Twitter
John Carmack at MobyGames
John Carmack at the Internet Movie Database
Template:Softdisk Template:Id Software
BAFTA Fellowship recipients 1971–2000 Alfred Hitchcock (1971) • Freddie Young (1972) • Grace Wyndham Goldie (1973) • David Lean (1974) • Jacques Cousteau (1975) • Charlie Chaplin (1976) • Laurence Olivier (1976) • Denis Forman (1977) • Fred Zinnemann (1978) • Lew Grade (1979) • Huw Wheldon (1979) • David Attenborough (1980) • John Huston (1980) • Abel Gance (1981) • Michael Powell & Emeric Pressburger (1981) • Andrzej Wajda (1982) • Richard Attenborough (1983) • Hugh Greene (1984) • Sam Spiegel (1984) • Jeremy Isaacs (1985) • Steven Spielberg (1986) • Federico Fellini (1987) • Ingmar Bergman (1988) • Alec Guinness (1989) • Paul Fox (1990) • Louis Malle (1991) • John Gielgud (1992) • David Plowright (1992) • Sydney Samuelson (1993) • Colin Young (1993) • Michael Grade (1994) • Billy Wilder (1995) • Jeanne Moreau (1996) • Ronald Neame (1996) • John Schlesinger (1996) • Maggie Smith (1996) • Woody Allen (1997) • Steven Bochco (1997) • Julie Christie (1997) • Oswald Morris (1997) • Harold Pinter (1997) • David Rose (1997) • Sean Connery (1998) • Bill Cotton (1998) • Eric Morecambe & Ernie Wise (1999) • Elizabeth Taylor (1999) • Michael Caine (2000) • Stanley Kubrick (2000) • Peter Bazalgette (2000) 2001–present Albert Finney (2001) • John Thaw (2001) • Judi Dench (2001) • Warren Beatty (2002) • Merchant Ivory Productions (2002) • Andrew Davies (2002) • John Mills (2002) • Saul Zaentz (2003) • David Jason (2003) • John Boorman (2004) • Roger Graef (2004) • John Barry (2005) • David Frost (2005) • David Puttnam (2006) • Ken Loach (2006) • Anne V. Coates (2007) • Richard Curtis (2007) • Will Wright (2007) • Anthony Hopkins (2008) • Bruce Forsyth (2008) • Dawn French & Jennifer Saunders (2009) • Terry Gilliam (2009) • Nolan Bushnell (2009) • Vanessa Redgrave (2010) • Shigeru Miyamoto (2010) • Melvyn Bragg (2010) • Christopher Lee (2011) • Peter Molyneux (2011) • Trevor McDonald (2011) • Martin Scorsese (2012) • Rolf Harris (2012) • Alan Parker (2013) • Gabe Newell (2013) • Michael Palin (2013) • Helen Mirren (2014) • Rockstar Games (2014) • Julie Walters (2014) • Mike Leigh (2015) • David Braben (2015) • Jon Snow (2015) • Sidney Poitier (2016) • John Carmack (2016) • Ray Galton & Alan Simpson (2016) • Mel Brooks (2017) • Joanna Lumley (2017)
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Milestones
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Explore Flex's journey of creating period-positive solutions. Discover key milestones & innovations that redefined comfort and confidence during your cycle.
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2008-04-16T05:00:00+00:00
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ThinkFilm president Jeff Sackman is leaving the indie distributor he co-founded seven years ago, with plans for his Toronto office to be shuttered.
|
en
|
The Hollywood Reporter
|
https://www.hollywoodreporter.com/business/business-news/jeff-sackman-leaving-thinkfilm-109536/
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NEW YORK — ThinkFilm president Jeff Sackman is leaving the indie distributor he co-founded seven years ago, with plans for his Toronto office to be shuttered.
While it remains unclear whether Sackman was sacked or left on his own accord, the writing for his departure had been on the wall since David Bergstein and Ron Tudor’s Capco Group bought the company for $25 million in fall 2006.
Bergstein, who was unavailable for comment, told several sources during the past few months that he intended to base the company in New York with an expansion to Los Angeles.
When Capco purchased the company, it was forced to arrange an exclusive output deal with Canadian distributor Entertainment One and Seville Pictures to comply with Canada’s laws on foreign-owned companies.
When the purchase was arranged, Capco planned to add several $15 million-$20 million films to ThinkFilm’s annual slate and create a wider distribution network through its London-based film financing and sales outfit Capitol Films. A few promising projects have emerged, notably the romance “Blue Valentine,” starring Ryan Gosling and Michelle Williams, but the company has remained largely an acquisitions-based outfit.
ThinkFilm purchased more features than most distributors from the recent Toronto and Sundance film festivals amid a lackluster sales environment, and saw its 2007 Tribeca pickup “Taxi to the Dark Side” win a best docu Oscar, but Sackman was not as actively involved in the acquisitions-driven slate as his U.S. colleagues. ThinkFilm made $11.3 million at the domestic boxoffice last year.
No word was available on Sackman’s plans.
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https://journals.openedition.org/tvseries/4877
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Walking in (a) Bordertown: Sorjonen, Liminality, and the Spatial Im...
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"Finlande",
"frontières",
"Polar Nordique/Nordic Noir",
"géopolitique",
"Bordertown",
"Finland",
"borders",
"Nordic noir television",
"geopolitics"
] | null |
[
"Robert A"
] |
2020-09-15T00:00:00+02:00
|
Finnish programming is increasingly finding success beyond the country’s borders. Sorjonen - or as it is known internationally, Bordertown - is perhaps the best example of this trend, having been distributed with subtitles in multiple languages via Netflix. Set in the idyllic lakeside resort of Lappeenranta, which is also Finland’s closest city to St. Petersburg, Russia, Bordertown revolves around Detective Inspector Kari Sorjonen (Ville Virtanen) following his relocation there in the wake of his wife’s illness. Hoping to leave major crimes behind in the capital of Helsinki, Sorjonen is soon investigating horrific violence and gruesome events. The criminal networks he discovers often extend far beyond tiny Lappeenranta, thus placing the city at the nexus of illicit flows that link Russia to continental Europe. While Bordertown does not engage in the crass Russophobia of many other screened geopolitical interventions, the series does deploy its setting’s geopolitical liminality to engage with a variety of challenges to Europe. This essay interrogates Bordertown’s use of a real place, i.e. Lappeenranta, to sculpt a geopolitical imaginary that can tell a story. Focussing on a variety of elements from water to windmills and from the city council to the cellar, I employ various scales of engagement (i.e. the local, border, state, land and nation) to examine the series’ narrative, dramaturgical and visual “scaping” of a chimerical “border town” that maps on to the “real” city of Lappeenranta. Informed by my June 2018 Bordertown TV-Series Walking Tour, my analysis synthesises approaches from cultural geography, critical IR and television studies to assess the Bordertown’s intervention in the everyday, lived and embodied geopolitics of this south-eastern Finnish city.
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fr
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http://journals.openedition.org/tvseries/4877
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1 For a period of time, Finland was the only EU country to share a border with the Russian Federation (...)
2 Sean Carter, “Geopolitics and the Screen: War, the Body and Violence”, Geopolitics Vol. 14, No. 4, (...)
1While Nordic noir television – a screened genre that evolved from the crime-based literary tradition of Scandinavian noir – is primarily defined by Danish and Swedish offerings such as The Killing (DR1, 2007-2012) and Wallander (TV4, 2005-2013), Finnish programming is increasingly finding success beyond the country’s borders through the transnational digital distribution platforms. Sorjonen (Yle, 2016- ) – or as it is known internationally, Bordertown – is perhaps the best example of this trend, having been distributed with subtitles in multiple languages via Netflix. Set in the idyllic lakeside resort of Lappeenranta, Bordertown centres on Detective Inspector Kari Sorjonen (Ville Virtanen) following his relocation there in the wake of his wife’s illness. Hoping to leave major crimes behind in the capital Helsinki, Sorjonen is soon investigating horrific murders and gruesome events. The criminal networks he uncovers often extend far beyond his new home, indicting hitherto respected members of the community and the state in the process (therein keeping true to the traditions of the TV genre and its pulpy predecessor). Indeed, this is because the town is Finland’s closest major settlement to Saint Petersburg, placing picturesque Lappeenranta at the nexus of illicit flows that link Russia to the European Union (EU). While Bordertown generally avoids the crass Russophobia of many other screened geopolitical interventions , the series does deploy its setting’s geopolitical “in-betweenness” to engage with a variety of challenges to Europe. While the Kremlin may not be behind every criminal act, Finland’s nearby neighbour stalks the narrative, which features two important Russian-born and Russophone characters: Detective Constable Lena Jaakkola (Anu Sinisalo) and her daughter Katia (Lenita Susi). As border-crossers, these two staples of the series consistently remind the viewer of the town’s status as a liminal zone. As a result, Bordertown can be comfortably situated within a growing suite of Nordic noir series including Midnight Sun (SVT, 2016) and The Bridge (SVT1 and DR1, 2011-2018), which weave narratives of in-betweenness, marginalised characters, and liminal landscapes (or what I refer to as edgescapes) together to complicate the notion of a Nordic uniformity and perfection.
3 Robert A. Saunders, “Small Screen IR: A Tentative Typology of Geopolitical Television”, Geopolitics(...)
4 Robert A. Saunders, “A Dark Imaginarium: The Bridge, Malmö, and the Making of a ‘Non-Existent’ Plac (...)
5 Kim Toft Hansen and Anne Marit Waade, Locating Nordic Noir: From Beck to The Bridge, Basingstoke, U (...)
6 Paasi, p. 670.
7 Mary Mostafanezhad and Roger Norum, “Towards a Geopolitics of Tourism”, Annals of Tourism Research (...)
2Drawing on my previous work on geopolitical television and imagining cities through screened representation , this essay interrogates Bordertown’s use of a real place, i.e. Lappeenranta, to sculpt a geographical imaginary that can tell a geopolitically-informed story through its narrative, as well as its natural and urban landscapes. Similar to other Nordic noir series, which rely on substantive engagement with the natural environment as well as human-built geographies , Bordertown is visually dependant on its chosen setting (in this case, Lappeenranta). As a result, the series features extensive shots of Lake Saimaa, its islands, and the boreal wilderness surrounding the city, as well as the giant sawmill at the outskirts of town, the well-touristed harbour, and the compact city centre. The sites where dead bodies are found often link to the local milieu, flagging up the importance of the place on its denizens (and especially humanity’s perfidy and capacity for violence). Focussing on a variety of elements from water to wind turbines, I follow Paasi’s admonition that “boundaries exist and gain meanings on different spatial scales ”. Consequently, this essay examines a variety of sites/sights (i.e. the body, border, state, land, and nation) to examine the series’ narrative, dramaturgical, and visual scaping of a chimerical “border town” that maps on to the “real” city of Lappeenranta. Filtered through Bordertown’s visual rhetoric of Lappeenranta and informed by the author’s Bordertown TV-Series Walking Tour and content provided by the tour operator and the series’ showrunner, this article synthesises approaches from cultural geography, critical IR, and television studies to assess the series’ intervention in the everyday, lived, and embodied geopolitics of this south-eastern Finnish city. This is done in an attempt to reflect on the notion that “tourism landscapes are spaces where translocal social realities merge and rearticulate geopolitical assemblages ”.
8 Sukanta Das, “Introduction”, in Border, Globalization and Identity, ed. Sukanta Das, Sanatan Bhowal (...)
9 See Mark J. P. Wolf, Building Imaginary Worlds: The Theory and History of Subcreation, New York and (...)
10 I took an individual excursion on 18 June 2018. My guide informed me that I was the first guest to (...)
11 Jamie Gillen and Mary Mostafanezhad, “Geopolitical Encounters of Tourism: A Conceptual Approach”, A (...)
12 Derek Gregory, Geographical Imaginations, Cambridge, MA, Wiley-Blackwell, 1994; Stephen Daniels, “G (...)
13 Arnold van Gennep, The Rites of Passage, Chicago, University of Chicago Press, 1960 [1909]; Bjørn T (...)
14 Saunders, 2017b, p. 1.
3In terms of its structure, this article begins with a brief overview of Finland’s eastern border regions and Lappeenranta’s premiere position as “contact zone” within a larger space of “in-betweenness ” vis-à-vis the Russian Federation. I then summarise the series’ narrative arc, paying close attention to the liminal and transnational elements that characterise the programme. From here, I shift to how the Bordertown walking-tour of Lappeenranta engages the series’ built-world via emplacing the tourist in the town, and its natural and human-built environments. Here I reflect on my own experiences as the “first” English-language guest to undertake the excursion. In the final section, I make use of Gillen and Mostafanezhad’s method for unpacking the geopolitics of the tourist experience to interrogate the role of televisual landscapes as meaning-making manipulations of the distant gaze . As an interdisciplinary undertaking, this essay draws on approaches from a number of fields, including television studies, popular geopolitics, and place-making/branding. In keeping with the aims of this special issue on geographic constructions of places through televisual mediations of spaces, this intervention makes a contribution to the literature of geographical imagination in its empirical analysis of the screened space of Lappeenranta as a zone of liminality . However, this article also aims to provide a tentative model for the imagineering of other “real-world” places through their use in fictional television series (especially crime drama), by examining the connections between society, tourism, and the output of national public broadcasters like Yle. My overall goal of combining these approaches is to provide a tentative assessment of how screened visualisations of national territories are contributing to transnational geopolitical codes in a world defined by Fremdbebilderung or the “state of being ‘totally engulfed by foreign images’ ”.
Finland, a Country at the Edge of Europe and on the Threshold of Russia
15 Paasi, art. cit.
16 Pertti Joenniemi, “Finland: Always a Borderland?”, in Bordering the Baltic: Scandinavian Boundary-d (...)
17 Finns speak a language within the Baltic-Finnic subgroup of the Uralic language family, being most (...)
18 Pirjo Jukarainen, “Norden is Dead — Long Live the Eastwards Faced Euro-North Geopolitical Re-making (...)
19 Paasi, p. 671.
20 Juhana Aunesluoma, “A Nordic Country with East European Problems: British Views on Post-War Finland (...)
21 Tapio Juntunen, “Helsinki Syndrome: The Parachronistic Renaissance of Finlandization in Internation (...)
4Situated at the extreme north-eastern corner of the European Union, and possessing a 1,340-kilometre border with the Russian Federation, Finland ranks as one of the continent’s defining liminal spaces. Not insignificantly, this border now runs through the Petsamo, Salla and Karelia, regions that were once part of an independent Finnish Republic. As Paasi points out, such boundary-based liminality is not a fixed reality, but instead the outcome of sustained social and discursive practices (which include screenings of the frontier) . When juxtaposed with Russia, Finland functions as “Europe” counterpoised against the “non-European” space of the Russian Federation. Yet, Finland – when denuded of its Russian other – becomes a grey zone at the extreme periphery of Europe proper, a “double negative” of not this and not that . As a country whose titular nationality speak a non-Indo-European language , Finland has long been viewed as marginal even with a region that was once dismissed as Ultima Thule and is still at the “edge” of Europe . Lacking natural resources (beyond an ample supply of timber and reindeer), Finland entered the twentieth century as a nation locked within an imperial system that granted it subjects a bevy of privileges denied to the average Russian, but which did little to salve its people’s aspirations for independence. The February Revolution provided Finnish nationalists with an opportunity for change, one which they translated into reality with the coming of the Bolshevik Revolution. After severing ties with Russia and a bloody civil war that pitted “Reds” against “Whites,” the Finnish republic emerged as the septrional bulwark of the interwar cordon sanitaire that ostensibly shielded western European democracies from the influence of Moscow and the Communist International (Comintern). In World War II, the Finns fought two wars with their eastern neighbour, resulting in the aforementioned ceding of territory to the Union of Soviet Socialist Republics. Independent and neutral, Finland – as a country in a “disputed camp between Eastern and Western blocs ” – thus emerged as a “Nordic country” with “eastern European problems ”, summed up neatly in the coining of the (American) geopolitical concept of “Finlandisation ”.
22 John P. Vloyantes, Silk Glove Hegemony: Finnish-Soviet Relations, 1944-1974: A Case Study of the Th (...)
23 This position stands in contrast to Sweden, which came to see itself under a de facto-if-not-de jur (...)
24 Finland occupies about 0.07 per cent of the world’s area with a similar percentage in terms of popu (...)
25 Admittedly, Swedish-speakers represent a significant portion of the population (5.2%); however, the (...)
26 “Finland among the Best in the World”, Statistics Finland, December 5th, 2018, http://www.stat.fi/t (...)
5Realpolitik dictated that Finland walk a fine line during the early Cold War, resulting in what some have labelled a form of hegemony that mirrored US influence over its North Atlantic Treaty Organisation (NATO) allies during the Cold War . In order to preserve democracy at home, Helsinki hewed towards the Soviets in international affairs, rejecting Marshall Plan funds and observing a strict form of non-alignment and deference to Soviet actions on the international stage. With the dissolution of the USSR and the end of a continent divided by an “Iron Curtain,” Finland rapidly moved to join the European Economic Community in an attempt to find new markets to compensate for losses associated with Russia’s rapid economic contraction after 1991. As part of this integration, Finland also began to develop a bolder posture in terms of its sovereignty, openly recognising that – despite official statements to the contrary – its security faced threats from the east and not the west. At the dawn of the millennium, modest, non-confrontational Finland emerged on the world stage as a dynamic, technologically-savvy powerhouse at the edge of the Arctic, driven in good part by the mobile phone manufacturer Nokia’s global success. Over the past two decades, the small, homogenous republic has consistently topped international rankings across a broad array of measurements, but being especially successful in the areas of prosperity, education, stability, press freedoms, personal liberty, safety, governance, low corruption, global development policies, social justice, human rights, and human wellbeing .
27 This refers not only incoming Russian tourists, but also outgoing EU citizens. Lappeenranta is one (...)
28 Robert A. Saunders, “The Geopolitics of Russophonia: The Problems and Prospects of Post-Soviet ‘Glo (...)
6While Russia’s role in Finnish affairs greatly diminished in the post-Soviet era, it did not disappear altogether. In the new millennium, a resurgent Russian Federation, buoyed by rising oil and natural gas prices, once again came to serve as a key component of the Finnish economy, especially in the border regions. The south-eastern city of Lappeenranta thus re-emerged as a vibrant gateway to and from Russia (a position that it assumed from Vyborg following that city’s annexation as part of the 1947 Paris Peace treaties). Tourism, which has its origins in the first spa being established in the city in 1824, is probably the most visible aspect of this shift (or return to form); however, industries associated with cross-border exchange and the transnational service sector also came to form strands of this nexus of trade and the movement of people. Indeed, Finland represents one of only a few European countries (alongside Montenegro and Cyprus) where Russian-language proficiency is on the rise rather than in decline . However, the severe contraction in the value of the rouble following international sanctions levied on the Russian Federation following the 2014 annexation of Crimea have proved detrimental to the city’s economy. As the flow of Russian tourists, high-end shoppers, and arbitrage merchants waned, Lappeenranta’s ubiquitous Russian-language signage has become somewhat ironic in recent years, providing a haunting reflecting of the unpredictable power of geopolitics far from the site of any “intervention.” It is in this protean milieu that the imaginary of Bordertown is built.
A Précis of Bordertown (Seasons 1 and 2)
7Sorjonen premiered on the public broadcaster Yle’s TV1 on 16 October 2016, being watched by over one million viewers, therein setting a record for a Finnish series (see Image 1).
Image 1. The Title Sequence from Bordertown.
Source: Yle/Bordertown.
29 A figment of the series, SECRI is a special, limited-term project that works directly with Europol, (...)
30 Despite often being conflated with “Scandinavia” in everyday (Anglophone) geographic understanding, (...)
31 Lisa Coulthard, “The Listening Detective: Thinking Music, Gender, and Transnational Crime’s Affecti (...)
32 Once again, Bordertown departs from the classic Nordic noir modus in that each series consists of m (...)
33 This gendered dynamic stands in contrast to The Bridge, where an emotional, rule-breaking (male) Da (...)
8The first series centres on the brilliant, but emotionally-stunted detective Kari Sorjonen leaving a prestigious position with the National Bureau of Investigation (Fin. Keskusrikospoliisi) in the capital of Helsinki to dedicate himself to his family. Shortly after joining the Serious Crime Unit (SECRI) in Lappeenranta , he is uncomfortably paired with a new colleague from a neighbouring country, a set-up familiar to regular viewers of Nordic noir crime series in its synthesis of elements from The Killing and The Bridge. However, unlike these Scandinavian series , Bordertown inverts the gender dynamics of the “listening detective” whose socially-awkward “feeling-thinking” engagement with a quiet world of violence is instrumental to solving each and every murder committed in Lappeenranta . His new partner, Lena, serves as his mirror image in that she operates on an emotional level, using a frothy (Russian) combination of brute force, unfiltered intuition, and devil-may-care approaches to law enforcement to right wrongs. This is in sharp contrast to Sorjonen’s (Finnish) affective detachment, rarefied empiricism, and prudish respect for the “rules.”
34 Harmony Siganporia and Frank G. Karioris, “Rupture and Exile: Permanent Liminality in Spaces for Mo (...)
35 Rahman Mirka and Miikko Oikkonen, “Official Tour of the Shooting Locations of the Bordertown TV Ser (...)
36 David Wharton, “Netflix’s ‘Bordertown’ Blends Crime and Family Drama into a Stylish, Satisfying Who (...)
37 Maria Ainamo-McDonald, “Sorjonen – uusi kotimainen rikossarja (Sorjonen - a new domestic crime seri (...)
9When Jaakkola’s daughter goes missing, the two must work together to solve a trans-border crime network which lures teen-aged girls into a life of niche prostitution (as referenced in the series opener’s title “Doll House/Nukkekoti,” young Russians are drugged into a catatonic state and then provided to “European” clients for their sexual pleasure). Eventually, Jaakkola – an FSB agent – is forced out of her job and exiled from her country, finding refuge across the border (though often illicitly returning to Russia). Unmoored in a strange land, she joins forces with her alter ego, Sorjonen, thus instantiating a “permanent liminality” in the series . In the subsequent episodes, the unlikely pair work together to root out drug networks, dog-fighting rings, and other crimes in the bucolic lakeside town where the actual murder rate is close to zero, thus fulsomely undermining the notion of Lappeenranta as “a town of nice crime” and populated by “good people ”. This is in keeping with the series’ central focus as a family drama first and noir crime show second , an element that Yle promoted via the tagline: “five offenses, two families, one border ” (viisi rikosta, kaksi perhettä, yksi raja). Rather predictably, Sorjonen’s family becomes increasingly embroiled in criminal investigations from his wife’s (unwitting) involvement in financial impropriety via her old flame (and the town’s current mayor), to his daughter’s (wrongful) arrest on murder charges in the coda of Series 1, just as the Jaakkolas consistently serve as a (bodily) site of cross-border criminality from their very first appearance.
38 William R. Shirer, Boris N. Konrad, Nils C. J. Muller, Isabella Wagner, Guillén Fernández, Michael (...)
39 Contra the standard analysis of Sorjonen as a Nordic replica of the world’s most famous detective, (...)
40 Niall Martin, Iain Sinclair: Noise, Neoliberalism and the Matter of London, New York, Bloomsbury Pu (...)
10The second series begins to delve into Sorjonen’s background, establishing his preternatural gifts as the result of psychology therapy during his childhood which taught him to compartmentalise all his memories and social interactions. Herein, the viewer comes to understand why Kari must seal himself off from the outside world and create space-maps of his own recollections in his basement, what he calls “memory palaces.” Each such scene begins with him laying down painter’s tape on the floor in a mocked-up architectural plan, and then stepping from “room” to “room” to recall key details which are presented as flashbacks, thus adding an extra layer of the liminality in which the series trades. Using the method of loci or mnemonic training , Sorjonen is able to recall exact details of crime scenes, witness testimonies, and various often-seemingly unimportant ephemera that eventually lead him to incontrovertible conclusions which are always correct. Like the consummate crime-solver Sherlock Homes (to whom Sorjonen is often compared), Kari often sacrifices human engagement at critical moments of sociality to pursue an intellectual quandary to its logical end, therein alienating those closest to him. Not insignificantly, the Finnish Sorjonen also reflects the English Holmes in his Nachträglichkeit (roughly ‘afterwardsness’), not only as the singular agent whose sleuthing must be brought to bear, but also as the catalyst for such dark deeds to be committed in the protagonist’s proximity, given that the “crime is always constructed after the event which becomes thereby its impossible origin ”. In his failure to “be present” at home or “work” (he has taken leave to care for his spouse whose cancer has relapsed), Kari increasingly manifests as a liminal body as the series progresses, stuck in between the transnational crimes that afflict his adopted home, the dead souls who occupy most of his waking moments, his increasingly estranged family members, and Finnish society at large. He thus becomes – literally and physically – a man at the edge, ultimately culminating in he and his family being taken hostage by angry relatives of a victim whose case he had earlier investigated, revealing and resulting in a variety of different interventions across the Finnish-Russian border.
