Get Info: #magazine

Macintosh Magazine Media: 1 million files

by Matt Sephton — Fri, 28 Mar 2025 16:57:00 +0000

I am proud to announce that my Macintosh Magazine Media project has surpassed my self-imposed goal of 1 million files, an achievement that fills me with both immense satisfaction and slight bewilderment. And if you were to decompress those files the total would be 30 million! Woah.

If you’ve never heard of it before: it’s an archive of vintage media containing mostly Macintosh files sourced from Japanese magazines, but featuring content from all over the world. A treasure trove time capsule for vintage computer nerds like myself.

Many thanks to my Patreon subscribers for their support!

Status report

The archive as it stands (updated March 2025):

date range: 1991–2002
total media: 500 discs
total files: 1,086,536 files

New discs

Multiple new discs were added, almost all of them are Macintosh, or Hybrid Mac/Win, but there are a couple of Windows-only discs in there:

Acara Super CD (1998-12)
Acara Super CD (2000-07)
CD-ROM MACLIFE 131 (1999-07)
CD-ROM MACLIFE 132 (1999-08)
CD-ROM MACLIFE 133 (1999-09)
CD-ROM MACLIFE 141 (2000-05)
CD-ROM MACLIFE 152 (2001-04)
Create on a computer: New Year’s Card 1999
Create on your Mac: New Year’s Card 2000
Gokuraku Paradise Theater (1994-10) 2xCD
Mac Fan Internet CD-ROM (1997-12)
Mac Fan Internet CD-ROM (1999-04)
Mac Ga Ichiban! Vol. 50 (1998-11)
Mac Ga Ichiban! Vol. 59 (1998-08)
Mac100% Vol.7 (1998-07)
Mac100% (1999-01)
MacPeople (1998-02-15)
MacPeople (1998-04-15)
MacPeople (1998-06-15)
MacPeople (1998-08-01)
MacPeople (1998-08-15)
MacPeople (1998-09-15)
MacPeople (1998-10-15)
MacPeople (1999-05-15)
MacPeople (1999-06-01)
MacPeople (2000-08-01)
MacPeople (2002-03-15)
MacPeople (2003-05-01) 2xCD
TECH Win (1999-08) 2xCD
Tsukaeru ikinari dekiru homupejipasokon BOOKS 8 (1998)

I also indexed the latest Japanese Macintosh magazine media from redump.

The process

For this many CDs we are talking multiple days of busy work to prepare them for sharing.

If you’re interested in the “process” for each CD here it is:

Find the CD available for sale in Japan (they’re getting harder to find)
Purchase it with cold hard cash
Wait for delivery (I delay shipping until I have enough items to make it worthwhile)
Dump the CD using a suitable reader (fwiw redump project is very specific)
Index the CD filesystem (I created my own software stack for this)
Redo dump of any bad discs (there are always some!)
Scan the CD artwork
Prepare the upload and metadata .csv for internetarchive cli tool
Bulk upload (this takes an absolute age, 30–60 mins per CD)
Redo upload of any failed items (the cli is very error prone)

I’m not sure I’ll buy any/many more discs, but never say never!

Searching the collection

All disc ISO with text listings are available for download at Internet Archive, but wait a minute!

Using my search engine (read more about that) you can search by regex for file/directory name, file type, creator code: gingerbeardman.com/mmm/

Or you can use DiscMaster to search inside content and grab individual files without having to download the whole ISO: discmaster.textfiles.com

Interesting finds

Macintosh Magazine Media: search engine update

by Matt Sephton — Fri, 10 Jan 2025 19:09:00 +0000

Some time in 2020 I started collecting CD-ROMs from old Macintosh magazines. Whilst the discs are of Japanese origin—because the supply was plentiful during the extended spring clean of lockdown—they contain a great deal of software from all over the world and a lot of it is therefore in English. They’re an amazing source of old gold: sofware, images, demos, documentation, and many other files. As of today I have 460+ discs totalling almost 1 million files.

After the collection was well and truly established I decided to share the contents in a number of meaningful ways to help other preservationists and old Macintosh enthusiats. Firstly, I uploaded pretty much all of my discs to Internet Archive and I also managed to dump the directory listings from these old discs and created a search engine for lookups by file name, type, creator, date.

Anyway, in December 2024 I migrated my websites to an arm64-powered server and whilst doing so I updated a bunch of old pages. The MMM search engine was updated to provide a faster, better, more user-friendly experience on mobile. It now features quicker searching (thanks to multi-core ARM with more RAM for ripgrep), more legible results, and a tappable emoji tooltip to show which. If you run a query with multile thousands of results, the bottleneck will now be browser rendering time. So in that extreme case I would recommend using paged results.

I did experiment with a database version of the search but query time was much slower and server costs were much higher. I can’t beat the performance of ripgrep, that’s for sure!

Try the search here: gingerbeardman.com/mmm/

Emigre typography and graphic design magazine (1984–2005)

by Matt Sephton — Fri, 24 May 2024 20:19:00 +0000

Emigre magazine was a highly influential graphic design publication. It was known for its innovative and experimental approach to typography and graphic design, pushing the boundaries of traditional design norms—for better or worse. The magazine was published from 1984 (year of the Macintosh launch) until 2005, and during its run it played a critical role in shaping the discourse around digital design and typography. It was founded by Rudy VanderLans and his wife Zuzana Licko.

Tell me about it

Emigre is notable for many reasons, and if you’re interested in 80s and 90s design there will surely be something in there for you. I first heard about Emigre when I started work at London graphic design agency Form in 1998, so about three quarters through the run.

