The Story of The Commodore Amiga in Pixels
The Story of The Commodore Amiga in Pixels
The Story of The Commodore Amiga in Pixels
Chris Wilkins
Roger M. Kean
2 The Story of the Amiga in Pixels
The Story of the
Chris Wilkins
Roger M. Kean
FusionRetrobooks
First published 2017 by Fusion Retro Books
Fusion Retro Books, 51 Dencer Drive, Kenilworth, CV8 2QR
http://www.fusionretrobooks.com
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ISBN: 9780993131592
n o n Acknowledgements n o n
Thanks and gratitude go to the following who helped to make this book:
Andrew Fisher and Roger Kean for writing the history of the Commodore
Amiga and Roger for laying out the pages; Steve Day for another great
cover design; Oli Frey for being an artistic genius and giving permission
for us to reproduce his art – who can forget the covers Oli created for
The Games Machine and Thalamus Games?; Stuart Williams & Retro
Computing News for permission to quote Jay Miner; Kieren Hawken for
the game reviews; Adrian Mogg (Mole), Robert Brammeld and Andrew
Wilk (Artstate Digital) for supplying photos for the Anarchy feature and
Matthew Simmonds (4-MAT) for his contribution; Johnnathan Taylor
and elettroLudica (photography by Marco Di Gennaro) for providing
the double page Commodore imagery; Martyn Carroll for writing
the feature on AGA games; Sven Harvey for looking at how Public
Domain and Shareware became part of the Amiga scene; the guys and
gals from Anarchy and Scoopex for keeping the Amiga demoscene alive;
Gareth Perch, Christopher John Payne and Andrew Fisher for proofing
the book; each programmer, artist and musician who took the time to
write personal memoirs, and those who gave up their time to talk about the
golden days of Amiga computing; and last but not least my wife Nomita,
daughters Amber and Sienna and son Milan, who are always there helping
and providing suggestions on how to make my books better and better.
Thanks so much guys.
Foreword David Pleasance . . . . . . . . . . . . . . . . 6
History of the Amiga Andrew Fisher & Roger M. Kean 8
Amiga Creatives & Graphics —
PD & Shareware Sven Harvey . . . . . . . . . . . . 62
Anarchy & the Demoscene Mark Hellewell . . . . 70
Scoopex & the Demoscene Photon . . . . . . . . 82
AGA – too little too late? Martyn Carroll . . . . . 90
The Games
Kieren Hawken reflects on a bunch of the most popular
(and perhaps the greatest) Amiga games . . . . . . . 100
I
must say that I felt incredibly
honoured when I was asked to write
this foreword and also delighted,
for two reasons. First, I am a huge fan of
publisher Chris Wilkins’ work. He has
this amazing ability to capture the spirit
of his books’ subjects – be it software,
developer or hardware – and presents the
content in a way that all readers easily
relate to, digest and thoroughly enjoy.
This in itself is a profound and unique
talent.
Second, of course not only is the
Amiga a computer around which
I centred an immense part of my it to my biggest customers such as
career but the Commodore Amiga Dixons, Comet, Currys, Laskys and the
4 also changed so many people’s lives rest. It was very frustrating, particularly
considerably, all round the globe. at computer shows and other similar
For me, when the first Amiga – the events, which we attended regularly.
0 A1000 – was launched in 1985, it really I remember vividly the occasion
was a bitter-sweet moment, and why when we were showing off the A1000
9 was that? At the time my responsibility for the very first time at the Personal
within Commodore Business Machines Computer World show, London’s
UK Ltd was National Sales Manager of highest profile annual event, which was
6 4 the consumer products division so when held in September at Olympia. We had
Commodore positioned the Amiga 1000 a large screen on which we displayed
as a business and productivity machine it thirty-two different windows and we
0
meant it was not within my portfolio. had different programs running in each
Grrrrrr… simultaneously! Admittedly there were
9 Can you imagine how that felt? To some fairly modest programs among
have a computer with revolutionary them, but it was nevertheless a truly jaw-
capabilities within touching reach but dropping demonstration, and it made us
6
unable to market it, sell it, or even show the star exhibit of the show.
A
lthough earlier computers existed in
isolation from the world, requiring
their visuals and sound to be
generated and live only within
their memory, the Amiga was of the world,
able to interface with it in all its rich
analog glory.
Jay Glen Miner at the So wrote Jimmy Maher in The Future
with Ray Kassar who Warner of millions of 2600s and games, but
Communication had hired as president according to Miner, Warner decided to
of Atari’s consumer division. After a write off all the development costs of the
particularly vicious argument at the end first year of production, which resulted
of 1978 Bushnell either jumped or was in such a small profit it didn’t trigger a
pay out of previously promised bonuses
to the engineers and programmers.
Among them was Larry Kaplan, chief
programmer on the 8-bit development
who had joined Atari in 1976. He’d
Larry Kaplan above and had enough by August 1979 and left to
right, programming at
Activision. Below: from
go and co-found Activision along with
the same 1981 Activision colleagues David Crane (Pitfall!, Laser
Corporate commercial
David Crane, Larry Blast), Alan Miller (Starmaster, Robot
Kaplan, Bob Whitehead Tank), and Bob Whitehead (Skiing,
and Alan Miller.
Chopper Command).
money, like the Texan oilman, and games and a new video games machine.
Braddock set them up with a business What Miner wanted was a new super
plan, small premises and a ceo in the computer based around the 68000 cpu.
form of vice-president of marketing at His strategy was to build a machine
Tonka Toys, Dave Morse (1943–2007). that could be ‘sold in a stripped down,
Morse and Kaplan set up in September low-cost version for video games,’ while
1982 as Hi-Toro (hi-tech and Texan ensuring it was also ‘unlimited in its
sounding) at 3350 Scott Boulevard, expandability as a high-level home
Santa Clara. ‘Larry was going to design personal computer’.
console. A standard joystick could be
plugged into the device if needed for
extra input. The peripherals already
carried the Amiga branding, which
came about when it was discovered that
a Japanese lawn mower company had
the name Hi-Toro. Dave Morse chose
Amiga – ‘female friend’ – for the new
designation and soon after the company
was renamed Amiga Corporation.
displays and its main purpose was to add photographs and digitised images. Very
shadowing effects toan image. It was a few games used ham mode. Among the
feature missing from early Amiga 1000s. select few that did are Pioneer Plague and
Knights of the Crystallion.
Hold me Deluxe Paint IV supported ham, using
Hold-And-Modify (ham) mode was an the copper to split between its menus
unusual addition to the original Amiga and the detailed images. Digi‑View from
design. In theory this gives full access to NewTek used ham to display digitised
all 4096 colours on a single screen. But images. ham8 mode would arrive with
the time needed to plot such a screen the aga chipset. The aga palette can
using multiple bitplanes makes it only choose from a range of 16.7 million
Pioneer Plague
really usable with static images and those colours but can only display 256 on the and Knights of the
Crystallion, below: two of
with subtle transitions of colour. Instead screen at once in regular display mode, the few games to employ
of storing every colour for every pixel, but up to 262,000 colours in ham8 mode. the Amiga’s ham mode.
