• Maelstrom Video Game
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• Maelstrom 1992 Video Game

We can study the structure of language in a variety of ways. For example, we can study classes of words (parts of speech), meanings of words, with or without considering changes of meaning (semantics), how words are organized in relation to each other and in larger constructions (syntax), how words are formed from smaller meaningful units (morphology), the sounds of words (perception and pronunciation or articulation), and how they form patterns of knowledge in the speaker's mind (phonetics and phonology) and how standardized written forms represent words (orthography). Since this website is primarily devoted to the exploration of English through its words, the focus in this website is on morphology (word structure) and other aspects of words, such as etymology, lexical semantic change, word usage, lexical types of words, and words marking specific linguistic varieties. Phonetics All words are, at the their most basic, collections of different sounds.

Phonetics is the branch of linguistics that deals with the sounds of speech and their production, combination, description, and representation by written symbols. Sounds are generally categorized by place of articulation, method of articulation, and voicing. While these individual sounds are the most basic elements of language, they do not have meaning in of themselves (apart from some sounds which can be considered sound symbolic). Places of articulation bilabial bi + lab + i + al two lip (linker) ADJ 'produced with the two lips' interdental inter + dent + al between tooth ADJ 'produced with tongue between the teeth' alveolar alveol + ar a small ADJ hollow 'produced at the alveolus, i.e. Morphemes and allomorphy Morphemes are form/meaning pairings (where 'form' = distinctive string of sounds).

Morphemes can be roots or affixes, depending on whether they are the main part or dependent part of a word (cf. It is important to recognize that there is no one-to-one correspondence between form and meaning, and that what counts for identification as a morpheme is both form AND meaning.

Let's consider some potentially tricky situations that can arise in deciding whether we're dealing with a single morpheme or more than one: 1. Two different morphemes can accidentally have the same form. Some English morphemes for which this is the case are the following ('Greek prefix', 'Latin root' etc.

Are abbreviations for 'prefix borrowed from (Classical) Greek', 'root morpheme borrowed from Latin' etc.):. a indefinite article (native English-a free morpheme) a- 'not' (one form of a Greek prefix). in- 'not' (Latin prefix) ( insoluble, inclement ) in- 'into, within' (Latin prefix) ( ingress, invade ). homo 'human being' (Latin root) homo- 'same' (Greek prefix) The unrelatedness of the meanings tells us they are different linguistic units. There is no psychological connection between them, and typically their origins are completely different. Forms with the same meaning may also be different morphemes.

There are two subcases of this:. the forms may be rather different from one another. Example: a-/an- 'not' (Greek prefix) in- 'not' (Latin prefix) (other allomorphs im-, il-, ir-, etc.) un- 'not' (native English prefix) In this example, the first two morphemes were borrowed into English from different languages, a sufficient reason for thinking of them as different elements and hence distinct morphemes. The third is native English, which means another different linguistic source and hence a different element.

It so happens that in this case, all three morphemes go back to a prehistoric word meaning 'not' that linguists have reconstructed as part of the original language that gave rise to Latin, Greek, English, and other related languages. But the connection is too far back to think of them as a unitary element in English. the forms may be the same or very similar, but like the above case, their sources are different languages.

Example: in- 'into, within' (Latin prefix) in(-) 'into, within' (native English preposition and prefix) As above, these two happen to go back to a common ancestral source morpheme, before Latin and English (and their closest relatives) evolved into separate languages. (This historical fact accounts for why the forms are similar.) But again, the unity of these elements is only historical.

Because the immediate source languages are different, it is reasonable to think of them as different elements. This kind of situation, in which our definition of morpheme as an element pairing a particular form with a particular meaning might lead us to call these one morpheme, but our historical knowledge leads us to call them two, is comparatively rare. We need not let such a borderline case detract from our basic understanding of a morpheme. They are mentioned here only for completeness' sake. Two forms with the same meaning may be alternate forms of the same morpheme. Example:. Nclex 4000 questions for mac.

a- and an- 'not' (Greek prefix). se- and sed- 'apart' (Latin prefix) In these cases, the two forms are very similar, often differing in one consonant or vowel.