Some features that stand out for me personally are:

Early bitmap fonts (1984) and emoji-like pictograms (1986) created by Zuzana Licko
Early 1-bit Macintosh art by John Hersey (1985) and many other lovely period details
Designs by such luminaries as Neville Brody, Erik Spiekermann, and many more
Articles on people like font designer Aldo Novarese
Issues dedicated to the record label 4AD (1988) and The Designers Republic (1994)

Online archives

I recently wanted to read some of the issues again and found a couple of online archives:

Letterform Archive: Emigre Collection (browsable magazines, simplified cross references)
University of Minnesota: Emigre Magazine Index (only comprehensive cross references)

Digital versions

If you want to take the magazine with you today it’s available in the Emigre Fonts app for iPad/iPhone, which allows you to download the issues for offline reading.

If you can’t use, or would rather not use, the official app I’ve converted the issues to CBZ files. Read those with Panels, Simple Comic, CDisplayEx, or another comic reader app of your choice.

Emigre (magazine) at Wikipedia
Emigre entry at Type Design Information Page
Type ‘90 HyperCard Video video of a HyperCard Stack
Designing the Emigre Magazine Index, Jessica Barness, 2016
Merz to Emigre and Beyond Avant-Garde Magazine Design of the Twentieth Century
Verbum “The Journal of Personal Computer-Aesthetics”, Michael Gosney, 1986–

Early computer art by Barbara Nessim (1984)

by Matt Sephton — Thu, 09 Nov 2023 01:25:00 +0000

Whilst searching for something else entirely I stumbled across these images and was struck by just how beautiful they are. The September 1984 (Vol 9, No 10) issue of BYTE magazine features cover artwork by Barbara Nessim and section pages by Liz Gutowski under direction of Barbara Nessim. Larger versions are at the bottom of this blog post.

They were drawn during a residency at Time Life in NYC, simply because that was the easiest way Barbara could gain access to a colour computer with suitable capabilities: a Norpak IPS-2 Videotex (NAPLPS/Telidon) system. This offered 6 drawing modes (arc, rectangle, circle, line, dot and polygon) and 12 colours, of which half where shades of grey, plus black and white. And at a resolution of 256x200. That equates to a computer system roughly equivalent to an Apple II running a rudimentary graphics application, in fact you could get an add-on card for the Apple II to give it full Norpak Telidon capabilities. The main benefit of the Norpak IPS-2 computer system was that it had pen/stylus input. The system comprised two monitors, one showed the artwork and the other showed the software status menu system. The software was controlled by keyboard and the points that specify the shapes were entered using the pen input.

My first thought was “such cool pixel art!” but a little bit more reading shows that they are actually vector illustrations. NAPLPS is an early graphics format which could represent both text and vector graphics with all coordinates and other properties—such as size, fill pattern, density—encoded as ASCII for easy transmission. It was designed to display information on TVs, and also used for display on terminals, in BBS software, and on the Prodigy online service. Readers from around the world might be more familiar with Teletext, which is a close relative of Videotex.

Doing pure illustration using a system meant for creating pages of information is exactly the type of software subversion I love to discover!

Barbara Nessim is a name I was already familiar with, as I’d seen her mentioned and interviewed in Verbum magazine, COMPUTE magazine, in various books about illustration, and regarding her groundbreaking interactive art exhibition/installation Random Access Memories (1991/2)—which addressed world issues such as migration and population growth and allowed visitors to operate a Macintosh containing the work, selecting images and printing their own customised booklet of her work with their choice of national flag on the cover. Source 1 and 2

Whilst I had seen other early computer work by Barbara—portraits, nudes, abstract (all of which are worth checking out!)—I had never seen work quite like these images from BYTE.

The chunky scan-line gaps in between the rows of pixels are the result of these images being photographs of the monitor on which they were displayed. Screenshots had existed since the 1960s but in the 1980s getting such an image off a mainframe was not yet easy or universal. Instead images were saved by pointing a camera at the screen, in this case a Polaroid Palette Video Image Recorder, capturing the image on 35mm slide film, and printing them by cibachrome process. Which is really saying something! Of course, I think the photos are much better than screenshots because of the scan-lines, the phosphor glow, the bleeding of colours, and the general analog feel to the whole thing.

Barbara was one of few people to embrace computers for art in the early-1980s, when the rest of the art world considered them at best a “fad” and at worst a threat to their existence. The dismissal was near-total: she couldn’t persuade a single one of her artist friends to come and try the computer with her, and was left wondering whether she was the only one who wanted to. That attitude held for around a decade. It wasn’t until the mid-1990s—when affordable colour arrived and Photoshop went mainstream—that the resistance finally broke and, as Barbara puts it, “that’s when the change happened, and then it was all over”. Before and after the 1980s Barbara carved out a hugely successful career for herself, encompassing many different forms of art, teaching and activism. She continues to create and exhibit her art.

Scans

List of vintage Japanese pixel/dot art software

by Matt Sephton — Sat, 21 Oct 2023 15:56:00 +0000

For a while now I’ve been collecting references to old Japanese pixel/dot art software. My main sources of information are the treasure trove of scanned magazines on Internet Archive, Twitter archives, YouTube videos, Yahoo! Japan Auctions listings, and Google search. I’ve been keeping this list for a while, and the release of 16bit Sensation: Another Layer and its inclusion of Multi Paint System made me realise I should make the list public.

A long term goal would be to find files for each of these so they can be actively used and documented more fully. Most have them can be found in archives of preserved software, with clues in the spreadsheet below, and you can try them using emulation or Virtual Machines.

Selected columns from the big list

The table below is a snapshot of selected columns of a Google Sheet that I’m updating over time. The full spreadsheet contains links to downloads, videos, web pages, magazine mentions, and many other references. So be sure to check, bookmark or subscribe to that link for the very latest information. Since January 2024 I’ve been adding some non-Japanese software that was “big in Japan”.