“…what a party that was, tuxedos, just money, there was also technical
champagne…all just to launch input. ‘[Commodore] made many
improvements in the chips. They made
a computer.”
a lot of improvements in the things
In an interesting side note, it was said that we wanted but we did not have the
that those mythical ‘Florida dentists’ got resources to accomplish. The Amiga
their investment back with interest when originally only had 320 colours across
Commodore bought Amiga. the screen, even in the 640 mode. They
According to Miner, it wasn’t helped us put in full colour in the 640
Sun workstation, when before ten had to Warhol answered, ‘I haven’t worked on
share a single Sage. anything. I’ve been waiting for this one.’
Lorraine finally debuted officially However, the engineers were worried
on 23 July 1985 as the ‘Amiga from that the machine might crash when
Commodore’ (later dubbed Amiga Warhol used the ‘flood fill’ tool of
1000 when it went into production) ProPaint, which was known to have bugs
The Amiga 1000 – finally
with a massive fanfare, as Jay Miner and a tendency to crash the computer released at the Summer
ces in Chicago (October
remembered. ‘[Commodore] sent the every second time it was used, but to
1985) – seen here with
entire company including wives and their relief it kept working. However, the 1081 monitor, which
oddly had only one
sweethearts out to New York for a grand production problems delayed the market
speaker when the Amiga
launching party in New York City. launch and it would still be months 1000 had stereo sound.
And what a party that was, tuxedos, before machines hit the shops,
champagne…all just to launch a threatening to undo the
computer. They really did it top notch.’ excitement and press support
For the press launch Commodore that had built up.
hired the Vivian Beaumont Theater at Commodore needed
the prestigious Lincoln Center where in software to be ready for launch,
a well orchestrated sequence of events and so gave out development
the Amiga 1000 kicked up its heels systems to key publishing
and showed its paces, the flexibility of companies. Among the
the new graphical user interface, its first to get an
4096 colours all present on-screen, the Amiga was
Electronic Arts, education and productivity. The software
where the machine we’re developing for the Amiga will blow
received a resounding your socks off. We think the Amiga,
endorsement with its incomparable power, sound and
from chairman graphics will give Electronic Arts and
Trip Hawkins. the entire industry a very bright future.’
‘The Amiga will Housed in a wooden box, that first
revolutionize the development kit was used to create
home computer games including Arcticfox. EA’s in-
industry,’ he enthused. house graphic design software was then
‘It’s the first home remade for the Amiga by programmer
Chairman of Electronic machine that has everything you want Dan Silva and sold as Deluxe Paint, the
Arts Trip Hawkins with
his new Amiga 1000. and need for all the major uses of a home ground-breaking art tool that became so
computer, including entertainment, important for the games industry. The
A failure of conviction
After Jack Tramiel’s abrupt departure
from Commodore in January 1984
Irving Gould appointed former steel
executive Marshall F Smith to take
over, but it was a short-lived reign.
A new level of quality Crown became a jewel in Amiga’s crown, Under Smith’s watch Commodore stock
in the graphics of
Defender of the Crown.
showing off the potential of the machine dropped from almost $65 per share to
with its impressive graphics (much of less than $5. Commodore needed a new
which were created by artist Jim Sachs, ceo and in April 1986 former Pepsi ceo
see page 212) and sound (with music Thomas Rattigan took the helm, moving
composed by Jim Cuomo). up from Commodore’s coo to ceo.
Commodore messed was handled. The advertisements they software release, and design a revised set
up the commercials for
the Amiga 1000. They
did have were absolutely awful. Old men of custom chips for the next generation
were off the target – at changing into babies and kids competing of Amiga computers. ‘Amiga did these
one end concentrating
too hard on positioning in race cars. It was ghastly. And then things, not Commodore,’ Miner said.
the machine as a a full year with no ads at all. They lost
business computer,
while missing its games dealers and worst of all they lost public Germany makes the running
potential with poor awareness.’ It is worth remembering Commodore’s
understanding of game-
player demographics. In a continuing downward spiral unusual structure to appreciate what
Rattigan carried on cost cutting and happened over the next few years.
downsizing, in the process pretty much Jack Tramiel had started the original
exterminating the team that had been company in Canada in 1953, initially
Amiga Corporation. manufacturing typewriters and then
‘It’s a sad story,’ Jay Miner said. ‘The moving into office furniture. A share
sales of the Amiga didn’t zoom up as scandal involving the bank that had
fast as they had hoped. Though it sold financed Commodore (with no apparent
as many as the Macintosh did in its involvement of Tramiel or Commodore)
first period, there weren’t enough sales left Tramiel needing a new investor.
to cover its expenses. The bank insisted In stepped Irving Gould, who then
It was in Germany that perhaps the Chester, [PA]. Commodore didn’t like
most unusual add-on for the original paying gobs of money to support Amiga
Amiga was developed. This was called when their German and West Chester
the Sidecar, because of the way it was design teams could design better
designed to sit beside the main computer. boxes faster and cheaper. Those teams
Inside was an Intel 8088 processor and promised to have the 500 and the 2000
the heart of an xt pc-compatible. Data ready by September 1986…but they
could be exchanged between the pc were still more than a year late.’
and Amiga, and the pc side included It must have hurt that the ‘foreign’
a hard drive – the first example of that teams were using the original Amiga
technology Commodore marketed for team’s chips and software, and refusing
the Amiga. While it gave access to to continue support of the 1000. ‘[They]
ms-dos software, the incompatibility refused to cost-reduce the 1000 line.
with the later Amiga 500 and high price Because, in my opinion, they didn’t want
would make it a niche product. a low-cost 1000 to compete with West
As the Atari ST hit the shelves, Chester’s keyboard-attached 500.’
it became clear its lower price point Irving Gould cancelled the original
Amiga 2000 being completed in Los the company. An independent firm
Gatos in June of 1986 on the grounds of business auditors from Dallas was
that it only had two ibm card slots brought in at Gould’s request. The final
instead of three and the Amiga slots report seemed intent on undermining
were not shaped enough like ibm cards. the successful work Rattigan had
Miner felt there was another reason achieved – a steady growth in sales
for the cancellation. ‘Commodore and the whole company running at
were convinced that their 500 and a profit after five quarters of losses.
Rattigan would ultimately be fired after
working just one year of his five-year
contract, leading to a long-running and
acrimonious lawsuit.
Visually, Rattigan’s baby – the
‘keyboard-attached’ Amiga 500 – and
the Atari ST are a similar shape. The
keyboard has a wedge shape leading to
the back, where the ports are located,
and a 3.5-inch floppy drive on the side.