Liminal Landscapes: Screening the “Betwixt and Between” of Lappeenranta
11Founded in 1649 and later becoming an important military encampment during the days of the Grand Duchy, Lappeenranta (pop. 73,000) is situated on the shores of Saimaa, Finland’s largest lake. Connections to Lake Ladoga in the east and the Gulf of Finland in the south (both via Russia) make the town a key transit zone for tar, wood, pulp, minerals, metals, and other goods (see Image 2).
Image 2. The Opening Scene of the Series Showing the UPM Kaukas Sawmill from the Edge of Saimaa.
Source: Yle/Bordertown.
41 According to VisitLappeenranta, 1.7 million tourists came to the city and the wider South Karelia r (...)
42 Many of the actors in Bordertown attempt to affect some sort of Karelian provenance in their spoken (...)
12However, the scenic waterfront, ample hotels and cafés, cycling trails, and ready access to nature, including a chance to view the endangered Saimaa Ringed Seal (Pusa hispida saimensis) in the wild, draw in a significant number of tourists every year. Situated within Karelia, the city is also a destination for Finnish tourists, including many residents of the capital, seeking to explore the culturally-distinct “east” of the country. (There are distinct Karelian dialects (karjalaismurteet) within Finnish, while Karelian is a distinct language spoken by ethnic Karelians from north-western Russia.) Moreover, Lappeenranta Technological University and a host of “green” technology companies make the city an attractive location for entrepreneurs and corporations seeking to profit from the site’s relative proximity to and location in-between Helsinki and Saint Petersburg, i.e. on the edge of both the EU and post-Soviet space. Consequently, Bordertown has a good deal to work with in terms of screening its chosen site of murder and mayhem, despite the smallish size of Lappeenranta.
43 David Wharton, art. cit.
44 The cemetery features in Series 1 when an explosion at Original Sokos Hotel Lappee (which faces the (...)
13For the visitor who only knows the city from its televisual representation, finding one’s bearings is rather easy, though it is necessary to re-think the city in terms of scope and scale as the cinematography tends to make Lappeenranta seem much bigger than it actually is (one can walk the breadth of it in 45 minutes). Reflecting this in-betweenness of represented/perceived spatiality, one reviewer of the series noted that Bordertown supplies the viewer with “dizzying bird’s-eye-view shots that somehow feel simultaneously sweeping and claustrophobic ”. Like the built realms of Malmö-Copenhagen (The Bridge), Bergen (Varg Veum), Reykjavik (Stella Blómkvist), and other Nordic noir series, Bordertown relies on a variety of trompe l’œils to make its world “real,” an artistic intervention that is quickly understood as one attempts to establish a geographic perspective from the city’s effective centre, the shopping mall IsoKristiina (where the Bordertown tour begins). Not insignificantly, the building sits in clear view of a military graveyard, which hosts a statue in memory of those orphans whose parents perished in the defence of the homeland between 1939 and 1945, thus reminding the visitor to the town of Finland’s geopolitical precarity (see Image 3).
Image 3. Memorial to the Orphans of War, Lappeenranta.
Source: Wikipedia Commons/Jukani Honkanen/GAlexandrovna.
45 “Sorjonen's Lappeenranta - The Bordertown: Bordertown Filming Locations Tour”, VisitLappeenranta, 2 (...)
46 Mirka and Oikkonen, op. cit.
47 Toft Hansen and Waade, op. cit.
48 In doing so, Bordertown follows Wallander and the Swedish-French series Midnight Sun in establishin (...)
49 Mirka and Oikkonen, op. cit.
14Bordertown’s creator Miikko Oikkonen wrote the series with Lappeenranta specifically in mind . As a native of the town, Oikkonen came up with idea for the series following a class reunion, aiming to use his deep knowledge of the space to build a world that was so real that it would function as “if it were one of the main characters” of the series . Principal filming took place in the late summer of 2015, while the second season was shot in August and September of 2017. Given the seasonal conditions, Lappeenranta presents as a colourful, bright, and sunny locale, thereby inverting traditional Nordic noir aesthetics which tend to privilege dark spaces, grey places, snowy landscapes, and low-light conditions , thus providing a visual rhetoric that is at odds with the grimness of the subject matter. That being stated, the showrunners do employ a stark contrast to the bucolic landscapes of the series with the “concrete-dominated environment” of SECRI’s headquarters, as well as the bleak cement-walled cellar of the Sorjonen home where Kari builds his memory palaces; according to creators, the purpose of disparity in visual-spatial dynamics is to “place Kari in a simplified environment where there is room for the details, colours, and shapes of the crimes, people, and the outside world ”.
50 Hilda Roderick, and Ellis Davidson, Myths and Symbols in Pagan Europe: Early Scandinavian and Celti (...)
51 J. A. McCullough, “Light and Darkness”, in Encyclopædia of Religion and Ethics: Life and Death, ed. (...)
52 Brady Hammond, “The Shoreline in the Sea: Liminal Spaces in the Films of James Cameron”, Continuum: (...)
15Expanding on the theme of liminality and landscapes, the first series of Bordertown makes explicit use of water – and more specifically the Lake Saimaa’s surface, coastline, and depths – as part of its world-building and diegesis. In film and television, life and death are often linked through the medium of water, and the notion of bodies of water as thresholds between the worlds of the living and the dead is well established in folklore and mythology . However, the ancient Finns believed that, in the beginning, “there was nothing but water and light—an unusual version of the cosmogonic idea ”. As a land of lakes, water is never far away in Finland, and given that the coastline serves as a transitional space “where both known and unknown, familiar and unfamiliar, commingle ”, it is not surprising that Bordertown makes use of bodies of water as spaces at the edge of death. Focusing as it does on the differences between murders which are “under the surface” and “above the surface,” the series doubles the power of water as a metaphor for liminality. This representation is most profound in the opening scene “The Lady of the Lake: Part 1,” which screens a seemingly dead woman in a fish trap at the bottom of Lake Saimaa. However, the viewer soon learns that she is still alive; despite being covered in algae, the chained victim is sustained by access to air tube in macabre underwater prison lingering on the edge of death (see Image 4).
Image 4. The Lady in the Lake between Womb and Tomb.
53 As the tour points out, the first murder investigation in the series begins with a drowned body in (...)
Source: Yle/Bordertown
54 Robert A. Saunders, “Geopolitical Television at the (B)order: Liminality, Global Politics, and Worl (...)
55 Mirka and Oikkonen, op. cit.
56 Emma Cocker, “Border Crossing: Practices for Beating the Bounds”, in Liminal Landscapes: Travel, Ex (...)
57 Aija Lulle, “Revitalising Borders: Memory, Mobility and Materiality in a Latvian-Russian Border Reg (...)
16The series also repeatedly features that most liminal of all entities, a bridge, as an element of its storytelling, deepening the series’ embrace of in-betweenness or Lappeenranta as a city on the “edge.” As I have argued elsewhere, the televisual bridge – particularly in Nordic noir – functions as a “metonym for (un)regulated flows, personal mobility, conceptual ambiguity, sociocultural interstitiality, and geopolitical (in)security ”. Bordertown frequently screens the Luukkaansalmi Bridge, which serves as a signifier of Kari Sorjonen’s (futile) desire to separate his work and his private life; however, as any regular viewer of the series knows the “border is not clear” between Sorjonen’s “two worlds” of everyday life and the criminal underworld of Lappeenranta . Such movement between worlds at the local level (transitioning from the countryside to the developed areas of Lappeenranta and vice versa) is mirrored and amplified by the regular border-crossings between Finland and Russia, usually involving Sorjonen’s partner Lena Jaakkola. Moving beyond the social transversals of Kari’s bridge-crossing, Jaakkola’s international frontier-crossing “critiques the authority of national borders and the ideology of national identity to which they attest,” as well as their “attendant structures of capture and control ”. This is particularly evident given the laissez-faire attitude that she expresses upon taking refuge in Finland after angering her FSB bosses back in Russia’s “northern capital.” In its depictions of a screened frontier zone, Bordertown reifies Lulle’s assertion that “borders select and prioritise social relations,” therein determining regimes of exclusion and inclusion based their relationship with the relevant boundary . I now turn to the geopolitics of the embodied tourist experience as one takes the tour of Lappeenranta of Sorjonen’s “border town” imaginary.
The Geopolitical Tourist(’s) Gaze: Seeing a Border Town/Bordertown through the Prism of Its Imagineers
58 Gillen and Mostafanezhad, p. 70.
59 David Shim, “Between the International and the Everyday: Geopolitics and Imaginaries of Home”, Inte (...)
60 Gillen and Mostafanezhad, p. 70.
61 Christine Lundberg, Vassilios Ziakas, and Nigel Morgan, “Conceptualising On-Screen Tourism Destinat (...)
62 Andy Lawrence, “Malmö in the Footsteps of The Bridge”, Scan Magazine No. 81, 2015, p. 130-131; Anne (...)
17Building on Gillen and Mostafanezhad’s contention that the “tourism encounter is geopolitical,” and “invariably constituted through geopolitical discourse and practice ”, it follows that when a showrunner collaborates with a local tourism board to facilitate Finnish and Russian tourist engagement with a place like Lappeenranta, everyday geopolitics are at play . Following their methodology for unpacking the “place-based, multi-scalar and politically mediated geopolitical experience…co-constituted by residents and tourists ”, I will now examine the geopolitical tourism encounter produced through the reality-fiction blending of the Bordertown walking tour. Over the past decade, television tourism has become a big business, drawing in viewers of particular series to specific locales they have seen screened in their living rooms. Game of Thrones tours of Dubrovnik, Northern Ireland, and Iceland represent the apogee of this trend ; however, Nordic noir series have also prompted a flurry of show-specific tourism options in the southern Scandinavian cities of Ystad (Wallander) and Malmö/Copenhagen (The Bridge). Like these examples, Sorjonen’s Lappeenranta is one on the edge of somewhere else, a place of transition and ambiguity where crime reflects mobility, marginality, and multiplicities of experience and culture.
63 Mirka and Oikkonen, op. cit.
64 Lulle, art. cit.
18VisitLappeenranta’s Bordertown tour revels in this popular-geopolitical framework; however, the fraught relationship between the Russian Federation and its European neighbours in the wake of the first annexation of territory on the continent since World War II (i.e. the Crimean Peninsula) complicates the dynamics of representation at the EU’s eastern frontier. As the tour operators state: “Two worlds meet in the Lappeenranta border region: the fictional crime series Bordertown and the real summer destination ”. Yet, there is more girding this meeting of worlds, namely the unspoken yet always present threat that Russia poses to Finland, and especially the immediate frontier in which Lappeenranta is situated with all its lived realities and temporal modalities associated with its liminal status . The fact that guides must wear a Serious Crime Unit (SECRI) badge while conducting the tour thus turns the city-walk experience into a sort of geopolitical pantomime, with the tour operator assuming the role of a (Finnish) police officer charged with mitigating the effects of (Russian) criminality. Inarguably, this conceit plays differently depending on whether the tour group is composed of domestic (i.e. Finnish) or foreign (i.e. Russian) tourists. Yet in either case, the tourist is being drawn into a popular-geopolitical performance that speaks to the securitisation of the EU’s north-eastern periphery: walking around a border town while also walking through the imaginary of Bordertown.
65 Aunesluoma, art. cit.
66 Mikheil Saakashvili, “Russia’s Next Land Grab Won’t Be in an Ex-Soviet State. It Will Be in Europe” (...)
67 Neither of these Nordic countries are parties to NATO; however, the pact’s military doctrine has lo (...)
68 Anna Estera Mrozewicz, Beyond Eastern Noir: Reimaging Russia and Eastern Europe in Nordic Cinemas, (...)
69 I draw inspiration here from Arjun Appadurai (Modernity at Large: Cultural Dimensions of Globalizat (...)
19As scholar of geopolitics and a US citizen, my own liminality came into focus as I began to consider how the representation of Lappeenranta’s interstitiality presents for these two audiences, just as I reflected on Finland as the epitome of the blurry frontier between “East” and “West” during my youth when Ronald Reagan triggered the “Second Cold War ”. Importantly, concerns about the territorial integrity of Finland has re-emerged with former Georgian President Mikheil Saakashvili penning an inflammatory essay in the influential American journal Foreign Policy suggesting that Vladimir Putin will soon provoke a war with Finland and/or Sweden to shore up his position at home . As Mrozewicz has demonstrated, Finnish cinema has long been engaged with the country’s identity vis-à-vis the Russian “Other,” with stories that exist in the gap between the “border” and the “boundary” being particularly fecund in terms of sculpting Finnish national identity before and after 1991 . Building on Mrozewicz’s identification in-betweenness that exists between the border and the boundary, I wish to introduce the concept of the edgescape to flag up the ways in which film, television series, and videogames produce realms of understanding about (b)ordered spaces via their visual rhetoric.
70 Maria Mälksoo, “Liminality and the Politics of the Transitional”, in Handbook of Political Anthropo (...)
20Elaborating on the notion of edgescape in screened interventions, I argue that Bordertown, alongside other geopolitically-inflected series where national frontiers are central to the narrative arc (Breaking Bad, The Border/Wataha, Pagan Peak/Der Pass, etc.), builds its world in relation to the threshold, with motivations for action flowing outward in multiple directions. This political regime of liminality often supports the fabula by structuring power relations within a given series, privileging some agents and disenfranchising others (see Image 5).
Image 5. The Securitised Border from the Perspective of the Finnish Side.
Source: Yle/Bordertown.
71 Lulle, art. cit.
72 Jamaluddin Aziz, Transgressing Women: Space and The Body in Contemporary Noir Thrillers, Cambridge, (...)
73 Coulthard, p. 555.
21Hence, certain characters become corporeal sites/sights of state power, with the Jaakkolas serving this function in Bordertown. As female bodies from Russia, living in Finland, and yet “stuck” between these spaces in the interstices of the Karelian borderland, Lena and Katia become canvases upon which Finnish and Russian authorities stake their respective claims (mostly through the actions of male representatives of the state). This line of analysis is not meant to suggest that they lack agency, as both are fiercely autonomous units within Bordertown’s narrative arc, but instead to point out that by casting their bodies against the Finnish-Russian frontier, the ruptures of the (re)drawing and enforcing of (b)orders comes to the fore . For the crime-noir tourist, consideration of the female body (or corpse) is an indispensable aspect of the genre , and we know that every time Lena illicitly crosses the border, she risks joining that panoply of naked, dead women that populate Scandi-noir’s darkened realms of “gendered endangerment ”.
22Echoing the focus on the day-to-day banalities of political power in Norden made popular in the hugely-successful Danish drama Borgen, a large part of the tour focusses on the City Council. Reflecting the cooperative relationship between local government and the series, a life-sized cardboard cut-out of the character Kari Sorjonen stands at the entrance to municipal government offices, allowing tourists to take a photograph with Lappeenranta’s most famous (albeit fictional) denizen (see image 6).
Image 6. Life-sized Cut Out of Kari Sorjonen in the Lappeenranta City Council Lobby.
Source: Author’s collection.
74 Mirka and Oikkonen, op. cit.
75 Interestingly, my tour guide Rahman Mirka appeared as the Chairman of the City Board in an episode (...)
76 Mirka and Oikkonen, op. cit.
23This is done by contextualising the Town Hall as place of power, both within the landscape of downtown Lappeenranta and as central to the political life of this small city which is increasingly beholden to transborder investment on the part of wealthy Russians. As the script reads: ‘Many of the actual Council members actually appear in the scenes that were filmed in the Council Hall. They insisted that they should be allowed to sit in their own places ”, thus lending a level verisimilitude to the representation. The first screening of the Council, as the tour reveals, lack genuineness: a totally unnecessary vote on Sorjonen’s partner Pauliina (Matleena Kuusniemi) being confirmed as a substitute Council Secretary as the result of a maternity leave. However, the scene makes clear the visible, transparent, and public nature of Finnish government, which is increasingly contrasted with the veiled nature of Russian politics as the series progresses. However, this outwardly open form of governance comes to contrast with the underlying whiff of corruption associated with Mayor Robert Degerman (Janne Virtanen) and his grand plans for a new casino, mega-hotel, and a renovated airport. As the tour-goer learns: “Degerman refers to Russia as an opportunity, not a threat. The grant project of the city administration is also partly based on the belief that the Russian economy will improve in the future and that Lappeenranta will have a lot to offer to tourists, immigrants and businesses coming across the border ”. The narrative – as presented in Series 1 – thus engages with and then premediates the complex economic issues that would result from the Russian Federation’s 2014 annexation of Ukrainian territory and the ensuing international sanctions that crashed the rouble, an unintended geopolitical outcome that deeply impacted Lappeenranta with its heavy dependence on economic ties to Saint Petersburg. With Russia’s steady rehabilitation within Europe, as well as US President Donald J. Trump’s tacit support for President Vladimir Putin’s adventurism abroad, Bordertown enmeshes itself with the construction of reality that is dependent upon the resumption of Russian day-trippers to Lappeenranta.
Conclusion – Or Screening the Frontier as a Form of (Popular) Geopolitics
77 Wolf, op. cit.; Babette B. Tischleder, “Thickening Seriality: A Chronotopic View of World Building (...)
78 Jürgen Habermas, Theory of Communicative Action, Volume Two: Lifeworld and System: A Critique of Fu (...)
79 Dan Hassler-Forest, Science Fiction, Fantasy, and Politics: Transmedia World-building Beyond Capita (...)
80 Jutta Weldes and Christina Rowley, “So, How Does Popular Culture Relate to World Politics?” in Popu (...)
24As the call for this special issue makes clear, the narratives that make good television employ sophisticated approaches to political, social, and ideological issues which are often expressed in spatial ways. Series that are able to constitute a genuine sense of space and place are thus in a better position to project complex identities, consequently allowing the viewer to take the story seriously. It is in this conceived/perceived edgescape between the imagined and the real that the built-worlds of cultural producers meet the lifeworlds of their audiences , therein creating a frisson-inducing melding of the two, and one which necessarily engages political culture . Filmed in and around Lappeenranta, the hometown of its creator, Yle’s Bordertown effectively launched Finland as a player in global crime drama production, paving the way for such series as Deadwind/Karppi (Yle, 2018-), Arctic Circle/Ivalo (Yle, 2018-), and All the Sins/Kaikki synnit (2019-). As I have argued, in its close attention to landscape, place, and space, the series makes a geopolitical intervention in Finland’s current delimitation of its difference from but proximity to Russia, a country which looms large in its history as an imperial overseer (1809-1917), wartime adversary (1939-1944), hegemon (1948-1981), and key trading partner. The series both constructs and deconstructs ways of seeing the Finnish Karelia as a borderland, making subtle references to a variety of elements of Finnish history and national identity through its depictions of the region, past events, and points of contestation with the country’s powerful eastern neighbour. By introducing the notion of the edgescape to critical television studies via my case study of Bordertown, I have endeavoured to articulate the ways in which small-screen representation engages with geopolitical understandings, while also influencing ways of understanding how the world really works .
I would like to thank Saara Ratilainen for her assistance with the Finnish translations and her insightful comments on the series, as well as Anne Marit Waade for her guidance on interrogating the aesthetics and geopolitics of screened landscapes. I would also like to recognise the generous support of Aarhus University Research Foundation, which funded a portion of my research activities for this essay. Additionally, I wish to express my gratitude to Arto Mäkinen for permission to use images from the series and Rahman Mirka for sharing his expertise on Lappeenranta and Sorjonen, as well as facilitating permission to cite the tourist guide script for the official Bordertown tour of the city. Lastly, I want to thank the two blind referees whose comments guided the final revisions of the article.
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Alex Gibney, the director of this year’s Oscar-winning documentary “Taxi to the Dark Side,” has filed for arbitration, asserting that its box office prospects were undermined by the financial troubles of the film’s distributor, ThinkFilm.
The demand for binding arbitration is the latest hurdle for ThinkFilm, and its owner, David Bergstein, who also owns Capitol Films. But it also comes at a critical time for an independent-film world buffeted by an overabundance of movies and financial challenges.
In a June 19 filing with the Independent Film & Television Alliance, an industry organization, Mr. Gibney’s company, X-Ray Productions, asserts that ThinkFilm defrauded him by not having the financing to distribute and promote “Taxi” properly and seeks to reclaim the film’s distribution rights. The complaint says ThinkFilm’s failure to pay vendors caused the film’s Web site to shut down, and that the company did not advertise the post-Oscar run in major magazines. Since its release in January, the movie has made less than $250,000 in theaters.
“I’m upset because the whole commercial strategy of the film was predicated on the idea of winning awards,” Mr. Gibney said. “The fact that they were fiscally unable to capitalize on the Oscar infuriated me for two reasons: They had been in financial difficulty for some time and hadn’t disclosed it to us; and we won the Oscar, and they still hadn’t disclosed it to us.”
While acknowledging ThinkFilm’s financial hardships, Mark Urman, its president, said the company had done right by “Taxi,” which told the story of an Afghan taxi driver who died while in custody at the Bagram Air Base in Afghanistan.
“From the time we acquired it, and throughout its release, no corner was cut and no expense was spared,” he added.
The feud — between Mr. Urman, a well-regarded distributor of independent films including “Spellbound” and “Half Nelson,” and Mr. Gibney, the documentarian behind “Enron: The Smartest Boys in the Room” and the coming film about Hunter S. Thompson, “Gonzo” — is the latest difficulty in the independent film world. Over the last few months Warner Brothers announced it was closing two high-profile companies created to distribute art-house films — Warner Independent and Picturehouse —while Paramount Pictures’ art-house label, Paramount Vantage, acknowledged it was laying off staff and retrenching.
Mark Gill, the president of the Film Department, another independent distribution and financing company, and the former president of Warner Independent, said the current downturn for independent film could be attributed to three things: “a glut of movies in the market, the turning off of the money spigot (due to the drying up of hedge-fund money), and a change in the way people spend their leisure time.”
“It used to be, ‘Mediocrity will be punished,’ ” Mr. Gill said by telephone from Los Angeles, where last weekend he delivered a cri de coeur about the state of independent film during the Los Angeles Film Festival. “Now it’s ‘If you’re not very good or great, you will be punished.’ ”
Bob Berney, the president of Picturehouse, which will officially cease operating in October, said, “I think the audience is still there, but that several of the business models and the way some of the truly independent companies were set up and funded are outdated.” He added, “Good films will always find a market.”
But that is becoming increasingly difficult to ensure. As private equity funds flowed into the movie world and businessmen wealthy from other endeavors decided to try their hand at film financing, movies — particularly those not made by the Hollywood studios and their boutique divisions — have proliferated. About 600 films were released in 2007; five years earlier that figure was under 450, according to the Motion Picture Association of America. And the vast majority of screens in the United States are devoted to the offerings from the big studios.
The result has been that small films, fighting for a finite number of screens, struggle for enough time to build an audience. If they don’t become a hit immediately, there’s another worthy film ready to grab the theater.
The key to longevity, say the presidents of two free-standing independents, Kino International and Zeitgeist Films, is to exercise restraint in both the amount of money allotted for purchasing completed films and in how advertising dollars are spent.
“We try to hedge our bets so we can stay in the game,” said Emily Russo, who with Nancy Gertsman runs Zeitgeist, which on Thursday night will celebrate its 20th anniversary with the opening of an exhibition at the Museum of Modern Art, “Zeitgeist: The Films of Our Time.” “A lot of the companies that came and went, came and went in a bigger, splashier way than we have ever done.”
Don Krim of Kino said his company’s survival for more than three decades had been due in large part to its library of over 500 films, which provides a steady revenue through DVD and ancillary sales. “We don’t hit many home runs, but we have a lot of singles and doubles and occasionally a triple,” he said. “We can do fine with a movie that doesn’t do a million at the box office. But the studio classics divisions need to do $1 million to $2 million to be profitable.”
While never a major player in independent dramatic films, ThinkFilm has quietly made its niche a cache of smart documentaries. A reduced ThinkFilm would make it even tougher for independent documentary filmmakers to find a distributor, and a reduction seems likely.
There is a steadily increasing list of filmmakers, publicists and others who have begun to make public their complaints against ThinkFilm and its owner since 2006, Mr. Bergstein of Capitol.
Shooting on “Nailed,” the new David O. Russell film, has been shut down several times by the Screen Actors Guild and other unions because Capitol was not meeting its payroll obligations. (Mr. Bergstein and representatives for Capitol in Los Angeles did not return phone calls.) The producer Albie Hecht, for example, said he was still waiting for a six-figure advance that he said had been promised after ThinkFilm acquired “War Dance,” an Oscar-nominated documentary by Sean Fine and Andrea Nix in September 2006. Like Mr. Gibney, Mr. Hecht has filed for arbitration with ThinkFilm.