Regarding the empty cells: software missing a Japanese name was mostly referred to only by an English title. The rest of the missing information is TBC.

ドット絵（ドットえ）作成に使えるビンテージ日本語ソフトの一覧です。

Total entries: 272

Platform	English	Japanese	Year	Developer
FM-7, X1	Art Creator		1984	MDBA
FM-7/8	Graphic Editor		1983	Hiroshi Ichikawa
FM-7/8	Super Graphic Editor	スーパーグラフィックエディター	1983	T&E SOFT
FM-77	FM Graphic Editor	FMグラフィックエディタⅡ V1.0	1986	Fujitsu
FM-R50/60	Z’s STAFF Kid FP		1988	Zeit
FM-R60/70	Z’s STAFF Kid FP		1990	Zeit
FM-Towns	ARTemis		1993	Ryosuke Matsuuchi
FM-Towns	DRAW BOARD2		1993	Souji Yamakawa
FM-Towns	G-Pen32K		1995	rice
FM-Towns	many COLORS		1993	Amorphous
FM-Towns	many COLORS II		1995	Amorphous
FM-Towns	Meta Paint 2	メタペイント2	1992	Oizumi Shigeru
FM-Towns	New Transfer	ニュートランスファー	1992	Hiroshi Toda
FM-Towns	Oops, anime-kun	おっとアニメ君	1989	Nihon Mi-Com Hanbai
FM-Towns	Otome / Towns Paint System	乙女座	1993	Yabara
FM-Towns	Power Paint	パワーペインター	1991	Wave Train
FM-Towns	Towns PAINT		1989	Fujitsu
FM-Towns	TownsFullcolor		1993	Fujitsu
FM-Towns	Z’s STAFF PRO-TOWNS		1991	Zeit
Mac OS X	DotEditerSE		2016	tokyoconsaruai
Mac OS X	DotShot X		2007	Studio Shin
Mac OS X	FireAlpaca		2011	FireAlpaca
Mac OS X	PikoPixel		2013	Twilight Edge Software
Mac OS X	PoCo		2005	KAENRYUU Koutoku
Macintosh	BluePaint		2001	Shungo Onozuka
Macintosh	DotShot		1998	Studio Shin
Macintosh	Leo paint		1997	Reona Takahashi
Macintosh	SketchBook 68K		2000	Shibutaro Kimura
Macintosh	Solid Paint		1996	Masatoshi Utashiro
Macintosh	WishDraw		1998	Motoo Tanaka
MPC-X	MPC-X Lightpen Graphics		1984	Sanyo
MSX	ACE-tools DRAW-SET		1997	Akio Hiramatsu
MSX	Animation editor EDDY	アニメエディタＥＤＤＹ	1984	HAL Laboratory
MSX	ANIMECHA Ver. 2.00		1995	MAR’Z PROJECT
MSX	Art Paper	アートペーパー	1986	Mitsubishi
MSX	CHEESE		1984	NEOS
MSX	CHEESE 2		1985	NEOS
MSX	Computer Painting	描きくけコン	1985	Casio
MSX	Creative Tool	クリエイティブツール	1989	HAL Laboratory
MSX	Da Vinci	ダ・ビンチ	1988	Shinkikakusha Corp
MSX	Dot Designers Club	ＤＤ倶楽部	1989	T&E SOFT
MSX	Dream Block	ドリームブロック	1989	Nikkoh Thinking
MSX	EDDY II	エディー	1984	HAL Laboratory
MSX	Gaban	がばん	1988	Micronet
MSX	Garakuta	画楽多	1988	Southern Create
MSX	Graph Saurus 1	グラフサウルス	1989	Bit²
MSX	Graph Saurus 2	グラフサウルスVer2.0	1991	Bit²
MSX	Graph Saurus 2.1	グラフサウルスVer2.1	1993	Bit²
MSX	Graphic Artist	グラフィックアーティスト	1985	YAMAHA
MSX	Graphic Editor	グラフィックエディター	1984	HAL Laboratory
MSX	Graphic Editor ANGLE	グラフィックエディタアングル	1985	Hiroshi Ichikawa
MSX	Graphic Editor XV	グラフィックエディター	1988	HAL Laboratory?
MSX	Graphic Master Lab	グラフィックマスターラボ	1985	HAL Laboratory
MSX	Graphic Studio Pro	カラー・グラフィック・エディター	1985	HAL Laboratory
MSX	Graphic Tool for screen 12	専用簡易グラフィックツール	1993	KNKKY
MSX	Illustration Word Processor	絵はがき用ワープロ	1985	Hitachi
MSX	Joy Graph	ジョイグラフ	1983	Victor
MSX	Kakikuke kon	かきくけこん	1985	Casio
MSX	Leonard	レオナルド	1987	Omega System
MSX	Leonard Plus Kanji	レオナルドプラス漢字	1987	Omega System
MSX	Lightpen Graphics	ライトペングラフィックス	1984	HAL Laboratory
MSX	MOKO		1986	Toshio Tabeta
MSX	MOKO II Improved Version	改良版 MOKO II	1987	Maeda Mameo
MSX	MSX’s TOOLS		1995	Hitori Circle
MSX	The Painter	ザ・ペインター	1986	YAMAHA
MSX	Tiny Joygraph		1985	Victor
MSX	Pattern Editor Robin	パターンエディターRobin	1985	Hirohumi Ino
MSX	Pixel 2	ピクセル２	1985	T&E SOFT
MSX	Pixel 3	ピクセル３	1988	T&E SOFT
MSX	(Graphic Editor) Sha Ga Raku	写・画・楽	1988	Victor
MSX	UniPaint	ユニペイント	1986	Matsushita
MSX	Video Graphics	ビデオグラフィックス	1986	Matsushita
MSX, WAVY	Light Pen Graphics	ライトペングラフィックス	1984	Sanyo
MZ-2500	G-EDIT2500	グラフィックエディタ2500	1987	Data West
MZ-2500	ILLUST BOX		1987	Rhodes
MZ-2500	Palette	ぱれっと	1987	Dynaware
MZ-2500	Quick MZ Paint		1987	Minoru Morinaka
MZ-2500	Super Paint		1987	S.B.C Software
Newton	HexPaint		1997	HexDump
Newton	NewtPaint		1995	Glen Raphael
OS/2	QueenCy		2000	masami
Palm	CLIE Paint		2001	Sony
Palm	MoePaint		2004	Toshiyuki Hayashi
Palm	PenPenCol		2001	Shigeyuki Seko
