Pleroma

Pleroma

Richard Moss | @MossRC@social.mossrc.me

Author of *The Secret History of Mac Gaming*, *Shareware Heroes: The renegades who redefined gaming at the dawn of the Internet*, *A Tale of Two Halves: The History of Football Video Games*, and a soon-to-be-published book on the creation of #AgeOfEmpires, plus various other books in progress.

Writer/director on TerrorBytes: The Evolution of Horror Gaming, a critically-acclaimed five-part docuseries about horror games. Producer/co-writer on FPSDOC, a 4.5-hour documentary film celebrating the first-person shooter genre (with an emphasis on the 90s/early-2000s golden age) that's guided by the developers themselves.

Creates The Life & Times of Video Games and Ludiphilia podcasts.

He/him.

rich@mossrc.me
@MossRC on Twitter and @mossrc.bsky.social on Bluesky.

Posts mainly about #gamedev and #indiegames histories and stories, #retrogaming/#retrogames, #retrocomputing, #classicmac, #shareware, #tombraider, and #videogamehistory.

In Yesterday's IO Keynote Google declared war on the remnants of the Web.

While they packaged it as a lot of "AI" talk what their whole approach of decontextualizing information, of taking away links to sources and instead producing some LLM generated response means is that they want to establish a new abstraction layer on the web. Where Zuckerberg with his Metaverse failed Google is starting the next attack: Your website, your work no longer matters.

Well it matters as (unpaid) raw material for their synthetic text extruders but not as cultural artifact you can share with others.

This is a literal revolution but one against the participatory web, against us: The goal is to take away the web and guide people into Google's abstraction on top of it. An abstraction they control and moderate. It's about monopolizing access to information.

If you care about the web, about people's ability to participate in it as more than mere passive consumers, this needs to be taken seriously. De-Googlifying your mental apparatus becomes more urgent today. Find other search engines, don't use their browser. Or wake up in a slopified AOL kind of environment.

@praetor Yep, makes sense. I've not coded professionally, despite my CS degree, but I know enough to know that I don't want an LLM coding for me -- especially as I have barely any experience in real-world software architecture, which means the unknown unknowns for me are vast, and you can't maintain or fix code you don't understand.

@praetor Likewise with some game dev stuff I'm doing in my (very limited) spare time. I also want to actually learn and improve my skills, and to think carefully about the design and architecture -- because I know it'll be better (and feel more rewarding) that way.

@thomasfuchs Agreed. I'm deeply concerned at the coming loss of knowledge and insurmountable tech debt that lies ahead if more people in software engineering (and especially the managers) don't get their heads around this soon.

It's a tool; its power lies in the augmentation, not replacement, of skilled human talent.

This is an interesting essay on the dangers of knowledge loss and de-skilling in the era of AI coding, using the impact of the Ukraine crisis on missile manufacturing as an example of what lies ahead.

The West Forgot How to Build. Now It's Forgetting Code https://techtrenches.dev/p/the-west-forgot-how-to-make-things

Got an obviously AI-authored email about Shareware Heroes being an "overlooked classic" that this person promises to fix through revealing the "visibility patterns" in online systems. I laughed when it praised me on how my approach to history "feels deeply human" (which it is, but what a great irony to read it in an automated email).

New blog:

I’ll get straight to the point: your AI coding agent, the one you use to write code, needs to reduce your maintenance costs. Not by a little bit, either. You write code twice as quick now? Better hope you’ve halved your maintenance costs. Three times as productive? One third the maintenance costs. Otherwise, you’re screwed. You’re trading a temporary speed boost for permanent indenture.

Oh, you want to know *why?* Sure. Let’s go for a drive.

jamesshore.com/v2/blog/2026/yo

@vga256 I loved doing that interview. It felt like the perfect format for exploring the creative spark after the fact, to play Cyan's early works with their main creative force and to direct and steer (and help contextualise) his commentary. I've long wanted to do the same with other games and their creators, but have never found the time.

an extremely underrated 2 hour interview with robyn miller by MossRC@social.mossrc.me several years ago

they provide a walking tour through several of cyan's early titles such as the Manhole, Cosmic Osmo and Spelunx. a live art director's commentary.

what i love the most is how much robyn makes it clear how these games were never built for "gamers" as we understand them now. robyn played very few games, and wasn't familiar with genre expectations.

he and rand just focused on making games that let the player explore a world at their own pace, and all else is secondary to exploration and discovery.

youtube.com/watch?v=-kX5E7yOHJg

@matt_diamond It wasn't going to be covered (except a passing mention) in the doc, but I expect there could be a small chapter or chapter section on Lucas Learning in the book — especially since it involved a few of the same people.

@ratsprite Diagrams seem pretty likely. At the very least, there are some fascinating diagrams and charts that the programmers and designers made while working on the games that I'd be wanting to include. But there could be the odd bespoke "here's how this worked"-type diagram to help with explanations, too.

If I were to write a book about the history, art, and design of the LucasArts and Humongous adventure games, and their underlying SCUMM engine, based on dozens of interviews (and my usual level of in-depth research), would you buy it?

