LeGACy Code: Studying How (Amateur) Game Developers Used Graphic Adventure Creator

How did game programmers use early game development tools, and how does this fit into the bigger picture of how humans use tools and technology? To help answer these questions, we embark on an interdisciplinary collaboration between archaeology and computer science. Graphic Adventure Creator (GAC) was released in the mid-1980s for a number of microcomputers; we focus here on the 1986 version for the ZX Spectrum, a popular UK computer of that era. GAC was a game-development tool for creating text adventure games, optionally with graphic images. We have amassed a corpus of nearly all known GAC-produced games for the Spectrum – over 130 – and reverse-engineered the game format. We extracted out all the games’ data, and built a software framework to perform static and dynamic analysis of all these games at scale. This empirical data, plus contextual information from some interviews we conducted, gives us unique insight into the nature of how this tool was used to make games.

[1]  Donald E. Knuth,et al.  An empirical study of FORTRAN programs , 1971, Softw. Pract. Exp..

[2]  Roger Bastide,et al.  André Leroi-Gourhan, Le Geste et la Parole, T. I : Technique et Langage ; T. II : La Mémoire et les Rythmes. , 1967 .

[3]  G. Cerri,et al.  Latin America , 2000, Ultrasound in medicine & biology.

[4]  Peter Killworth How to write adventure games , 1984 .

[5]  Dennis Jerz,et al.  Somewhere Nearby is Colossal Cave: Examining Will Crowther's Original "Adventure" in Code and in Kentucky , 2007, Digit. Humanit. Q..

[6]  M Mernik,et al.  When and how to develop domain-specific languages , 2005, CSUR.

[7]  Jimmy Maher,et al.  The Future Was Here: The Commodore Amiga , 2012 .

[8]  John Aycock Game Studies at Scale: Towards Facilitating Exploration of Game Corpora , 2017 .

[9]  John Aycock Interview with Andy Remic re: Graphic Adventure Creator Games , 2016 .

[10]  P. Lemonnier The study of material culture today: toward an anthropology of technical systems , 1986 .

[11]  Tobias Wrigstad,et al.  Measuring polymorphism in python programs , 2015, DLS.

[12]  Munawar Hafiz,et al.  Growing a language: An empirical study on how (and why) developers use some recently-introduced and/or recently-evolving JavaScript features , 2016, J. Syst. Softw..

[13]  M. S. Tite,et al.  THE CHALLENGE OF ‘TECHNOLOGICAL CHOICES’FOR MATERIALS SCIENCE APPROACHES IN ARCHAEOLOGY* , 2000 .

[14]  河内 まき子,et al.  New technology , 2007, CardioVascular and Interventional Radiology.

[15]  Amy F. Fyn Encyclopedia of Video Games: The Culture, Technology, and Art of Gaming , 2013 .

[16]  Nick Montfort,et al.  Twisty Little Passages: An Approach to Interactive Fiction , 2003 .

[17]  Zbigniew Stachniak Red Clones: The Soviet Computer Hobby Movement of the 1980s , 2015, IEEE Annals of the History of Computing.

[18]  Susan Wiedenbeck,et al.  Novice/Expert Differences in Programming Skills , 1985, Int. J. Man Mach. Stud..

[19]  John Aycock,et al.  Inspecting the Foundation of Mystery House , 2018 .

[20]  Michael Z. Newman I AM ERROR: The Nintendo Family Computer/ Entertainment System Platform , 2016 .

[21]  Andrew Reinhard,et al.  Archaeogaming , 2018 .

[22]  Mike Barkmin,et al.  Understanding the Differences Between Novice and Expert Programmers in Memorizing Source Code , 2017, WCCE.

[23]  Maria Soledad Garcia Ferrari Uruguay , 2018 .

[24]  John Aycock Interview with Sean Ellis re: Graphic Adventure Creator , 2016 .

[25]  Jussi Parikka,et al.  1. Introduction: An Archaeology of Media Archaeology , 2019 .