Palm	PenPenW		2005	Shigeyuki Seko
Palm	PixMarker		2001	wernyv
Palm	Sphere the PAINTER		2001	Katsunori Sakuragi
Palm	yapp		2000	Ines
PC-100	Airbrush	エアーブラシ	1984	ASCII
PC-6001	Picture Editor	ピクチャーエディタ	1983	ASCII
PC-88	Adventure Maker mk2	アドベンチャーツクールmkII	1987	T.Ueno
PC-88	ART MASTER 88		1985	SystemSoft
PC-88	da Vinci ~Super Graphic Tool~	ダヴィンチ	1985	POPCOM
PC-88	Emi	絵美	1990	MIINA
PC-88	HR-PAINT3		1990
PC-88	Ink Pot M		1987	H.Komatsu
PC-88	LALF ~Hyper Graphic Tool~		1989	Technopolis
PC-88	LUNA		1991	MEW
PC-88	Magic Paint 88 v2.0	マジックペイント88	1988	Atsushi Oshima
PC-88	Magic Paint 88 v3.0	マジックペイント88	1988	Atsushi Oshima
PC-88	Magic Paint 98	マジックペイント98	1990	Atsushi Oshima
PC-88	Magic Paint VA	マジックペイントVA	1988	Atsushi Oshima
PC-88	nedi3.bin		1987	TA(O)
PC-88	Super Artist 256		1989	Seed Software
PC-88	Yukara art	ユーカラart	1987	Tokai Create
PC-88	Z’s STAFF Kid VA		1987	Zeit
PC-88	Z’s STAFF Kid88		1987	Zeit
PC-88, X1	Ink Pot		1985	H.Komatsu
PC-98	256 Color Drawing Tool	256色お絵描きツール	1994
PC-98	6 Coloured Pencils	6色鉛筆	1993	tsutosan
PC-98	Actor98	アクター98	1990	Soft Studio Panther
PC-98	Adventure Maker 98	アドベンチャーツクール98	1992	ASCII/LOGiN
PC-98	Akane	あかね	1992	Miruhi Takahara
PC-98	Art Frontier	アートフロンティア	1991	Bijutech
PC-98	ArtCore (Art/V?)		1992	SystemSoft
PC-98	Assist Art	アシストアート	1991	Assist Co., Ltd.
PC-98	Ayako	彩子	1988	Art Function
PC-98	Camel	キャメル	?	Nazca Corporation
PC-98	CANDY		1984	ASCII
PC-98	CANDY2		1985	ASCII
PC-98	Character Maker 98	キャラクターツクール98	1994	Pegasus Japan
PC-98	Doodle Book / Rakugaki-chō	落書き帳	1993	Toshiya Hayashi
PC-98	DynaPix V	ダイナビックスV	1988	Dynaware
PC-98	ESQUISSE	電子水彩エスキース	1989	SAPIENCE
PC-98	Funny		1984	Zeit
PC-98	Garakuta98	画楽多98	1990	Southern Create
PC-98	GIOTTO		1986	Art Function
PC-98	GRAPHIC HENSHIN	ぐらひっくへんしん	1998	Taro Namae
PC-98	GREEN		1993	Yoshito Takemura
PC-98	GREM		1993	Yoshito Takemura
PC-98	Hyper Ayako	HYPER 彩子	1989	Art Function / Digital Arts
PC-98	JEDAI		1994	D.O. CORP
PC-98	Kureyon-chan	くれよんちゃん	1994	Fusao Saito
PC-98	Maguro/Tuna Paint System	鮪ペイントシステム	1991	Woody_RINN
PC-98	Mapping Paint	写像ペイント	1990	CAST
PC-98	Marupa	まるぱ	1993	Ichikawa Soft Labratory
PC-98	MEDI-98 / nedi3		1990	NOZUMU
PC-98	Monopen	ものぺん	1995	OEAO
PC-98	Multi Paint System / MPS	マルチペイントシステム	1992	C-Lab
PC-98	Paint System Tool / PST	似非キース	1990	hironon
PC-98	Paper	紙	?	Irem
PC-98	Penta-kun	ぺん太くん	1994	NEG
PC-98	Sadayan Paint	さだやんペイント	?	Irem
PC-98	SANDY		1994	Wataru Ishihara
PC-98	Small CANDY		1984	ASCII
PC-98	Super Tableau	スーパータブロー	1987	SAPIENCE
PC-98	Tableau		1987	SAPIENCE
PC-98	Tetsujin	鉄人	?	Irem
PC-98	TrueLine		1996	OEAO
PC-98	Z’s STAFF		1985	Zeit
PC-98	Z’s STAFF Kid		1986	Zeit
PC-98	Z’s STAFF Kid98		1988	Zeit
PC-98	Z’s STAFF Kid98 v3.0		1990	Zeit
PS-55	Z’s STAFF TRAD		1989	Zeit
SMC	Graphic Editor	グラフィックエディター	1984	Sony
TRON-OS	Pelistina		2005	KAENRYUU Koutoku
TRON-OS	Pelistina 2		2005	KAENRYUU Koutoku
TRON-OS	Sketchbook	楽描き帳	2011	Satoshi Sera
TRON-OS	Xbrush for Chokanji	Xbrush for 超漢字	2013	Akira Tasaki
Twin Famicom	Game Maker	ゲームメーカー	1989	HAL Laboratory
Windows 2K	4thPaint	よつばペイント	2007	4th Paint Project
Windows 2K	Let’s Draw F		2007	Oscar Creation
Windows 3.1	Daisy Art	デイジーアート	1995	Ichikawa Soft Labratory
Windows 3.1	Draw Unit		1994	Type-甲
Windows 3.1	GOINDRW		1996	Yasuhiro Nakata
Windows 3.1	ImgFinish		1996	Syouichi Hattori
Windows 3.1	Pattern Editor PE	パターンエディタ PE	1995	Windows 3.1
Windows 3.1	Sailing Draw++		1993	Jun Satomi
Windows 3.1	SUPER KiD		1994	Zeit
Windows 3.1	SUPER KiD v2.0		1995	Zeit
Windows 3.1	Tsuruniha○○mushi	つるニハ○○ムシ	1999	Mr Dad
Windows 7	EDGE2		2006	TAKABO SOFT
Windows 9x	1bitPaper		2004	shiden
Windows 9x	ArtistX		2001	ARINOKI
Windows 9x	ArtistX Labolt		2005	ARINOKI
Windows 9x	AZPainter		2006	Azel
Windows 9x	AZPainter2		2009	Azel
Windows 9x	Camel2	キャメル2	1995	Nazca Corporation
Windows 9x	D-Pixed		2000	Jun Doi