While the ST’s built-in midi ports gave
it a boost with musicians, it was the
video output that formed a lucrative
market for the Amiga. The famous
Video Toaster from NewTek was
what is known as a genlock,
synchronising the computer
output with existing video. From
captions for a television show
to the advanced cgi seen on
Babylon 5 and seaQuest DSV,
the Amiga became a favourite
David Pleasance, above, German-made 2000 would be ready by of television stations and graphic editors.
had the brainwave of
September 1986, so why advertise the Another key change in Commodore’s
bundling the Amiga 500
with a major game 1000 when there wouldn’t be any around fortunes came with the bundle concept.
launch and gambled
along with Ocean, who
soon?’ Retailers had already been offering
spent £1 million on The Amiga people were not the package deals, with a computer and
the Batman licence.
The gamble paid
only ones unhappy with Rattigan. several games, to new buyers. Managaing
off spectacularly. As his profile grew, so Irving Gould Director David Pleasance and
became less happy about his running Commodore UK took that idea further.
AlexJ
opinion, one borne out by results and the on screen in normal mode and 262,144
cool press response. (18-bit) in ham mode. With this huge
The Amiga 600 was the first Amiga boost and with its faster 68EC020
model to be manufactured in the microporcessor, the Amiga 1200 and
UK, at Irvine in Scotland, with later 4000 boasted graphics that outshone the
machines manufactured in Hong Kong 16-bit consoles.
and the Philippines. It was a flawed The A1200, released in October
stopgap before the introduction of the 1992, followed the general form of its
32-bit Amiga 1200 and an unnecessary predecessors the Amiga 500 and 600
upgrade, with existing games requiring in being an all-in-one design: alpha-
Relockick (a boot program effectively numeric keyboard, cpu and disk drives
downgrading to the earlier Kickstart) incorporated in a single housing. Hopes
to remain compatible. The lack of a were pinned on the Amiga 1200 as a
numerical keypad also made some games low-cost machine – £399 (UK), $599
unplayable. It was sold in two forms, (US) – but they were not to be realised.
with or without the internal hard drive. The custom chips were more expensive
to produce than chips used in other pcs,
Right machine, wrong price making the 1200 more expensive than
The Advanced Graphic Architecture Pleasance’s ideal £200–£250 price point.
chipset was a jump forward for the To reviewers the aga chipset was a bit
Amiga, though it was too little and too of a disappointment, some comparing
late to save Commodore’s fortunes. aga aga unfavourably alongside continually
boosted the colour palette from 4096 improving Video Graphics Array (vga)
to 16.8 million, allowing 256 colours on IBM PCs and clones. And there were
Amiga 500+
Launched 1991
photo by Kaiiv
a performance boost. This was the
dawn of the co-processor, add-on chips
designed to calculate faster. Companies
that remained loyal to Commodore
began developing for the new cd-based
console, the CD32. Commodore called it
commentators who thought the 68020 ‘the first 32-bit games console’, although
cpu outdated and Commodore should in reality the FM Towns Marty was first
Designed to compete have fitted the 1200 with a 68030. to market (in Japan at least). The 32-bit
with IBM and Apple,
The Amiga 4000, seen as successor to cd-rom machine turned the Amiga line
the Amiga 4000 had a
number of expansion the A2000 and A3000 computers, was into a dedicated gaming console. Based
connectors, for joystick, fitted with the Motorola 68040 cpu: the on the aga chipset, the CD32 was of
mouse, light pen
and standard serial
Amiga 4000/040 appeared in tandem similar specification to the A1200, with
and parallel ports. with the A1200 in October 1992 and a a 68EC020 cpu at its heart.
By this stage, the Amiga had lost
traction in the United States, where
the IBM, its pc clones and Apple
had eclipsed the Amiga line. It was
in Europe where Amiga still scored
and so had become the main focus of
Commodore marketing announcements.
So the CD32 was first revealed at
London’s Science Museum on 16 July
1993, whereas in the US it was
only demonstrated at the World of
Commodore Amiga show in September
(the same month the console hit the
shops in Europe and Canada).
Slated for a US launch in early
March 1994, the CD32 was never
Sector was actually a commercial product Soundtracker (disc ST-00) and the
released by Data Becker of Germany various sample disks that went with it
(it actually came as a disk within a (ST-01 onwards) proved to be far more
hardback manual that was sold as a book popular than other music production
Opposite page: officially). Unfortunately many of the methods for the machine. Soundtracker
Megademo by Red
more unscrupulous pd libraries copied (for short) was actually a commercial
Sector Inc. – released
in September 1989. and sold the disk as pd even after it was release, but after poor reviews and bugs
pointed out it was in fact commercial. The coming to light, the software was cloned
software actually ended up on the disk to produce Noisetracker, and potentially
#18 of the cover mounts on CU Amiga. more famously, Protracker. It was via
Karsten Obarski’s Ultimate the AM/FM disk magazine, from Bjorn
system
programmers.
A very similar system was also
adopted for the releases of The Final
AM/FM was a disk-magazine that Frontier (a Star Trek disk-mag), and
was distributed as licenseware using a other releases from UK based Infinite
rather clever method. Bjorn Lynne aka Frontiers for their Holodeck slideshows
Dr Awesome, who produced the mag, and other disk-mags.
sold disk labels to the licensed resellers
such as 17-bit Software, with the labels
denoting these were officially sold copies
of the magazine. This continued with
the first release of Protracker 3.1b, which
computers to pcs and game consoles on floppy disks seem rather clunky,
all played a part, as the creativity especially as AmiNet, the online Amiga
of computing seemed to disappear. software repository, was gaining in
With the Amiga specifically, dial-up popularity, as downloading adfs (Amiga
connections were getting faster and Disk Files) and other crunched forms of
technologies such as leased lines, adsl software gained traction.
and fibre broadband were becoming Over time what was the pd
tangible options as the internet took movement on the Amiga and other
root. computers of the late 1980s and early
The distribution of hundreds of disks 1990s simply morphed into the open
worth of software on cd-roms for the source movement of today.
CD-TV and other cd-rom equipped
Amiga machines made buying software
took on the giants of Europe. It was time a guy from the north of England who was
to measure up for the crown. At this point new to the scene and filled with untapped
we were little more than half way through musicality.
1990 and Anarchy was rapidly becoming While our British membership
a top contender. Why stop there? remained fairly static Europe was rich
Mole – Anarchy’s very own socialite with frenzied talent and between 1991
– exploited his address book further, and late 1992 Anarchy became a magnet
introducing me to stylish and exciting for upcoming and established gifted
programmer Dan Scott, a member of individuals. As the membership grew
Slipstream. Dan, it turned the output soared. Hardly
out, had itchy feet. I a week passed without Phantasmagoria by
Kreator and 4-Mat
scratched them. Welcome something new appearing of Anarchy
to Anarchy. At about this bearing the Anarchy
time I received a letter from motif. It was almost total
Sweden that would change the size and saturation of the scene. This came to
weight of our group overnight. Teeze and a head with two complete rival group
his band of Swedish Amiga devotees, divisions becoming part of Anarchy. The
recently separated from their own group, Silents of Denmark (including ‘Sunjohn’
promised to give us all their energy if we who was the famous coder of the epic
took them under our wing. This swelled Silents production Global Trash) along
Anarchy’s ranks by at least ten, with with all of the Silents French membership.
