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Racing the Beam
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"Montfort & Bogost raise the bar on anyone wishing to talk meaningfully about computer culture. Not only must we interpret these machines, we must first know how they work--and yes, sometimes this means knowing assembly code. From chip to controller, the authors lead us with ease through the Atari "2600" Video Computer System, one of the most emblematic devices in recent mass culture."--Alexander Galloway, Associate Professor of Culture and Communication, New York University, and author of Protocol: How Control Exists After Decentralization -- Alexander Galloway "Montfort and Bogost's analysis is both technically detailed and historically contextualized, both informative and methodologically instructive. They write with a rigor and grace that future contributors to the series may be at pains to match." -- Seth Perlow, Convergence -- Seth Perlow, Convergence " Racing the Beam doesn"t spare the technical details, but is always accessible and compelling. Downright thrilling at times, in fact, a sort of The Right Stuff of video game development." Darren Zenko thestar.com (Toronto Star) "Montfort and Bogost raise the bar on anyone wishing to talk meaningfully about computer culture. Not only must we interpret these machines, we must first know how they work -- and yes, sometimes this means knowing assembly code. From chip to controller, the authors lead us with ease through the Atari 2600 Video Computer System, one of the most emblematic devices in recent mass culture." Alexander Galloway , Associate Professor of Culture and Communication, New York University, and author of Protocol: How Control Exists After Decentralization
Kurzbeschreibung
The Atari Video Computer System dominated the home video game market so completely that "Atari" became the generic term for a video game console. The Atari VCS was affordable and offered the flexibility of changeable cartridges. Nearly a thousand of these were created, the most significant of which established new techniques, mechanics, and even entire genres. This book offers a detailed and accessible study of this influential video game console from both computational and cultural perspectives. Studies of digital media have rarely investigated platforms--the systems underlying computing. This book (the first in a series of Platform Studies) does so, developing a critical approach that examines the relationship between platforms and creative expression. Nick Montfort and Ian Bogost discuss the Atari VCS itself and examine in detail six game cartridges: Combat, Adventure, Pac-Man, Yars' Revenge, Pitfall!, and Star Wars: The Empire Strikes Back. They describe the technical constraints and affordances of the system and track developments in programming, gameplay, interface, and aesthetics. Adventure, for example, was the first game to represent a virtual space larger than the screen (anticipating the boundless virtual spaces of such later games as World of Warcraft and Grand Theft Auto), by allowing the player to walk off one side into another space; and Star Wars: The Empire Strikes Back was an early instance of interaction between media properties and video games. Montfort and Bogost show that the Atari VCS--often considered merely a retro fetish object--is an essential part of the history of video games.
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28 von 30 Kunden fanden die folgende Rezension hilfreich
5 stars for content, 3 for the writing
3. August 2009
Format:Gebundene Ausgabe|Von Amazon bestätigter Kauf
What a fascinating book. It's a terrific idea to examine the iconic Atari 2600 in this way, and the authors do a good job of exploring it at the lowest levels. They make a good case that the physical hardware design directly influenced the design of some of the device's most famous (and infamous) games, and that those early design tradeoffs themselves led to certain conventions still apparent in modern video game design. The book's organized around several key game cartridges, each of which is a case study to point out some aspect of the technical or cultural impact of the Atari; it's a really good way to organize the narrative.
If you've only ever worked with "modern" graphic computer technology (i.e. anything with pixels), you'll be really amazed at what the Atari programmers were able to do with the unbelievable constraints they had to work with. One of the most incredible things I learned was that the system had only 128 bytes of RAM, not even enough to store this sentence in memory. In contrast, the cheap laptop I'm writing this on has more than 9 million times as much RAM available. That is an almost unimaginable difference in scale.