Windows 9x	DoggyPaint		2000	HKR.Jon
Windows 9x	Dot Art Kakiko	ドット絵カキコ	2000	YUUKI
Windows 9x	Dot Art Vacation	ドット絵バケーション	2002	Arue
Windows 9x	Dot Editor Ver 4.0	ドットエディタVer4.0	2000	PSIKYO
Windows 9x	Dot Pictureditor	ドット絵でぃた	2000	shishido
Windows 9x	DotPainterALFAR		2003	Herohero
Windows 9x	Easy Paint Tool SAI	ペイントツールSAI	2004	TANE/KOJI
Windows 9x	eco paint	エコペイント	2006	tyty
Windows 9x	EDGE		2000	TAKABO SOFT
Windows 9x	FARLUX	ファーラックス	1997	Studio BullTerrier
Windows 9x	FudeBoard		1998	matumoto
Windows 9x	Gpen96		1999	Hiroshi Igami
Windows 9x	GraphicsGale		2004	HUMANBALANCE
Windows 9x	HappyPaint32R		1997	Isao Maruoka
Windows 9x	Hyper KiD		2000	Fanfare
Windows 9x	Hyper-Paint		2004	kiriman
Windows 9x	iDraw		1996	hawk
Windows 9x	ILLUSTMAKER		2000	matumoto
Windows 9x	Janus		2007	Rigeru
Windows 9x	Kakukakuoji	かくかくおうじ	2000	1BITMANIA
Windows 9x	L-Paint		2001	via
Windows 9x	Let’s Draw		1996	Oscar Creation
Windows 9x	Let’s Draw Z		2003	Oscar Creation
Windows 9x	Light Painter		2000	Yoshi
Windows 9x	LitePaint		2000	Rigeru
Windows 9x	Matilda		2001	ViikiSoft
Windows 9x	mdiapp		2007	nattou
Windows 9x	Mpaint		2001	ura00
Windows 9x	Neko no Mori Graphic Editor	猫の森グラフィックエディタ	2009	Neko no Mori Soft
Windows 9x	PAL Paint 2		2005	Togura
Windows 9x	PictBear		2000	Yasuyuki Kashiwagi
Windows 9x	PictBear 2		2009	Yasuyuki Kashiwagi
Windows 9x	piroPaint		2011	piroyan
Windows 9x	Pixia		1998	Isao Maruoka
Windows 9x	Pointillist Feng Chu 3	点画師鳳雛３	2005	Maya Takimoto
Windows 9x	PRETTY ART		2000	dmms_21
Windows 9x	SPED4		2001	TwinkleSoft
Windows 9x	SUPER KiD 95		1996	Zeit
Windows 9x	SUPER KiD FE		1997	Zeit
Windows 9x	The Graphics		2002	Fanfare
Windows 9x	Ultra KiD	ウルトラキッド	1997	Fanfare
Windows 9x	Ultra KiD v2.0	ウルトラキッド	1998	Fanfare
Windows 9x	Yumeiro no Enogu	ゆめいろのえのぐ	2008	Kengo Watanabe
Windows CE	EDGE Pocket 2		2009	TAKABO SOFT
Windows CE	JINZO Paint 16		1999	Tomohiro Ueno
Windows CE	JINZO Paint 4		1999	Tomohiro Ueno
Windows CE	JINZO Paint full-colour		1999	Tomohiro Ueno
Windows CE	mdiapp mobile		2008	nattou
Windows CE	Pocket Artist		2001	Conduits
X-Windows	Gedo / Graphic EDitor OMNI		1999	Yasuhito Sugiura
X-Windows	Xbrush		2001	Akira Tasaki
X-Windows	xpx		1994	yav
X-Windows	XShodou		1998	Hiroaki Sakai
X1	turbo Z’s STAFF		1985	Zeit
X68000	Art68K		1991	OOYAMA
X68000	Easypaint SX-68K		1991	First Class Technology
X68000	EEL		1994	GORRY
X68000	EX-WIN (EX-System)		1996	Oh! X
X68000	Full Color Paint Tool SAI	フルカラーペイントツール-彩-	1996	TANE/KOJI
X68000	G・TOOL	G・ツール	1990	Zainsoft
X68000	G68KversionII-PRO		1989	OH! Bussiness
X68000	GE		1990	Miki Hoshino
X68000	GLab		1992	Ushi no shizuku
X68000	gm256.x		1993	Kanzu
X68000	Graphics Editor ARTIST		1992	T.Shimanuki/GCC
X68000	Magic Palette	マジックパレット	1990	Musical Plan Ltd
X68000	Matier	マチエール	1992	Meteor Art Tech
X68000	mfged.x		1988	Mamiyu Yuuki
X68000	MONOCRAYON	ＭＯＮＯくれよん	1990	Yasuhiro Sasama
X68000	MONOCRAYON Wide Edition	ワイド版ＭＯＮＯくれよん	1994	Noboru Ishii
X68000	Monotone		1988	GUNchan
X68000	Object Editor	オブジェクトエディタ	1990	Tonbe
X68000	Onazorikun		1990	Muchi
X68000	Prism 68K	プリズム68K	1989	WOLF TEAM
X68000	RG	ＲＧ	1992	RERO2
X68000	RGBP		1994	Tetsuya Kimura
X68000	Usagi	うさぎ	1992	IKUTA
X68000	XGE		1995	KYA!,CHIAKI
X68000	XPST	えせきーすX68	1991	kenna & PUNA
X68000	Z’s STAFF Pro-68K		1987	Zeit
X68000	Z’s STAFF Pro-68K v2.0		1989	Zeit
Zaurus	PetitPaint		2001	TOK
Zaurus	PrismPaint 3		2001	Soga Juroh
Zaurus	PrismPocket		2002	Soga Juroh
Zaurus	Zausuke	ざうすけ	2000	Soga Juroh
Zaurus Linux	CloverPaint		2005	Soga Juroh
Zaurus Linux	PetitPeinture		2004	Sakira
Dedicated	Aniputer	アニピュータ	1982	JVC
Dedicated	Hyper Paint 2		1991	Shima Seiki
Dedicated	Personal LINKS: PFB-2		1991	LINKS Corporation
Dedicated	Pyuta G-GRAPHIC	ぴゅう太 G-GRAPHIC	1982	Tomy
Dedicated	SGI-Pictoris	ピクトリス	1988	LINKS Corporation
Dedicated	SGX-Hyper Paint		1988	Shima Seiki