My SCUMM documentary is going on hiatus and I need to decide whether to do it as a book instead.

Just learned of this classic Australian poem *Faces in the Street* that captures much of the mood of the moment across multiple countries (and especially in Australia, where interest rates just got arbitrarily raised again), despite the poem being over 100 years old. https://www.australianculture.org/faces-in-the-street-henry-lawson/

really happy to have discovered something hiding in plain sight for several years: robyn & rand miller's original Myst pitch document from 1991.

it's a succinct work of art in itself. i'm surprised at how much of the world design was already on paper.

as all of the copies found elsewhere online are heavily compressed webp/jpeg, i've uploaded the robyn's original PNGs to IA here:

archive.org/details/myst_propo

originally from robyn's site:

robynmiller.net/video-games-fi

The cover page for the Myst Game Design Proposal. It shows Cyan's font, and the MYST title. Map A: Myst Island

Library. This library contains many books, including the books that describe the various ages of Myst. All of the books in the library were written by the
explorer. Two unique books contain the form. The player will get his first obscured glimpse or the which brother to release, but also to find the means to release one of them. Each age of Myst contains a page, that when added to the appropriate book, further clarifies a statement by that
brother and his appearance. When all four pages have been added to either of the books, one corresponding brother is freed. Releasing the wrong brother is disastrous. Also contained in the
library the important feature of this map is the observatory.
Map C.
Mechanical Age of Myst
The Mechanical Age consists of three
islands surrounding a central tortress.
The fortress rotates to provide access to the
islands.

Mechanical Age Myst Room.
Contains the missing pages of the
brothers' books and warp area to
return to Myst librarv. Entrv is
gained easily enough, but the
empty save for metal slats
across the floor and a kiosk to
activate them. Iravels in the
fortress eventually reveal that the
metal slats form stairs when the
correct combination is entered.
The combination is located on the
kiosks which are on the other two islands

as far as i know, i found a software preservation zebra this week: this bit of extremely obscure archival work blends together HyperCard, Sierra On-Line and edutainment.

back in the early 90s, a company named EarthQuest started publishing educational reference titles for kids using HyperCard. the early titles were nice hypercard stacks probably drawn in macpaint. this one doesn't depart much from that format, except with nicer art and more creative page layouts

now, here's where things get weird. when saw it on ebay, only one pic buried at the bottom captured my attention: a weird stamped label on the bottom of the box that read Property OF SIERRA with the Half Dome logo. i bought it out of curiosity, and it arrived today.

back in the 90s, the larger game companies routinely maintained their own on-site libraries of competitors' games. Origin Systems in Austin had one. EA Burnaby, when it was known as Distinctive Software, had one. These were kept so marketing folks and developers could get an idea of what other studios were doing.

thing is, i've never seen mention of a library at Sierra On-Line in Oakhurst. the On-Line part of the logo is critical: Time Treks was published in 1992, and this is the year before Sierra moved its corporate offices from Oakhurst, California to Bellevue, Washington.

i have no doubt that there are other games from the Sierra On-Line corporate library somewhere out there, but i've never come across one even once in 30+ years. feel free to share this post with your fellow Sierra collectors :) it would be great if we could figure out where/when the Sierra library existed.

macintoshgarden.org/games/time

A copy of Davidson & Associates Time Treks: The World History Adventure Game. It shows a moustached character in a hat as a mascot. The bottom flap of Time Treks. it has a diskette label that has been stamped with a dark grey stamp that reads Property OF SIERRA, with the Half Dome logo beside it. A white label stack to the backside of the box. It reads: PROPERTY OF SIERRA ON-LINE. The manual for Time Treks. Someone has used a black stamp that reads Property of SIERRA, with the Half Dome logo beside it.

@grumpygamer @fastmail There's a keyboard shortcut for doing it in list view (shift-u, I think), and in message/reading view you can click the little unfilled circle to turn it blue and mark as unread.

Superb essay on the violence and fascism embedded within generative AI systems, and how technology is inherently political. https://tante.cc/2026/04/21/ai-as-a-fascist-artifact/

Introduced the four year old to JezzBall by way of Richard Bannister's mobile clone Green Balls. She picked it up pretty quickly and *nearly* finished three levels. It was fascinating to watch her play with a heady mix of reckless abandon and extreme caution.
A screenshot of Green Balls, level 3, taken just after she lost her final life.

I keep asking, where are the works? Where is the software that does ten or twenty or a hundred times more? Where is the human needs that are ten or twenty or a hundred times better met?

Instead, we have the mandated code generators feeding uncomprehended text into integration pipelines hit testing for textual correctness without meaning, purpose or intent.

This is a machine that turns strings into waste heat. That's nearly all it is.

It is money on fire.

xcancel.com/kdaigle/status/204

@oscherler @vga256 Ugh, what a cop out. If they're doing news properly, you'd get all the "20 seconds summary" information from the headline, subhead, and first paragraph anyway.

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