“It pains me to do this,” the publicist Nancy Willen said, referring to her lawsuit filed in Los Angeles in April against ThinkFilm and Capitol Films. “I’ve had a long, productive working relationship with Mark Urman since early in my career. However I now have my own business and simply can’t afford this.”
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https://www.banderasnews.com/0702/ent-berlinfilmfest.htm
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'Bordertown' Shown at Berlin Film Fest
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Jennifer Lopez brought 'Bordertown,' in which she plays a reporter trying to solve multiple killings of women in a Mexican border city, to the Berlin film festival and said the role had been a life-changing experience.
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http://www.banderasnews.com/favicon.ico
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Geir Moulson - Associated Press
U.S. actress Jennifer Lopez arrives for the screening of her movie 'Bordertown' at the 57th International Film Festival Berlin 'Berlinale' in Berlin Thursday, Feb. 15, 2007. (AP/Markus Schreiber
Jennifer Lopez brought "Bordertown," in which she plays a reporter trying to solve multiple killings of women in a Mexican border city, to the Berlin film festival Thursday and said the role had been a life-changing experience.
The movie, directed by Gregory Nava, aims to focus attention on killings around Ciudad Juarez over the past 14 years.
"I really couldn't believe this was going on, and the more I found out about it and the more real it became to me, I really felt like it came to me for a reason," Lopez, 38, said at a news conference, adding that she felt a "responsibility to do something."
"It changed my life a lot it changed the way I think," she said.
Lopez stars as a fictional American reporter who becomes increasingly caught up in searching for the attackers of a young Indian woman who is raped, strangled and left for dead. Antonio Banderas stars as Lopez's ex-lover, who is now a local newspaper editor.
Amnesty International, which honored Lopez for her role ahead of Thursday's premiere, puts the number of women and girls killed around Ciudad Juarez and Chihuahua since 1993 many after being kidnapped and raped at more than 400.
Mexican authorities say more than 350 women have been killed since 1993 in Juarez, a city of about 1.3 million people across the border from El Paso, Texas.
But they say only about 100 of those slayings appear to fit a pattern in which young women were sexually assaulted, strangled and dumped in the surrounding desert. They say the rest of the women were killed in crimes of passion, accidents or robberies and other crimes.
Much of the movie one of 22 competing for the Berlin festival's top Golden Bear award was shot in and around Albuquerque, N.M., as well as in the Mexican border town of Nogales.
Nava, a native of San Diego, said it was "too dangerous" to take Lopez, Banderas and the main crew to Ciudad Juarez.
On the Net:
Jennifer Lopez: http://www.jenniferlopez.com/
Berlin International Film Festival: http://www.berlinale.de/en/HomePage.htmlLopez Swaps Stardom for Activism in Film
Mike Collett-White - Reuters
Pop star and actress Jennifer Lopez swaps her "A"-list celebrity for social activism in a new film about the plight of Mexican women working in factories near the U.S. border who are raped and murdered.
"Bordertown," which reunites the singer with director Gregory Nava, is based on real events and was made to draw attention to what the film's makers say are deliberate attempts by authorities and companies to cover up the crimes.
In the film, which had its world premiere at the Berlin film festival on Thursday, Lopez plays an ambitious reporter from Chicago who travels to Mexico on an assignment she hopes will get her a cherished overseas posting at her newspaper.
At first cynical and self-serving, her character becomes increasingly concerned by the disappearance of hundreds of women whose graves are unearthed with alarming regularity, while the task of uncovering the truth becomes more and more dangerous.
Antonio Banderas plays a campaigning journalist in the city of Juarez, where the action is set, while Mexico's Maya Zapata is Eva, the girl who is hunted after she survives a brutal attack and can identify her assailants.
"When they came to me with the project, I immediately became very passionate about it and said that I would do it and I would help them get it made," Lopez told reporters after a press screening. The film is in the main competition in Berlin.
"What I thought (when I read the script) was, I couldn't believe it. I really couldn't believe this was going on. And then the more I found out about it the more real it became to me," the 37-year-old said.
Lopez, who worked with Nava 10 years ago on "Selena," said the film and what was happening along the U.S.-Mexican border, had changed her perspective on life.
"It changed my life a lot. It changed the way I think. You do it and it does change your life."
LOPEZ CRUCIAL
Nava said he could not have raised the money to make the film without Lopez's involvement. She is also a producer.
While critical reaction to the thriller may be cool, judging by the boos after its press screening in Berlin, Nava will be hoping Lopez's name will bolster the box office.
"It was a very, very tough journey to get this movie made, and I have to thank ... Jennifer, because if Jennifer had not gotten involved ... it would never have been made," Nava said.
He told reporters he received death threats during the making of "Bordertown," which he first conceived in 1997, and Lopez and Banderas could not shoot scenes in Juarez because it was deemed too dangerous.
"In making the film we found that there were people who didn't want the movie to be made, but there were also many more people who supported what we were saying," he added.
"Bordertown" argues that huge economic interests in the factories where the young women work, called "maquiladoras," mean that corporations and governments do not want to ruin business by exposing the issue.
Nava, who worked with Amnesty International on the project, said more than 400 women had been murdered.
"These are human beings, with dignity, with lives, with hopes and with dreams but in this great global economy, a few hundred, a few thousand young women get killed - well, it doesn't matter, let's just cover it up and get some more."
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https://www.prx.org/pieces/71192-barbara-martinez-jitner
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en
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PRX
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https://www.indiewire.com/features/general/inside-the-strange-and-prickly-world-of-ad-supported-indie-film-distribution-1234807779/
|
en
|
Inside the Strange and Prickly World of Ad-Supported Indie Film Distribution
|
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2023-02-14T20:30:49+00:00
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AVOD streamers license movies that would otherwise be stuck in the bargain bin, but filmmakers may need "a million" views to make money.
|
en
|
IndieWire
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https://www.indiewire.com/features/general/inside-the-strange-and-prickly-world-of-ad-supported-indie-film-distribution-1234807779/
|
“By Deception,” a feature from Philadelphia-based filmmaker Samuel Morrison, Jr., has no stars, no buzz, no theatrical release, and almost no production budget — $20,000. It’s a miracle it got made; perhaps even more miraculous is the movie is available for streaming on Peacock, Tubi, and Plex. It might even stand to turn a tiny profit.
“By Deception” is a psychological thriller about a writer who finds his friend murdered in his home but has no memory of the incident. It’s one of the hundreds, maybe thousands, of independent films that appear on streamers via non-exclusive, ad-based licensing agreements. A streamer didn’t buy Morrison’s film, but by generating enough ad impressions through on-demand views, it’s slowly but surely paying out.
Morrison knows his film isn’t destined for awards. After making multiple short films and music videos, he went into production on the largely self-financed “By Deception” as the COVID-19 pandemic began. He said it was hardly the film he envisioned, but his wife encouraged him to see it through rather than cut his losses.
“The ratings have been decent, and people have been reaching out that I don’t know saying, ‘We were on the edge of our seats,’” said Morrison via email. “It’s always dreaming of having a film on Netflix, HBO Max, Hulu, etc., but not having the budget or production value to realistically obtain such. My goal with ‘By Deception’ was initially to complete a film and show Hollywood decision makers the possibility of what we can do, and I have achieved that.”
AVOD (advertising-based video on demand) streamers often license unknown or obscure movies in bulk from distributors like FilmRise, Gravitas Ventures, Shout! Factory, Cinedigm, and others, but those companies didn’t acquire “By Deception.” Instead, Morrison licensed it via Homestead Entertainment, a tiny distributor in Laguna Beach, California that specializes in working with filmmakers to access non-exclusive AVOD deals on dozens of services.
Homestead principals Sean Armstrong and Rob Johnson told IndieWire they convinced one of its directors to pass on a $100,000 SVOD licensing deal and instead release through Tubi via a non-exclusive deal. They say it allowed the movie to make six to seven times more. (They declined to name the figure or the film.) “The whole space has evolved,” Armstrong told IndieWire. “Now these people are writing checks.”
“We’ve seen filmmakers’ lives literally changing,” Johnson added. “In the pre-streaming era, even as close as pre-pandemic, these filmmakers would never have even had the ability to get a distribution deal or a licensing deal.”
No one confuses AVOD dealmaking with Sundance auctions. The overwhelming majority of the titles handled by companies like Homestead and FilmHub come from low-to-microbudget filmmakers and it’s not the first, second or even third option for festival darlings with modest budgets.
However, a nonexclusive AVOD deal allows filmmakers to get their movies discovered across multiple platforms and make at least a little money, but rates are inconsistent and often undisclosed, usually pennies on the view. They’re also based entirely on performance: It’s a 50-50 share of ad revenue (minus distributor expenses) and there’s no upfront payment.
For AVOD and FAST streamers, these deals are increasingly appealing. If they need, say, a curated Christmas channel, a non-exclusive deal lets them license 50-100 titles at a time and create with hundreds of hours of content. No need to take long-term exclusive rights, or overpay for original content out of a film festival. (According to one insider source at a streamer, some streamers meticulously view trailers before licensing, while others will seemingly take “anything.”)
Also in the game are self-service film aggregators. Filmhub cofounder Alan d’Escragnolle said his company has distributed more than 17,000 movies since January 2020, supplying as much as 15 percent of Tubi’s 50,000-film library. He said FilmHub works with upward of 100 services and claimed distributors have started leaning on them to reach more niche or international streamers.
Similar to the principals at Homestead, d’Escragnolle claimed that a low-budget filmmaker who has released several movies via FilmHub grossed between $60,000-$90,000 on each title within the first year. (He also declined to name the filmmaker.)
“Filmmakers who are doing this well and are playing to the right audience are able to make a living off this,” he said. “You want to know what your distributor is doing, where they’ve distributed your title, where it’s live, where it’s monetizing and when you’re going to get paid.”
Filmhub takes a 20 percent cut of whatever a movie earns. Johnson didn’t disclose Homestead’s fees, but (naturally) argued that it offered a superior service with a choreographed release strategy rather than putting your film everywhere.
“It’s a preference,” he said. “Filmhub does a service, and do you want to go to a self-serve restaurant or a Michelin star? Sometimes we do get filmmakers who come from those types of places [who] say, ‘We want a different experience.'”
Do the math – as any filmmaker who has gone this route certainly has – and a film might need to be viewed thousands of times before it can accrue even a modest sum. What no streamer does is publicly disclose their CPMs or reveal viewership data, and that goes for the filmmakers, too.
“While the per-view generally is not as much, I would argue that roughly the breadth and availability you have and access to people changes that,” d’Escragnolle said. “So yes, you might have to get your film watched a million times to make money, but guess what? Getting to that million is much easier now.”
It also leads to filmmakers becoming detectives to figure out how much services pay — and complaining to gatekeepers like d’Escragnolle that some services are worse than others.
“[Filmmakers are] saying, ‘I’m making all this money on Freevee, but nothing on Xumo. Xumo doesn’t pay me!'” d’Escragnolle said. “It’s all based on the viewership. The rate you’re getting paid is roughly the same, but it depends on the amount of viewers on that platform and the amount of time your film gets viewed. That’s what filmmakers have to think about as they go into this: You’re not getting an upfront license. It’s based on the viewership. It’s based upon the success of your film. That’s where filmmakers need to understand: ‘If my film isn’t making money, it’s not because people aren’t paying, it’s because people aren’t watching my film that much.’”
A film production executive who asked to remain anonymous said even on sites like Tubi, which have tens of thousands of titles, the majority of the viewing goes to the top 10 percent of content. Without homepage placement, the odds of being seen are terrible. “Who goes scrolling down a hundred pages?” the executive said. “The economics are so bad. You need so much volume, you even need decent volume for like a thousand dollars. A lot of people need to watch your movie.”
Actress-turned-filmmaker Victoria Vertuga directed, wrote, produced, and starred in “Lexi,” which she said had an ultra-low budget of just $5,000. She distributed through Filmhub. “We saw it as a unique opportunity to self-distribute, get that data and learn what that landscape looks like, what the numbers look like, with the hopes that would empower us for future projects,” Vertuga said. “This is what we did on our own. This is what we can do on our own.”
Vertuga placed “Lexi” on as many as 15 different platforms, including Plex, Xumo, and Tubi. She said “Lexi” will make its money back; Filmhub payments are itemized and timely. However, each streamer has its own tech specs and these nonexclusive films are not their top priorities. That made coordinating the platforms’ release dates impossible. Vertuga said she wasn’t even notified when her film became available.
“That means literally checking every platform that you’ve been delivered to like a friggin’ maniac,” she said. “Of the 15 we’ve been delivered to, I’m not even sure that we’re live on all of them. Some of them have terrible search functions. You’re waiting until you see your insights or your statements. ‘There we go, we’re getting paid by this weird one. I guess we’re live there.’ It’s kind of an adventure in that way.”
Streamers and distributors can be inconsistent in issuing payments; some pay monthly, others quarterly. Some pay six months after “insights” — the data points distributors share with filmmakers — become available. It made Vertuga question whether the model makes sense for the average filmmaker.
“I have no idea what it comes out to in math,” she said. “No one really does. That’s why it’s kind of weird. It’s very elusive. There are filmmakers I’ve spoken to that are making comfortably six figures off of a handful of projects on Tubi alone and they do no marketing. But I don’t think that is the norm and I don’t think that you can bank on that… I think it’s far more likely that filmmakers are making hundreds of dollars a month, not $10,000.”
Troy Carlton said he is one of the lucky ones. After spending 10 years trying to get his golf comedy “Birdies” to the screen, Carlton said he found that after meeting with distributors he decided that the strategies they use to release and promote movies were ones he could manage himself.
“We were ebbing toward self distribution, feeling that we would service this project better than somebody just trying to add to their library, and I think we were right,” Carlton said. “It’s a very wishy-washy process. The market is changing, and everyone’s trying to figure out what’s going on with this streaming service, and it seems a little more accessible for the little guys like me to be able to get my film exposed, seen, and get an audience. I don’t have to use these shady agents and distributors who have big promises but don’t have big plans.”
“Birdies” first launched on Amazon’s Prime Video Direct, which set a price of $6.99 to rent and $12.99 to buy (Amazon sets its own prices for TVOD transactions). The algorithms were in his favor: Carlton said “Birdies” was listed among Prime Video’s new releases, next to blockbusters. Best of all, he was delighted to learn that “the revenue is real.”
Carlton used what he made through Prime Video Direct to bankroll more marketing and events. His Amazon deal wasn’t exclusive, so he used Filmhub to push “Birdies” out as a rental via iTunes and for free with ads on Tubi and Plex. To date, his movie has made roughly $100,000 across all platforms.
“What more could I ask for?” he said. “I feel like we did the right thing when it comes to distribution, because I don’t think we would’ve seen anywhere near those numbers, and we would’ve done a disservice handing it to somebody else. This is something that doesn’t pay off immediately, but could pay off and is paying off. For me, it feels amazing: We’ve paid our cash investors back, and we’ve put our own money into it, and that’s what we’re getting back ourselves. That feels great.”
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https://www.surepak.com.au/page/1507/pallet-wrap-stretch-film-bordertown
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en
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Pallet Wrap & Stretch Film Bordertown
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Keep products securely unitised with pallet wraps & stretch film from Surepak Bordertown. Pallet wrap machinery & equipment is also available. Order online now.
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https://d347awuzx0kdse.cloudfront.net/surepakadvanced/content-file/favicon.ico
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Make Surepak your first choice for durable, high-grade pallet wrap and stretch film in Bordertown! From hand stretch film to pallet wrap applicators, our assorted range of pallet wrapping equipment is sure to meet your business’s needs.
Surepak’s pallet wrap and stretch film are manufactured for maximum elastic recovery, stretchability and resilience. Our stretch wrap is perfect for unitising pallet loads and keeping boxes and products bound tightly during transport. It is also resistant to moisture, dust and dirt, helping to seal off warehouse stock from nasty contaminants while in storage.
For a top-quality packaging solution that protects your goods in storage and transit, turn to the leading suppliers of pallet wrap in SA. Browse Surepak’s pallet wrapping equipment for sale, or contact our team today for more information.
*Please note: We ship to Bordertown from our Braeside warehouse*
Shop Our Pallet Wrap Range
Surepak stocks a comprehensive range of pallet wrap products suitable for any application. This includes:
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Every business has different requirements for pallet wrap, which is why all of our stretch films come in various thicknesses. Most of our pallet wrap is also available in both clear and black, providing extra protection for businesses concerned about the security of their valuables.
For smaller and irregularly shaped loads, we recommend bundling film or hand pallet wrap as a cost-effective method for binding and unitising your items; for larger and heavier products, machine stretch film is the better option. Contact our team today if you’re unsure which pallet wrapping equipment is right for your business.
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In addition to its robust, durable and easy-to-handle design, our stretch wrap film is fully recyclable, helping you to reduce your environmental impact without sacrificing protection or performance. Order top-quality, affordable pallet plastic wrap online today from Surepak!
Leading Suppliers of Pallet Wrap and Stretch Film
We’ve been distributing packaging supplies nationwide, including Bordertown, for over 30 years. We’ve refined our processes over the years to deliver only the finest quality products and customer service, helping us to become one of the most trusted suppliers of product packaging in SA.
When you buy stretch wrap equipment from Surepak, you’re guaranteed to receive a protective, high-performance product that meets your business needs. Whether you’re after a pallet wrap roll suitable for hand wrapping, pallet wrap dispenser or stretch film machine, Surepak’s range of heavy-duty stretch wrap has you covered – literally!
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Contact Surepak Today
Purchasing quality, reliable stretch film and pallet wrap products online is effortless with Surepak! Our range provides strong and durable protection suitable for all of your storage and transport needs.
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https://cmc.marmot.org/Record/.b62150765
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en
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Murderball
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https://opac.marmot.org/bookcover.php?id=ils%3A.b62150765&size=large&format=DVD&upc=000821575533652
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The triumphant stories of quadreplegic athletes who competed in full contact wheelchair rugby in the Olympic Games in Athens, Greece.
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en
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Colorado Mountain College
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https://cmc.marmot.org/Record/.b62150765
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https://worldpopulationreview.com/country-rankings/film-distributors-by-country
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en
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Film Distributors by Country 2024
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https://www.thinkfilm.de/panel/overall-underground-marc-siegel
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en
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Overall Underground - Marc Siegel
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Marc Siegel
Underground über Alles
To my mind, and with all due respect to the organizers, with whom I could have or should have discussed this earlier, the title of our session sounds a bit strange: "Overall Underground." It's clever and poetic, but
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de
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https://www.thinkfilm.de/sites/default/files/favicon_0.ico
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https://www.thinkfilm.de/panel/overall-underground-marc-siegel
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Marc Siegel
Underground über Alles
To my mind, and with all due respect to the organizers, with whom I could have or should have discussed this earlier, the title of our session sounds a bit strange: "Overall Underground." It's clever and poetic, but its aims are certainly not within our reach, as if we on this panel or anyone on a panel can address an overall underground, an underground regarded as a whole or an underground considered generally. I am confident that none of us on the panel and none of the organizers think that there is an underground but rather something like specific historically determined underground scenes or films or filmmakers. And, of these scenes or films or filmmakers, we will only be addressing a small number here, primarily focusing on examples from North and South America and Western Europe.
Looked at another way, the title might have worked well in reverse order "Underground Overall"–or even "Underground Overalls," a nice fashion idea! But, actually, as "Underground Over All," the title functions as a translation into English of "Underground über alles," like "California über alles," a punk perspective that on the surface treats the underground as the most important thing for us to consider in the context of a congress about film as an experimental mode of thought, a congress with a history tied to experimental film and the avant-garde. Of course, such a title "Underground über Alles," can't escape its reference by way of the Dead Kennedys song to a critique of a fascist celebration of the state over the individual. If we carried this allusion further, we'd have to ask what kind of menacing underground or what menacing conception of the underground is being celebrated here. Those of us who don't just want to rest in punk provocation would likely want to distinguish the term "underground" from others like "avant-garde" or "independent" or "free cinema," all terms used historically to describe periods, movements or histories of radical innovation in filmmaking.
But, in the age of flourishing underground film festivals (even the advertising agency that supplies moving images for the Berlin subway runs its own underground fest), we would do well to try to specify which meaning of underground we are privileging when we use the term. These festivals include the Chicago Underground Film Festival (entering its 20th year), the Melbourne Underground Film Festival (in its 13th year), the Calgary Underground Film Festival (in its 10 year), the Lausanne Underground Film Festival (entering its 12th year), and the Oakland Underground Film festival (in its 4th year). This is, of course, just a small sampling of the many festivals around the world that feature the word "underground" in their title. A closer look at such festivals, their programming, sponsorship, screening locations and their own self-conceptions would, I imagine, complicate our understanding of the contemporary usage of the term. Since my interest here, however, is to turn to earlier conceptions of underground film, I'm not going to go into more detail about these festivals–that could be a subject for discussion–but I would like to offer by way of example one contemporary definition of underground that I take from the Oakland Underground Festival's website: "To us underground means: unconventional, bottom-up, misfit, badass, outsider, outlaw, rebel, underdog, minority, local, urban, green, and revolutionary."
Despite conflicting and extremely subjective ideas about its meaning, the underground is obviously not an antique. It lives. But is this living underground what we mean we speak of an underground over all, an underground über alles?
There are many more "underground" festivals and screening events that might not be so named, but nevertheless seem to or intend to carry forth the spirit of that Golden Age of a historical underground, by which I mean that period in the United States between, say, 1961 with the start of a screening series of midnight movies at the Charles Theater in New York and 1966, the year of Andy Warhol's 3 ½ hour, double-screen epic The Chelsea Girls. The Chelsea Girls was according to then New York Times film critic Bosley Crowther, the first underground film to surface in mid-town Manhattan and to have "taken over a theater with real carpets." (So here's another determination of the underground: such films are typically screened in theaters without real carpets.) I take this periodization of the American Underground from Juan Suárez's book, Bike Boys, Drag Queens, and Superstars. Others would date it differently, perhaps going back earlier to 1959, the year of both Robert Frank and Alfred Leslie's Pull My Daisy and John Cassavetes Shadows, both films that Suárez to my mind rightly relegates to the period of the New American Cinema, rather than to the underground proper. For Suárez, 1966 marks a turning point, not just because of the carpets, but also because it was the year of Tony Conrad's The Flicker, a film that signaled a shift in avant-garde filmmaking to structuralist cinema, that mode of innovation that dominated production in North America and Europe for just about the next decade. But if the New American Cinema precedes the underground and structuralist cinema, at least in this account, succeeds it: what is it actually?
Jim Hoberman and Jonathan Rosenbaum offer a definition that is in line with Suárez's periodization and conception of the underground as a cultural formation, if a bit more limited in its scope. In their Midnight Movies, they write:
Throughout the 1960s, underground movies were synonymous with all avant-garde or experimental films….however, we have narrowed the focus of the term to concentrate on a group of filmmakers who emerged in New York City in the early '60s and whose work was distinguished from both commercial movies and the earlier avant-garde by a combination of willful primitivism, taboo-breaking sexuality, and obsessive ambivalence toward American popular culture (mainly Hollywood).
The filmmakers they focus on include Ron Rice (The Flower Thief, 1960, and The Queen of Sheba Meets The Atom Man, 1963), Jack Smith (Flaming Creatures, 1963), Ken Jacobs (the early films with Jack Smith, Little Stabs at Happiness, 1963, Star Spangled to Death, etc.), Vern Zimmerman (To L.A. with Lust), Kenneth Anger (Scorpio Rising, 1963) and Andy Warhol. Hoberman and Rosenbaum narrow the meaning of the term to distinguish their usage from earlier writers, including Manny Farber whose 1957 essay "Underground Films: A Bit of Male Truth" referred primarily to Farber's beloved and at the time undervalued action films by Hollywood directors like Howard Hawks and Raoul Walsh. But Hoberman and Rosenbaum also wanted to specify an underground that differs from the broader and influential distinction made by filmmaker Stan Vanderbeek who, in a manifesto from 1961 "The Cinema Delimina: Films from the Underground," singled out filmmakers like Robert Frank, Shirley Clarke, Norman McClaren, Jonas Mekas, Stan Brakhage, Bruce Conner, Gregory Markopolous and many more. As Suarez points out, Vanderbeek's text furthers a tradition of American modernist writing on the alienated intelligentsia. Vanderbeek writes: "But now the most revolutionary art form of our times is in the hands of entertainment merchants, stars, manufacturers…Meanwhile, what of the artists, poets, experimenters in America, who must work as if they were secret members of the underground?" With overtones of guerilla warfare, Vanderbeek specifies those personal, non-commercial innovators in film language and form, not necessarily as artists who choose to work in the clandestine atmosphere of the underground, but as those who due to the economic dominance of the film and advertising industry are forced to do so.