Kenichi Shinohara’s Pixel Art Ukiyo-e (1987)

by Matt Sephton — Fri, 13 Oct 2023 10:43:00 +0000

From LOGiN Magazine (1987, No 5) comes the story of 篠原賢一 (Kenichi Shinohara), a “cheerful uncle” from Hyogo Prefecture, who at the age of 60 years old began using an NEC PC-98 to draw pixel art reproductions of Ukiyo-e. He also printed them and made folding screens and kites! Just “for something to do”. I like his style! What a guy.

His process involved pasting copies of artwork from books and magazines to his monitor screen and then tracing them using the mouse. After that he would clean up, add colour, and after 4 to 5 days print it out on his NEC NM9900, check and repeat. Each piece would take 1 to 2 weeks of work.

This is pretty much the same process I used to create my 1-bit Woodblocks series, though with a more modern set of tools, and similar to what Susan Kare did for her famous MacPaint artwork.

Happy 100th

Given that this feature was published in 1987, when Kenichi was 64, that would make him 100 this year. Happy Birthday for your centenary, Kenichi, wherever you are! 🎂

The Setup

We can read that he used pixel art software such as Z’s STAFF, FUNNY and CANDY2. The kite goes further and advertises that its image was drawn using Z’s STAFF with Pluskit LEVEL 1, an NEC PC-9801E and printed on an NEC MultiImpact NM-9900 dot matrix printer.

Handily, many of these tools are referenced in a repeated feature about ASCII C.G. Tools Festival which ran from the middle of November 1985 to the end of February 1986. That feature was essentially an advertisement for Zeit software company and was sponsored by them.

We can see that Funny was a pixel art package, CANDY2 was a technical drawing app, Z’s STAFF was a pixel art app (Zeit’s most famous, in fact), Pluskit LEVEL 1 was an “image reader” software add-on. Interestingly, Pluskit LEVEL 2 involved an interface board to allow for direct camera input.

Thanks to Gaming Alexandria for scanning the magazine and making it available at Internet Archive: archive.org/details/login-may-1987/LOGiN%20-%20May%201987/page/n169/mode/2up

陽気なおごさんに教わるグラフィックツールのひミーふな使い方
Learn how to use graphics tools from a jolly old man

Click the images below to see a zoomable, browsable version of the magazine.

Tom Moulton, Father of the Disco Mix (1976)

by Matt Sephton — Tue, 22 Aug 2023 17:12:00 +0000

This interview is reproduced from the January 1976 “Disco” issue of Black Music magazine.

TOM MOULTON is the behind-the-scenes figure of disco music. His name has appeared on the credits of discs by Gloria Gaynor, B.T. Express, Bobby Moore, Al Downing, Peoples Choice, South Shore Commission and many others. Yet Moulton’s vital contributions to the hits of a dozen soul acts is in a manner new to an industry increasingly immersed in the complexities of a technological age. For Tom Moulton, a white New York based engineer, is the father of the “disco mix”.