They typically result from a situation in which an original single form adapted its beginning or ending sounds to the sounds found in other morphemes it combined with. Often there is some pattern to the alternation between the two forms (e.g. The Greek 'not' morpheme is found in the form a- before roots beginning with consonants, and an- before roots beginning with vowels.) The alternate forms in these cases are called allomorphs ( PREPOSITION FUNCTION WORD AFFIX Greek and Latin Morphemes in English Words These are some Greek and Latin morphemes found in English words, in no particular order.

Richard Moss has written extensively about the history and culture of videogames for over a dozen leading games and technology publications, including Ars Technica, Edge, Eurogamer, Mac Life, Polygon, Rock Paper Shotgun, USgamer, and several others. In his spare time, Richard edits the classic gaming websites MacScene.net and Archive.vg. Richard also contributes to new and emerging technology news site Gizmag and to Intel’s iQ blog, where he covers the latest developments in science and technology for a general audience.

And he produces the podcast Ludiphilia, which shares stories related to how and why people play. He lives in Melbourne, Australia, in a house ruled by a bengal cat named Max. Computer games were big with Apple employees, too. 'The early Apple staff, starting with Woz Steve Wozniak, loved playing and creating games,' Hertzfeld recalls. 'Many of the Apple engineers spent a fair percentage of their time playing the latest hot game on the Apple II computer.'

Games were also a fun and effective way to test the Mac's work-in-progress graphical user interface, with its mouse input and desktop metaphors that stood in stark opposition to the text-only command-line interfaces on the IBM PC, Apple II, Commodore 64, and other personal computers at the time. 'One of the earliest Mac demo programs I wrote was a version of Breakout, the classic Atari/Apple II game,' says Hertzfeld.

He wrote his homage in April 1981 on an early Mac prototype. 'We hardly had any software running on the Mac and I thought that it would be nice to have a mouse-based game,' he explains. It seemed a fitting gesture, given the game's history, to have it help in some small way to shape the future of computing (again).

'It only took a day or two to write initially,' Hertzfeld recalls. 'After I had it going, Apple Mac team colleague Bud Tribble suggested that I spice it up by having the bricks fall when they were hit by the ball instead of disappearing, and you'd have to dodge them as they fell since you'd lose your ball if they hit your paddle. 'I also made a nice explosion when a falling brick hit the paddle. It was fun to play, but was written in a low-level, stand-alone fashion and not maintained as the system software evolved.” Other Mac team members also made games to test hardware and software features. In 1984, after the first Mac came out, programmer Gene Tyacke developed a version of Greg Thompson and Dave Colley's (among many others') primitive first-person shooter Maze War to test the in-development AppleTalk networking feature that allowed multiple Macs to share files and send messages to each other across a cable connected to the printer port. Bus'd Out was later leaked out unfinished, but not before Burt Sloane, a programmer in a different Mac department, independently created a version of his own that eventually became Maze Wars+, one of the first commercially-available network games. (See Chapter 15 for more on Maze Wars+ and the Mac’s role in the growth of network games.) Games were more than a fun testing ground for software development on the Mac.

An early business plan called for a minimum of two “Macintosh quality” games that would be “unlike the world has ever seen” because “it further endears the office user to his Mac, titillates the college user, and provides a reason for office types to carry their Macs home to their family.” One of those 'Macintosh quality' games was being developed by Bill Budge, who had just found huge success on the Apple II with Pinball Construction Kit — a game in which players could craft their own virtual pinball tables and then play them. Budge was given an early Macintosh, well before its official release. He recalls that the original Mac 'had a pretty fast CPU combined with a relatively small screen. That made it possible to paint the screen fast enough to do good 3D animation.'

To that end, Budge was making a flight simulator. 'I actually got a demo working that approached a runway for landing and had an impressive frame rate for the time.' It never came to anything.

