Shareware Heroes is a comprehensive, meticulously researched exploration of an important and too-long overlooked chapter in video game history Shareware Heroes: Independent Games at the Dawn of the Internet takes readers on a journey, from the beginnings of the shareware model in the early 1980s, the origins of the concept, even the name itself, and the rise of shareware's major players – the likes of id Software, Apogee, and Epic MegaGames – through to the significance of shareware for the ‘forgotten’ systems – the Mac, Atari ST, Amiga – when commercial game publishers turned away from them. This book also charts the emergence of commercial shareware distributors like Educorp and the BBS/newsgroup sharing culture. And it explores how shareware developers plugged gaps in the video gaming market by creating games in niche and neglected genres like vertically-scrolling shoot-'em-ups (e.g. Raptor and Tyrian) or racing games (e.g. Wacky Wheels and Skunny Kart) or RPGs (God of Thunder and Realmz), until finally, as the video game market again grew and shifted, and major publishers took control, how the shareware system faded into the background and fell from memory.

The Macintosh challenged games to be more than child’s play and quick reflexes. It made human–computer interaction friendly, inviting, and intuitive. Mac gaming led to much that is now taken for granted by PC gamers and spawned some of the biggest franchises in video game history. It allowed anyone to create games and playful software with ease, and gave indie developers a home for their products. It welcomed strange ideas and encouraged experimentation. It fostered passionate and creative communities who inspired and challenged developers to do better and to follow the Mac mantra ‘think different’. Drawing on archive material and interviews with key figures from the era – and featuring new material from Craig Fryar, Apple’s first Mac games evangelist and the co-creator of hit game Spectre – The Secret History of Mac Gaming is the story of those communities and the game developers who survived and thrived in an ecosystem that was serially ignored by the outside world. It’s a book about people who followed their hearts first and market trends second, showing how clever, quirky, and downright wonderful video games could be.

The curious history, technology, and technocultural context of Nintendo’s short-lived stereoscopic gaming console, the Virtual Boy. With glowing red stereoscopic 3D graphics, the Virtual Boy cast a prophetic hue: Shortly after its release in 1995, Nintendo's balance sheet for the product was "in the red" as well. Of all the innovative long shots the game industry has witnessed over the years, perhaps the most infamous and least understood was the Virtual Boy. Why the Virtual Boy failed, and where it succeeded, are questions that video game experts José Zagal and Benj Edwards explore in Seeing Red, but even more interesting to the authors is what the platform actually was: what it promised, how it worked, and where it fit into the story of gaming. Nintendo released the Virtual Boy as a standalone table-top device in 1995—and quickly discontinued it after lackluster sales and a lukewarm critical reception. In Seeing Red, Zagal and Edwards examine the device's technical capabilities, its games, and the cultural context in the US in the 1990s when Nintendo developed and released the unusual console. The Virtual Boy, in their account, built upon and extended an often-forgotten historical tradition of immersive layered dioramas going back 100 years that was largely unexplored in video games at the time. The authors also show how the platform's library of games conveyed a distinct visual aesthetic style that has not been significantly explored since the Virtual Boy's release, having been superseded by polygonal 3D graphics. The platform's meaning, they contend, lies as much in its design and technical capabilities and affordances as it does in an audience's perception of those capabilities. Offering rare insight into how we think about video game platforms, Seeing Red illustrates where perception and context come, quite literally, into play.

It is, indeed, widely acceptable today that nowhere is it more important to focus on the improvement of software quality than in the case of systems with requirements in the areas of safety and reliability - especially for distributed, real-time and embedded systems. Thus, much research work is under progress in these fields, since software process improvement impinges directly on achieved levels of quality, and many application experiments aim to show quantitative results demonstrating the efficacy of particular approaches. Requirements for safety and reliability - like other so-called non-functional requirements for computer-based systems - are often stated in imprecise and ambiguous terms, or not at all. Specifications focus on functional and technical aspects, with issues like safety covered only implicitly, or not addressed directly because they are felt to be obvious; unfortunately what is obvious to an end user or system user is progressively less so to others, to the extend that a software developer may not even be aware that safety is an issue. Therefore, there is a growing evidence for encouraging greater understanding of safety and reliability requirements issues, right across the spectrum from end user to software developer; not just in traditional safety-critical areas (e.g. nuclear, aerospace) but also acknowledging the need for such things as heart pacemakers and other medical and robotic systems to be highly dependable.

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Masters of Doom is the amazing true story of the Lennon and McCartney of video games: John Carmack and John Romero. Together, they ruled big business. They transformed popular culture. And they provoked a national controversy. More than anything, they lived a unique and rollicking American Dream, escaping the broken homes of their youth to co-create the most notoriously successful game franchises in history—Doom and Quake—until the games they made tore them apart. Americans spend more money on video games than on movie tickets. Masters of Doom is the first book to chronicle this industry’s greatest story, written by one of the medium’s leading observers. David Kushner takes readers inside the rags-to-riches adventure of two rebellious entrepreneurs who came of age to shape a generation. The vivid portrait reveals why their games are so violent and why their immersion in their brilliantly designed fantasy worlds offered them solace. And it shows how they channeled their fury and imagination into products that are a formative influence on our culture, from MTV to the Internet to Columbine. This is a story of friendship and betrayal, commerce and artistry—a powerful and compassionate account of what it’s like to be young, driven, and wildly creative. “To my taste, the greatest American myth of cosmogenesis features the maladjusted, antisocial, genius teenage boy who, in the insular laboratory of his own bedroom, invents the universe from scratch. Masters of Doom is a particularly inspired rendition. Dave Kushner chronicles the saga of video game virtuosi Carmack and Romero with terrific brio. This is a page-turning, mythopoeic cyber-soap opera about two glamorous geek geniuses—and it should be read while scarfing down pepperoni pizza and swilling Diet Coke, with Queens of the Stone Age cranked up all the way.”—Mark Leyner, author of I Smell Esther Williams