Mixing a record is a complex process. Modern recording uses sixteen or twenty-four track machines, which means that every instrument is recorded and controlled separately, and can be balanced against the others. Tapes can be edited in a variety of ways, and played at any speed. Effects, like echo, repeat and phasing, can be placed on instruments, and stereo separation is exploited to give breadth to a recording. Compression, expansion and limiting are techniques which can firm up a sound by making quiet parts louder and loud parts quieter, or emphasize the dynamic range, or completely remove certain frequencies. Equalizers (which are found on home stereos in the form of bass and treble knobs) can be used on each instrument separately to change its characteristic sound. Most studios have bass, lower middle, upper middle, treble and top frequency controls which provide endless permutations of tone for each track. Tom Moulton has specialised in mastering these facilities, an assignment usually left to the producer. Tom’s services are called for whenever a company wants to perform a magical transformation: changing an uptempo soul disc into a ‘disco record’. Black Music spoke at length to this charming articulate man in his luxurious New York apartment to unravel the mysteries behind the oft quoted but seldom understood complexities of the ‘disco mix’.

BM: Tom, begin by telling us a bit about your background. How did you get into the music business?

TM: When I was fifteen years old I had a part-time job in a record store, and I liked it so much that I left school to try to get into the music business as a salesman. I worked for Seeburg’s (the jukebox company), and King Records. Then I went up to Boston and worked for a retail chain. I got a salesman’s job with RCA, left there, and went into United Artists as a promotion man. By that time I was so fed up that I left the business for about a year.

Then I went to a couple of discotheques, and I noticed how people were really starting to get into music, in a different way than I had ever realised; and I noticed how, towards the end of a record, people would really start to get into it and then, for some strange reason, they’d lose it, because another record would come on, or two records would be playing at the same time. So I figured, God, if people get off that much on music, there’s got to be a way to take them from where that peak is at the end of a record, and hold them, and take them up another level.

I started fooling around technically with tapes at home, and I finally got one place to try one of my tapes. I noticed that by doing edits, and by using parts of the actual record over again, like the instrumental break, people would yell and there’d be an emotional reaction. I just wanted to make people get off on the music, or at least extend that feeling that they had at the end of a record. Say I do a forty-five minute set; you start your records off at one level, and try to build up to a peak. When I do a mix, I try to take that whole forty-five minute trip and put it into one record. You start here, and then by the time the record is over you have them up at the ceiling.

BM: When did you get into the disco thing?

TM: It was 1970.

BM: Are you freelance?

TM: I am; I do a lot for Scepter—and they’ve done a lot for me. They gave me my first chance at something like this, with the BT Express.

BM: What is the appeal of discos?

TM: People go to get away from everything. Here in New York, a lot of people go to the discos to get away from the world, to get away from the city, and be totally free while dancing: being freaked out with the music and the lights. But you watch people, and they come in, they don’t know if they want to dance or whatever, and all of a sudden they’ll hear a record, they get up on the floor, and they totally come out of it. You just watch the expression of how they’re getting into it; I love to see people turn on like that to music.

BM: How do you mix a track for disco?

TM: A disco record has to have excitement, so what I do when I’m involved in a record is, first of all, something has to turn me on about it or I won’t get involved. What I usually do is hear a rough mix, and see what they’ve tried to do with it. Then I take it into the studio, and I try to get the right tempo for it. I slow up and speed up records, which I do on the sixteen track, and I get the right groove. Then I try to make things in there like the guitar, or piano, or something… I try to get some kind of drive going, some excitement. I notice that the beauty of things, like the bells, or vibes, or something, that are in there, or like a guitar that’s playing some pretty chords, I’ve noticed that the contrast has a funny reaction on people. It’s a hard driving thing, but all of a sudden there’s all this beauty there at the same time. I notice things like that really turn people on. And what I also try to do is put in breaks if I can, cause that takes people even higher. It’s down to flow; I try to take people somewhere. I never stay on the same plane because I think that becomes boring.

For example, the People’s Choice record (‘Do It Any Way You Wanna’). You hit them right over the head the first time with that drum beat, and then you build them from there, but you don’t let them go. You gotta keep their attention. When I first heard that on tape, it was the same thing all the way through the record. The same monotonous thing. So I did that record thirty seconds at a time; I started with the drums and the bass, then I punched in the guitar, then another guitar, then the Fender Rhodes. And you go like that. Then you keep bringing the hook back in; I brought the hook back three times. The original was close to that, except I kept repeating things to make it interesting. I’m not sure what the record would have done if it had come out the original way, but I know this way made it more exciting.

BM: Are you involved in computer mixes?

TM: I use computer mixes quite a bit now if it’s twenty-four track; it’s difficult with sixteen. It’s good if there’s a lot of riding to do, like if you want to get certain licks in on the guitar, or maybe the voices. It’s good in that respect, especially if there are a lot of things on there that you want to get out. The other thing I like about computer mixes is that you can use group masters, so you can bring the whole orchestration up at times, or put the strings and horns in something to accentuate what somebody’s singing. I find the computer mixes are fantastic for that; but even now I rely on the computer just as a group master, even on the sixteen track, ‘cause it just makes it easier. The use of computer mixes still isn’t perfected yet; the computer can perform two hundred and twenty functions, and we’re only using about three percent of its total capabilities.

BM: What do you think is your best mix?

TM: I think the most creative was probably Gloria Gaynor. The first one was probably the one I like best. It was just the excitement of taking two old songs that they felt, well, the only reason we’ll let you do them is basically because they’re old, and who really cares about them; they didn’t say it exactly that way, but since they’d already gotten the hit records, I mean, why would anybody want a five minute version of ‘Honeybee’? And I had to convince them into doing that.