'I abandoned the project because the display was only black and white, so grey scales had to be simulated by dithering or patterning, which didn't look that great,' he says. 'And because it would have been a lot of work to import the geographical database and I lost interest.' The creator of the other launch-ready Macintosh-quality game followed through, however, and that game came from within the company. Everybody at Apple played Steve Capps' computer game. Alice combined the careful strategy of the ancient game of kings with the speed and immediacy of quarter-guzzling modern arcades. It was an Alice in Wonderland-themed reimagining of chess wherein Alice herself stood in for the white pieces. She faced down the red queen's army on the other side of the board, and the player could click on the board to tell her where to go.

If the square clicked on was a legal chess move for the type of piece Alice was acting as, she'd hop there. If an enemy piece occupied that space, it would disappear. The end goal was to clear the board of all enemy pieces. Unlike chess, Alice moved at break-neck speed.

Enemy pieces hopped about without waiting even a second for the player to complete his move. The pieces themselves combined the basic appearance of traditional chess pieces with the illustrative style of Sir John Tenniel, who had illustrated the original Alice in Wonderland and Through the Looking Glass books. They were drawn in black and white, as was the faux-3D chessboard that floated on a black background. Capps' Alice had the Macintosh and Lisa software teams captivated. One person in particular took to Alice like glue. Joanna Hoffman, the Mac's first marketing person, was indisputably the best player. But she found the game too easy and pressured Capps to make it tougher.

He tweaked parameters and added features, including a special mode where the board became invisible. He did whatever was necessary to keep his friends from getting bored of his game, and those changes all stuck for the final release. 'The problem was that I was designing it for people who were expert Alice users,' he explains, 'so for the person that first picked it up it was actually frustratingly, shittily hard. To the point that I blew it.' More than anything, Alice was brutally difficult because it assumed its player had already mastered the art of pointing and clicking.

Most people who bought a Macintosh had never used a mouse before, nor had many even tried to operate a computer. They had to learn from scratch even things that are as fundamental as moving a mouse cursor and clicking to select a file or reposition a text prompt, or double clicking to open something, or any manner of other actions computer users take for granted today. Apple had conducted user tests prior to the release of the Macintosh to see how people fared in setting it up and learning to operate the system without any guidance. Capps recalls one tester who got his running without a hitch but held the mouse such that the cord ran out the bottom instead of the top and his palm rested over the button. 'The guy had never touched a mouse before,' Capps says. 'He's sitting there and he moves it to the right and the cursor moves to the left. And he moves the mouse up and the cursor moves down.

So it's essentially backwards. Thinking of Alice in Wonderland, he's fallen through the looking glass, and he teaches himself to use it in the half an hour there.' Asked afterwards what he thought of the Mac, the man said, 'You know, I didn't understand why it was backwards like that. But I got used to it, so I think you guys got a great product there.' I've just today got through to Alex Seropian, and will be chatting with him over email.

Hoping to talk to Jason Jones, although it may be tough as he doesn't do press interviews anymore. Will be reaching out to Hamish Sinclair soon.

His Marathon Story site absolutely floored me when I first discovered it several years ago. Rand and Robyn were both lovely. Keep an eye (or should I say ear?) out for an audio story I'm preparing about how they got into game dev and made The Manhole.

That'll hopefully be ready late next week. I'd actually quite like to have a chat with you about your time in the Mac gaming biz, too. Shoot me an email at rich.c.moss at gmail and we can work something out.

Asked: (Not sure if my previous message made it through in this question box. No confirmation from website! Retrying just in case.) Wonderful book idea, so excited to read it when out! If you need any more perspectives/contributions: I wrote Maniac in the early 90s, followed by Bubble Trouble with David Wareing for Ambrosia in 96, and some game cheat extensions (e.g. Prince of Persia Cheater) and some lesser HyperCard games.

You have many more luminary names than mine on that list! But there's an offer anyway.

Best of wishes with the book and the project. Replied: Yes! If anyone pledges for one of the researcher tiers, I'll be giving them the chance to donate the transcripts to their archive or library of choice. If they don't want to do that, or (probably more likely) if nobody pledges at either level, then at some point further down the line — say, when the book goes out of print or in maybe five years time — I'll send copies of them all to a few places. On a related note, if anybody would like to have full transcripts of some of the interviews but not all we can arrange to have another reward level for that.

