Making 8 Bit Arcade Games In C
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Making 8-bit Arcade Games in C
With this book, you'll learn all about the hardware of Golden Age 8-bit arcade games produced in the late 1970s to early 1980s. We'll learn how to use the C programming language to write code for the Z80 CPU. The following arcade platforms are covered: * Midway 8080 (Space Invaders) * VIC Dual (Carnival) * Galaxian/Scramble (Namco) * Atari Color Vector * Williams (Defender, Robotron) We'll describe how to create video and sound for each platform. Use the online 8bitworkshop IDE to compile your C programs and play them right in the browser!
Making Games for the NES
Learn how to program games for the NES! You'll learn how to draw text, scroll the screen, animate sprites, create a status bar, decompress title screens, play background music and sound effects and more. While using the book, take advantage of our Web-based IDE to see your code run instantly in the browser. We'll also talk about different "mappers" which add extra ROM and additional features to cartridges. Most of the examples use the CC65 C compiler using the NESLib library. We'll also write 6502 assembly language, programming the PPU and APU directly, and carefully timing our code to produce advanced psuedo-3D raster effects. Create your own graphics and sound, and share your games with friends!
Distributed Perception
Who, what, and where perceives, and how? What are the sedimentations, inscriptions, and axiologies of animal, human, and machinic perception/s? What are their perceptibilities? Deleuze uses the word ‘visibilities’ to indicate that visual perception isn’t just a physiological given but cues operations productive of new assemblages. Perceptibilities are, by analogy, spatio-temporal, geolocative, kinaesthetic, audio-visual, and haptic operations that are always already memory. In the case of strong inscriptions, they are also epigenetic events. In physics, resonance is the tendency of a system to vibrate with increasing amplitudes at certain frequencies of excitation. In cybernetics and in theories of technology, it refers to systems’ feedback. In Native science, resonance denotes the axiology of positions and events. It’s a form of multi-species perception that emphasises emergent directionality and protean mnemonics. This transdisciplinary volume brings together key theorists and practitioners from media theory, Native science, bio-media and sound art, philosophy, art his- tory, and design informatics to examine: a) the becoming-technique of animal– human–machinic perceptibilities; and b) micro-perceptions that lie beneath the threshold of known perceptions yet create energetic vibrations. The volume shows distributed perception to be a key notion in addressing the emergence and peristence of plant, animal, human, and machine relations.