Teeze controlling his members in Sweden A thousand things made Anarchy
and control of Teeze down to me. A few one of the most exciting times of my life
more joined us: the wonderfully talented and a handful made it one of the worst,
particularly Hammer. His latest work 4-MAT. It also spawned the idea of
was not up to scratch. It was like looking holding our own party.
back at 1989, if not worse. I had to let The first we called The Anarchy
him go. Hammer was a proper friend Winter Conference 1991. Mr Big
from the C64 days and I was giving him booked a venue near his home, a school,
the long walk. most likely for his own convenience. It’s
not known whether he investigated the
Hammer – ‘I had Let’s Party! premises’ suitability, but what followed
to let him go…’
No matter how many friends you had was a disaster. The power supply tripped
in other groups or your own, the fact almost as rapidly as a drunken clown
was that most of the time few in the with his shoelaces tied together. Holding
an Amiga demoparty for hundreds of
fee-paying guests who lost their work
and their patience every ten minutes was
akin to being put into shark-infested
waters with a collapsing safety cage!
U
nder Commodore there commercial games of note were designed
were three different Amiga specifically for ecs, even though the
chipsets. The first was ocs chipset did replace ocs in the ‘consumer’
(Original Chip Set) and the mere models – the A500+ and A600, as
mention of it demands that we should well as some of the last A500s to be
all be upstanding, for it is thanks to this manufactured.
phenomenal design that the Amiga was ECS was soon replaced in 1992 by
able to deliver fantastic visuals and sound aga (Advanced Graphics Architecture),
and become a powerful gaming platform. a new chipset that debuted in the high-
Indeed, the very reason you’re reading end A4000 and mass-market A1200
this book right now is because of ocs and models. This was a more significant
upgrade, particularly when it came to
“…the future of Amiga gaming suddenly graphics for games. Whereas ocs and
looked very bright. Luminous even.” ecs could typically display 32 colours
from a palette of 4096, aga upped this to
the amazing software it brought to life. 256 colours from more than 16 million.
So praise be to Agnus, Denise and Paula, Smoother scrolling and wider hardware
and the creators of these custom chips. sprites were also introduced, among
You may now be seated. other enhancements, and the future of
The revered ocs formed the guts of all Amiga gaming suddenly looked very
Amiga models up until the release of the bright. Luminous even.
Amiga 3000 in 1990, at which point it Visuals aside, the A1200 hardware
was superseded by ecs (Enhanced Chip also benefitted gaming in two key ways.
Set). ecs was backwards compatible with A 68EC020 cpu was used which was a
ocs and proved to be a slight upgrade, 32-bit design as opposed to 16-bit, and
introducing additional high-res graphics ran at twice the speed of the 68000
modes that were intended for application found in earlier models. Furthermore,
software rather than games. As such no the A1200 came with 2mb of main
it running with the same level of would have been reckless not to release
smoothness and speed on an ocs Amiga. an ocs version too. The solution was to
A precedent was set, yet it would be release the aga version first and follow
Mindscape’s Overkill
would only work with
aga-equipped Amigas.
a long while before other publishers this up with a less sumptuous release for
followed. the far larger ocs user base.
All eyes shifted to Team 17 who were However, the game’s development
busy preparing the highly-anticipated diary was published in The One magazine
Alien Breed II for Christmas 1993. The where the programmers revealed that
developer was renowned for pushing the it was more practical to develop the
Amiga hardware, so it was no surprise graphics for the ocs version first and
when it announced that the Alien Breed then retouch them for aga. This lowest-
sequel would be developed for aga common-denominator approach also
These included Team 17’s own Body
Blows Galactic, Ocean’s Jurassic Park
and Adventure Soft’s Simon the Sorcerer.
Meanwhile the process continued to
Alien Breed II: The meant that some of the more ambitious
Horror Continues – ocs
graphics retouched
design ideas, such as a proposed visual
for the aga version. trick where the game would zoom out
to show huge alien bosses dwarfing
tiny player characters, were evidently
dropped.
Ultimately the only key difference
between the two versions was that the
aga release allowed more enemies to
be displayed on screen (which actually
Right, top to bottom: served to make the game overly
Danny fights Junior in
Team 17’s Body Blows
difficult). Interestingly, the Team 17 guys
Galactic; mosquito also revealed in their diary that obtaining
attack in Jurassic Park;
use the fire extinguisher,
detailed aga technical information operate in reverse with existing titles
Simon the Sorcerer. from Commodore was far from like The Chaos Engine, Soccer Kid and
straightforward, which might explain the Zool 2 being updated with minimal
lack of widespread support. justification for their existence beyond
Alien Breed II was the first of several some extra colours and graphical detail.
high-profile titles that led with an aga Heimdall 2 followed suit, but noticeably
version before being followed by an the enhanced aga release came on seven
ever-so-slightly scaled-down ocs release. disks compared to the ocs version’s
Hobby Consolas
be the first employee because the other code at all. I was drawing graphics and
five people working there were still being editing levels on the Amiga with a C64
paid by Taurus. running the original’s level editor sitting
Peter Molyneux and
Bullfrog’s first title was a drum next to it. the unaltered Bullfrog.
machine though it was a little more I wasn’t coding on the game but I
than that. It was a kind of ProTracker came up with the idea of replacing the
and went on to be used for the music game’s 32x32 blocks with a foreground,
in Druid II, Fusion and Populous. My background and mask to utilise the
first ever published work in the industry Amiga’s three source blitting capabilities.
was an image that became the box art I also got to design the collision system
and load screen (complete with colour simply because I’d actually spent more
cycling ‘animation’) for ADrum. time in the past trying to do that sort of
Bullfrog’s first title was a port of thing than either of the programmers. I
was bought for £10,000 which still didn’t
cover the costs although it had been
cheaper to make as Kevin had handled
almost all of the programming. This had
allowed Peter to go back to working for
Taurus for a while. Fusion also featured
support for a second joystick button if
you used a Sega Master System joystick.
It also recorded your game and played
it back as an ‘attract mode’, the player
could also break into this playback and
Coded by Kevin think Bullfrog were paid £7000 for the take over at any point. It predated Killing
Donkin and Peter
Molyneux, Glenn’s
game which didn’t get close to covering Game Show by over a year too.
first graphics design costs, it never sold enough to make a
job for Bullfrog was
Enlightenment: Druid II. royalty payment. Making a ‘god game’ work
Fusion was an attempt to utilise as At this point I was acutely aware of
much as possible from Druid II the fact that the company was running
and make a game more cheaply. at a loss and nobody had given me
Peter added some flexibility to anything to do. I took matters into my
the editor. This meant that masks own hands and brought my ST into
and foregrounds could be mixed the office, ostensibly to port Fusion to it
in any combination, allowing but more to brush up my programming
some nice effects and increased skills in case I needed a new job. After
variation. It also ran in 64 colour
half-bright mode which gave 32
extra colours half as bright as the
normal 32. These were used for shadows.
This was actually pretty stupid as it
meant the game needed a small window
to run at a near-decent frame rate.
