ZX Spectrum Demoscene

153 Pages·2021·25.915 MB·English

by  Piotr Marecki, Yerzmyey, Robert “Hellboj” Straka

This monograph was written from the perspective of the demoscene,
i.e. users and creators whose interests are focused on the capabilities
of the British 8-bit computer ZX Spectrum. The book does not include
the official history of the computer, but the local narrative. The authors
examine the processes of “taking over” the western platform, e.g. mass
cloning of the hardware. They investigate creative artifacts specific to
the ZX Spectrum scene and discuss the computer’s capabilities for cre-
ating graphics, music, demos and games, applying the ethnographic
method as well as platform studies and media archeology.
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The ZX Spectrum Demoscene is an initiative of fundamental importance k
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for the study of the history of digital culture in Central Europe. The au- /

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thors offer insight into the environment, aesthetics and histories of the e
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platform’s assimilation in varying social and historical conditions. z
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Dr hab. Anna Nacher, professor of the Jagiellonian University
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Piotr Marecki, writer, publisher, translator, digital culture scholar. Asso- t
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ciate professor in the Institute of Culture at the Jagiellonian University
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in Krakow, also the head of a creative computing lab. In 2013–14 he did a

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a postdoc at Massachusetts Institute of Technology at the Trope Tank lab. Z
X
Yerzmyey, lo-fi artist: demoscener, musician, graphic artist, photog- S
P
rapher, writer, creator of the Hooy-Program. Author and co-author
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of numerous demos, intros, graphics, chiptune songs, interactive fic- C
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tion, games, collection of photos. He works mostly with ZX Spectrum,
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but also with Atari and Amiga computers, Commodore 264 series, the U
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Raspberry Pi and many others. Co-author of a creative computing lab

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at the Jagiellonian University.
E
M
Robert “Hellboy” Straka, z80 & x86 programmer, mathematician, AGH
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UST lecturer. Author and coauthor of several demos, intros and games
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on the ZX Spectrum. His academic career is linked to advanced numeri- C
E
cal methods in science and engineering with emphasis on GPU compu- N
tations and Lattice Boltzmann Method. E

Translated by Justyna Jochym
Translated by Justyna Jochym
REVIEWER
dr hab. Anna Nacher, prof. UJ
COVER DESIGN
Jakub Woynarowski