Obviously, my discussion and periodization of the underground thus far privileges developments in North America. Indeed, even the idea that the underground ends when structural cinema begins falls apart if we consider a European underground. As Birgit Hein notes in her seminal 1971 book Film im Underground, the origins of a West European underground can best be dated back to late 1967 and the 4th International Experimental Film Competition at Knokke-le-Zoute in Belgium. There were of course European filmmakers and events prior to Knokke that could be considered underground, but after Knokke there was a period of newfound cooperation, collaboration and communication among previously isolated filmmakers and groups in London, Cologne, Hamburg, Vienna, Rome, Paris, and Zürich, among other cities. There were new screening venues like XSCREEN in Cologne founded in March 1968 by W+ B Hein and others, new film coops like the Austrian Filmmakers Coop founded in May 1968 by a group of filmmakers including Kurt Kren, Valie Export, Peter Weibel, Ernst Schmidt Jr. and Hans Scheugl, and new journals like Supervisuell founded in February 1968 and coordinated by Klaus Schönherr in Zurich. All of these artist-initiated, institutional developments led to a consolidation and proliferation of experimental filmmaking efforts in Europe after Knokke so that one could reasonably mark 1967 as the beginning of a broad post-war Western European underground film scene or subculture. This is interestingly one year after the so-called death of a particular North American underground. At least in Europe, then, structural, materialist, structural-materialist, or formal film would remain the dominant strand of an underground.
But to continue with this somewhat schematic characterization of a Western European post-war underground, when did it end? In her introduction to Film im Underground, Birgit Hein writes, "The term underground has today become an advertising slogan for the commercial appraisal of subculture." Since, as I recently learned from Birgit Hein, her publisher Ullstein insisted–against her wishes–that the word "underground" be featured in the title of her book so as to help sales, it would seem that Hein's assessment of the underground as already commercialized was self-reflexive. Interestingly, in the same year that Birgit Hein made this self-reflexive statement, W+B Hein and their XSCREEN colleagues published XScreen: Materialien über den Undergroundfilm, a substantially illustrated, over-size book that documents their efforts over the previous four years with the important Cologne screening series and begins with a manifesto-like preface called "Underground Film: Against Commerce and the Business of Culture." They celebrate here a diverse underground film scene precisely for its self-consciousness as a subculture and for its defiance of the "commercial appraisal" that their very publications would seem to offer.
Is the underground that suffered death throes in 1971, the same one invoked by Wilhelm Hein almost forty-five years later in the title of his epic 2005 film and publication project, You Killed the Underground Film or the Real Meaning of Kunst bleibt…bleibt…? After a screening of Hein's film at the Arsenal Cinema in Berlin in late 2006, the filmmaker received the expected question from the audience about the finger pointing of his film's title, namely "who killed the underground?". After a short pause, he mumbled, "I did," before launching into a–for him–characteristic attack against the art world and academics. Since the "you" who killed underground film is apparently an "I" as well, Wilhelm Hein's film title was revealed to have a self-reflexive component to it. I suspect that with this revelation Hein intended to refer critically to his own tireless engagement, together with Birgit Hein, during the 1970s at advocating for institutional recognition of the artistic value of underground and avant-garde film. Throughout their period of collaboration, from approximately 1966-1989, the Heins curated museum exhibitions that incorporated film projections and installations, essayed texts arguing for the legitimacy of film as an art form, and eventually took on positions in universities and art schools to teach the history of underground film. If we follow Wilhelm Hein's thinking, we would conclude that what was "killed" through the Heins' important advocacy was an idea of the underground as permanently transgressive, uncompromisingly anti-institutional, and radically and eternally subcultural.
On the occasion of a recent screening of Wilhelm Hein's work and that of other underground filmmakers, Malcolm Legrice ruminated on this question of the death of the underground. I quote at length from Legrice's text:
So what was the Underground Film and who killed it? In the 1960’s I think we ‘radical’ film-makers all talked of ourselves as "Underground." That was the word then – not so much, Avant-garde or Experimental. "Underground" variously linked with: student protest against the Vietnam war; a mainly ‘youth’ revolt against capitalism, consumerism, class based dress codes and life-style; and often ran parallel to rock music. The classic Underground cinema was transgressive. Jack Smith’s Flaming Creatures, for example, by confronting the representation of un-repressed sexuality, was subject to censorship and police raids. Underground film attacked the explicit censorship imposed by law but also the implicit self-censorship of the film-maker….While the "Underground" opposed commercial cinema, it also opposed the idea of art as a commodity and with it the linked system of dealerships, museums and galleries. It was also strongly anti-academic. But even film-makers who wanted to work with the art world and academic institutions still found experimental film marginalised….So who killed the Underground Film? Well to some extent probably artists like me who stressed the Avant-garde, Experimental concept of film and now of video and digital cinema stepping away from the Underground’s transgressive roots. But also the transgression changed.
In these statements (of which I have quoted but a few sections), Legrice clarifies both the politicized context in which the 1960s underground took shape and some of the artistic and academic developments that lead to its later institutionalization and eventual dissipation. The reduction of these broader institutional and economic changes to the level of the individual–as in the "you" of Wilhelm Hein's film title–doesn't seem like it moves us much further in our understanding of the shifting boundaries of underground film over the past five decades. But Hein's finger-pointing and his fondness for name calling (directed at academics, curators, film programmers, and most anyone else who shows an active interest in underground film) may themselves be some of the artist's strategies for maintaining a semblance of underground transgression in a changing world. As such, I suspect that Hein intends to fashion himself in the tradition of other transgressive underground figures such as Otto Mühl, Nick Zedd and Jack Smith, all of whom are present in one way or another in his 2005 film, the soundtrack of which, for instance, features excerpts of a Smith performance in Cologne in 1974 in which he bemoans the commercialization and "thinning" of art.
Smith, in particular, seems to have been of unique importance as a figure of underground resistance for both Birgit and Wilhelm Hein. In a publication of their letters and other documents, they write of Smith's brief stay with them in Cologne in 1974 as follows: "On the first night, we discussed the film industry and capitalism, and he proved himself to be the most intellectual of all the [New] American filmmakers we had met up to that point. He was the only one who really saw through the system.” Despite my previous scholarship on Jack Smith, I knew little about his experiences and influence in Germany until I became acquainted with the Heins and some of the other German artists Smith encountered throughout the 1970s and early '80s. I have since begun focussing my Smith research on the artist's three visits to Germany: to Cologne in 1974 to participate in the exhibition Project '74; again to Cologne in 1977 to participate in the Art Fair; and to Hamburg in 1983 to present his performance Death of a Penguin in a performance festival. I'm hopeful that this research will not only provide some insight into the artist's lesser known later work, but will also interrupt genealogies of the North American underground by opening them up to such unexpected transatlantic detours. Some of my initial findings about Smith in Germany were presented in the context of LIVE FILM! JACK SMITH! Five Flaming Days in a Rented World, the two-part film, performance and art festival that Susanne Sachsse, Stefanie Schulte Strathaus and I organized for the Arsenal and Hebbel am Ufer Theater (HAU) in Berlin in 2009.
Juan Suárez's presentation at LIVE FILM! interrupted existing narratives of the North American underground in a quite different way. Suárez presented an argument about the confluence of tropicalism and localism that marks Smith's work and links it with that of Brazilian artist Hélio Oiticica. Oiticica became familiar with Smith's work during his period of exile in New York in the early 1970s and this encounter, particularly with Smith's use of projected slide images in performances, exerted great influence on Oiticica's later artistic projects, most immediately evident in his own slide-show environments that he called "Cosmococas." Suárez's interest in the two artists is less a question of influence–it's quite clear from Oiticica's own statements how important Smith was for his work, but there's no evidence of Smith being particularly interested in or knowledgeable about Oiticica's work–than of the uses of the tropical in two extremely different contexts, Brazil during the dictatorship and New York at the end of the 1960s. By creating a dialogue between these two artists, Suárez not only tells us a great deal about each of them, but in the process–and this is what interests me here–deterritorializes the North American underground.
Concurrently with Suárez's research, Max Jorge Hinderer Cruz, in a number of writing projects and lectures, has investigated Oiticica's work through the lens of his eight-year stay in New York. Hinderer Cruz's writing on the encounter between Oiticica and Smith both attends to the local specificity of each artist's work and attempts to excavate a larger critical and political position shared by these very different figures. Following Oiticica's lead, Hinderer Cruz names this critical position "tropicamp" and gestures thereby to an internationalist (and queer) alliance and critique of the commercialization of the underground. "Tropicamp" is a neologism coined by Oiticica in a brief text called "Mario Montez, Tropicamp" originally published in a Brazilian underground journal in 1971. In the text Oiticica posits an alliance between the tropicália cultural movement in Brazil and the queer underground scene around Smith and embodied by Mario Montez. As Hinderer Cruz puts it, tropicamp "characterizes a resistant element in the gradual commercialization of queer aesthetics at the time." For Oiticica, the particular brand of camp practiced by Montez and Smith stood as a critique of the commercialization of underground culture, a commercialization best figured in Warhol's move at the beginning of the 1970s from the business of art to the art of business and his corresponding move away from the lively characters, like Montez, who populated his 1960s films.
By concluding this introductory discussion of the underground with these brief references to Suárez and Hinderer Cruz's analyses of what we might consider an internationalist alliance among underground cultural movements, I hope to leave us with an underground that is hardly dead and gone, but on the contrary is in emergence elsewhere–not overall, but overseas perhaps–in previously unexpected encounters.
|
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4383
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1
| 74
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https://brothers-ink.com/2019/11/front-page-woman-1935-by-the-numbers/
|
en
|
Front Page Woman (1935) By The Numbers
|
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"Donovan Montierth"
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I'm starting a new category today for a slew of upcoming blog posts where I analyze a specific movie and break it down
|
en
|
https://brothers-ink.com/2019/11/front-page-woman-1935-by-the-numbers/
|
I’m starting a new category today for a slew of upcoming blog posts where I analyze a specific movie and break it down “by the numbers”. This gives us a chance to discuss the film as the sum total of all its parts.
The first movie to roll out By The Numbers, is the mystery comedy, Front Page Woman, starring Bette Davis, George Brent and Roscoe Karns, directed by Michael Curtiz, written by Laird Doyle, Lillie Hayward, and Roy Chanslor from a story by Richard Macaulay and photographed by Tony Gaudio.
I have just recently discovered this fantastic little mystery, and I was surprised at how engaging it was. Not only is it a great little comedy but a fine little who-done-it, to boot. It’s a shame that Bette Davis and George Brent didn’t do more of these types of battle of the sexes comedies more often as they are a charismatic pair, for sure. The New York Times said, “The three writers who adapted it . . . did a clever script job and Michael Curtiz directed at a brisk pace. Add to that a cast with a neat sense of comedy and you have an excellent tonic for the mid-July doldrums.” Reminds me of the glorious Tracey-Hepburn and Powell-Loy films…and it’s no wonder that George Brent and Bette Davis would go on to make 11 films together, most of them, dramas!
So Big! (1932)
The Rich Are Always with Us (1932)
Housewife (1934)
Front Page Woman (1935)
Special Agent (1935)
The Golden Arrow (1936)
Jezebel (1938)
Dark Victory (1939)
The Old Maid (1939)
The Great Lie (1941)
In This Our Life (1942)
Bette Davis signed a contract with Warner Bros in 1932 and stayed with the studio for 18 years! Warner Bros was a movie factory back then, just pumping up the box office with film after film. Warner Bros would release 53 films the year Front Page Woman was released in 1935! Bette Davis was in 5 of them in 1935, which is crazy as actors today do 1 or 2 a year on average and leading actors will do 1 every two years these days. Here’s a list of the five movies she made in 1935:
Front Page Woman (1935)
Special Agent (1935)
Border Town (1935)
Girl From 10th Avenue (1935)
Dangerous (1935)
Bette Davis, over her lifetime, would be nominated for 11 Academy Awards, winning the first of two of her Oscars in 1935 with her role in Dangerous. Her other Oscar would be for Jezebel (1938).
In contrast, George Brent would release 7 films in 1935:
The Right to Live (1935)
Living on Velvet (1935)
Stranded (1935)
Front Page Woman (1935)
Special Agent (1935)
The Goose and the Gander (1935)
In Person (1935)
Whereas Bette Davis and George Brent loved working together, Bette and director Michael Curtiz hated working together. And yet they would work together 7 times. She felt he concentrated too much on the camera and not enough with the actors, especially her. Their movies together are:
The Cabin in the Cotton (1932)
20,000 Years in Sing Sing (1932)
Jimmy The Gent (1934)
Front Page Woman (1935)
Marked Woman (1937)
Kid Galahad (1937)
The Private Lives of Elizabeth and Essex (1939)
No one would deny that Curtiz knew his stuff as a director, although. He had an incredible track record for making the finest films and working with the finest actors. He directed 102 films and after being accused by Bette Davis as not being an actor’s director, would see 10 actors nominated for Oscars under his direction. He directed some truly classic feature films including Charge of the Light Brigade, Adventures of Robin Hood, Yankee Doodle Dandy, Casablanca, and White Christmas. He was so good that he would end up with 4 Academy Award nominations and the 1 win for Casablanca in 1944 (although, he won another Oscar for directing a short film, The Sons of Liberty, in 1939).
In 1935 alone he would direct an unfathomable (is that a word?) 6 movies! That blows my mind when you think a director takes 2-3 years on average to make 1 film. A busy director now-a-days makes 2 a year at most. Here’s a list of the films he directed in 1935:
Black Fury (1935)
The Case of the Curious Bride (1935)
Go Into Your Dance (1935)
Front Page Woman (1935)
Little Big Shot (1935)
Captain Blood (1935)
Cinematographer Tony Gaudio had a good relationship with Michael Curtiz and would photograph 3 of Michael Curtiz’s films in 1935 along with 5 more movies! These people are studio workhorses! He was also a favorite of Bette Davis and worked with her on 11 films, just like George Brent! He would end up with 6 Academy Award nominations and a win for Anthony Adverse in 1936.
His films in 1935 are:
Bordertown (1935) with Bette Davis
The White Cockapoo (1935)
Go Into Your Dance (1935) with Michael Curtiz
Oil For the Lamps of China (1935) with screenwriter Laird Doyle
Front Page Woman (1935) *Everyone in Article
Little Big Shot (1935) with Michael Curtiz
Case of the Lucky Legs (1935)
Dr. Socrates (1935)
You can start to see the numbers…it gets staggering when you think about all the connections! But we’re not done yet!
The next member of the circle, going by the numbers is screenwriter Laird Doyle, who would write 6 films produced by Warner Bros in 1935, and a total of 4 of the 5 made with Bette Davis! It goes without saying that Bette Davis loved working with his material and would go on to win the Oscar with a role in his script, Dangerous, by the end of the year. He would have done amazing things, I’m sure, but sadly shortly thereafter, died suddenly in a plane crash in 1936. The screenplays he wrote in 1935 were:
Bordertown (1935) Davis, Gaudio
Front Page Woman (1935) All
Special Agent (1935) Davis, Brent
Dangerous (1935) Davis
Oil For the Lamps of China (1935) Gaudio
Stars Over Broadway (1935)
Last but not least in the circle by the numbers is one of the finest character actors to ever grace the silver screen…Roscoe Karns. An extremely prolific actor with close to 150 movies and over 300 TV episodes to his name. Roscoe made 6 films in 1935:
Front Page Woman (1935)
Wings in the Dark (1935)
Red Hot Tires (1935)
Four Hours to Kill (1935)
Alibi Ike (1935)
Two Fisted (1935)
To me, he’s a special case because he’s in or connected to 4 of my all time favorite movies:
It Happened One Night (1934)
His Girl Friday (1940)
Woman of the Year (1942)
…and his son Todd Karns plays James Stewart’s Brother in:
It’s a Wonderful Life (1946)
Todd Karns also plays Roscoe Karns’s Detective partner in Rocky King, Detective.
So, there we go by the numbers– it’s all about connections and how all these amazing filmmakers, actors and writers are all linked, making some of the finest films ever made. If you are not a big watcher of black and white films, but want to see what all the fuss is about– here’s a good place to start… just go to the beginning of the list and start watching…you won’t regret a single second! I wish I could go back and discover all these wonderful films and all these fabulous people for the first time all over again.
|
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| 21
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https://www.billboard.com/music/music-news/thinkfilm-launches-kids-division-1416709/
|
en
|
ThinkFilm Launches Kids Division
|
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[
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[
"Billboard Staff"
] |
2005-02-28T05:00:00+00:00
|
First titles include 'My First Day.'
|
en
|
Billboard
|
https://www.billboard.com/music/music-news/thinkfilm-launches-kids-division-1416709/
|
Independent film distributor ThinkFilm is launching the specialty division ThinkFilm Kids. The unit will focus on the home video market with educational product aimed at children up to 9 years old.
The first ThinkFilm Kids titles will come from the series “My First Day” and “Braincandy.”
“My First Day” focuses on new experiences. “My First Day at Preschool” will be released this summer; other titles to follow will include “My First Day at the Doctor,” “My First Day at the Zoo” and “My First Sibling.”
The “Braincandy” series, for children up to 5, helps with independent thinking and creativity. The first release will be “Braincandy: My 5 Senses.” An exact time frame for the release is not yet known. Future titles include “Fingercandy” and “Eyecandy.”
ThinkFilm has offices in Toronto, New York and Los Angeles. Its theatrical projects include best documentary Academy Award winner “Born Into Brothels” and Sundance Grand Prize winner “Primer.”
|
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|
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| 23
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https://demo.locate.ebsco.com/search%3Foption%3Dauthor%26query%3DBergstein%252C%2520David
|
en
|
EBSCO Locate
|
https://demo.locate.ebsco.com/favicon.ico
|
https://demo.locate.ebsco.com/favicon.ico
|
[] |
[] |
[] |
[
""
] | null |
[] | null |
EBSCO Locate
|
en
|
/favicon.ico
| null | ||||
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https://www.thewrap.com/quiver-distribution-to-launch-with-new-thrillers-from-john-travolta-and-nicolas-cage/
|
en
|
Quiver Distribution to Launch With New Thrillers From John Travolta and Nicolas Cage
|
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[] |
[] |
[
""
] | null |
[
"Trey Williams"
] |
2019-05-14T16:00:19+00:00
|
New venture will launch with two films: "The Fanatic" and "Running With the Devil"
|
en
|
TheWrap
|
https://www.thewrap.com/quiver-distribution-to-launch-with-new-thrillers-from-john-travolta-and-nicolas-cage/
|
Producers Berry Meyerowitz and Jeff Sackman announced on Tuesday that they’re launching Quiver Distribution, a new independent distributor focused on acquiring and marketing high concept, commercial films across all media in the United States and Canada.
For the last two and half years Sackman and Meyerowitz have collaborated with producers to help finance and sell 14 feature films to the likes of Netflix, Amazon, Hulu, Sony and Paramount. These films have featured actors such as Nick Nolte, Tim Roth, Josh Radnor, Toni Collette, Donald Sutherland, Bob Saget, Richard Dreyfuss, Damian Lewis, Greg Kinnear and Ben Platt, to name a few.
The company will launch with two films already in the wings. The first, “The Fanatic,” is a suspenseful thriller starring John Travolta. Quiver plans to release that film in theaters on September 6. The other stars Nicolas Cage and Laurence Fishburne in an action thriller titled “Running With the Devil.” The film is currently slated for September 13.
“Our collective experience and relationships will bring value to all constituents,” Meyerowitz and Sackman said in a joint statement. “Quiver Distribution will capitalize on the emergence of new platforms by providing entertaining and star driven films for consumers, no matter where they choose to watch them.”
Quiver marks a return to distribution for both Meyerowitz and Sackman, who have both enjoyed successful careers in the independent film business.
Meyerowitz sold his company, Phase 4 Films, to Entertainment One in 2014, and became head of its U.S. Film business. Sackman was the first President of Lionsgate Films and then launched and led THINKfilm until its sale in 2006. He subsequently ran Tajj Media Services for 10 years, which focused on consulting, producing and executive producing in the film and television industry.
The executives joining Meyerowitz and Sackman in this new venture are Sean Monson, who will oversee finance & operations, and Larry Greenberg, who will oversee acquisitions and U.S. distribution. Quiver Distribution has offices in Toronto and Los Angeles.
|
|||||
4383
|
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|
1
| 54
|
https://www.cbsd.com/9780889224773/bordertown-cafe
|
en
|
Consortium Book Sales & Distribution
|
[
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[] |
2019-08-20T09:56:02+00:00
|
In Bordertown Café, seventeen-year-old Jimmy faces the archetypal Canadian dilemma: stay home in Canada, with all its obvious flaws, or go south (young man)...
|
en
|
Consortium Book Sales & Distribution
|
https://www.cbsd.com/9780889224773/bordertown-cafe
|
In Bordertown Café, seventeen-year-old Jimmy faces the archetypal Canadian dilemma: stay home in Canada, with all its obvious flaws, or go south (young man) to the Land of Opportunity. Jimmy’s dad is the powerfully encoded Western hero of American popular myth – the cowboy as trucker, living his freedom and riding the roads of Wyoming. He offers Jimmy the prosperity of his new American home, a large modern house fully equipped with everything, including a capable new wife. In contrast, Jimmy’s mom, Marlene, is a failed wife and a weak, tentative mother. The home she has made for herself and her son “on the Canadian side of nowhere” is provisional and shabby: half finished, ill equipped, badly decorated.
Jimmy’s conflict is writ large as the play dramatizes Canada’s struggle to negotiate a unique identity in the shadow of its brash, superpower neighbour. Although global realities have shifted in the decades since the play’s inception, its themes of personal and cultural identity endure.
Cast of 2 women and 2 men.
Kelly Rebar’s play Bordertown Café won the 1990 CAA for Drama. This comedy-drama is set in a café on the Canadian side of the Alberta/Montana border and is about a family whose members are torn between their unrealized goals and dreams. In addition to theatre, Rebar also writes for television and film and has several screenwriting and story editing credits to her name. She has also adapted several of Alice Munro’s short stories, including the television feature based on Lives of Girls and Women.
|
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4383
|
dbpedia
|
2
| 56
|
https://www.filmmakingstuff.com/should-you-go-to-film-school/
|
en
|
Should You Go To Film School? Interview With Seth Hymes
|
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[
"Jason Brubaker",
"www.facebook.com"
] |
2018-12-06T09:21:06-06:00
|
Should you go to film school? If you're just starting out as a filmmaker, deciding if you should attend film school is something you need to decide.
|
en
|
Filmmaking Stuff
|
https://www.filmmakingstuff.com/should-you-go-to-film-school/
|
Should you go to film school? If you're just starting out as a filmmaker, deciding if you should attend a traditional film school is something you need to decide. And it's a costly decision – some of my friends here in Los Angeles are over fifty-thousand dollars in debt.
While most of my friends value having a college education, all agree that having a film school degree will not guarantee success in Hollywood. Like any industry, becoming successful requires passion, commitment and hard work.
Last year, I was introduced to filmmaker Seth Hymes. When he was in high school, he worked as Production Assistant, Sound Tech and an Editor. After high school, he went off to film school. In fact, he graduated from NYU with honors. From there, he was an editor for Fox News Channel and also managed to get two features into production.
Should You Go To Film School?
So I sat down with Seth and asked him some questions about his experience.
Jason Brubaker
Seth. After visiting your website and chatting, you seem to have an interesting perspective on formal film school education. What are your thoughts? Is there any value in film school?
Seth Hymes
No, there isn't. And it's a great question. What does “value” mean? It means that something adds merit or worth to your life for a reasonable cost. A lot of people say things like “you learn the basics” and it's a “good place to experiment”.
Jason Brubaker
So in your experience, you think film school is over priced?
Seth Hymes
Well, in film school, you write a check for $100,000. In return, they give you a $2,000 video camera and tell you how to push the on button. Are you going to learn something? Sure. Is it valuable? No. There is no value in learning basic technical concepts for an obscene mark up in cost.
Jason Brubaker
In the past, students enrolled in film school because held the promise of networking, as well as access to equipment. You're saying this sort of stuff is no longer relevant?
Seth Hymes
The 3 main “values” of film school are no longer relevant. They are, access to equipment, lessons in filmmaking craft and connections. In the 60s, 70s, and 80s, when people like Lucas, Scorsese, and Spike Lee went to film school, it was probably a good investment. You couldn't just pick up a high quality HD camera and start shooting. Filmmaking equipment cost a ton of money and was hard to find. You really couldn't learn about things like continuity and storyboarding without either apprenticing with a filmmaker or going to school. And it was a good place to meet other creative professionals.
Jason Brubaker
But all of that has changed.
Seth Hymes
Yeah. If you look at today, High Definition filmmaking equipment costs less than a semester at most film schools. The craft of filmmaking, from lighting, editing, shot composition, writing – all of it is available to learn on websites like yours, as well as other sites all over the net. And these days, most connections happen through the net. And further, many new filmmakers find their agents because they produce a short and get some heat on youtube, rather than meeting them in school.
Jason Brubaker
Sort of a silly question. But would you recommend that anybody attends film school?