The game itself was a weird mix of
shooter and puzzle game, which seemed
Fusion, made from bits like a surefire win at the time but with
and pieces of Druid II.
hindsight probably just made it less
likely to appeal to anyone. Although
Electronic Arts published it, it had the
same producer as Druid II since Joss Ellis
had moved there from Firebird. I think it
each drawn in 32x24 pixels. Clearly there decent speed. This was largely due to the
was something more than that going fact that they were drawn on 16 pixel
on to get it working so quickly on 8-bit boundaries so they didn’t suffer from the
machines but for now, I was planning to slow-shift problem that had foiled my
brute force it. attempt to port Fusion.
I drew some blocks just like some The problem was, I now needed some
of Spindizzy’s. Basically a set of 16 that map data rather than random floating
blocks. At this point I made the first of
many laziness inspired decisions: I could
have written an editor but I reckoned
it would be easier to write some code
to generate test data so I wrote my first
landscape generator.
This was basically a few pages of C
that threw my 16 blocks into the map
memory in a way that looked a bit like
a landscape. I say ‘a bit’ because it really
looked more like a bunch of intersecting
green pyramids. It was a slight pain to
check the generated maps as to see them
you had to scroll the 8x8 viewing window
around the 64x64 map. You could only
excited by the landscape
demo. Somehow we quickly
got it working on the Amiga. Almost
thirty years on I’m a little fuzzy how
see 1/64 of
th
this happened. If you stick to 16 colours
the map at any while ignoring the copper and blitter,
given time. To fix this the Amiga is very similar to the ST. For
I knocked up an isometric map the game code (all C) the machines are
view and stuck it in the top left corner identical and the screen formats aren’t
Populous – a mish of the screen where it was safe from that different. Somehow the demo was
mash of graphical
pyramids that morphed
being obscured by the 8x8 isometric view ported in a few days, probably with
into a game. in the bottom right (the exact same spot Kevin’s help. All of the portable source
it had been in Spindizzy). code was kept portable – and so Populous
The map looked cool but wasn’t was born.
making the world look any less like a
bunch of intersecting pyramids so I set Sticking on the labels
about writing the editor after all. It was Initially files were transferred between
pretty simple, you could basically scroll Amiga and ST via the null modem
around with the joystick and make a cable that we had previously been using
bump go up and down in the centre of to play Stunt Car Racer. We quickly
the 8x8 isometric view. At this point I’d moved to a bit of Amiga software called
been working on it for three days over a Dos2Dos which allowed the Amiga to
bank holiday weekend and had no idea read and write dos format disks which
what the hell it was supposed to be, I the ST could also access. Far quicker.
was just looking forward to showing it Peter started working on the game a
to people on the Tuesday morning. week or so later. The entire development
On that Tuesday morning, Peter was took only seven months. Peter and I
still working on Taurus stuff, as he had were the only people working on it
been for several months but was very full time. He designed and coded the
Popular Populous, feet up watching and talking to Peter of levels. You’d then get a code which
L to R: a forest on
the Atari ST; cakeland
about every line of code he wrote. It’s served as a save game but was basically
on the SNES; a great way to work. The main way the just a seed with some sort of checksum.
DOS hot volcanic
action; Master System ai opponent worked was that it had a We basically ripped this off wholesale for
hillsides with trees; a massive speed advantage. It could make Populous’s conquest mode. I can’t be sure
Mega Drive wasteland.
a ‘move’ every single frame. If you sent but I suspect this is the only mode that
a flood he could save fifty drowning ninety-five percent-plus of those who
people in two seconds. One of the main played it ever saw. If it hadn’t have been
ways of tuning the ai was to stick a delay there Populous would have been a cool
on its reactions. The hardest computer curiosity, but I don’t think many people
opponent setting was basically a super- would have actually played it.
fast moron but it didn’t feel like that Populous was an Amiga-first game
while playing. but it went on to be released on at least
Now the game had two modes, sixteen formats including SNES where
multiplayer and custom mode where you it was a launch title. My favourite thing
got to set up your opponent. How fast about working on it was the way the ‘flat
is he? How many people does he start land’ became a resource and how good it
with? which spells can he and you use? felt to manipulate the landscape. I love
It was fun but it still had something very the way that it happened organically.
important missing even though we were There was no design document stating
only weeks from release. how the landscape would work as a
Luckily Joss Ellis was still our resource, this was all from a completely
producer at EA and he’d worked on The speculative experiment.
Sentinel while at Firebird. In The Sentinel At my smuggest I like to liken it to
there were 10,000 levels which were of Rubik’s cube. Erno Rubik wasn’t trying
groups. He was just fascinated with the colourful, almost texture mapped. It
engineering problem of keeping those also meant we could zoom in and out.
corners and edges attached. He later The downside is that zoomed out, it
put stickers on it and found he’d created was drawing several hundred polygons
the best puzzle of its type ever. It feels and the frame rate slowed to a crawl.
like it was somehow there waiting to be I couldn’t even use the Amiga’s extra
discovered. Is it hyperbole to compare hardware to help out because at this
Populous to this? Probably. There’s also a point the polygons were tiny on screen
possibility that I’m trying to imply that, and the smaller something is on screen,
in this analogy at least, Peter is just the the less point there is asking the blitter
bloke who put the stickers on. to draw it for you. The army marches,
an introduction screen
Personally, I didn’t like the gameplay from Powermonger,
built on the Populous
Making the engine work hard of Powermonger, it was too fiddly, too
engine, but slower and
In contrast Powermonger wasn’t a slow, too boring and not as much fun more fiddly to play.
sounded fresh and clean. ‘I was allowed to use a ton of (by the
‘I always composed on a separate synth standards of the time) sample/music
(like the Jupiter 6, CX5M or M1) and memory/disk-space by Psygnosis, so I
manually entered each note by hand, into really went to town. This coincided with
an assembler file of my drivers. Luckily, me having just bought a new Amiga
the note format I used was compatible hardware sampler (still only 8-bit) and
across most platforms (C64/Spectrum/ a brand new Korg M1, which is where
ST/Amiga/pc/etc.), so cut’n’pasting those I got those great pan/flute instrument
saved a ton of reworking. As most people sounds from, so I sampled them all at
know, I also reused a lot of my samples, 20kHz, instead of the usual 8–12, which
regularly, as getting those was a big job, is why they’re so clear and breathy.’
and people asked for them specifically, David Whittaker was the man who
which was fine by me.’ inspired a generation of sample-based
David’s actual compositions were, composers, including myself and I hope David Whittaker
spruced up the sound
by his own admission, simple, but their to capture the essence of his music in the
in Elite’s Beyond the
simplicity made them catchy, fitting, album that accompanies this book. Ice Palace (1989).
and the overall sound quality was just
amazing; some are even rumoured to
have been reused by major pop artists!
Early games such as SideWinder showed
promise with heavily manipulated
electric guitar and powerful drums. It
was impressive at the time, but then
came the ground breaking, Shadow Of
The Beast with vividly clear pan flutes,
choir and percussion which fast became
James ( Jim) D Sachs
Jim produced the graphics for Defender of the Crown –
an early Amiga title that really showed off what the
computer could do and attracted new gamers in droves to
the machine.