Replied: Yes, I've reached out to Jeff Vogel. Haven't heard anything back yet, but will keep trying and will include something about him and his early games regardless.

Please do send along photos and info on your Japanese shareware collection. You can reach me at rich.c.moss at gmail. Because of the language barrier, I've had a hard time finding out much about Mac game dev in Japan (aside from what I could glean from some online reading and a few questions I asked Yoot Saito). So would love any help I can get on happenings there. Replied: The story behind the EV games is getting plenty of attention. Bolo will be covered in a network games chapter, hopefully with quotes from its creator Stuart Cheshire.

We're planning to have screenshots, photos, and other scanned documents (like maps, design docs, letters, etc). We're anticipating the equivalent of roughly 50 pages worth of images and 250 worth of text (amounting to 100,000 words). We have a very talented designer pencilled in to work on the layout/design stuff. My advice to everyone would be that if you can afford it, get the hardback. It'll be worth it.

Asked: Here's a vote for a full chapter on World Builder. Sounds like you're talking to Ray Dunakin? Also look up Robert Carr from 'Lamprey Systems' and Louise Hope. I recently played some of my old World Builder favorites and I can't believe how well the ones made by the authors I mentioned above still hold up.

Maelstrom Video Game

The level of design, creativity, and wit in Dunakin's games especially puts current adventure games to shame. Damn near magic how some of those games popped up out of sheer passion. No Kickstarter.

No publishers. Just a love for the medium. I made HyperCard games when I was in junior. High school the early 1990's and it taught me far more about scripting and programming than any class I ever took.

In a way I have HyperCard to thank for my career today. Seems like this project is in good hands! Really looking forward to the final product! Replied: Yeah, Ray and Louise made good games by any standard and their later World Builder work (Ray's Twisted and A Mess O' Trouble; Louise's Sultan's Palace) in particular holds up really well.

They're the main characters alongside World Builder creator Bill Appleton in a chapter on World Builder that I've already drafted in full. You may have heard about it, but if you haven't you'll be happy to know that Ray Dunakin's A Mess O' Trouble was remade/ported to OS X last year. You can get it on the Mac App Store and read about how it got brought back in this article of mine: Thank you for the vote of confidence!

Asked: Hi from Spain! I discover Spaceship Warlock at 23 years old and for me was fascinating. I travel to Paris to get the CD-ROM reader Apple CD300. And just encounter the 150 version.

No multisession support. But when I got the driver, I ask for CD Games to a company called Silver Disc in Barcelona. A fabulous set of demos was included un the Apple kit. Journeymen Project, Iron Helix and so on. But Spaceship Warlock has so magical atmosphere that caught me! I played it in a monitor of 12 inches that comes with the Macintosh LC. Required a 13” monitor!

Some parts of the game do not can be seen. I follow the tracks of Joe: Total Distortion. I have it, Radiskull and Devildoll, etcetera. So to put this to an end here is my real question about your book: If I opt for the 30 GBP, the “hardware” version of the book will be sent to Spain? I mean if I have to make some other steps to get the book when the date of release will be reached. Thank a lot from Spain, Richard. Sorry about my level of english.;).

Asked: This book sounds very promising! Maybe a more recent - but significant - example of how 'the Macintosh changed videogames' is the Unity game engine (which has had a huge impact on the games industry for the past few years). Unity was initially a Mac-only engine, and support for running the Editor on windows was only added four years later in Unity 2.5. I believe that the Unity editor workflows were heavily inspired by the developers' Mac backgrounds, and by Apple's Human Interface Guidelines.

Focusing on usability when making game.development tools. was not something a lot of people did in those days. Disclaimer: I work at Unity.

Before that, I used to make Mac games (Reckless Drivin', Ambrosia's Redline). Let me know if you have any questions about any of this. Replied: I'm looking to speak to a few of the people around him at the time first (i.e., his collaborators and colleagues on the early Maxis games).

He's massively over-exposed in the media, and I've been told that as a result the only way to reach him is via his wife, so I'll see if I can get the insights I want from him through one of these other guys before I bother him. (From what I've read I gather that the early Mac — and MacPaint in particular — influenced the design of all the early Maxis games.