Seth Hymes
I do not recommend anybody attend film school. It is an unholy waste of money and time. And not only are the schools making a huge profit, they also neglect to teach their grads about anything of real value or importance when it comes to having a career in the business. Things like real networking, fundraising, or film distribution.
Jason Brubaker
So instead of film school, what suggestions do you have for any students who is considering a degree in filmmaking?
Seth Hymes
If you're considering film school, here's the litmus test. Is it a community college or vocational school where classes are anywhere from $60 to $1000? If anyone is charging more than that, they are making an obscene profit and should be dismissed outright. You will be mocked within the film business for attending such an institution. Instead, I recommend that students save their money, buy their own equipment, and learn how to shoot their own movie.
These days, filmmakers can learn everything you need to know in a week or less.
Jason Brubaker
Reading your posts on other websites and the comments that follow, I can see why some filmmakers, especially the filmmakers sitting on film school debt can get a little emotional with your perspective.
Seth Hymes
Most film school grads and filmmakers agree with me, but there are a few haters. Some people hate hearing the truth. It's hard for some people to admit they got hosed out of $100K, but the consensus everywhere is that film school is a waste.
Jason Brubaker
I took a look at your website. Tell us what you teach there.
Seth Hymes
I teach people first, exactly why places like NYU are a complete joke and secondly, what to do instead of film school. There's a lot of pressure to go to college, and I understand that. My book “Film Fooled” is a powerful reality check, a class by class account of NYU's film curriculum to help people realize that no, they are not missing out on anything by skipping film school.
Jason Brubaker
Sounds like you think film schools should improve their curriculum.
Seth Hymes
Yeah. I get into the stuff they should be teaching in schools. Mainly, how to be taken seriously as a director from day one, how to get on real film sets, meet real working filmmakers, write feature scripts, manage a set, hire film students, and get seen. Anyone taking my course will be 4 years ahead of any film school student in just a week.
Jason Brubaker
Ok. So tell us about your online film course.
Seth Hymes
Ok. To find out more about my courseware at Film School Secrets, prospective filmmakers can Click Here!
Jason Brubaker
Thanks for stopping by Seth.
Seth Hymes
Thanks for having me.
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https://en.wikipedia.org/wiki/Bordertown_(2007_film)
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en
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Bordertown (2007 film)
|
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2006-01-04T13:35:29+00:00
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en
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/static/apple-touch/wikipedia.png
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https://en.wikipedia.org/wiki/Bordertown_(2007_film)
|
2007 American crime drama movie directed by Gregory Nava
BordertownDirected byGregory NavaWritten byGregory NavaProduced byGregory Nava
Jennifer Lopez
Simon FieldsStarringJennifer Lopez
Martin Sheen
Maya Zapata
Sônia Braga
Antonio BanderasCinematographyReynaldo VillalobosEdited byPadraic McKinleyMusic byGraeme RevellDistributed byTHINKFilm
Capitol Films
Release date
Running time
100 minutesCountryUnited StatesLanguagesEnglish
SpanishBudget$21 million[2]Box office$8.3 million[3]
Bordertown is a 2007 American crime drama film written and directed by Gregory Nava, and starring Jennifer Lopez (who also served as a producer), Martin Sheen, Maya Zapata, Sônia Braga and Antonio Banderas. This is the second film which featured the collaboration between Nava and Lopez, following the 1997's biopic film Selena.
The film is inspired by the true story of the numerous female homicides in Ciudad Juárez and tells the story of an inquisitive American reporter sent in by her American newspaper to investigate the murders.
Lopez also recorded a song for the film entitled Porque La Vida Es Asi.
Plot
[edit]
The opening titles explain that American corporations are using the North American Free Trade Agreement by opening large maquiladoras right across the United States–Mexico border. The maquiladoras hire mostly Mexican women to work long hours for little money in order to produce mass quantity products.
Lauren Adrian (Jennifer Lopez), an impassioned American news reporter for the Chicago Sentinel wants to be assigned to the Iraq front-lines to cover the war. Instead, her editor George Morgan (Martin Sheen) assigns her to investigate a series of slayings involving young maquiladora factory women in a Mexican bordertown.
Worker Eva (Maya Zapata), originally from the southern Mexican state of Oaxaca, takes a bus to go back to her shanty-town home after work. After a while she is the last passenger still in the bus. The driver asks her if she minds if he goes to a gas station to fill up, and Eva agrees. However, he takes her to a remote place and assaults and rapes her, together with another man, who then tries to strangle her. The two men, believing she is dead, bury her alive. With the little energy she has left, Eva escapes.
Adrian heads to Ciudad Juárez, Chihuahua, on the U.S.–Mexico border to investigate the murders, hoping that if she does well she will be promoted by Morgan to be a foreign correspondent. In Juárez, Adrian meets up with Diaz (Antonio Banderas), whom she had been working with six years before, and who is now the editor for the local newspaper El Sol de Juárez. She also meets Eva.
The three try to find the two killers and have them prosecuted. For this purpose Adrian starts working in the factory in order to act as bait on the bus ride. The driver tries to assault her in the same way he did Eva, and although police assistance has been arranged, they are at the wrong place. She manages to escape her attacker. Later Diaz gets shot and killed in a drive-by shooting. Eva changes her mind and does not want to testify any more for fear of revenge, and tries to flee to the U.S., together with others in the trunk of a car. She gets caught and is sent back. Adrian convinces her to testify after all. For political reasons the Chicago Sentinel refuses to publish Adrian's story. Adrian quits and becomes the editor for El Sol de Juárez.
Cast
[edit]
Jennifer Lopez as Lauren Adrian: reporter for the Chicago Sentinel, and daughter of Mexican immigrants.
Antonio Banderas as Alfonso Diaz: founder of newspaper El Sol.
Maya Zapata as Eva Jimenez: factory worker and rape survivor.
Sônia Braga as Teresa Casillas: founder of an organization trying to help the women in Juárez.
Teresa Ruiz as Cecila Rojas: a young factory worker.
Juan Diego Botto as Marco Antonio Salamanca: son of the extremely rich Salamanca family, owner of one of the maquiladora.
Zaide Silvia Gutiérrez as Lourdes Jimenez: Eva's concerned mother.
Martin Sheen as George Morgan: Lauren's boss.
Randall Batinkoff as Frank Kozerski: Lauren's co-worker and friend.
Kate del Castillo as Elena Diaz.
Rene Rivera as Aris Rodriguez: rapist.
Irineo Alvarez as Domingo Esparza: bus driver and rapist.
Juanes as himself
Production
[edit]
Background
[edit]
The motion picture is based on a series of unsolved murders in Ciudad Juárez, Chihuahua, a large Mexican border city across the Río Bravo del Norte (Rio Grande) from El Paso, Texas.[4]
When Gregory Nava first heard about the murders in Ciudad Juárez he wanted to do something. He said that his vision became to tell the stories through "an exciting thriller-drama".[5]
Gregory Nava approached Jennifer Lopez to do the film in 1998 and she was receptive. Lopez said, "Since first hearing of these atrocities in 1998, when Gregory Nava came to me with this project, I desperately wanted to tell this story. I began working to ensure we made this film in order to bring the attention of the world to [the] tragedy and to pressure the Mexican government to bring to justice those responsible for these horrible crimes."[6]
Director Gregory Nava and executive producer Barbara Martinez-Jitner believed that the film would bring strong reactions. Gregory Nava has said the production received threats against himself and the cast. Also, there was stolen equipment and intimidation of film crew members when they filmed in Mexico.
According to Martinez-Jitner, when they first filmed in Ciudad Juárez, the police began threatening locals who were helping the production. They also began stalking the crew. A camera truck was vandalized and $100,000 worth of film equipment was stolen.
Bordertown places the blame for the murders upon the Mexican government, the United States and the maquiladora assembly plants that were brought rapidly into existence by the North American Free Trade Agreement.
Gregory Nava said, "[When] there are very powerful forces involved, you're going to be attacked. I expect the Mexican government to get very upset about it."[7]
Screenplay
[edit]
The inspiration for the story, according to Gregory Nava, was the work of Guatemalan writer Miguel Ángel Asturias, the magic realism of novelist Gabriel García Márquez, and the social dramas of Britain's Charles Dickens. He also said the screenplay was a return to an El Norte type of screenplay (Oscar nominated). In El Norte he created a screenplay from many of the interviews he conducted. He did the same in Bordertown.[5]
Financing
[edit]
Mobius Entertainment, the production company, borrowed money to complete the project from the New Mexico State Investment Council (NMSI) but was late in paying back the loan in March, 2006.[2] A second $12.65 million loan could be called in by NMSI before its November, 2007 due date because of the late payments. The second loan calls for zero interest because the state of New Mexico will take ten percent of any profits the film might make. Film producers said the delay of payment was due to filming taking longer than expected.
At one point the film was in development with both New Line Cinema and MGM.[8]
Filming locations
[edit]
Filming locations include: Albuquerque, New Mexico, in the United States; and Nogales, Sonora, Ciudad Juárez, Chihuahua, and Mexicali, Baja California, in Mexico.
Reception
[edit]
Box office
[edit]
The movie was released in theaters internationally only, starting in Germany on February 22, 2007. The film ended up grossing $8,327,171 worldwide.[3] It was released straight-to-DVD in the United States on January 29, 2008.
Critical response
[edit]
Kirk Honeycutt, in The Hollywood Reporter, wrote: "It wants to be a thriller, a piece of investigative journalism, a political soapbox and a vehicle for Jennifer Lopez. It serves none of these masters well." Honeycutt also said the screenplay is full of plot holes.[9]
According to media reports, the audience reacted with a mixture of "boos and muted applause" when the film finished screening.[when?][10]
The film was also criticized for a gratuitous musical performance and cameo by the Colombian recording artist Juanes, seen by many as pandering to a Latino audience.[11]
Variety magazine film critic, Leslie Felperin, had a problem with some of the arguments made in the film, namely: that the North American Free Trade Agreement (NAFTA) and the exploitation of Mexican labor directly led to the killing of many women in Ciudad Juárez. Felperin wrote, "Possible co-factors or causes of the real crime spree, such as rife drug-related criminality, domestic violence largely ignored by the authorities, and the possibility that at least some of the culprits may be U.S. citizens crossing the border to kill for kicks, are not explored here." As for the film, Felperin calls the movie "only fair-to-poor".[12]
Accolades
[edit]
Jennifer Lopez received the "Artists for Amnesty" award presented by Amnesty International at the Berlin International Film Festival. She won the award for her role as producer and star of a film "examining the ongoing murders of hundreds of women in a Mexican border town".[6][13][14]
References
[edit]
Film portal
Mexico portal
United States portal
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https://distributionadvocates.substack.com/p/da-presents-film-school
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en
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Distribution Advocates Presents: The Truth About Film School (Episode 4)
|
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"Avril Speaks"
] |
2024-02-14T16:02:10+00:00
|
Why is distribution almost completely absent from film school curriculums?
|
en
|
https://substackcdn.com/icons/substack/favicon.ico
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https://distributionadvocates.substack.com/p/da-presents-film-school
|
Why is distribution almost completely absent from film school curriculums? Host Avril Speaks delves into this discrepancy and looks at the real-world consequences for filmmakers. This episode features conversations with
, , Alece Oxendine, and Pat Murphy.
Listen on Spotify, Apple Podcasts, Amazon Music, and iHeartRadio.
EPISODE TRANSCRIPT
Avril Speaks:
I do want to ask you just the pointed question, do you think film school is a scam?
Jameka Autry:
Okay. Are we asking? Are we going there? Is this the question?
Avril Speaks:
Yeah, that’s my question. Do you think film school is a scam?
Jameka Autry:
I don’t think it’s a scam. I do think that it is overpriced for the actual value on the other side. In a lot of jobs and a lot of positions, you’re not going to be making a significant amount of money. You really have to weigh the pros and cons of if film school is going to be worth it, meaning am I in a position to take on a quarter of a million dollars worth of debt? And that’s a lot of money. It’s a lot of money to think about paying something back. I don’t think it’s a scam. I do think that you can learn really valuable skills, but is it overpriced? Absolutely. So here’s my story.
Avril Speaks:
Hello out there and welcome to Distribution Advocates Presents. I am your host, Avril Speaks, producer, filmmaker, and co-founder of Distribution Advocates. Our team has commissioned this series of conversations where we delve into concerns about the current landscape of independent film distribution. We’ll chat with folks who are navigating these spaces, debunk some outdated myths, and look to innovative, sustainable, and equitable solutions for distributing films to their waiting audiences.
In this episode, we’ll amble through the hallowed and expensive halls of film school as we dissect its function and value in the current industry of distribution. I’ll be joined by filmmaker-turned-professor Jameka Autry. We’ll also hear from Columbia Film School’s Industry Outreach Director Alece Oxendine, and filmmaker Pat Murphy, who attended NYU Tisch.
Thank you so much for doing this. Why don’t you introduce yourself to our audience?
Jameka Autry:
Sure. My name is Jameka Autry. I am a producer, filmmaker, investigative storyteller. I am a professor at Columbia University. All of those things.
Avril Speaks:
How long have you been teaching at Columbia?
Jameka Autry:
I first started teaching in the fall of 2020.
Avril Speaks:
You came into this experience having had experience in the field as a producer. Talk a little bit about your experience as a producer and what you were doing before you went into the classroom as an educator.
Jameka Autry:
Absolutely. By training, I was a photographer. I decided I wanted to go into business for myself. I was doing a lot of photojournalism, and so I went to Duke and they had a Center for Documentary Studies program. I started off on the photography side and there was a class that I took with Elisabeth Haviland James, and she was an amazing producer. She did The Loving Story (2011), and I just fell in love with filmmaking from taking her class. So I started over my program at Duke. Duke Center for Documentary Studies when I was there was not an accredited MFA program. There was only a certificate program, and so it was exponentially cheaper than it is now. I went and pursued a certificate, and then I moved to New York after I finished that program and ended up working for almost five years with Ricki Stern and Annie Sundberg, who are two amazing producers.
But I got my start really working on the post-production side first, which I think is different from most producers. They usually go from a production assistant to an associate producer to then producer, and I started opposite of that. I was an assistant editor and then I went to an associate producer, and then a co-producer and then a producer. Did a ton of all the non-glamorous things such as clearances, post-production supervising. I was really in the weeds on a lot of the technical things, which at first, I think I was really upset about, but it was the best training ground possible because it made me a better producer on the front side.
I worked with Ricki and Annie for about five years, then I went to Cinereach, worked with their original productions team, which was also a wonderful experience. I learned a lot about the industry, but from a different side, learned more about the business and that prepared me to actually go out and become an independent producer.
Avril Speaks:
I love your story about how you got started coming up through post, because sometimes, I feel when we talk about producing, we don’t even talk about the opportunities there. That’s a whole other skill set.
Jameka Autry:
There is, I think now, more of a place to specialize in your specific field of producing, and I think it’s a better place to start than just saying upon graduation, “I’m an independent producer,” and hanging out a shingle and being expected to do every single thing and every single job, which we know is an immense list for independent producers. And sometimes it’s better to start in the skill set where you can really grasp and make an impact.
So I had been independently producing for about three to four years when I had an opportunity to go to Berkeley. I did a fellowship at UC Berkeley at their Investigative Reporting Program, which for me, was just building another skill set in the investigative reporting realm. The fellowship at Berkeley was amazing. It was a, quote unquote, job, so I was a salaried employee of the university but also had the opportunity to audit classes, learn from amazing investigative journalists, although it was only for one year instead of their traditional two-year program. So that’s how I was able to make it work for me. That’s a film school hack.
Jemma Desai:
I didn’t come through film school, but I did come to it through a love of watching films, watching Parajanov films, every single Pasolini film. Really, that was my film school.
Barbara Twist:
I went to film school for undergrad. I studied film studies with also some film production. I’m a big believer in knowing what’s come before you so that you’re better informed. It gives you an opportunity to explore and see what’s out there.
Avril Speaks:
A good friend of mine that I went to school with is always like, “I demand a refund. They need to refund me my money.”
Pat Murphy:
I think film schools should orient more towards the business side of filmmaking.
Avril Speaks:
So stepping into the world of academia, once you started teaching, what were you starting to see? What were some of the first things you started to notice in terms of those differences between your real lived experience versus the classroom teaching experience of teaching film, or documentary film in particular?
Jameka Autry:
When I got the job at Columbia, I asked really specifically, “What are my thresholds? What can I teach? What can I not teach?” And they said, “Well, really, it’s up to you. We really trust you in this role,” and they let me build the program or my class structure in the way that I thought it should run, which was great. Duke really teaches you how to be a one-man-band-type filmmaker. It doesn’t teach you anything about the business. That part was something that I still had to really learn when I came to New York.
In the real world, you’re working in teams. There’s always a collaboration. You have a lot of voices and opinions that you have to navigate, but everything is done in a team structure. The one-man-band setup is great to learn those technical skills about “how do I run camera at the same time I’m running sound,” and “how do I actually learn to edit?” It really gave me a foundation for some of those things, but it’s not at all like the actual industry.
Avril Speaks:
I would love to know, just from your class, what are some things that you’ve implemented to try and bridge this gap?
Jameka Autry:
It’s hard because I think in a classroom setting, you are in a position where you’re still getting to know the students and they have a structured program that they go through. Columbia’s program is three years, even for producing students. But I really, really focus on the fact that you have to know who you are as a producer before you’re actually going to be really good to anyone else, and so figuring out what you don’t like is as important as figuring out what you do like. Because we know that “producer” is no longer like a one-size-fits-all. There’s different specialties within the producing field. Some people are line producers, some people are creative producers, some people just work on distribution, so it really just depends on where your skill set lies, and I focus a lot with the students on trying to figure out, what do you not like? Because if you know what you don’t like, you can figure out what you do like.
And just through some of these practices and walking them through the steps of making a budget, making a treatment, working on a pitch deck, I figure out, okay, you’re really good at writing, you’re not great at visuals, or you’re really great at numbers. Do you like the numbers? One of the things that I do in my class and the way it’s structured is that we talk about money and financing. I give the students a very, very accurate picture of what the industry is and how to navigate it, meaning that it’s not a lot of theory and “let’s study film.” It’s really the basics about producing. It’s how do you write a treatment? What are some of the things you look for in legal conversations? How do you put together a distribution deal?
And again, a lot of this is classroom discussion and not real life, but I wanted to mirror it and make the class as close to real life as possible. Because I think this industry is really full of smoke and mirrors, especially on the unscripted side. There’s so much independent wealth that’s floating around in these spaces. You’re working alongside people who have trust funds or who have a wealthy spouse, and they don’t have to actually worry about the paying of the bills on a monthly basis. They’re just doing this for the passion, but that’s not most people’s journey. I think a lot of people that are working below the line are people that need the paycheck.
Really dispelling some of those myths is also important, and you have to be committed in the classroom to telling that story. You have to be committed to telling the story of when you graduate, you are probably going to be making no money for a really long time. What does that look like? How do you navigate that? How do you get your first job? And so I’m really focused on some of the skill sets that people have so that they can actually go out and apply for a job.
Avril Speaks:
So let’s talk about some illusions of grandeur, especially as it relates to the myth of film school. I laugh because in Distribution Advocates, we often talk about filmmakers having a plan for their film, and oftentimes, people are just like, “Oh yeah, my plan is to premiere at Sundance and then get a deal with A24, and then just become famous.” The question we’ve been asking at Distribution Advocates is does film school help perpetuate that idea and also everything that comes along with that idea? Can you talk about that a little bit in terms of that myth?
Jameka Autry:
Yeah, it’s a really dangerous myth that I think has been sold, and I don’t know where it comes from exactly. I think of Spike Lee being discovered out of NYU and becoming this overnight phenomenon. That was a very, very, very different time and I think that that time has passed. I don’t think that that is at all the landscape that is out there anymore.
Avril Speaks:
Similar sentiments were also shared by Alece Oxendine and Pat Murphy when I sat down with them.
Alece Oxendine:
My name is Alece Oxendine. I’m the Director of Industry and Festival Outreach for Columbia University’s film program. 15 years ago, you could be an auteur. If you went to film school 15 years ago and you’re making films and you’re doing what you have to do, you can be an auteur. You cannot be an auteur right now. Right now, you have to be an entrepreneur and there’s no way of getting around that. When I say entrepreneur versus auteur, I feel like an auteur can create in a vacuum and there’s people that support that auteur, and they tend to be mostly men unfortunately. They have the privilege, I should say, of creating in the vacuum and just being in their own esoteric world that is an anomaly and not the norm. We need to be paying attention to distribution. You need to learn about it, you need to know about it.
Avril Speaks:
And so you’ve had some experience with producer and professor, Michelle Materre. She was someone who did make it a point to educate filmmakers about distribution while she was here, and her class in film distribution at the New School was very well known and lauded, from what I understand.
Alece Oxendine:
Michelle was a formidable voice when it came to distribution. One of the few classes I’ve ever heard of about distribution, I actually begged her for a syllabus, so I have one of her syllabus on distribution somewhere floating around on my Google Docs. I would see her talking to an echo chamber or see her talking into empty spaces, yelling, “Hey, y’all.” I know how challenging it was for her to make sure she had a voice in distribution, and that’s been what my crusade is. We are living in a different world than we’ve ever had before in the industry, and this is coming from someone who studied the historiography of cinema. We need to be paying attention to distribution. Know about it, learn about it, be respected in the space of distribution, and she was the first person I learned this from.
Avril Speaks:
As someone who went to film school and also as someone who’s a former professor, I used to teach everything from pre-production through post. I’ve never taught a distribution class. I know that there are some schools that have them here and there, but it’s rare.
Pat Murphy:
My name is Pat Murphy. I’m a documentary editor and director and producer. I definitely don’t want to say that I regret my NYU film school education whatsoever. I’m very grateful and lucky to have been able to have that experience. I learned a ton about the craft of filmmaking and documentary filmmaking specifically at Tisch. Professors there ended up being some of my first jobs out of the industry. NYU did not teach anything about the business of film, about marketing or distribution certainly. You do have to question this kind of system. While I learned a ton about the craft, they did not really prepare me for the real world.
Avril Speaks:
I went to Columbia and I also used to teach film at a couple of different colleges, and I so value education. I loved teaching, but in retrospect, what type of education were we pushing? Now that I’m no longer teaching and I’m full throttle as an independent filmmaker, it’s something that I think about a lot, but it’s rare that you touch on that side of things in terms of what happens to your film after you’ve made it? Jameka, I’m wondering if you have any insight or any thoughts on that in terms of why that is and why film school is set up that way, that it’s very much on practice and very little on business?
Jameka Autry:
I think there’s a disconnect. A lot of it is systemic and also political. I think that you have a mismatch of systems in a way. I think that adjunct professors are the ones who are able to actually go out and have the time to still navigate and work a lot of times in the industry, so they’re seeing these things firsthand. Whereas, tenured professors who are there and teaching full time, their access to the actual industry is a little bit more limited. They might be learning from their colleagues who are out in the field, but I don’t think that they actually are on the front lines anymore.
So they’re teaching practice, meaning they’re teaching things that are technical in nature, things that are going to be stable and usually never change, but the business around is changing and there’s not a lot of actual business courses. And when they are, I think you see them taught by adjuncts who are actually out in the business in a more real way and can actually report back and bring back that information. But adjuncts are in a place where they’re being paid very low wages for teaching a class, and so you still have this system of taking and extracting, and not actually giving back to those sources that are actually pouring into the system.
Avril Speaks:
You mentioned a lot of adjuncts, they’re just coming in for that class so they’re not necessarily ingrained in the day-to-day of that program and of the students, and just what that means in terms of the overall structure of the program. I think the other thing too is having schools that will support tenured professors in making work. I’ve experienced at times that not every program supports professors taking a semester to go and make a film, you know what I’m saying? It’s really also a matter of that program supporting those professors getting that kind of real world experience, so I think that’s an issue as well.
Jameka Autry:
I’m a huge advocate for anyone having to go back in the field and relearn their skills. I don’t care if you’re a professor. I actually think that industry execs who are making a lot of decisions also need to go back into the field. It’s funny because a lot of them unfortunately have never sometimes been in the field, but I think even if you started off there, you need to go back every 10 years and maybe re-up. I think that when you’re not out in the field, it’s really easy to make a lot of decisions that impact people in really specific ways, and if you don’t have that understanding, if you don’t have that skill set, if you don’t have that training, you’re making decisions that really are out of your place, out of your bounds.
Avril Speaks:
The industry changes so fast, even in terms of distribution. What works today is not what people were doing even three years ago. Even before the pandemic, things were different than they are now. You have to be in it in order to know and to understand what’s trending. Also, let’s be real. This is kind of a closed door industry.
Jameka Autry:
The level of nepotism in this industry is unlike anything I’ve ever seen, and I think there’s different degrees of nepotism. I will say that I got my first big job because the person who was interviewing had gone to Duke, so there was a name recognition and that’s how I got my foot in the door. But I’ve also seen a lot of production studios where someone will say, “I was also a graduate of XYZ College and I’m looking for a job, and do you have a job?” And I can’t tell you how many interns or production assistants that I had to teach the basics. There was no skill set there.