Unfortunately, the book is really poorly written. The two authors obviously divided the subject into cultural and technical sections, each covering their own turf. The book tends to go back and forth between these topics, so there are weird changes in tone, references to ideas that haven't been introduced clearly, and an annoying use of jargon. Overall, the book suffers from the academic tendency to try to point out even the most mundane and obvious details ("the joysticks were connected to the unit by cables") as well as a total lack of understanding what the reader may know coming to the book. So we end up slogging through technical sections that haven't explained basic concepts, even when it would be simple to do so, and when an understanding of those concepts is absolutely key to the argument. It's very frustrating, because any editor should have been able to catch this kind of mistake. An editor would have also been able to salvage the terrible chapter on Yar's Revenge, which feels like a jumble of first-draft notes and facts.
That said, it's still a highly recommended book. I can't think of anything else like it. I really hope this series on "Platform Studies" improves with future books.
If you've only ever worked with "modern" graphic computer technology (i.e. anything with pixels), you'll be really amazed at what the Atari programmers were able to do with the unbelievable constraints they had to work with. One of the most incredible things I learned was that the system had only 128 bytes of RAM, not even enough to store this sentence in memory. In contrast, the cheap laptop I'm writing this on has more than 9 million times as much RAM available. That is an almost unimaginable difference in scale.
Unfortunately, the book is really poorly written. The two authors obviously divided the subject into cultural and technical sections, each covering their own turf. The book tends to go back and forth between these topics, so there are weird changes in tone, references to ideas that haven't been introduced clearly, and an annoying use of jargon. Overall, the book suffers from the academic tendency to try to point out even the most mundane and obvious details ("the joysticks were connected to the unit by cables") as well as a total lack of understanding what the reader may know coming to the book. So we end up slogging through technical sections that haven't explained basic concepts, even when it would be simple to do so, and when an understanding of those concepts is absolutely key to the argument. It's very frustrating, because any editor should have been able to catch this kind of mistake. An editor would have also been able to salvage the terrible chapter on Yar's Revenge, which feels like a jumble of first-draft notes and facts.
That said, it's still a highly recommended book. I can't think of anything else like it. I really hope this series on "Platform Studies" improves with future books.
13 von 14 Kunden fanden die folgende Rezension hilfreich
Immensely cool subject; kind of listless delivery
22. Juni 2009
Format:Gebundene Ausgabe
A fact that I still can't entirely wrap my head around, after reading this book, is that the Atari 2600 had only a few hundred bytes of RAM. It had little enough RAM that the programmer had to very carefully time his graphics operations so that characters got drawn to the screen before the monitor's electron gun arrived. Unlike other game systems, the 2600 wasn't "frame-buffered": you couldn't draw an entire screen's worth of data, then push it to the screen all at once when the display refreshed.
This design limitation led to all manner of digital hacking, which somehow, miraculously, allowed the game industry -- and Atari in particular -- to flourish. Montfort and Bogost do a decent job explaining the technology, at a level somewhat above what most computer users can be expected to have; if you don't grok the concept of a CPU register, a good bit of Racing the Beam will be tough going for you.
Their larger project is to view the whole world of gaming -- from the code up to the artwork, to actually playing the game, to the social world around game consoles -- with an understanding of how the technology limits and frees all the layers above it. What significance is it, from the game player's perspective, that the Atari had special registers to render sprites? In what way did this free game designers? In what ways did it constrain them? The authors view videogames the way that many view art generally: as the act of overcoming the limitations of a medium. They believe that the lowest level of a game's design has largely been left out of discussions of the larger game story.
They manage to bring all the layers of gaming together reasonably well, but the book didn't wow me: I'd be unlikely to pursue any future books in the "Platform Series," of which Racing the Beam is the first.
This design limitation led to all manner of digital hacking, which somehow, miraculously, allowed the game industry -- and Atari in particular -- to flourish. Montfort and Bogost do a decent job explaining the technology, at a level somewhat above what most computer users can be expected to have; if you don't grok the concept of a CPU register, a good bit of Racing the Beam will be tough going for you.