So I'm very keen to learn more of the story — it gets right to the heart of my thesis that the Mac changed videogames.). Asked: I lost track of how much time I spent playing Lunatic Fringe, a spaceship game built as an After Dark screensaver module. Curious whether you're planning to talk to Ben Haller about that. Also, the two Enigmo games had gorgeous soundtracks by Michael Dan Beckett; I hope Brian Greenstone had something to say about the music. And I maintain that the original Mac version of Myst is still the best—I've seen all the ports, even 'Masterpiece' and 'realMyst,' and they miss the point in many ways—so I'm eager to read what Rand and Robyn had to tell you. Replied: It's likely that I'll be spending as much time talking about Cyan's early games - The Manhole, Cosmic Osmo, and Spelunx - as about Myst. Spelunx is one of my favourite games.

I'm interviewing Christopher Gross over email at the moment about Shufflepuck Cafe. Very significant release. Realmz will get some space for sure. As will Lunatic Fringe.

Tristan I hadn't heard of, but I'll look into it. Definitely need more representation of Japanese Mac games.

And I've been grappling with the question of emulators for a while. I think Virtual Game Station will merit a few paragraphs. Not sure about the rest of the scene. I just don't have space to go into it properly. I was a regular of emulation.net until it shut down, then switched over to MacScene — where I ended up taking charge of news and editorial content in 2010. So I know that world well.

Maelstrom Pc Game

Asked: Super stoked to read about this project on Daring Fireball. It is really cool to see so many of the games my brother and I played growing up.

Some of our favorites were Escape Velocity, Harry the Handsome Executive, Bolo, Specter Challenger, Crystal Quest, Scarab of Ra, Stunt Copter, and many more. The only games I didn't see explicitly listed that I really loved were The Manhole (by Cyan Worlds) and Leprechaun. I'm not sure what the purpose of The Manhole was, but my brother and I played it for hours and hours, pretty much any time my folks would let us. Leprechaun was super difficult; I still remember the sound that the leprechaun made when he died painfully. Good luck with the project! Replied: I will talk about a bunch of those tiny games from the early days (including Daleks and MacBugs), but sadly I wasn't able to gather the backstory to many of them — Al Evans (Cap'n Magneto) never responded to any of my emails, Duane Blehm (StuntCopter, Zero Gravity, Cairo Shootout) died, I never managed to get through to the Daleks author, some other folks are just too hard to find, etc; I do have stories behind some of the freeware and shareware games of the really early Mac days, though.

(Bit of trivia about MacBugs: it was a remake/port of a 1982 DOS game (itself a homage to the arcade game Centipede) called Bugs by the same author. The DOS version had ASCII graphics rather than the black sprites on a white background that we saw in the Mac version.) I did look into Littlewing. Never got around to getting in touch with Fujita (the designer/co-founder) for an interview, but I understand the significance and popularity of their games in the pinball space and so will definitely find a place to talk about them (and to share whatever interesting details turn up in my research) in the book. They'll get a few paragraphs for sure. Possibly more. Asked: You have no idea how jealous I am as I'm reading about all of these people you've talked to!

I'd spring for the transcripts out of sheer curiosity if I had that kind of money. Calhoun, the Millers, Johnson, aaaaa (Coincidentally just finished The Fool's Errand fairly recently.) This is pretty much my childhood.and for better or worse, a fair bit of my adult life, really.

Not sure I have a whole lot to add without going into some really obscure shareware stuff like Dubbelmoral, a game made around Lundakarnevalen.or the few pieces of adult software, mostly from Mike Saenz, floating about at one point in time. Though, I will say Crystal Crazy was rather criminally overlooked. Dunno why that never got any of the million ports that Crystal Quest did.

Though, I suppose, if I'm going to list off a few things I haven't seen yet, MacSki is something I haven't seen any mention of here yet. Or, if you're looking for more shareware RPGs, there's TaskMaker and Tomb of the TaskMaker. There's also some mail-order turned commercial games, like Quarterstaff and Frankie's Dungeon/Creepy Castle. There's also Star Trek: The Next Generation: The Transinium Challenge, from the same people who brought us Hidden Agenda (spoilers: that one's not very good).