Avril Speaks:
It’s so funny, when I graduated from Columbia, Michael Moore spoke at our graduation and his whole speech was basically like, “You’ve just wasted your money.”
Jameka Autry:
Oh, no. That was the graduation speech? You wasted your money?
Avril Speaks:
That was our graduation speech. I mean, it was essentially like, “You spent all this money and now you’re going to spend the rest of your life trying to pay it back, working for corporate America to try and pay this money back.” And essentially, his graduation speech was, you just spent, in my case, six years in a scam.
Jameka Autry:
So as someone who has gone through the Ivy League system, you feel that it is a scam.
Avril Speaks:
It’s a very heavy term.
For a long time, I really felt like I had wasted money and time because first of all, that program broke my soul. It’s okay, I got it back, but I came out of it broken mentally, spiritually, in many ways. So for a long time, I felt like this was such a waste. I didn’t really understand the value of it until I started teaching. I realized, particularly Columbia because they’re so story focused, it’s a very story-heavy program, and I started to understand the importance of story, and I still feel that way. That’s something I’ve been able to carry with me as a producer, as an exec. Basically in every arena of my career, I’m understanding how important story is and how helpful that time was to really understand what that is and what that looks like and how to build the story. Now, did I need to put myself into this kind of debt in order to learn that? I don’t know. That’s a question I can’t answer.
Scam is a heavy word, but I do really think that it’s a structure that needs to be looked at on both ends, from a student perspective in terms of students going into film programs, but also on the administrator end. As professors, as admins who are running film schools, I think that there needs to be some work on what is the narrative about the film industry that we’re perpetuating and that we’re giving the students. They’re coming out of these programs with certain expectations about how their career is going to go and how they’re going to get there that I think are unrealistic.
And I get asked a lot, would you recommend film school? I love teaching and so I placed a lot of value on education, but in retrospect, in thinking about what type of education we were pushing or we were teaching, even as a professor, it’s something that’s really worth taking a look at, both from a film school perspective and also from the perspective as filmmakers who are looking to make our work.
So Alece, I’m curious from your perspective, whether or not filmmakers choose to attend film school or not, what do you believe they need to know about the business of film, specifically as it relates to distribution?
Alece Oxendine:
When filmmakers go and they’re talking to the distributor or they’re talking to—whether a financier or anybody along in the process—the more you understand your audience, the better. It makes that distribution process easier, because that’s distribution. I think people miss what the definition is, and that’s how people get confused and scared. When they hear distribution, they’re like, “It’s money, and I didn’t want to work in finance. I’m a filmmaker. I don’t know anything about finance. I don’t know what I’m doing. I get really scared.” And I said, “Actually, it is just you connecting with your audience.” Think of distribution being that way, and it kind of demystifies everything and it makes it a lot easier for you to approach distribution. It’s like, no, it’s just connecting with my audience. I know who my audience is. So when you talk to a distributor, you talk to a sales agent, you talk to anybody, you say, “Here’s my audience. Can you reach this audience?” It’s an important question to ask when you’re talking to distributors and you’re talking about distribution. “Can you reach this audience?” The first question you ask.
Avril Speaks:
So we’ve heard here some useful tools that can be gained by going to film school, but there are also real flaws with the current model. Film school tends to focus on the creative. Not even every film school teaches business, period. It’s like an ongoing conversation that I feel like I’m always having. Whenever I do panels, you have to stress, this is the film business. It’s a business. And I think a lot of times when people see the stars walking the red carpet and stuff, people think that that’s all that film is, and they’re just like, “Oh, I just want to be a part of it. I want to be a part of that.” Or, “I have a story to tell and I want to learn how to tell that story.” So when you go to film school and when people create film schools, when they create these departments, you’re teaching people how to tell stories.
But the problem I think that we have in the industry is that this thing of telling stories and this thing of a business, they don’t always match up. I do think that there needs to be some restructuring of graduate film school. It’s an MFA, which is a master of fine art, but filmmaking is a business. It hasn’t been a fine art for a while, and so I think that there needs to be a restructuring that looks at the film school experience in that light, as a business in terms of what are you creating and also what are you thinking about in terms of audience and how does that connect with the market that’s in place today? But I also think if that’s going to be the case, there has to be the support for students and for faculty to make it a program of practice.
You have professors in here who are very knowledgeable in their craft. Why aren’t the professors out making movies and bringing the students in on that filmmaking process? Kind of like shadowing or like an apprenticeship type of situation. That had always been my dream of how to do this whole thing of teaching, of teaching film school, is making the practice of it be incorporated into the curriculum. How about we make a film from soup to nuts, from beginning to end, and really see what that process is like putting a film together, financing it. Yes, making it, but it’s financing it. It’s finding the audience, distributing it, exhibiting it, and letting students see the entire process of that.
That’s all for this episode of Distribution Advocates Presents. Tune in for other series installments discussing the landscapes of film festivals, distribution, sales agents, awards, and exhibition. This episode is produced by Moso Haus. Our producer is Nacey Watson Johnson. Our supervising producer is Ivana Tucker, and our production manager is Samiah Adams. Sound design is by Emily Crain. Special thanks to the team at Distribution Advocates, Abby Sun, Carlos Gutierrez, Karin Chien, Amy Hobby, and Kelly Thomas, as well as this episode’s guests, Pat Murphy, Jameka Autry, Alece Oxendine, Jemma Desai, and Barbara Twist. And of course, a heartfelt thank you to our funders, Ford Foundation, Prospective Fund, and Color Congress. Until next time, I’m your host, Avril Speaks, signing off.
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Bordertown’s distributor Federation ups credit line and ambitions
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2018-10-09T08:53:00+02:00
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The latest film & TV news of the Nordic audiovisual industry.
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Nordisk Film & TV Fond
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https://nordiskfilmogtvfond.com/news/stories/bordertowns-distributor-federation-ups-credit-line-and-ambitions
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Federation Entertainment’s fresh cash injection comes from a round of financiers including Bpifrance, BNP Paribas Développement, Amundi Private Equity Funds, Alliance Entreprendre and Entrepreneur Venture.
Breton who founded the company in 2013 to develop, produce and distribute premium dramas worldwide, said the extra funds will help Federation strengthen its capacity for long-term development. “The objective is to support the organic growth of our investments in production and distribution while expanding our international presence, notably through acquisitions, in order to become one of the leading European studios, with a very active branch in the US.”
Federation just expanded into non-scripted content by taking a majority stake in French production company WeMake, headed by Bouchra Réjani, former C.O.O of Shine France.
Federation’s scripted portfolio comprises French TV hits The Bureau and Marseille, (Netflix’s first French Original), the Israeli thriller Hostages and the German financial thriller Bad Banks.
The Company has successfully licenced Fisher King’s Finnish crime series Bordertown (Sorjonen) to key territories including Germany (Sky Deutschland), France (Canalplay) and Belgium ( VRT), with Netflix handling the US, Canada, the UK, Republic of Ireland, Norway, Sweden, Denmark, Iceland, Eastern Europe, Russia and the Netherlands. Season 2 produced again by Fisher King for Yle, in co-produced with Federation, premiered on the Finnish pubcaster October 7.
At MIPCOM, Federation will start discussions on season 3 of Miikko Oikkonen’s crime show starring Ville Virtanen as detective Kari Sorjonen. The distributor will launch another Finnish political thriller, Secret Enemies (8x52’) produced by Moskito Television for C More/MTV3 and will continue sales on the Norwegian dramedy One Night, produced by Viafilm for NRK.
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https://www.newswire.ca/news-releases/entertainment-one-acquires-canadian-assets-of-thinkfilm-535681721.html
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Entertainment One acquires Canadian assets of THINKFilm
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2008-03-27T09:44:00-04:00
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/CNW/ - Canadian distribution powerhouse Entertainment One (E1), and U.S. independent studio THINKFilm jointly announced today that E1 will be the exclusive...
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https://www.newswire.ca/news-releases/entertainment-one-acquires-canadian-assets-of-thinkfilm-535681721.html
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- Acquisition includes 235 title THINKFilm library
- Ouput agreement covers all THINKFilm releases through 2010
TORONTO, March 27 /CNW/ - Canadian distribution powerhouse Entertainment One (E1), and U.S. independent studio THINKFilm jointly announced today that E1 will be the exclusive Canadian distributor for THINKFilm movies through 2010. The multi-year output deal which covers all rights to Think movies in Canada was announced today by THINKFilm President and CEO Jeff Sackman, E1's Filmed Entertainment President Patrice Théroux and Seville's Pictures President David Reckziegel. E1 subsidiary Seville Pictures will handle distribution in Canada.
Affirming its place as one of the leading Canadian film distribution businesses, E1 has also acquired THINKFilm's library of 235 critically acclaimed and commercially proven features, for the remainder of the term that Think owns such pictures. The acquisition brings E1's filmed entertainment catalogue to 700+ titles, totaling more than 1,500 hours of content, which constitutes one of the best quality and most important film libraries in Canada.
THINKFilm's current and upcoming U.S. slate of feature releases includes BORDERTOWN, starring Jennifer Lopez and Antonio Banderas; IN THE SHADOW OF THE MOON, winner of the World Cinema Audience Award at Sundance 2007; BEFORE THE DEVIL KNOWS YOU'RE DEAD, directed by Sidney Lumet and starring Philip Seymour Hoffman and Ethan Hawke; THE WALKER, directed by Paul Schrader and starring Woody Harrelson, Kristin Scott Thomas, Lauren Bacall, Ned Beatty and Willem Dafoe; director Jieho Lee's feature debut THE AIR I BREATHE, starring Sarah Michelle Gellar, Kevin Bacon, Brendan Fraser, Forest Whitaker, Andy Garcia and Emile Hirsch; two award-winning documentaries: NANKING, directed and written by both Bill Guttentag and Dan Sturman, starring Woody Harrelson, Stephen Dorff and Mariel Hemingway and Best Documentary Feature Academy Award(R) winner TAXI TO THE DARK SIDE directed by Alex Gibney.
The newly acquired film library includes Ang Lee's break-out hit CROUCHING TIGER, HIDDEN DRAGON, which grossed more than USD$200m worldwide; Pedro Almodovar's Golden Globe and Academy Award(R) winner, ALL ABOUT MY MOTHER, starring Penelope Cruz; Ed Harris' POLLOCK, starring Harris and Academy Award(R) winner Marcia Gay Harden; SHORTBUS; HALF NELSON, starring Ryan Gosling ; ASSASSINATION OF RICHARD NIXON starring Academy Award(R) winner Sean Penn, Academy Award(R) winner and Golden Globe-nominee Don Cheadle and Academy Award(R) nominee Naomi Watts; Woody Allen's SWEET AND LOWDOWN starring Academy Award(R) winner Sean Penn and Academy Award(R) nominee Samantha Morton, CANDY, from debut film-maker Neil Armfield and starring Academy Award(R) nominee Heath Ledger and Academy Award(R) winner Geoffrey Rush; and Chris Smiths' acclaimed documentary AMERICAN MOVIE.
This important agreement marks another milestone in rapidly-expanding E1 Filmed Entertainment's strategy to establish itself as a leader on a worldwide basis. In the past months, Entertainment One has been very active in developing its network for filmed entertainment distribution which now includes Canada, the UK, Holland, Belgium and the U.S. E1 also has been actively building up its library of content with the acquisition of Contender Entertainment Group in the UK, Seville Entertainment in Canada, RCV in the Benelux, the signing of Summit for the UK and Canada and the signing of Yari Film Group for Canada to ensure a supply of top films for these markets. E1 is now expanding its Toronto operation to accommodate the increased volume of titles from the Summit, Yari and THINKFilm deals while capitalizing on the immediate synergies of streamlining releases through distribution subsidiary Seville.
THINKFilm President and CEO Jeff Sackman said "We are extremely happy to have found such a great partner to take care of our films in Canada. David Reckziegel and his team at Seville Pictures have a long history of nurturing some of the best films from around the world and we are pleased to add our selection of films to their offering and to be collaborating with them. We could not think of a better fit for our films in Canada."
E1 Filmed Entertainment President Patrice Théroux added, "This long term output agreement and the acquisition of their 235 titles library is another important step in establishing our Canadian and worldwide distribution infrastructure. We are very focused on consolidating assets in the markets we have a presence and reaping the benefits of the resulting synergies. The addition of these 235 titles to our library also allows us to bring more recurring revenues from our library in Canada, which constitutes another corner stone of our global strategy."
Said Seville Pictures' David Reckziegel, "THINKFilm has a history of bringing high quality independent films to the marketplace. Their product line is very complimentary with Seville's existing line-up and will increase our Canadian theatrical slate to over 50 films per year. We very much look forward to working with the THINKFilm team and retaining the distinctiveness of the Think brand which has been so well defined since its inception."
The deal was negotiated for THINKFilm by Jeff Sackman and Marc Hirshberg and E1's Patrice Theroux and David Reckziegel.
Note to the Editors:
--------------------
Entertainment One Ltd. (LSE: ETO) AIM listed, Entertainment One Ltd's strategy is to build a leading global independent entertainment content ownership and distribution business which acquires films, television programs and music content and exploits these rights in all media throughout the world. Entertainment One is one of the world's leading international entertainment companies with operations in Canada, the U.S, Holland, Belgium and the UK, where it distributes, acquires and owns filmed entertainment and music content in all medias. Entertainment One also owns Koch Entertainment, the largest independent record label in North America and a leading independent distributor of music and video in the United States. www.entertainmentonegroup.com
About THINKFilm LLC THINKFilm is a privately held production and distribution company founded in September 2001. In the fall of 2006, it was bought by film financier and producer David Bergstein, who is now the company's Chairman. Boasting five Academy Award nominations in as many years, most recently with Ryan Gosling nominated for Best Actor in 2006 for HALF NELSON, and a win for Best Documentary with BORN INTO BROTHELS in 2005, THINKFilm's recent releases include: David Sington's IN THE SHADOW OF THE MOON; Sidney Lumet's BEFORE THE DEVIL KNOWS YOU'RE DEAD with Philip Seymour Hoffman, Ethan Hawke and Marisa Tomei; Tony Kaye's LAKE OF FIRE, festival favorite WAR/DANCE from filmmakers Sean Fine and Andrea Nix Fine, Paul Schrader's THE WALKER starring Woody Harrelson, Kristin Scott Thomas and Lauren Bacall, and Alex Gibney's Best Documentary Feature Academy Award winner TAXI TO THE DARK SIDE. For more information, please visit www.thinkfilmcompany.com
SOURCE E1 Entertainment
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Getty Images Deutschland. Finden Sie hochauflösende lizenzfreie Bilder, Bilder zur redaktionellen Verwendung, Vektorgrafiken, Videoclips und Musik zur Lizenzierung in der umfangreichsten Fotobibliothek online.
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https://www.thefilmcollaborative.org/blog/tag/amci/
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TFC Blog
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TFC Distribution Days Primer
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Theatrical: To Do…or NOT To Do. (or perhaps more, HOW and WHEN To Do)
We all struggle with this, filmmakers, distributors alike. I remember giving a presentation to distributors about digital distribution and theatrical came up. I talked about the weirdness of showing a film 5 or 6 times a day to an almost always-empty house save a couple showings. This makes no sense for most films. When I released Baise Moi in 2000, we broke the boxoffice records at the time, and the “raincoat crowd” did show up at the oddest morning hours, but that is the exception, not the rule. Not every film has an 8-minute rape scene that just must be seen by post-punk-feminists and pornography-lovers alike. It’s an odd set-up for smaller films and it’s not the only means to the end we are looking for.
Recently, The Film Collaborative released Eyes Wide Open in NYC, LA, Palm Beach and Palm Springs. We have a little over $10,000 (all in it will be about $12,000 tops). We have made our money back and the great reviews and extra marketing / visibility will drive ancillary sales but we also did not invest or risk too much as you can see. That is a great formula (one that small, disciplined and seasoned distributors such as First Run Features, Strand, Zeitgeist, employ) but it is not viable for all films. First of all we have an “A” list festival film (Cannes & TIFF & LAFF) and second it caters to two or three niches (gay and Jewish/Israeli) though one can argue that the niches also slightly cancel each other out to some extent, the film did well so obviously the campaign worked.
But there are many films for which that strategy would not work. Either theaters could not be booked, or reviews would not always be great, and / or the film would simply not galvanize a theatrical audience. Plus, once you start adding up 4-Wall fees, the bottom line leans more likely to be shades of red. The Quad Cinema sent an E-blast promoting its 4-Wall program. It was a good sales pitch and I am not going into it all here, but the take home is that you’re more likely to get a broader theatrical, and/or a distribution deal, and/or picked up by Netflix and other digital platforms if you open theatrically in New York. I would argue that is true to some extent but also VERY MUCH dependent on the FILM itself and there should still be a cost-analysis and overall strategy consideration before one pays the Quad for their services and hopes for the best. Here is a link to the info and we are happy to email the blast to any who request it www.quadcinema4wall.com . It should also be noted that generally speaking, The New York Times does not consider your film among “All the News That is Fit to Print” unless it’s opening wider than just New York.
So how to decide? Companies such as Oscilloscope are all about theatrical, but they pick their films carefully and my guess is Adam Yauch can afford to lose money too if it comes to that. Home Video companies such as New Video, and Phase4 are doing some theatrical, but on an as-needed basis and yes, to service the ancillary rights, but that’s a very experienced analysis on their part. When we posted on Twitter about the Cable Operators warning they will start requiring a ten (10) city theatrical, all at once, believe me, if everyone blindly follows suit, the bar will get raised even higher right until we all go broke. The point is to mitigate the glut and distinguish films in the marketplace not get us all to be lemmings and empty our bank accounts. There is math to be done and I know it’s hard without all the back-end numbers at your disposal, but they are coming. We will publish case studies of all our films and we encourage you to get down to the detailed back-end numbers analysis before spending more on the front end and often gratuitously.
We have experienced and heard about the impact a filmmaker can have in his or her city when working the film and then really impacting the gross and that is inspiring, but usually not long-lasting because it takes a lot to get people to pay to see your film in a theater when there are so many other films and so many more marketing dollars behind them. And what’s in it for you? The only reviews that matter are the big ones and we all know what they are… and remember what we said above about The New York Times.
The general perception of indie film releases is interesting. Most don’t take into account the money that is spent to get the “gross”. More of the time the distributor (or whomever booked the film) gets less than half of the box office revenues. Sometimes as little as 25% – 30% though of course sometimes more. And there are the expenses. The Kids Are Alright may not even be in the black right now, but you’d never know that reading certain coverage. I love Exit Through A Gift Shop and actually flagged that release as a stellar release and then I learned that the marketing spend was actually a lot more than I realized such that the spend may be up to a million dollars. I don’t actually know, and not sure anyone will tell me. I do know that the bottom line for many of The Weinstein releases was reported to be in the red because of spending. If you have a film that can sell a lot of units and especially in an evergreen manner, and if you can trigger a great TV sale and if you have foreign sales legs, then there’s a real upside. If you don’t, then be clear what you’re goals are. Sometimes it’s just a career move and that makes sense. Canadian filmmakers need a theatrical release to get their next projects funded (say that like this: ‘pro-jects’). Sometimes people just want the awards qualification and that’s another ballgame.
We have written some of our TFC Distribution Tid Bits about Hybrid Theatrical and Marketing options, but here is a bit more on the topic:
If creating buzz is what you want, you don’t need a traditional theatrical and you definitely don’t need to overpay for the privilege.
Some OPTIONS – try HYBRID THEATRICAL – do FILM FESTIVAL, CREATE EVENTS, HOLD A SCREENING WITH ORGANIZATIONS, show in MUSEUMS (in some cases), other ALTERNATIVE VENUES depending on the film, and also there are all sorts of ways to book a few days here and a few days there at theaters (we cover that below). Theaters are and will continue to do this more and more. AMCi announced their intentions and they are still in the marinating phase, but we know you’ll all be ready when they are.
We’re interested in these companies and services:
Cinedigm: They have a program in the works that is meant to be similar to ScreenVision and Fathom (which is no longer handling indie films generally speaking, as far as we know) but aimed at independent cinema, and working with all the big theatre chains (Regal, AMC, Cinemark). I asked them to write a few words for me about themselves and their plans: Cinedigm Entertainment, a theatrical distributor, has built several “channels” of content for movie theatres. This is niche content that plays at what is traditionally slower times for the theatres. Examples are; Kidtoons a monthly matinee program; Live 3D sports, like the World Cup and NCAA Final Four basketball; and 3D and 2D concert films with artists from Dave Mathews to Beyonce. For each “channel,” the most appropriate theatres are chosen and theatres sign on to play the content as a series, thereby creating the expectation in the marketplace for the next installment. In the company’s newest “channel,” it looks to apply the concept to indie-films which will provide filmmakers with the theatrical element for distribution.
Emerging Pictures: Owned by Ira Deutchman (now also a Film Prof. at Columbia University). I spoke with Joshua Green, whom I have known for a while and booked with, though no real revenues were made in the past, their latest network of theatres sounds potent. They connect up to 75 theatres and they do very well with Opera, Ballet and Shakespeare, but also indie films. They work with all the usual indie film distributors either taking on 2nd run of films in major markets or handing the first run in secondary markets. On screen now for example is Mother & Child, My Name is Love, and Girl with a Dragon Tattoo. 30% of the Gross is paid to the distributor or filmmaker. They charge usually a 1-time encoding fee to get the files needed for the theatres. The fee is $1,000. If that’s an issue that can sometimes in advance to make sure the bookings will happen to make the fee worthwhile. They create a Hi Rez file 720p VC1 file which is a professional HD version of MS Windows. They work with the Laemmle theatres in LA and Sympany Space in NY and lots of others across the country. What does well on the Art House circuit will do well with them I was told. Makes sense.
Variance Films: Dylan Marchetti (former exec at Imaginasian and Think Film) is a firm believer in Theatrical and it’s his business. He may promote its necessities a bit more than I will and its not his money to spend and he was honest about the range of success (meaning not all films work theatrically and sometimes money is lost, and we know of at least one example, but it happens). We spoke for the first time and I was comforted by his grassroots approach (they do that work themselves) and his commitment to alternative low cost venues: event screenings, niche-specific / lifestyle specific venues, as well as traditional theatres (all the usual chains and small theatres etc). He noted that generally speaking, they do not charge more than $50,000 and that they get paid via back-end fees only. He said a release in NY and LA for $20,000 can be done. Variance is not a believer in print advertising; they have to believe in the film to take it on; and Dylan said that there is no correlation between P&A spending and a film’s success. Amen. They don’t do PR but rather refer out to outside agencies, as does The Film Collaborative. NB: Dylan Marchetti of Variance makes a correction to this. “Fees vary wildly depending on the film and release”. So sometimes they can do backend tied fees only, but not always.
The Film Collaborative is theatrically releasing UNDERTOW (which won the World Cinema Audience Award at Sundance). Stay tuned.
Orly Ravid July 28th, 2010
Posted In: Film Festivals, Marketing, Theatrical, Uncategorized
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Movies like Bordertown
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Similar movies like Bordertown include Black Legion, 20, 000 Years in Sing Sing, Marked Woman…
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1935, Archie Mayo
4.5/5
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https://tfip.org/impact-futures-part-2-impact-deserves-recognition/
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Impact Futures Part 2 - Impact Deserves Recognition
|
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2021-02-12T09:15:37
|
By Danielle Turkov and Amy Shepherd This post is part of our series on the industry of impact. Documentaries, social impact entertainment and Hollywood-back ...
|
en
|
https://tfip.org/impact-futures-part-2-impact-deserves-recognition/
|
By Danielle Turkov and Amy Shepherd
This post is part of our series on the industry of impact.
Documentaries, social impact entertainment and Hollywood-backed issue films increasingly challenge audiences to engage more deeply with the stories we are told.
Films winning the industry’s most prestigious awards today either reflect the hottest social topics or make a topic hot. Take the films in this years’ Oscar shortlists – they cover political corruption in health policy, LGBT persecution, disability rights, animal welfare, to name just a few of the array of globally important issues represented.
Films have incredible power to shed new light on situations and issues, increase knowledge and understanding of complex topics, challenge dominant opinions and shift perspectives.
While films create cultural moments, however, strategic impact is what creates a framework for people to seize that moment and introduce new narratives, voices, information, ideas and opportunities into world-changing conversations and decisions.
Impact is either the reason a film was made and the reason it intrinsically has an audience, or generation of audiences through a meaningful impact campaign is a crucial criteria for a film to catch the attention of awards committees.
Impact indisputably positions, platforms and harnesses the power of films. It makes sure stories reach and resonate with the audiences they deserve, plants a desire or accentuates the change in the hearts of audiences, and then implements the societal change audiences want.