Multiplayer games were conducted over an ai to be written. It was also very easy
serial cables. to tweak playing styles on the fly to find
I’d play against Peter – our chairs out what worked and what didn’t. Once
backed into each other. The gameplay we’d got that bit right, it was then just a
was very emergent – no two games were case of making an ai that would try to
the same and each time I came up with use the same tactics as we had.
a winning strategy, Peter would rewrite It also meant that we were forever
the code, change the balance and we’d on the search for Amigas that still had
My personal favourite was a game
called Biosphere that was being developed
out-of-house by an American called
Richard Reed. It had a hex-based height
field and these cute little alien dudes
who would land on a planet and try to
terraform it to order, ensuring that it
had the right amount of flora and fauna,
and trying not to die in the process.
Alex designed many of working serial ports. Man, those things He would ultimately get hired and,
the levels in Syndicate.
were fragile. after many, many redesigns, that game
Peter was also a dab hand at Stunt would eventually come out for dos and
Car Racer. In fact – original Populous Windows as Genewars.
aside – that remains the only game I Sean was working on Cyber Assault,
could never beat him at. I think I was a project that later emerged as Syndicate.
also unreasonably excited when Lotus Simon had done a bunch of sprites for
Challenge 2 came out and we were able it and Paul was busy making concept art
to play four-player on two machines. in Deluxe Paint. (That and introducing
The desk was as precarious as ever. me to the wonders of Sculpt 4D and
As well as the big games, there were the soul-crushing despair that only
several other side projects that people comes from leaving a render running
overnight only to return in the morning
and discover that you didn’t enable the
lights…) I loved dabbling with the art
Biosphere eventually side of things.
mutated into Genewars.
There was just something so very
satisfying about pixel pushing. In Paul
and Gary I was learning from the best
too. I would never call myself an artist
– much as I don’t refer to myself as a
were working on. Kevin had a thing coder these days – but there was a tiny
called 256 which was a top-down, piece of my artwork in everything from
rotational shooter inspired by the likes Powermonger all the way up to Gene
of Assault 360 (the 256 being derived Wars.
from the number of distinct ‘degrees’ of In fact, if I were to pick the one thing
rotation the game actually supported). I miss most about those Amiga days it
Glenn was, of course, working on many could be summed up in just two words –
different ways of making landscapes. D and Paint.
What! No Dizzy?
In Firehawk the
president of the United
States demands the
rescue of agents
and the destruction
of drug factories.
and it was with him that I started to by emulating arcade machines within
craft Sensible’s first proper, 16-bit only, the tight memory confines of a C64.
game on the Amiga…that game was Added to this potential was the amazing
Mega lo Mania. acquisition, via Palace Software, of
What was amazing about the musician and sound man Richard
Amiga was how much it allowed us to Joseph. Everything Martin was to the
do compared to the C64 that we had C64, Richard was to the Amiga – he was
worked on previously. The graphics a proper sound genius.
alone gave us so much to play with and For International 3D Tennis Richard
added BBC-style Wimbledon Music and
“The extra resolution of the Amiga real tennis commentary in an era when
enabled a trademark graphic style with speech in games was almost unknown.
and space stations into one of the first our other titles, that Chris Chapman
ever real-time strategy (rts) games, and I had time to work on a follow up to
with the world’s first ever tech tree another one of our C64 hits: Microprose
pitting cavemen against WWI pilots and Soccer. This game would go on to be our
Victorians with muskets against nuclear best-selling game of all time; a perennial
weapons. The variety of graphical detail chart topper in best-ever Amiga games
needed to show this kind
of gameplay was simply not
possible on any of the 8-bit
home computers.
Meanwhile Chris Yates
and I had embarked upon
a follow-up to Wizball,
called Wizkid this was a
psychedelic mishmash of
numerous game styles built
loosely around an Arkanoid
clone and a platform
adventure game. Recently
voted No.4 Amiga game of
all time in yet another online
poll, with its crazy style
Wizkid has been a slow-
lists… it was of course Sensible Soccer. more strategic play, and this was also
Chris and I had simply taken the carried through onto our next title.
little Mega lo Mania men and dressed For Cannon Fodder the code and art
them up in football kits, let them run were by newcomers to our team Julian
around a football pitch drawn in Mega ‘Jools’ Jameson and Stoo Cambridge. It
lo Mania perspective, added some nice was the six-man team of myself, Chris
controls, and we had an instant hit on Yates, Chris Chapman, Ubik, Stoo
our hands. We all knew and Jools with the addition of Richard
it in our office from the Joseph that would go on to be the classic
moment Sensible Soccer Sensible Software Amiga team. Between
was first played. It was us we produced five No.1 Amiga
special. Initially released games and topped the UK charts for an
in June 1992, it went incredible fifty-two weeks between June
on to be converted to 1992–May 1995.
numerous platforms Richard Joseph and I worked on a
and had many versions reggae song, ‘War Has Never Been So
Football simulation and on the Amiga, including Sensible World Much Fun’, written as the title song for
strategy games came of
age on the Amiga with
of Soccer, the only Amiga game to be Cannon Fodder. It was the first computer
Sensible World of Soccer. inaugurated into the 2006 Stanford game to have a proper sung title, and we
University list of the ten most influential also made a silly pop video of the team
Below: Choosing tactics. games of all time. running around to it which featured on
The extra resolution of the Amiga some versions of the game.
enabled us to find a trademark graphic Our run of Amiga games from
style with small sprites on zoomed out 1991–1994 went: Mega lo Mania,
map-like backgrounds, allowing much Sensible Soccer, Wizkid, Cannon Fodder,
Sensible World of Soccer, Cannon Fodder
2, Sensible Golf. It isn’t any wonder we
were sad to see the end of this amazing
machine. The Amiga cemented our
reputations as game makers and it made
us a lot of money. But more than that
it had been so much fun to work with,
in a small committed team, on a totally
free platform, with excellent support
from many British publishers who all
paid us advances during development
and increasingly good royalty rates at a
time when three new games a day were
game was reviewed really well, as there and jamma† interface into an attache † The Japan Amusement
Machine and Marketing
were few good arcade conversions for case, along with an arcade controller Association, the
the machine at the time, and the mouse and rgb video output, which I viewed standard for arcade
games at the time.
worked well as an input method. using the monitor from an old Amstrad
With the release of the A500 in CPC 6128.
the UK, the Amiga had a shot at the After I’d completed the ST version, I
mainstream, so the next game was contacted Discovery in the US, to see if
written for both ST and Amiga, a they would be interested in it for Amiga.
conversion of Sensible Software’s When I told Ocean about this, they
Wizball from the Commodore 64. This agreed to release it for Amiga as well.
was converted by playing the game on
a C64, and viewing the video of a full “Music has always been a strong passion
playthrough but, as with most of my of mine, and I had a well-equipped
other projects, I had none of the original
8-track studio at home…”
artwork or code to work from, it all had
to be recreated. My last Amiga game for Ocean was
Since it was taking a while for the RoboCop, which Ocean signed at the
Amiga to build market share in the script stage, and then licensed an arcade
UK, Ocean was only interested in game to Data East, so I combined their
the next game, Arkanoid: Revenge of version (from a suitcase again) with
Doh, for ST. Ocean supplied a suitcase some extra elements from the Spectrum
arcade machine for the conversion, version, such as the shooting gallery and
which crammed a genuine arcade board photofit stages.