Their larger project is to view the whole world of gaming -- from the code up to the artwork, to actually playing the game, to the social world around game consoles -- with an understanding of how the technology limits and frees all the layers above it. What significance is it, from the game player's perspective, that the Atari had special registers to render sprites? In what way did this free game designers? In what ways did it constrain them? The authors view videogames the way that many view art generally: as the act of overcoming the limitations of a medium. They believe that the lowest level of a game's design has largely been left out of discussions of the larger game story.
They manage to bring all the layers of gaming together reasonably well, but the book didn't wow me: I'd be unlikely to pursue any future books in the "Platform Series," of which Racing the Beam is the first.
10 von 11 Kunden fanden die folgende Rezension hilfreich
The guiltiest of pleasures
20. März 2010
Format:Gebundene Ausgabe|Von Amazon bestätigter Kauf
"Racing The Beam" is a book on a delicious subject that suffers from serving multiple masters. Who is the target demographic here - is it the technogeek enthusiast? Or the Wired cultural sociologist? Maybe it's the Retro Gamer reader who has fond memories of the VCS platform and is looking for a bit of behind-the-scenes action. Authors Nick Monforst and Ian Bogost, whom seem to be hewing to the publisher's adage that every equation cuts your book sales in half, do the reader no favors by leaving out such appendix gold as a memory/register map of the VCS and something along the lines of a brief "Hello World" code example. Sound, which is the other half of the equation, gets even shorter shrift - if the hardware supposedly can't synthesize a chromatic scale in tune, how did later programmers like Synthcart's Paul Slocum get around this?
One of the book's problems is that the authors try to make the book seem timely by trying to force connections between its vintage software biopics and such breathtakingly unrelated modern titles as World Of Warcraft, Grand Theft Auto, and Tony Hawk Pro Skater. It's almost like the publisher was feeling nervous that nobody of college age could relate to such early games, which is a shame given that the stories are all fascinating in their own right. And on the hardware side, while the Apple II and C-64 get brief nods why are no comparisons drawn between the Atari VCS and Jay Miner's later designs incl. the Atari 400, 800 and Amiga? And what were the specs of the Mattel Intellivision anyway, seeing as how it gets mentioned so often as the VCS's main rival?
Any reader old enough to remember this hardware as a wood-grain box is probably going to have a few comments bordering on the personal, but let's keep things short. Am I the only person wondering why the rather staid VCS game "Adventure" got such over-the-top respect while Exidy's more refined (and clearly related) 1981 arcade game "Venture" goes unmentioned? How was Video Chess able to perform move lookahead with nearly no stack? And why was the story behind the most important sidescroller ever to be ported, Defender, ignored almost entirely?
That said, I loved very minute spent reading this and look forward to seeing more from the "Platform Studies" series. And I bet you will too. Only next time around - more pictures!
One of the book's problems is that the authors try to make the book seem timely by trying to force connections between its vintage software biopics and such breathtakingly unrelated modern titles as World Of Warcraft, Grand Theft Auto, and Tony Hawk Pro Skater. It's almost like the publisher was feeling nervous that nobody of college age could relate to such early games, which is a shame given that the stories are all fascinating in their own right. And on the hardware side, while the Apple II and C-64 get brief nods why are no comparisons drawn between the Atari VCS and Jay Miner's later designs incl. the Atari 400, 800 and Amiga? And what were the specs of the Mattel Intellivision anyway, seeing as how it gets mentioned so often as the VCS's main rival?
Any reader old enough to remember this hardware as a wood-grain box is probably going to have a few comments bordering on the personal, but let's keep things short. Am I the only person wondering why the rather staid VCS game "Adventure" got such over-the-top respect while Exidy's more refined (and clearly related) 1981 arcade game "Venture" goes unmentioned? How was Video Chess able to perform move lookahead with nearly no stack? And why was the story behind the most important sidescroller ever to be ported, Defender, ignored almost entirely?
That said, I loved very minute spent reading this and look forward to seeing more from the "Platform Studies" series. And I bet you will too. Only next time around - more pictures!
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