Films that are made, released and distributed with an impact ambition and plan can catapult a compelling story to new levels of memorability and real-world outcome and legacy.
It is for this reason that we believe impact deserves recognition.
For years, films have generated impact. They have inspired mass social mobilisations, stimulated community giving on a new scale to build structures both physical and intangible, kickstarted research and education initiatives, changed the minds of top-tier decision-makers to result in new legislation, regulation or policy, and built up powerful support constituencies to shake political foundations or take on issues as a lasting fight.
It is neither right nor fair that impact should only be recognised in the shadow of a producer’s work. We contend that impact should sit in its own awards category, a reflection of its distinct integrity and value.
Not only this. As socially conscious industry professionals, should we not be asking film prize committees to review an impact assessment score as well as the scores they give for the other qualitative elements of the film?
|
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4383
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dbpedia
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3
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https://www.hollywoodreporter.com/business/business-news/thinkfilm-at-5-140576/
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en
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ThinkFilm at 5
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2006-10-24T05:00:00+00:00
|
ThinkFilm has thrived for five years in the dog-eat-dog world of New York indie film distribution.
|
en
|
The Hollywood Reporter
|
https://www.hollywoodreporter.com/business/business-news/thinkfilm-at-5-140576/
|
Unsimulated gay sex. Improvised dialogue. No stars, and barely any professional actors. A $2 million budget cobbled together piecemeal. What distributor in its right mind would take on a film with as many risks as John Cameron Mitchell’s “Shortbus”? And after the controversial film became a critical hit at this year’s Festival de Cannes, what distributor would Mitchell trust to roll out such a minefield to the public?
The answer to both questions is ThinkFilm, a company that has grown over the past five years by taking exactly these kinds of chances, walking a tightrope without the net of corporate affiliation and nabbing several Oscars along the way. Born when Lions Gate Films opted to shutter its New York offices and move its headquarters to Los Angeles in 2001, ThinkFilm is comprised of former executives and assistants who worked in the company’s New York and Toronto offices and decided that staying indie — and staying in their hometowns — would be their priority.
The other key mandate, of course, was to seek out daring, challenging films, which can be a very risky business. For every movie like 2004’s children-of-prostitutes docu “Born Into Brothels: Calcutta’s Red-Light Kids,” or the current critical darling “Half Nelson,” there have been boxoffice disasters like Gus Van Sant’s 2003 film “Gerry.” But such failures have not deterred this indie’s indie: At least one sure-to-be-controversial docu about a popular and ubiquitous four-letter word, “Fuck,” is set for release Nov. 10.
“Their name is very fitting, in that they truly believe audiences want to think and want to be challenged,” Film Society of Lincoln Center program director Richard Pena says. “Their audience is people who go to films to have their minds opened up, not to be pacified.”
Having founding staff members that were already a tight-knit, assimilated group has been one secret to ThinkFilm’s success. The core group that runs ThinkFilm today still largely consists of the original Lions Gate refugees, including former president Jeff Sackman; former president creative, East Coast Mark Urman; former vp home entertainment Marc Hirshberg; and former vp acquisitions and business affairs Randy Manis. Today, ThinkFilm employs 35 staffers, many of whom have risen internally like Daniel Katz, a once titleless Lions Gate employee whom ThinkFilm promoted to vp acquisitions in 2004.
“The idea was that there was no formal hierarchy,” ThinkFilm president and CEO Sackman says. “We put together a team of qualified, capable people who work well together, have the respect of the industry, the respect of each other — and just hustle.”
“They’ve shown they can be successful with films where other companies might say, ‘I don’t think there’s a market for this,'” Pena says. “They find the market. And any company with Mark Urman is at an immediate advantage. He has great taste, a wealth of experience and a great attitude.”
What got ThinkFilm going back in 2001, however, was more than just a solid group of employees. Sackman had a friend (whom he declines to name) who armed him with a low-seven-figure loan to acquire Canadian distribution rights to more than 40 films from Blackwatch Releasing, which was going out of business. The deal, which ThinkFilm senior vp finance and operations Hirshberg describes as “miraculous,” included the 2003 release “Last Wedding” (the opening-night selection for the 2001 Toronto International Film Festival) and many stateside Sony Pictures Classics releases including “Crouching Tiger, Hidden Dragon,” which won the foreign-language Oscar in 2001.
The loan and the TV and video rights to the films “basically gave us our fuel to get going,” says Sackman, who repaid his friend within two years.
Before the official launch, says ThinkFilm U.S. theatrical head Urman, “We were subterranean and secretive — nobody knew what any of us was doing.” The company had a bittersweet debut at the Toronto fest just four days before the Sept. 11 attacks but rebounded in 2002 with three acquisition announcements at the Sundance Film Festival: Peter Care’s “The Dangerous Lives of Altar Boys,” Bart Freundlich’s “World Traveler” and Laurent Cantet’s “Time Out.”
Within two months, Think-Film founded its straight-to-video genre division, Velocity Home Entertainment, headed by Sackman and overseen by vp finance and operations Hirshberg, and made its first worldwide-rights-and-prebuy deal with Thom Fitzgerald’s “The Event.”
The company enjoyed solid growth until January 2003, when issues arose over ThinkFilm’s initial financial backing, and Sackman’s longtime friend, Alliance Communications founder Robert Lantos, stepped in, buying a 50% stake in the company and taking over as chairman. ThinkFilm received another cash infusion in August 2004, thanks to private equity from Canadian investment firms Covington Capital Corp. and Dynamic Venture Opportunities Fund.
As any independent distributor knows, money is hard to come by, and Urman attributes the company’s overall longevity to its intelligent use of resources. “What we spend on (prints and advertising) on some of our big boxoffice films relative to what other people spend is just so much less,” he says, comparing ThinkFilm’s summer release “Strangers With Candy” to another film from a studio specialty division that he declines to name.
“They went out on 800 prints to make something around $4 million, and we never did more than 100-and-something prints to make more than $2 million. They must have spent $7 million-$8 million in P&A, and we spent 1?5 of that. So, who’s making more money? It’s all about the bottom line.”
And it’s about the future. That expansion financing from 2004 helped ThinkFilm start releasing its theatrical features on DVD under the new ThinkFilm Home Entertainment label (alongside its Velocity straight-to-DVD titles). The company also has launched an international sales division, which debuted at Cannes in 2005 under the direction of Alliance Atlantis Pictures International president Mark Horowitz. ThinkFilm recently promoted David Fenkel from vp marketing to vp international sales, tasking him with heading up the company’s international division.
“It occurred to us that the international theatrical exploitation of nonfiction film was a growing market,” Urman says. “We were discovering these films at Sundance nobody knew anything about, getting them a great deal of attention, and then someone else was picking up international rights and making money. Why would we want something else to do that?
“It’s an advantage going into markets if you’re in a position to make a worldwide offer,” Urman continues. “One negotiation, one delivery — and you just have more to offer any buyer.”
And considering its positioning for the future, ThinkFilm has just begun to strike multipicture deals to build its brand and its relationships with filmmakers and stars.
Whether such arrangements lead to even bigger ambitions — such as a sale of the privately held company or a rethinking of ThinkFilm’s modus operandi — remains under wraps. Sackman will say only that “this company has been for sale since it started,” adding that he’s very content with the way the business is operating. “I’ve been in this business 20 years, and I’ve seen 50 distributors come and go,” he says, “So, I’m very proud of the fact that we continue to exist. Period.”
|
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4383
|
dbpedia
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3
| 98
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https://www.metacritic.com/browse/movie/netflix/
|
en
|
Best Movies on Netflix
|
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[
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Metacritic aggregates music, game, tv, and movie reviews from the leading critics. Only Metacritic.com uses METASCORES, which let you know at a glance how each item was reviewed.
|
en
|
https://www.metacritic.com/browse/movie/netflix/
|
2. Sankofa
Mona (Oyafunmike Ogunlano) is a Black American fashion model on a photo shoot in Cape Coast, Ghana. Through Mr. Gerima’s imaginative storytelling, she undergoes a journey back in time to a plantation in North America. There she becomes Shola, an enslaved African woman who labors in the master’s house and experiences the horrors of slavery firsthand. In becoming Shola, Mona recovers and confronts her ancestral identity and experience. While enduring monstrous trauma at the hands of white men who owned people for profit, Shola’s interactions with her fellow enslaved Africans are rich with humanity, respect and dignity for one another. Most notably, she connects with Shango (Mutabaruka), a rebellious African man who toils in the fields, and Nunu (Alexandra Duah), one of the few of the enslaved to remember her life in Africa before being stolen and terrorized by European traders. [Array]
93
Metascore
3. Procession
Six midwestern men — all survivors of childhood sexual assault at the hands of Catholic priests and clergy — come together to direct a drama therapy-inspired experiment designed to collectively work through their trauma. As part of a radically collaborative filmmaking process, they create fictional scenes based on memories, dreams and experiences, meant to explore the church rituals, culture and hierarchies that enabled silence around their abuse. In the face of a failed legal system, we watch these men reclaim the spaces that allowed their assault, revealing the possibility for catharsis and redemption through a new-found fraternity.
90
Metascore
4. Dick Johnson Is Dead
A lifetime of making documentaries has convinced the award-winning filmmaker Kirsten Johnson of the power of the real. But now she's ready to use every escapist movie-making trick in the book - staging inventive and fantastical ways for her 86-year-old psychiatrist father to die while hoping that cinema might help her bend time, laugh at pain, and keep her father alive forever.
89
Metascore
5. Time Out
After losing his job, Vincent (Recoing) can't bring himself to tell his wife (Viard) and children, so he wanders around France during the day, while they think he's at work, and finds himself on a moral and ethical journey of conscience that challenges the notions he's formed about life. (ThinkFilm)
88
Metascore
6. Shirkers
In 1992, teenager Sandi Tan and her friends Sophie and Jasmine shot Singapore's first indie-a road movie called Shirkers-with their enigmatic American mentor, Georges Cardona. Sandi wrote the script and played the lead, a killer named S. After shooting wrapped, Georges vanished with all the footage! 20 years later, the 16mm cans are recovered in New Orleans, sending Sandi-now a novelist in Los Angeles-on a new personal odyssey across two continents and many media: 16mm, digital, Hi8, Super8, slides, animation and handwritten letters.
88
Metascore
9. My Happy Family
On the evening of her 52nd birthday, Georgian literature teacher Manana unexpectedly announces to her family that she is leaving. She has been married for 30 years and lives in a three-bedroom flat in Tbilisi with her husband, parents, two children and her son-in-law.The members of her family represent three generations and are completely different from each other: Manana's husband Soso (55); their daughter Nino (24), who is married and adores her husband Vakho (27); Manana's son Lasha (20); Manana's mother Lamara (72), the pillar of the family who takes care of everybody; and Manana's father Otar (80), who after a long and exhausting life, dreams of death which seems slow in coming. Initially, the family don't take Manana's decision seriously. But then she packs her suitcase and leaves. The family is shocked and incredulous: where is she going? Who upset her? She is past 'divorce age' after all, and has a good husband who doesn’t drink, take drugs or beat her.
86
Metascore
10. May December
After their relationship ignited a tabloid saga two decades ago, Gracie (Julianne Moore) and Joe (Charles Melton) now lead a seemingly perfect suburban life. Their domestic bliss is disrupted when Elizabeth (Natalie Portman), a famous television actress, arrives in their tight-knit community to research her upcoming role as Gracie. As Elizabeth ingratiates herself into the everyday lives of Gracie and Joe, the uncomfortable facts of their scandal unfurl, causing long-dormant emotions to resurface.
86
Metascore
11. Strong Island
In April 1992, on Long Island NY, William Jr., the Ford's eldest child, a black 24 year-old teacher, was killed by Mark Reilly, a white 19 year-old mechanic. Although Ford was unarmed, he became the prime suspect in his own murder. Director Yance Ford chronicles the arc of his family across history, geography and tragedy - from the racial segregation of the Jim Crow South to the promise of New York City; from the presumed safety of middle class suburbs, to the maelstrom of an unexpected, violent death. It is the story of the Ford family: Barbara Dunmore, William Ford and their three children and how their lives were shaped by the enduring shadow of racism in America.
86
Metascore
14. Passing
Adapted from the celebrated 1929 novel of the same name by Nella Larsen, Passing tells the story of two Black women, Irene Redfield (Tessa Thompson) and Clare Kendry (Ruth Negga), who can “pass” as white but choose to live on opposite sides of the color line during the height of the Harlem Renaissance in late 1920s New York. After a chance encounter reunites the former childhood friends one summer afternoon, Irene reluctantly allows Clare into her home, where she ingratiates herself to Irene’s husband (André Holland) and family, and soon her larger social circle as well. As their lives become more deeply intertwined, Irene finds her once-steady existence upended by Clare, and PASSING becomes a riveting examination of obsession, repression and the lies people tell themselves and others to protect their carefully constructed realities.
85
Metascore
16. The Disciple
Sharad Nerulkar has devoted his life to becoming an Indian classical music vocalist, diligently following the traditions and discipline of old masters, his guru, and his father. But as years go by, Sharad starts to wonder whether it’s really possible to achieve the excellence he’s striving for.
83
Metascore
17. Spider-Man 2
In the second installment in the Spider-Man series, based on the classic Marvel Comics hero, Tobey Maguire returns as the mild-mannered Peter Parker, who is juggling the delicate balance of his dual life as a college student and a superhuman crime fighter. The entertaining adventure escalates and Spider-Man's life becomes even more complicated when he confronts a new nemesis, the brilliant Otto Octavius, (Molina) who has been reincarnated as the maniacal and multi-tentacled "Doc Ock." (Sony)
83
Metascore
|
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4383
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1
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https://www.coursehero.com/sitemap/schools/269-California-State-University-Los-Angeles/courses/7172448-PAS3822/
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4383
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https://deadline.com/2024/03/academys-annual-survey-wondering-what-hollywood-think-commentary-michael-cieply-1235863808/
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en
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Michael Cieply: The Academy’s Annual Survey Leaves You Wondering – What Does Hollywood Really Think?
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2024-03-21T15:00:00+00:00
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The film Academy's annual membership survey is a nonevent, but leaves you wondering what Hollywood really thinks, Michael Cieply writes.
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en
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Deadline
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https://deadline.com/2024/03/academys-annual-survey-wondering-what-hollywood-think-commentary-michael-cieply-1235863808/
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The film Academy’s annual membership survey hit email in-boxes on Monday.
As usual, it promises to be something of a nonevent. Most of the questions are inside-y, a bit trivial and generally preoccupied with awards minutiae. Is having in-person Membership Screenings important to you? In preparing for finals voting, about how many films in consideration did you watch? Have you visited the Academy Museum?
Where big issues surface, phrasing seems to telegraph a preferred answer. How important is it for the Academy to continue to be a leader in the industry with representation, inclusion and equity initiatives? How important is it for the Academy to facilitate education and engagement for members on sustainability and climate action in the industry?
Nice words like “leader in the industry” and “facilitate education and engagement” should yield a lot of checks in the top two boxes, “Very important” or “Somewhat important.”
And yet the survey does provoke a thought: Wouldn’t it be grand if someone were to commission a genuine, probing, far-reaching survey of opinions within the entire Hollywood community?
Maybe it’s been done, but I can’t recall ever seeing such a thing. Certainly not on the scale we could use.
This wouldn’t be a simple enterprise. For starters, you’d have to define “Hollywood community.” I’d propose sampling all who make a living by dealing primarily with entertainment production and distribution companies based in and around Los Angeles and New York. That’s a bit arbitrary, but it would include those who feed the American studios and independents, regardless of where in the world they might live. At the same time, it would exclude those — including a growing number of Academy members—whose cinematic life is grounded in other cultures and countries.
In other words, let’s survey the U.S.-based movie and television industries.
Represent workers both high and low, suits and sweaters, talent and agents, assistants and C-suite executives. Include everybody, even the interns and caterers.
This would obviously be expensive, as the survey-takers, unlike those infinitely repetitive political pollsters, would have to break fresh ground with well-designed samples built from scratch. Most media outlets, a bit shaky these days, probably lack the resources. Let’s suppose some task force funded by the Motion Picture Association, AMPAS and the Creative Coalition, with additional support from two or three private foundations to be named later, might bring it off.
What would we ask? Well, everything, and bluntly, with some kind of seal-of-confession triple-lock confidentiality mechanism, to make sure the answers are as honest as possible. Political questions. Industry questions. Cultural questions. Frank questions about movies and television and streaming, on-set behavior, race relations, economic prospects, whatever.
So why bother, you’re probably tempted to ask. Because, I would argue, we’ll probably find out that actual thinking within Hollywood isn’t nearly as uniform as we think.
We and the world at large have come to view Hollywood, the entertainment business, as a progressive, left-leaning, forward-thinking, overwhelmingly Democratic, labor-friendly community that shares common assumptions about gender, race, the climate, elections and the value of education and engagement on all fronts.
But that picture has never been entirely accurate, and I suspect that it’s become even less so in recent years, as a social media-driven cancel culture showed what can happen to those who violate a norm. Remember, almost everyone in Hollywood lives on a trapeze, swinging from gig to gig, contract to contract, always reaching for the next connection. Insecurity is endemic. That has fostered a kind of surface conformism — exhibited on the red carpet, on festival panels, online — that mostly provides the expected answers, whatever the individual involved may actually think.
But in long decades as a journalist and would-be producer, I’ve come to know dozens of industry players who muffled or suppressed their beliefs to avoid conflict with what seemed to be the party line. It’s hard enough to get work, why make things worse by aligning with the few outliers?
(And yet an industry fissure over attacks in Israel and Gaza has suddenly made it clear that everyone in the game doesn’t think alike — not by a long shot.)
So I’d like to know what Hollywood really believes. An honest survey might bring surprises. Who knows, it might even shake things up, and make story lines, casting choices, awards speeches and media narratives more varied, and interesting, than they’ve been for a while.
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https://www.themoneyillusion.com/the-temporal-distribution-of-masterpieces-plus-annual-film-and-book-list/
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The temporal distribution of masterpieces (plus annual film and book list)
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Vaidas reminded me that today is the 5 year anniversary of my blog. I had totally forgotten that, but somehow remembered the 5 year anniversary of the Mankiw/Krugman dispute. I feel burned out, so I'm going to relax today and do a file dump of stuff I wrote a while back.
Here are all the films I saw at the theatre
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TheMoneyIllusion
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https://www.themoneyillusion.com/the-temporal-distribution-of-masterpieces-plus-annual-film-and-book-list/
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Vaidas reminded me that today is the 5 year anniversary of my blog. I had totally forgotten that, but somehow remembered the 5 year anniversary of the Mankiw/Krugman dispute. I feel burned out, so I’m going to relax today and do a file dump of stuff I wrote a while back.
Here are all the films I saw at the theatre last year, including a bunch that were made years earlier (warning; don’t see them based on my recommendation):
In the Mood For Love (Hong Kong) 4.0 This 2000 Wong Kar Wai film was voted by film critics the best movie of the past 20 years. Indeed one of only two recent films to even make the Top 50 of All Time list (along with Mulholland Drive.)
Fallen Angels (Hong Kong) 3.9 A 1995 film from Wong Kar Wai’s golden age (1991-2004.) How many modern directors produced 7 masterpieces in a row? One of the coolest films ever made and just a blast to watch on the big screen. I enjoyed it more the second time, as I went in understanding there wasn’t much plot.
Her (US) 3.8 Thought-provoking on many different levels. Almost flawlessly directed. The one must see film of 2013.
Sunless (French) 3.8 A 1982 Chris Marker philosophical meditation on Iceland, Africa, Tarkovsky’s Stalker, cats, Vertigo, and above all Japan. How good is it? The narrative is dense and elliptical and comes at you fast. Enough of the ideas hit home with me to make it work, but it would take a much brighter person (Tyler Cowen?) to review this film properly.
20 Feet from Stardom (US) 3.5 A very enjoyable documentary about backup singers. Was Merry Clayton’s singing on Gimme Shelter the high point of 1960s rock?
Post Tenebras Lux (Mexican) 3.5 Less than the sum of its parts, but the parts are occasionally sublime. Especially the intro. Had very vivid dreams after this film—is there any higher praise?
American Hustle (US) 3.5 Perhaps because I’m nostalgic for the 1970s (which may go down in history as the decade of “peak privacy”) I really enjoyed this film, despite its Hollywood formulaic style.
The Grandmaster (Hong Kong) 3.4 I tend to get bored with kung fu fight scenes, but this was better than most. We’ll have to wait ten years for the “director’s cut” to find out how good this film actually is (I either under or overrated it.) Its length was sharply reduced for American audiences and it shows. Like Post Tenebras Lux it is less than the sum of its parts, but it does have some glorious parts.
Inside Llewyn Davis (US) 3.3 A typical Coen brothers film. Made with great skill, but more interesting as a concept than in execution.
Stoker (Korean/American) 3.3 Nowhere near as interesting as Park’s “Vengeance Trilogy,” but skillfully directed. Spike Lee remade Oldboy? I think I’ll pass.
Design for Living (US) 3.3 A Ernst Lubitsch comedy from 1933. Not as good as his best work.
Bad Blood (French) 3.3 Leos Carax’s second film, from 1986. The director gave a very interesting talk after the film. Very good at using visuals and sound to create certain moods. He was strongly influenced by silent films.
Like Someone in Love (Japanese/Iranian) 3.3 Kairostami continues to do films in non-Iranian settings. A few echoes of Ozu in this intriguing film set in Tokyo.
Spring Breakers (US) 3.2 Almost a campy masterpiece, but the film gradually ran out of steam. I don’t think the director had a clear plan. But maybe that’s for the best, as it was an entertaining ride.
The Enforcer (US) 3.2 This 1951 noir was the first film to use mob terms like “contract” and “hit.” The NYT review in 1951 called the film extremely violent, which seems almost laughable today. There is virtually no violence at all! I knew that 1950s people would be shocked by the sex in modern movies, but they’d be even more shocked by the violence. What would shock us about the films of 2075? Raoul Walsh actually directed, but someone else was credited.
A Touch of Sin (China) 3.2 A bit of a disappointment considering the director. It’s hard to make a movie work when it is a collection of mostly unrelated short stories. Only a few directors can pull that off, and Jia Zhangke doesn’t seem to be one of them.
Oblivian (US) 3.2, Very nice visuals, and reasonably entertaining, but it’s still a sort of “tweener.” Way too derivative to be a creative Sci-fi breakthrough like 2001 or Solaris, and not nearly as entertaining as Star Wars. Watch on big screen or not at all.
All is Lost (US) 3.1 Somewhat interesting story of a man lost at sea. I would have preferred an ending like Bruegel’s painting “Fall of Icarus”, but that’s not feel good enough for Hollywood.
L’Amour (French) 3.0 I could never get interested in this film, despite the fine acting and direction. Everyone else thinks it’s a great film, so I suppose it is.
The Wolf of Wall Street (US) 3.0 Shows how the power to make any sort of film a director wants gradually leads him to indulge in filming mindless drug-fueled orgies with beautiful actresses because . . . because he can. Also about corruption on Wall Street (not just Hollywood), although it’s not really clear in the film exactly what these guys did wrong (in a legal sense.) Presumably insider trading and unethical marketing practices. Martin Scorcese could make a 3.0 star film in his sleep, and he did. At least it’s never boring.
Night Across the Street (Chile) 3.0 A highly intelligent film but it never really connected with me.
Upstream Color (US) 2.8 The director of Primer has another intellectual sci-fi effort, but the final product just doesn’t seem as interesting as the concept.
Museum Hours (Austrian) 2.8 It seemed like a film version of a Max Sebald novel. But not nearly as good.
The Man With a Camera (Russian) 2.8 This “classic” silent film from 1929 left me cold. It seemed too much like single stunt stretched out to 90 minutes. Number 8 on the all time best film list””and rising.
Level Five (French) 2.8 An old Chris Marker film/documentary on the Battle of Okinawa, where more than 200,000 Japanese died. Convinced me that dropping the bomb on Hiroshima was the right move.
Blue Jasmine (US) 2.7 One of Woody Allen’s weaker films. The characters were not at all interesting, and the plot was somewhat predictable. I don’t recall any great lines. Some nice music and the lead actress was excellent.
Anna Karenina (British?) 2.5 Probably even worse than 2.5, but since I’ve never read the novel, and the acting was pretty good, I was somewhat interested in what was transpiring.
The Hobbit, pt. 2 (New Zealand) 2.2 A big disappointment. While watching this I found it hard to remember why the LOTR was so good. The director got almost everything wrong.
I don’t have much time anymore for serious reading, but I did get through two long biographies of artists (Cezanne and Titian, two of my absolute favorites). The most noteworthy novels I can recall reading last year were My Struggle (pt. 2) by Knausgaard, The Museum of Innocence by Orhan Pamuk, Your Face Tomorrow by Javier Marias, and Correction by Thomas Bernhard (an older book). All four authors have very distinctive voices, but I’d say the Knausgaard was my favorite. Can’t wait for the rest of the volumes.