This is one of the few games where I Ocean team. I created the loading screen
didn’t create the graphics from scratch, by digitising a movie advert (from
Empire magazine) with a camera and a
black and white ST digitiser, then tinted
it by hand to match the original.
In retrospect, I wish that I had
altered these Amiga ports more from
the ST versions, as they were very
much straight ports, without taking
full advantage of the Amiga’s hardware
features like fullscreen scrolling, or
tracker-based music.
Music has always been a strong
passion of mine, and I had a well-
On a wing and a prayer, as I took the monochrome Spectrum equipped 8-track studio at home,
Ocean went ahead with
RoboCop and it became
animation frames and drew over them so when I received interest to create
the most successful in Deluxe Paint to create colour artwork. soundtrack music for a video from a film
movie licence in the
catalogue. Below:
The photofit stage of the game includes director friend (Paul WS Anderson, who
Beware the perp above. digitised parts of many faces from the later wrote and directed Event Horizon,
through drains) and a gas (rise up, and from programming, I returned to coding,
pass through grilles) to navigate from graphics and design, teaching myself to
one end of a level to the other. Flair code in high-level languages, and writing
Software supplied the graphics. After apps for iOS, including MailShot, a
completing a Mega Drive conversion, group email app which now has over
I moved on to coding for Atari Jaguar. 250,000 users, and ShotList, an app for
I managed the Newcastle studios for scheduling and tracking a movie or video
Rage Games for nine years (Expendable, production on mobile.
Gari Biasillo
Gari composed the Target: Renegade track on the
Commodore 64 and when the Amiga took over from its
older brother, he provided musical scores for a number of
Hewson Consultants’ titles.
Many a college day was actually spent to send off my form, I received a call
in my bedroom, once mum had gone to from Richard Leinfellner at Mindscape
work, writing these tunes – suffice to say offering me some freelance work,
my A-Level grades were not what they converting the Wing Commander music
should have been, but it was allowing for the Amiga. I snapped it up and when
me to ‘hone my trade’ as it were while (almost) completed, he offered me a full-
I applied for work at recording studios time position as in-house composer.
after college. It could have been the shortest career
I had already been turned down in history when, during the first week, I
by Salford University to do a Music heard one of my chiptunes playing in the
Technology Degree with them feeding production office. Mindscape had just
back after my performance audition released Moonstone, and had downloaded
that a classically trained musician would a copy from a bbs. I stuck my head
not be able to deal with technology. I around to see why they were playing
was sending Amiga disks to the various my tune, and quickly saw that the crack
development companies in the UK. At intro introducing Moonstone was playing.
the same time, my chiptune output was I silently shuffled out, went back to my
starting to get used within the cracking room, and shut the door very worried
side of the scene on game intros. about the consequences of this.
Nothing was coming through, so To be fair, I had no control over what
I started my application to go into tune was used for what purpose, but I
management training at a well known doubt very much that anyone else would
supermarket. The day in 1992 I was have seen it like that. As it happens,
Check out Mark’s
website for his
latest music and
chiptune music at:
www.flitkillsmoths.co.uk
I got away with it but I had to have a a year later I retired from the demoscene
serious think about how my tunes would to concentrate on game music and sound
be used in the future. design.
For Mindscape’s 1998
Warhammer: Dark Omen I soon found that as I was writing We didn’t release that many Amiga
Mark contributed the
music all day I didn’t have a need to do games at Mindscape – it was 1992
sound design, Windows
and PlayStation versions. the same when I got home from work, so when I started, and the Playstation was
looming. Had you asked me back when
I first had an Amiga, I would never have
dreamt that I’d actually be writing music
for games. I’m now within my twenty-
fifth year of working in the games
business and although I stopped music
composition full time in 1999, I had the
opportunity to go back to it in 2014, and
the smile is back…most of the time.
The Amiga, the demoscene, they will
always hold a very special place in my
heart, so much so, that I’ve recently got
back into tracking with Protracker…
when real life allows me the time.
much to blame as was the British way of conversions for those machines were
developing and publishing the software a must. So: Spectrum, C64, Amstrad
– that’s what shortchanged Amiga CPC464, Atari ST and Commodore
owners and the ST simply made it that Amiga – and then there might be
much easier. additional releases on the likes of the
Thankfully times changed as the Games started to be written first for the
Amiga started to become factored into Amiga, and then if the Atari ST was
software publishers’ spreadsheets when lucky enough, it might get a cut down
sales grew and lower-cost machines version. Nevertheless, the Atari ST did
appeared to attract more game players. get releases that the Amiga didn’t. Some
Back in 2003 I researched games
that never made it to the Amiga and one
surprised me: Super Sprint, an arcade
conversion that was pretty faithfully
reproduced on the ST. My experience
of the ST at this point was virtually nil.
I’d owned one briefly before I got my
Amiga back in 1988, but I didn’t do
anything meaningful with it other than
play through the Power Pack of twenty
games that came with the Atari.
In retrospect, from a coding
System 3’s Putty Squad might argue that Amiga owners don’t perspective Super Sprint wasn’t a
was actually developed
for the A1200 in 1994
want ST games that were not published great title to pick as a first conversion
and previews were sent for the Amiga, but I disagree. It’s not as because it relied heavily on tos calls to
to the gaming press, but
it never materialised, if there’s a plethora of new releases – the do virtually everything, which would
seemingly because last time the Amiga was commercially have made it a long slog. And then as
the bottom fell out
of the 16-bit market. viable for a software publisher was back a single-player game it had not aged
Finally, Phil persuaded in the late 1990s. well; the AI for the computer cars was
System 3 to let him
bring the original code My history with the Amiga is a virtually non-existent. It always worked
up to date and Putty
somewhat murky and illicit affair, better as a multi-player game against real
Squad was released
in December 2013. cracking many a copy protection while live people, just as it did in the arcades.