Publication financed by the program of the Polish Ministry of Science and Higher Education “National
Programme for the Development of Humanities” for the years 2016–19, 0020/NPRH4/H2B/83/2016
Orginally published under the title Demoscena ZX Spectrum.
© C opyright by Piotr Marecki, Yerzmyey, Robert Straka & Jagiellonian University Press
First edition, Kraków 2020
All rights reserved
No part of this book may be reprinted or reproduced or utilized in any form or by any eletronic,
mechanical, or other means, now known or hereafter invented, including photocopying and
recording, or in any information storage or retrieval system, without permission in writing from
the publishers.
Authors special thanks go to Alone Coder, Adam Ladziński, Anastazja Naumenko,
Martyna Chmielińska, Renata Sikorska and Zofia Sajdek.
ISBN 978-83-233-4862-7
ISBN 978-83-233-7125-0 (e-book)
Jagiellonian University Press
Editorial Offices: Michałowskiego 9/2, 31-126 Kraków
Phone: [phone], Fax: [phone]
Distribution: Phone: [phone], Fax: [phone]
Cell Phone: + 48 506 006 674, e-mail: [email protected]
Bank: PEKAO SA, IBAN PL 80 1240 4722 1111 0000 4856 3325
TABLE OF CONTENTS
The Demoscene and ZX Spectrum: A Guide for Outsiders 7
Why the Demoscene? 10
Why the ZX Spectrum? 11
Sound 13
Graphics 14
Why Locality? 15
I. ZX Spectrum Demoscene 19
Structure of the Demoscene 19
Nicknames and Friendship 23
Platform Wars 29
Teamwork 35
Contests and Voting 41
The East-West Divide or Decentering Digital Media 49
Clones 57
Creative Programming 64
The Archive 72
II. Digital genres of ZX Spectrum Demoscene 79
Texts on the Scene 79
Demos 79
Magazines 89
Electronic Books 91
Real-time Text 91
Text Games 92
1-bit Sound 93
The Return of 1-bit Aesthetics: MISTER BEEP 98
Development of the Scene 102
6 TABLE OF CONTENTS
Homebrew Games on the ZX Spectrum 105
Homebrew Games—the Modern Period 107
III. The Platform 113
ZX Spectrum—Official Models 113
Soviet and Post-Soviet ZX Spectrum Computer Clones 120
ZX Spectrum Programming Languages 129
BASIC 130
Assembler 132
Other Languages 134
Conclusions 137
Bibliography 143
Index 147
THE DEMOSCENE
AND ZX SPECTRUM:
A GUIDE FOR OUTSIDERS
This book describes three phenomena in digital media. Firstly, it concerns
the 8-bit personal computer ZX Spectrum produced by the British compa-
ny Sinclair Research since 1982. As a publication about a specific platform, it
falls into the mainstream category of platform studies, and it pays special at-
tention to how the computer was used for creative purposes. Secondly, the
story about the platform will also be presented from the perspective of
the community that flocked around it. Therefore, it is mainly a book about
people who identify with the ZX Spectrum. We do not describe all the us-
ers of the platform here (players, people using apps), rather we adopt the
demoscene criterion (which we explain below). And the last and third phe-
nomenon discussed in our book deals with the decentering of digital media
or discovering digital phenomena from beyond the hegemonic center.
Therefore, even though the ZX Spectrum was created in Great Britain, the
use of the computer in the country of its birth will not interest us. Thanks to
its creator, Sir Clive Sinclair, the ZX Spectrum was designed as a computer
primarily for educational purposes. As it often happens, the work detached
itself from its creator and took on a life of its own. In our narrative, we will
focus on the acquisition (cloning) and creative use of the computer in East-
ern and Central Europe.
In March 2016, in the small town of Horná Súča near Trenčín, Slovakia,
the 17th edition of the world’s largest 8-bit demoparty, called Forever, took
place. Dozens of people, mainly from Europe spent 3 days with their 8-bit
machines: both the popular ones, such as the ZX Spectrum, Commodore 64,
8 THE DEMOSCENE AND ZX SPECTRUM: A GUIDE FOR OUTSIDERS
Atari, and Amstrad CPC, as well as the more exotic ones, including Thomson,
SAM Coupé, PMD 85, but also any other computer with 8-bit architecture. The
majority brought their own machines and often newly designed devices like,
for example, the peripheral devices that strengthen the computer’s capabil-
ities or emulators of old disk drives. Participants of the Forever demoparty
also brought new creative pieces, like demos, intros, chiptunes, and graph-
ics prepared on the abovementioned platforms. The people in question did
not meet only to play games on old computers or to reminisce about the
1980s (when they usually became the owners of these platforms), but to show
their new achievements, meet friends that share their passions, listen to lec-
tures, take part in quizzes that tested their knowledge about the platforms,
but above all, to take part in a contest for the best digital works presented
for the first time at this event. During the demoparty in Horná Súča, many
of those involved continued to finish their works or programmed the next
ones. On the last day, the winners received prizes awarded through a vot-
ing process. Only participants of the event who paid their entry fee and re-
ceived a special voting ticket could vote. Nobody sponsored them; no one
provided them with funds for transportation or accommodation in Horná
Súča. They came here because of their interest in computers and with the
intent to showcase their programming skills. The Forever demoparty was
one of the hundreds of similar initiatives taking place in Europe, the Unit-
ed States, Canada, South America, and Australia. We call these demoparties,
and the people who participate in them are called demosceners, while the
whole phenomenon is described as the demoscene.
When someone first encounters the demoscene, they typically ask ques-
tions about what it actually is and why crowds of people sit in front of comput-
ers creating things that have no practical use, only aesthetic value. Additional-
ly, the creators do not receive any remuneration for their work, and they often
give the resulting products away for free. The demoscene is both its creators
and their work. It is a subculture and its products. It is about computer users,
who use it creatively (as opposed to game players or office workers), as well
as demos (as opposed to video games or programs made for practical use).1
1 Previous research about the demoscene has focused on the use of many tools and perspec-
tives. The demoscene was treated as a subculture, a manifestation of youth culture. The phenom-
enon of hacking was studied, but also the taming of technologies, the retro platform, and the net-
work culture. See Markku Reunanen (2017) Timer of Change in the Demoscene. A Creative Community
and Its Relationship with Technology, https://www.utupub.fi/bitstream/handle/10024/130915/An-
THE DEMOSCENE AND ZX SPECTRUM: A GUIDE FOR OUTSIDERS 9
Ill. 1. Forever Party 2016, Horná Súča. Photo by Piotr Marecki
It is a type of informal association of creators and those who enjoy com-
puter arts. It involves the creation of demos and other related products, such
as intros, dentros, diskmags, music collections, slideshows, etc. Of course,
demosceners can and do create computer games and application software as
well (the latter is usually used to prepare other demoscene products, though
not only).
Originally, demos (short for “demonstration”) were programs that show-
cased the capabilities of a given platform. Demos, however, also provide an
opportunity for their author to demonstrate his/her own skills, which he/she
acquired over the years while working with a given platform. These can be
programming or coding skills, as well as music, graphic art, and sometimes
literary skills.
The skills of each member of a given group, like the coder, graphic art-
ist, musician, and others, are very important here. Some functions remain
unchanged; others change in accordance with technological development.
What is crucial, these works are computer programs that are calculated
and generated in real time, at the very moment of viewing or experiencing
nalesB428Reunanen.pdf?sequence=2&isAllowed=y (accessed on 5 December 2018). Research on
the demoscene is available at: http://www.kameli.net/demoresearch2/ (accessed on 5 December
2018).