In an earlier post I made an off-hand comment about the explosion of pop music creativity between 1963 and 1969, and got a lot of criticism. Let’s take a look at the Rolling Stone top 50 pop songs by year:
1955-56: 5
1957-58: 2
1959-60: 2
1961-62: zero
1963-71: 34
1972-74: zero
1975-1991: 7
1992-2013: zero
I don’t know why they didn’t include songs from an earlier period, perhaps it was just meant to be top pop songs from the rock era. So there’s a burst of creativity about the time Elvis bursts on the scene, then a slack period, then an explosion around the time the Beatles/Dylan/Stones show up (plus lots of Motown songs, etc.) BTW, I believe the artists of today are at least as talented as those of the 1960s (probably more so)–that’s a different issue.
This is common in the arts, although not usually quite so pronounced. Here’s the top 50 films of all time (actually 52), according to a poll of 846 film buffs:
1925-34: 7 (these are all silent, 5 are from 1925-27)
1939-41: 3
1948-49: 2
1950s: 12
1960s: 15
1970s: 7
1980s: 1
1990s: 3
2000-01: 2
2002-13: zero
So in both cases the 1960s dominate, but much more in music. That’s partly because the film list is global—different countries had their artistic peaks at different times. The music list just looks at English language songs. It’s partly because the music list ignores the period before 1955. But both lists have very few modern works. Is that just boomer nostalgia? Partly, but not entirely. To me it’s also the “Renaissance phenomenon.” When there are cultural and technological developments that open up vast new vistas of artistic possibilities, and economic conditions that allow people to explore those places, they fill up rapidly. De Vinci, Michelangelo, Raphael, Titian, etc, quickly “invented” or “discovered” all the best picture ideas (Borges says the two words have the same meaning), forcing their successors to work in the margins (hence “mannerism.”) David Lynch (the most recent director on the film list) is a sort of mannerist. So is Radiohead. The first flowering of film was the peak of the silent era, 1925-27. The next was the post-WWII explosion of stylistic possibilities. And then with Apocalypse Now and Stalker in 1979 it all ended. Maybe that’s why Coppola burned out. He saw there was no future.
Didn’t Kurt Cobain say he’d been born too late? (The good songs were taken.) Right before killing himself? He’s got the most recent song on the list.
Be careful what you wish for. I’m in the slightly embarrassing position of having my favorite song and film top the two critics lists. You’d think that would be great, but now that it’s happened I’d much rather pick some unconventional choice; an obscure film from Taiwan, Thailand or Turkey. Or a great schlocky film like Titanic. Or a quiet modest film like Local Hero that others overlook. But I can’t, I’m as boring as that composite face generated by averaging 1000s of faces on a computer.
PS. I saw Tarkovsky’s Mirror for the second time at Harvard last night. It will probably top my 2014 list.
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Conference Schedule
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2024-02-05T16:45:07+00:00
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Check out the full 2024 conference schedule below and use the filtering option to see events according to your interests. 🕑 Please note that the dates and
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en
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Marché du Film
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https://www.marchedufilm.com/marche-conferences/conference-schedule/
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Check out the full 2024 conference schedule below and use the filtering option to see events according to your interests.
🕑 Please note that the dates and times displayed are based on the time zone of your device.
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4383
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https://investors.lionsgate.com/news-and-events/press-releases/2005/20-07-2005-172821833
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en
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Lions Gate Home Entertainment and THINKfilm Ink United States Home Video Distribution Deal
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http://investors.lionsgate.com/~/media/Images/L/LionsGate-IR-V3/logo/og-lionsgate-logo.jpg
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http://investors.lionsgate.com/~/media/Images/L/LionsGate-IR-V3/logo/og-lionsgate-logo.jpg
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Lions Gate Home Entertainment (LGHE), a division of Lions Gate Entertainment (NYSE: LGF) Toronto, has inked a home video distribution deal with Toronto-based independent studio THINKFilm. Under the terms of the deal, LGHE will represent all of THINKFilm's theatrical releases for distribution to mass merchant accounts
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en
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~/media/C7E0C1FF686B4A568F6424D60676CEB0.ico
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https://investors.lionsgate.com/news-and-events/press-releases/2005/20-07-2005-172821833
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Lions Gate Home Entertainment (LGHE), a division of Lions Gate Entertainment (NYSE: LGF) Toronto, has inked a home video distribution deal with Toronto-based independent studio THINKFilm. Under the terms of the deal, LGHE will represent all of THINKFilm's theatrical releases for distribution to mass merchant accounts in the U.S. home video market. THINKFilm will continue to distribute to other direct accounts. The first title in the deal is the Academy-Award® winning BORN INTO BROTHELS, winner of the 77th annual Oscar for Best Documentary Feature, set for release on September 20. In addition LGHE will distribute a number of direct-to-video titles in all of the US home video market. Lions Gate Entertainment President Steve Beeks and THINKFilm President & CEO Jeff Sackman made the announcement.
The three-year deal comes as LGHE continues to enhance its vast library in all genres. The fastest-growing studio in the industry, Lions Gate will add the THINKFilm titles to its already impressive video release schedule of theatrical motion pictures. With this deal, the Company will now be presenting up to 30 theatrical pictures to the video market each year. The deal also bodes well for THINKFilm which has acquired and successfully marketed some of the most interesting and popular independent feature film and documentaries in recent years.
In addition to BORN INTO BROTHELS, LGHE will also be releasing two critically-acclaimed, award-winning documentaries, THE ARISTOCRATS and MURDERBALL, in the fourth quarter. Featuring a who's who of the best comedians in the world, THE ARISTOCRATS was nominated for the Grand Jury Prize at the Sundance Film Festival this past January. MURDERBALL was a standout on the Festival circuit, earning the Audience and Special Jury Prizes for Best Documentary at Sundance, the Audience and Jury Awards at the Full Frame Documentary Film Festival, and the Golden Space Needle Award for Best Documentary at the Seattle International Film Festival.
"Partnering with a visionary company like THINKFilm gives us access to some of the highest quality movies in the independent film world. The opportunity to work with THINKFilm's Jeff Sackman, who has an incredible reputation in the independent film business, is like welcoming him home," said Beeks. "This deal reflects our continued commitment to the independent film marketplace as titles like BORN INTO BROTHELS, THE ARISTOCRATS and MURDERBALL will further enhance our reputation for delivering original, daring, quality entertainment."
"We are extremely pleased to be working in partnership with Lions Gate Home Entertainment to bring our unique and compelling award-winning films to an even wider U.S. audience," said Sackman. "We've been looking for a more efficient way to service the U.S. mass merchants and have found that in Steve Beeks and Lions Gate, one of the most powerful forces in home entertainment distribution."
ABOUT LIONS GATE ENTERTAINMENT
Lions Gate is the premier independent producer and distributor of motion pictures, television programming, home entertainment, family entertainment and video-on-demand content. Its prestigious and prolific library is one of the largest in the entertainment industry. The Lions Gate brand name is synonymous with original, daring, quality entertainment in markets around the world.
ABOUT THINKFILM:
Privately owned and based in Toronto, THINKFilm was founded in September 2001 by President/CEO Jeff Sackman. THINKFilm represents the new face of independent film, distributing high-quality, award-winning independent films to the home entertainment marketplace. THINKFilm's most recent releases GAME OVER: KASPAROV AND THE MACHINE, OVERNIGHT and MONDOVINO will soon be followed by KONTROLL, DALLAS 362 and the highly anticipated MURDERBALL. More information about THINKFilm can be found online at www.thinkfilmcompany.com.
For further information contact: FOR LIONS GATE Sarah Greenberg / Jodie Magid Lions Gate Entertainment 310.255.3856 / 212.386.6885 sgreenberg@lgecorp.com / jmagid@lgecorp.com For corporate inquiries: Peter Wilkes Lions Gate Entertainment pwilkes@lgecorp.com 310-255-3726 FOR THINKFILM Amanda Dwyer (416) 488-0037 Ext. 242 adwyer@thinkfilmcompany.com Alan Amman mPRm Public Relations 323-933-3399 aamman@mprm.com
SOURCE: Lions Gate Home Entertainment
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War Dance (2007)
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War Dance (2007) - Movies, TV, Celebs, and more...
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en
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IMDb
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https://www.imdb.com/title/tt0912599/news/
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On Monday, July 26, famed rock producer, manager, and lyricist Sandy Pearlman died at the age of 72. His Wikipedia page says he "was the recipient of 17 gold and platinum records." He managed that despite not actually producing many bands, or even albums -- but he left a big imprint on every one he worked on.
Born in Rockaway (Queens), NY in 1943, he got a college degree at the State University of New York at Stony Brook on Long Island in 1966.
A year later, still in the Stony Brook area, he recruited a band so he could have a series of science-fiction poems he'd written (the Imaginos saga, about a group secretly controlling world history) set to music and performed. He named the band Soft White Underbelly after Winston Churchill's epithet for Italy, but changed its name to Oaxaca after Soft White Underbelly got a negative review at a big concert.
By Anjelica Oswald
Managing Editor
This year’s Oscar race could make history with two possible best picture nominees directed by women — Ava DuVernay’s Selma and Angelina Jolie’s Unbroken. If both women are nominated for best director, that would also be a historical moment. But though these accomplishments in the narrative field are possible, more women directors are breaking into the documentary categories. Four of the 15 shortlisted documentaries feature women at the helm: Jennifer Grausman (co-directed with Sam Cullman and Mark Becker) with Art and Craft, Tia Lessin (co-directed with Carl Deal) with Citizen Koch, Laura Poitras with Citizenfour and Rory Kennedy with Last Days in Vietnam. Additionally, three of the eight shortlisted documentary shorts feature female directors: Ellen Goosenberg Kent with Crisis Hotline: Veterans Press 1, Aneta Kopacz with Joanna and Lucy Walker with The Lion’s Mouth Opens. More often than not, women directors tend to...
Listening to the experiences of children abducted by the Lra exposes the dangers of over-simplifying the conflict
I didn't pay much mind to the #Kony2012 kerfuffle when it first surfaced back in March. I couldn't be bothered to watch the film and was a bit blasé about the re-emergence (as it seemed to me) of the Lord's Resistance Army as a topic of wide international interest. But now Invisible Children has released another film that promises the unleashing of a new wave of activism (they're promising to take over the Us capital in mid-November) and awareness-raising. The new film is an ode to martyrdom (a frivolous aside: watch Ben Keesey from 20:02 onward and compare his embattled defense to this one) but I otherwise found no reason to add to the blogosphere's thorough deconstruction of the phenomenon. Instead I went through my notes from a 2005 research travel through Acholiland. Over one month,...
SnagFilms has acquired worldwide theatrical, digital and television rights to Vivian Ducat's “All Me: The Life and Times of Winfred Rembert.” Distribution of the documentary will kick off with a special online sneak peek on Martin Luther King Day January 16, followed by a online and cable VOD release throughout Black History Month. Through the art of Winfred Rembert, the film tells a personal story of injustice and bigotry against African Americans. Producers Ducat and Mark Urman ("Murderball," "War Dance," "Born Into Brothels," "Taxi to the Darkside") say SnagFilms "share our passion and vision for the film, and their extraordinary commitment and innovative approach to the distribution of high-quality documentaries, makes them the perfect home for this project.” "All Me" premiered at the 2011 Hamptons International Film Festial and later won the Silver Plaque ...
NEW YORK -- The Academy of Motion Picture Arts and Sciences on Monday unveiled the 15 films on its 2007 documentary feature Oscar shortlist.
Four ThinkFilm releases made the cut, a record for the company and one of the biggest lineups ever for any distributor. They are Tony Kaye's abortion epic Lake of Fire, Bill Guttentag and Dan Sturman's World War II expose Nanking, Alex Gibney's Iraq War study Taxi to the Dark Side and Sean Fine and Andrea Nix's look at a Ugandan musical competition War/Dance.
The biggest boxoffice hit among the bunch by far is Michael Moore's health-care expose Sicko, from the Weinstein Co., but other high-profile releases were left off the list. Jonathan Demme's Jimmy Carter: Man From Plains and Amir Bar-Lev's child prodigy study My Kid Could Paint That from Sony Pictures Classics were expected to make the cut but didn't. Other notable absentees were Ricki Stern and Anne Sundberg's look at Darfur, The Devil Came on Horseback; Picturehouse's gamers study The King of Kong: A Fistful of Quarters; and ThinkFilm's space-themed In the Shadow of the Moon.
Aside from Taxi, other films covering the Iraq War that made the list included Phil Donahue and Ellen Spiro's Body of War, Charles Ferguson's No End in Sight and Richard Robbins' Operation Homecoming: Writing the Wartime Experience.
Features about other wars made the cut, too, including Steven Okazaki's White Light/Black Rain: The Destruction of Hiroshima and Nagasaki and Richard Berge, Bonni Cohen and Nicole Newnham's World War II art study The Rape of Europa.
Virtually all films on the list were topical, including Tricia Regan's look at special-needs children, Autism: The Musical...
NEW YORK -- Novelist-turned-director Paul Auster's fantasy The Inner Life of Martin Frost and Argentinean director Alexis Dos Santos' coming-of-age feature Glue will open the 36th annual New Directors/New Films festival, hosted by the Museum of Modern Art's film department and the Film Society of Lincoln Center.
The 26-feature lineup for the fest, which runs March 21-April 1, also includes recent Sundance Film Festival prizewinners from directors John Carney (Once) and Christopher Zalla (Padre Nuestro).
Other recent Sundance entries set to be screened at the festival are Andrea Arnold's Scottish thriller Red Road, Sean Fine and Andrea Nix Fine's Ugandan conflict documentary War/Dance and Craig Zobel's music biz scam exam The Great World of Sound.
Frost, based on a character in Auster's 2002 novel The Book of Illusions, stars David Thewlis as a writer haunted by bizarre characters who appear during his much-needed vacation at a country house. Irene Jacob, Michael Imperioli and Sophie Auster co-star.
Paul Auster is a slightly odd choice for a fest showcasing "new or emerging international directors" given that he helmed 1998's Lulu on the Bridge and co-directed 1995's Blue in the Face with Wayne Wang.
PARK CITY -- The ongoing rebel conflict in northern Uganda forms the backdrop for Sundance Film Festival documentary directing award-winner "War/Dance," a refreshingly upbeat film that finds its roots in some seriously sobering events. THINKFilm's theatrical release will capture the hearts and minds of art house audiences before a promising campaign on DVD.
The Lord's Resistance Army of rebels draws its ranks from the children of rural Uganda, kidnapping kids from their villages and forcing boys to become child soldiers and girls into sexual slavery. Many are compelled to kill relatives or neighbors, or watch their families murdered, becoming severely traumatized as a result.
For those who escape the rebel army, refugee camps are often their only way to survive after the decimation of their villages and families. The Patongo Displacement Camp shelters 60,000 refugees under constant military guard, providing a semblance of normalcy where kids can attend school and try to rebuild their shattered lives.
Xylophone player Dominic, dancer Nancy and chorister Rose -- all in their early teens -- become the focus of Sean Fine and Andrea Nix Fine's revealing documentary as they join the other students of the Patongo Primary School in preparing to compete in the prestigious National Music Competition. Their tragic stories of murder, abuse and loss provide the background for the school's quest to compete in the nationwide showcase for the first time.
Shooting in hi-def, the filmmakers favor a confessional, direct-address style in the kids' interviews that creates an intimacy with the audience that would be lost with more conventional framing. Artistically composed cutaways of the stunning landscape surrounding the camp and dynamic sequences of the school's enthusiastic music rehearsals provide a welcome contrast to the children's wrenching tales of terror.
However, shots that appear too smoothly executed and interviews that seem overly rehearsed are a reminder that the film could have benefited from a more realistic depiction of the squalor of the kids' lives and the harsh reality of the refugee encampment (which lacks sanitation, running water and electricity).
Nonetheless, the rooting factor is high by the time the Patongo students arrive in the capital of Kampala for the national competition, where the moderately predictable outcome still forms a nicely nuanced conclusion.
While the title is evocative within the context of the film, it could prove confusing to audiences who associate it with the unrelated phrase "war dance." At 105 minutes, the overall length might benefit from some trimming.
WAR/DANCE
THINKFilm
A Fine Films Production in association with Shine Global
Running time -- 105 minutes
No MPAA rating...
Quick Links Complete Film Listing: Premieres Dramatic Comp World Dramatic Comp World Doc Comp Spectrum: Park City at Midnight: New Frontier Short Film Programs January 18 to 28, 2007 Counting Down: updateCountdownClock('January 18, 2007'); Another eclectic docu section this year ranging in subject matters such as U.S Foreign policies, internal American struggles, global issues and human portraits of the young, old and stupid. On the war front we have Ghosts of Abu Ghraib, where Rory Kennedy looks at the abuses at the Iraqi prison, No End in Sight by Charles Ferguson looks at the chain of decisions that led to the U.S. invasion and occupation of Iraq and in hindsight. White Light/Black Rain: The Destruction of Hiroshima and Nagasaki directed by Steven Okazaki looks at the human cost of atomic warfare.On the global scale, Judith Helfand and Daniel B. Gold’s Everything's Cool looks at alternative energy
...
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http://bbs.beastieboys.com/archive/index.php/t-85311.html
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en
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Oscilloscope Pictures [Archive]
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[
"Oscilloscope Pictures",
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[] | null |
[Archive] Oscilloscope Pictures Beastie Boys in the Press
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en
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kleptomaniac
Yauch looks to film distribution (http://www.hollywoodreporter.com/hr/content_display/film/news/e3iea16e1ac946e5235df4e79f169c1c9e6)
NEW YORK -- Beastie Boy Adam Yauch is launching indie film distribution and international sales company Oscilloscope Pictures, a new arm
of his music and film production outfit, Oscilloscope Laboratories. Former ThinkFilm vp David Fenkel is set to run the unit.
Yauch and Fenkel plan to acquire narrative and documentary features from festivals for release in the U.S. and provide funds to complete and
release unfinished films.
The pair, who worked on Yauch's Beastie Boys docu "Awesome! I Fuckin' Shot That!" at ThinkFilm, will complete all postproduction and
marketing work from OL's downtown Manhattan production space. Fenkel's fellow ThinkFilm alumni Dan Berger is joining them in the venture.
"We're kind of winging it," said Yauch, who has recorded albums, produced "Awesome" and created ads out of the 8,000-square-foot office
since 2002. He plans on releasing two to 10 films in the first year, and without any outside financial backing for the self-financed venture,
hopes to make deals where the filmmakers share the risk.
"We're not looking to throw big (minimum guarantees) at filmmakers or have lawyers throw numbers at us demanding a big minimum P&A,"
Yauch said. "It's been the downfall of many distributors."
Instead, Yauch hopes to craft deals with "real back-end participation" for the filmmakers, and possibly outside film financing for marketing if
the film warrants it.
OP will handle its own theatrical distribution and control all marketing materials in-house but likely will partner with an outside distribution
company for home video releases.
Its first theatrical release, set to be announced within the next month, will hit theaters by the summer.
Fenkel said many campaigns will incorporate an indie music label-style, DIY approach in keeping with the Beastie Boys' style of connecting with fans.
Friis gal
From o-scope news (http://www.oscilloscopepictures.com/news.php):
Adam Yauch announces Oscilloscope Pictures,
a new indie film distribution company
Former THINKFilm exec David Fenkel to run division
New York, NY (February 4th, 2008) Beastie Boys member and filmmaker Adam Yauch has expanded his music and film production company, Oscilloscope Laboratories, with the addition of Oscilloscope Pictures, a full-service film distribution company. The new movie division will release independently produced English and foreign language films and documentaries into the U.S. theatrical marketplace, as well as handle international sales. In its first year, Oscilloscope will look to acquire completed films at festivals, and find projects in production, where the company can provide finishing funds.
Oscilloscope plans to handle all creative and production work in-house using its post-production facilities and recording studio to design all theatrical, DVD, international and online marketing campaigns including the creation of posters, trailers, DVD packaging and authoring, and delivery. In addition, Oscilloscope will open up their facilities to support filmmakers in completing their films.
David Fenkel, who most recently spent 6 years at THINKFilm in the domestic distribution and the international sales departments as Vice President, handled many of THINKFilms recent critical and box office successes, including: the Academy Award-winner, BORN INTO BROTHELS, Academy Award nominees HALF NELSON and SPELLBOUND, and Yauchs AWESOME; I SHOT THAT!. Reporting directly to Yauch, Fenkel will oversee acquisitions, domestic distribution and international sales while also expanding Oscilloscopes staff. Fenkels colleague from THINKFilm, Dan Berger, has already started working at Oscilloscope Pictures.
Yauch says I grew up around indie record labels, where a handful of people would put their heads together and figure out what needed to be done to put out a record. The approach of this company is very much in the same vein, but well apply that ethic to producing and releasing films. I want Oscilloscope Pictures to be a home for innovative films and filmmakers. We can offer them a place to finish their films and a way to release them.
Fenkel says My time at THINK showed me how to release films with the right balance of a strategic publicity campaign and an aggressive promotional grassroots campaign, while always investing wisely in both traditional and untraditional advertising. Its essential that on each and every title we make sure our films are handled with the same artistic energy and smarts with which they were made. The team at Oscilloscope Laboratories, under Adams guidance, has been producing cool content for many years and with their artist relationships we are already in contact with a handful of projects that would be perfect for us to release. I am excited to mesh the different aspects of what Adam and I do to help launch this new breed of film label.
Oscilloscope Pictures plan on launching their first theatrical film in the first half of this year. So check your local listings for theaters and showtimes.
About Oscillope Laboratories
Oscilloscope Laboratories is the umbrella company owned and operated by Adam Yauch. Its a NYC -based recording studio, film production and distribution company, and post-production facility.
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https://www.newyorker.com/culture/video-dept/border-town-life-defies-the-wall-in-borderlands
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en
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Border-Town Life Defies the Wall in “Borderlands”
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2019-11-12T06:00:00-05:00
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“Borderlands,” a short documentary, shows how commuters, city planners, and kids deal with the wall that divides their cities.
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en
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https://www.newyorker.com/verso/static/the-new-yorker/assets/favicon.ico
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The New Yorker
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https://www.newyorker.com/culture/video-dept/border-town-life-defies-the-wall-in-borderlands
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“Isn’t it so fascinating that the simple act of drawing a line on a map can transform the way we see and experience the world?” Ronald Rael observes in the opening of the documentary film “Borderlands,” which looks at communities in San Diego and Tijuana, Brownsville and Matamoros, and El Paso and Juárez. Rael, an architect, explores the area near the border fence outside El Paso with an eye tuned to reimagining the space around him and plotting ways to transgress it. He is accompanied by his nine-year-old son, Mattias, and he teaches the boy how to interpret a wall that has come to dominate the political conversation in the United States.
Rael is well aware that, not too long ago, the boundary between the United States and Mexico, which is now delineated by more than seven hundred miles of fencing, was an open frontier, dotted with stone monuments. His book “Borderwall as Architecture” makes clear that the billions of dollars the U.S. government has spent on curbing migration and enhancing border security have done little to deter those intent on crossing by foot, using wooden ladders and ramps, or through tunnels. Decades of flawed policies suggest that the building of a grand wall is entirely divorced from the reality on the ground.
“Borderlands” attends to many realities that are often ignored in Washington. Rael embodies one such reality. Ana Eguiarte, an environmentalist in Tijuana, and Mauricio Ibarra, a city planner in Brownsville, offer their own lenses through which to view life in the region. Eguiarte is working to reduce the flows of trash into the Tijuana River Estuary. We meet her in a classroom, where she asks children if they know what happens to garbage when it rains. “Se mueve!” (“It moves!”) they all respond in unison. An explanation follows: garbage travels freely between the two sides, posing an environmental threat that can be addressed only if both countries work together.
Ibarra’s routine, meanwhile, straddles the cities of Brownsville, Texas, and Matamoros, Mexico. He is one of twelve thousand people who cross the border between the two cities daily. Long, slow lines of cars wait to cross the bridge over the Rio Grande. Ibarra and his team are advocating for the creation of a bike lane, which could replace abandoned train tracks. The plan would not only allow commuters and visitors to move around seamlessly; it would also ease traffic for drivers. The final hurdle is getting the border authorities to green-light their case for mobility.
Where there once was an imaginary line, there are now steel beams, reinforced with razor wire and as many as three layers of barriers. The U.S. started installing border fences in the early nineties, and, in the past decades, the wall has only grown taller and longer—separating everything along its way, including rivers and Native American territories, cultural sites and universities, people’s homes and wildlife preserves.
What some see as a means of protection has actually sundered two communities with a shared past, present, and future. When we see Rael’s interactions with people on the Mexican side of the fence (helped along by his own creativity), it becomes clear that, for people like him, Eguiarte, and Ibarra, whose lives have been shaped by the border, the wall is nothing but an obstruction. They will continue looking beyond it.
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