also working in the software business for Super Cars 1 & 2, Nitro and a few
a while. But those skills also help me get other notables showed how Super
ST games onto the Amiga. Sprint was lacking, and the days of
16-BIT CREW [BQ Andrea Agostini Arvid Karlsson Carl Perry Luckey Darren Shoesmith
aka Lee] Andrea Maderna Arvirus Carlo Luciano Bianco Christopher Dyken Darren Townsend
Aaron Eugene Andrea Rocchi Asbjørn ‘Bitbear’ Carlo Savorelli Christopher G. Stanton Darren Ward
Etheridge Andreas -=ARA=- Ulsberg Carlos Castreño Christopher Polkamp Darren Whiting
Aaron McCoy Andersson Ashley P Dawson Carlos Del Alamo Christopher Salomon Darron Cox
Aaron Moore Andreas ‘Etze’ Gouders Attila Pinter Carlos H. Hartig Christopher Yeomanson Dave Bulwer
Aaron Russell Andreas Åhlander Autrive Yannis Carsten Bärmann Claudio Marro Filosa Dave McLaren
Aaron Thorne Andreas Altenheimer Axel Bürkle Carsten olsen Colin ‘Retro-o’ Bell David Anderson
Aasmund Fostervold Andreas Carlsson Axel Niesen Casey Barker Colin Bell David Atkinson
Abhilash Sarhadi Andreas Feese BananaTie Casey Green & Rob Colin Deady David Barnett
Adam Chapman Andreas Glaser Barry Barber Cebollero Colin Kennedy David Cashin
Adam Cruickshank Andreas Kai Barry Deans Cawley1 Colin Lawlor David Colls
Adam Gadsby Andreas Kassel Ben Bulbeck Cédric ‘Foul’ Monféfoul Colin Woodward David Corby
Adam Gurney Andreas Stange Ben Coleman Celedonio Nicolás Conny Larsson David Devereux
Adam Mokrzycki Andreas Wiklund Ben Gorman Ceri Roberts Convincer David di Troia
Adam Monier Edwards Andrew ‘Pottyboy’ Potts Ben Scarboro Chad Dylan Long Corey Ashton David E Cordero
Adam Parrott Andrew Costin Ben Squibb Chand Svare Ghei Corin Hamilton David Eggleston
Adam Sheik Andrew Driver Benjamin Robinson Charles Atencio Corto Zanna David Fletcher
Adam Webb Andrew Fell Bernhard Lukas Charlotte Redfern Craig Collins David Glover-Aoki
AdesteFideles Andrew Fisher Bert Jahn Chelle Destefano Craig Derrick David Green
Adrian Briggs Andrew Hodgson Beth Webb Chris (tomorrow.com) Craig Grannell David Isherwood
Adrian Brown Andrew J. Field Bieno64 Chris Abbott. Craig Pilkington David J. Groom
Adrian Cummings Andrew Kenny Bill Bradford Chris Baker Craig Worthington David Klco
Adrian Liechti Andrew Lockhart Birra/Goblins or (RetroChrisB) Croco David Lerat
Adrian Mogg (Mole of Andrew Pearson Alberto Graña Chris Birchell Curt Wilkinson David Linsley
Anarchy) Andrew Pidhajeckyj Bjarke Kinket Chris Chapman Cy Judge David Marsden
Al Cutter Andrew Rae Bjorn Allevad Chris Clarke Cyril Lapierre David Martin
Alain Bougenière Andrew Stewart Björn Himberg Chris Collins D. ‘Hammerfall’ Klobe David Motowylak
Alan Carter Andrew Wood Björn Jonsson Chris Doig Dagan David Pay
Alan Hammerton Andy Bates Björn Schweitzer Chris Hogan Dale Watts David Petyt
Alan Ralph Andy Brenner Black Beard Chris Hurst Damiaan van Vliet David Powell
Alan Turner Andy Dunn Bo Gøran Kvamme Chris McGuire Dan Chau David Richier
Alasdair Simpson Andy Garton Bo Ilsøe Hansen Chris Millett Dan Clapson David Rutledge
Alejandro Frenkel Andy Gaskell Bobbel20 Chris Newton Dan Lecount David Simons
Alejandro Galan Andy J Partridge Bobby Portlock Chris O’Regan Dan Ridley Hallock David Stenton
Alessandro ‘candyman’ Andy Jenkinson Boleslav Bobcik Chris Peel Dan Ruck David T. Jorge
Guarneri Andy Lockett Børge ‘NorthWay’ Nøst Chris Schofield Dan Sanderson David Taddei
Alessandro Gallo Andy Massey Bradley Ashton Chris Scutt Dan Thrue David Van Lierde
Alessio Perardi Andy Roberts Bradley O’Hearne Chris Stones Dani Moya David Walter
Alex Hopson Andy Taylor Bradley Sepos Chris Taylor Daniel Auger David Willgoose
Alex Smits Anita Hipper Brent Poynton Chris Traill Daniel Bishop David Winter
Alex Soto Anonymous Brian C. Chris Vasquez Daniel Dietz David Wykes
Alex Stevenson Anthony ‘Guru’ Becker Brian Dueholm Olesen Christian A. Weber Daniel Mackey David Youd
Alex Tucker Anthony Gisbourne Brian Gatley Christian Esken Daniel Stensholm Daz Lodge
Alex Vakkas Anthony Micari Brian Handscomb Christian Geiger Daniel Svegert Dean Paddock
Alex Xtreme Racing Anthony Smalley Bronxx Christian Horazeck Dániel Szabó Dennis ‘Cydo’ Spreen
Amsel Antonino Spagnuolo Bruce Brooking Christian Huf Daniel Wedin Dennis de Weerd
Alexander ‘Channard’ Antonio Peregrin Bruce Canu Christian Kömp Daniel Willis Dennis Frellsen
Stein Antony Harris Bruno Fonseca Christian Kunz Daniel Winch Dennis Ploeger
Alexander G. Saunders Antti Kultanen Bryan Pope Christian Link Daniele Balestrieri Dennis Skoglund
Alexander Molodtsov aPEX Byron Jenssen Christian Muris Danilo Mielniczek Derek Osborn
Alexandr Srkal Apolonius C. Habbe Christian Peters Danny McDermott Derek Piddington
Alexx Boo Arcade Attack C. Tomkinson Christian Proell Danny O’Dwyer Dick van Ginkel
Alix Bergeret Archmage Melek C.M. Scheyda Christian Stich Dannyboy 77 Didier Coll
Allister Brimble Arild Kvalbein Cabel Sasser Christian Vogelgsang DAR Diego Gabriel Aguiar
Alp Aziz Torun Arjan Krijgsman Cal Henderson Christian Woltz Daren Klamer Dieter Marchsreiter
AmigaJay Arkadiusz Kaminski Calaelen (Bomber of Christofer Bernander Dariusz Malczewski Dimitri Koeznetsov
Amir Mortezaie Arne Israel Anarchy) Christoph Engelbrecht (aka ZX Freeq) Dimitris ‘MiDWaN’
Amithlon Árni Freyr Jónsson Cameron Jackson Christoph Hager Darrell Blake Panokostas
Ana Cerezales Arnold Blueml Captain_Zzap Christoph Hannemann Darren Coles Dimitris Gourlis
Anders Jensen Arthur Chocholacek Carl Burnet ‘Sketty’ Christophe Lesage Darren Debono Dimouse
Andre Bergei Arthur Yin Carl G Hughes Christophe Pultz Darren Muir Dimrill
André Kohl ArtmixG Carl Gustafsson Christophe Rémy Darren Nevell Dion Guy
André Waage Sørensen Arto Saari Carl Parkes Christopher ‘sloopy’ Darren Redgrave Dirk Seßler
ISBN 9780993131592
02499 >
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