Maelstrom 1992 Video Game

Also haven't seen anything on Oxyd or Oids.though, I think those are originally Atari ST games. They had very nice ports, at least, and I remember playing a lot of those two.okay, maybe I lied about having nothing to add. If nothing else, I like to think I have some expertise in this field, at least. I apologize if I'm a little rambling, but this is definitely something I'm excited to get my hands on! Replied: Well, there's good news if you want to one day read the transcripts. Assuming nobody does go for that top reward tier (if somebody does this will likely still happen, but with their input and maybe a longer delay), I'll be donating all of the transcripts to an archive or museum after the book gets published. As for the games you mentioned, the book will be covering a few of them.

Frankie's Dungeon/Creepy Castle I have a bit of backstory to. The TaskMaker RPGs I plan to give a couple of paragraphs to.

I've been trying to get onto Michael Cook to talk about those and MacSki, which likewise will get at least a paragraph regardless. Unfortunately he hasn't responded to my emails yet. And my Patrick Buckland interview covered all of his games, so Crystal Crazy will get a bit of space — though definitely not as much as Crystal Quest because it didn't have anywhere near as big an impact. Replied: Thanks Richard! Well and truly aware of you and your work.

I followed the emulation scene from about '98 onwards and eventually ended up helping Niemann run MacScene. And I remember I actually sent you questions for a school project about 15-16 years ago where we had to talk to a few adults we admired about their career/job. Doesn't look like the emulation chapter will happen (barring a large surge in pledges), but I'm considering going ahead with it as a standalone article or part of some other separate thing later on. Will absolutely contact you for help if/when I get to that stage. Asked: Just pledged for the hardcover and very excited to see this project come to fruition.

Seems you have an excellent designer on-board; I see you've already mentioned that the hardcover will be copiously illustrated, but any thoughts on what the size-format will be? I imagine an oversized coffee-table format is unlikely, but I'm sure you agree there were some truly singular artistic visions in this genre, that would be well-served by generous reproductions for posterity.

Here's hoping you can do everything possible to showcase the visual achievements as well as the history! Replied: We're still to finalise a lot of details, but I can say with certainty that the book dimensions are larger than a standard hard cover and smaller than your typical A4-ish-sized coffee-table book — I don't remember offhand what dimensions we specced at for the crowdfunding target, but something in that range. The idea is to provide room for the images to shine without making the actual reading experience — because it is a text-led book — cumbersome. (And yes, some of the games have stunning artwork that we'll be looking to highlight in half-page and full-page reproductions, space/budget allowing.) Will post updates to the Shed regarding the design as we go along. Darren and I spoke seriously about the design/layout for the first time on Skype in late November, so it's early days yet. He brought up some exciting ideas as we were chatting about what material's available and what visual qualities Mac game art had during the 80s and 90s, and he's now having a play around with a couple of chapters to try to come up with a general style. Once that's done we should have a pretty good idea of what the book will look and feel like.

Replied: I unfortunately won't have the space to talk about what is and isn't still running in the book, but will be going into that in some of the support and promotional material (i.e., blog posts, videos, articles, interviews, podcasts, etc). Clan Lord is as far as I know not only still running but also still being updated (and that will be stated.very. briefly in the Where Are They Now? Section at the end of the Delta Tao chapter).

Some of the other popular 90s network/online games still have an active playerbase as well — Bolo, Marathon, Avara all have a small number of people still playing. I also know of one old Mac game that I'm not mentioning in the book (because its first release came outside my time window) that's still played online. It's called Oberin (It's an old-school fantasy MMO that I'm sure could do with new players. Asked: I just finished reading the book. I was a simple supporter giving only $15 to get the digital copy and my name in the book - but man am I proud and boy do I wish I had given you enough for the hard copy. I'll surely buy it separately.

I just went and set myself up with an emulator and have Mac OS 9 and Ambrosia games running:-). Thanks for the inspiration to do that with your writing! Hope to see more on the history of Mac games. Did you ever hear about the bootleg Mac Quake port that came out before the official port and ran better than it??