BM: Did you change the tempo on that one?

TM: Yeah, a little bit.

BM: Don’t you find that that distorts the vocal performance?

TM: No; I speeded that up a little bit, but what that does is it puts things up in a higher range and makes the drums a little brighter. It makes the voice a little higher, and if you roll off the bottom and put more highs on the voice, you can almost make like she’s really screaming, like she’s really into the record. I’ve done that with a lot of records, where it sounds like they’re singing their ass off, but they’re not, ‘cause it’s done technically. I did that on ‘Leavin’ The Good Life Behind’, by Phyllis Hyman on Private Stock, (unfortunately that one wasn’t a hit) and on ‘Just Can’t Say Goodbye’, by The Philly Devotions. I suppose my all-time favourite mix is ‘I’ll Be Holding On’ by Al Downing. The radio stations here played the long B side on that; they never once played the short one. Stations started playing the long versions, like on ‘Do It ‘Til You’re Satisfied’, what they call the disco mix. I was thrilled when I heard that.

BM: The disco mix on ‘I Don’t Know If I Can Make It’, by Dawson Smith, sounds toppier than the vocal A side, especially the guitar and percussion.

TM: I did a mix on the vocal version as well as the instrumental, but they used the producer’s vocal version. My instrumental was just the track to the vocal version without the voice. My whole number on that was that I wanted to make it more dynamic, rather than just a street record. That guitar is brought out by adding brightness. I like a clean sound on most records; if I’m gonna hear a guitar playing I want it to sound alive; I don’t want it to sound compressed, or so tight in the record that there’s no life to it. When things bounce out of a track it sounds real, it sounds alive. I find also a great deal depends on the mastering of the record. I like to take a lot of bottom off the bass, so I can push it more, and pick up the melody line without destroying the bass drum sound. I like the bass to ride above the bass drum. Now, if you take off a lot of the bottom, roll off the bottom or some of the mid-range, it gets very thin, but it’s clean. Then when you go to master, you push the bottom again, you put the bottom back in, but you get a very clean bottom sound, without it all being boom boom boom, vibration rather than music.

BM: It’s been said that disco mixing is a matter of emphasizing highs to compensate for bottom-heavy speaker systems.

TM: I think I was probably the one that brought back the bright sound on top. The only reason for that is, at that volume, I always like to keep a dry top. I like to keep the cymbals as dry as I can, because when you have a lot of echo on a record, and you play it at that volume, everything just jumps together, and it sounds all distorted. I notice with a dry sound on the cymbals, they cut through, and the cymbal tracks would sort of float across the speaker. And I notice that people react to highs like that.

BM: There was also a lot of top on the Banzaï record.

TM: Yeah, well I think that was the hottest record I’ve ever mixed. That was deliberately done that way. I had a tape of that, and ‘Undecided Love’ by The Chequers, at the same time. I got them from France, and I turned Scepter onto them so they could buy it. But I did say that if you buy them, buy them with the stipulation that we get the sixteen tracks so I can redo them. I feel ‘Undecided Love’ is gonna be a big hit now. And there’s a break in that that never existed, and that’s 5:35, including that. I always try to get records to hit 5:35, it just seems to be a magic number with me. ‘I’ll Be Holding On’ was 5:35, and so was ‘Free Man’.

BM: Is there such a thing as a slow disco track?

TM: It’s hard to say; I feel there’s gonna be a trend towards that, what it is I don’t know, but right now, I would say no, there isn’t. In New York, the gay discos still influence the sound. You’ll find the gay discos are much more into things they’re not familiar with, whereas in the straight discos, people still feel they have to hear something they’re familiar with, and only occasionally can you slip in that new record that’s foreign to them. But now it’s getting to the point where gay discos aren’t gay anymore, they’re mixed. Because a lot of people are getting hip and saying, “Oh, we don’t want the same old music. We want to be able to go where it’s new and fresh”, and that’s what a lot of people do now. But I think you’ll find that in your big cities rather than your smaller towns. They’re not really into that sort of thing yet, and they watch what New York does.

BM: Are there any older records which are natural disco tracks?

TM: Yeah, there’s quite a few of them; ‘Think’, by Aretha Franklin, ‘Just One Look’, by Doris Troy, ‘Who’s Makin’ Love’, by Johnny Taylor. Things like that are really kind of disco records.

BM: When did disco begin in America?

TM: It began in the early sixties; but it really took off around 1971. I feel disco started happening more because radio got very tight with their playlist, and there was a lot of music which just wasn’t being exposed. And of course, the economy doesn’t help either. People want to be able to go out and have a good time. If you believe that history repeats itself, I think we’re going through the dance era of the forties again.

BM: Like the old tune ‘Brazil’ being recorded again?

TM: There’s quite a number of them now; there’s ‘How High The Moon’, on Gloria’s new album.

BM: What do you feel catalysed the new boom?

TM: Everything has an effect, when you put it all together, but I don’t think just one thing does; it takes everybody to get on a good thing, or it’s not gonna work. That’s what I tried to get the disc jockeys here to do; a couple of years ago I said, “Hey, the only way you guys are ever gonna get anywhere is if you all stick together, and then you can become something”. One will help the other this way, rather than each one trying to become a star themselves.

BM: Is that how the record pool came about?

TM: The record pool was really formed because of ‘The Chicago Theme’, by Hubert Laws; let’s say that was the basis of forming it. There was a man who was working for the company, CTI, who was giving out test pressings, and a couple of other disc jockeys tried to get it. The guy said, “I’m sorry, you’re not big enough”. So they called me and said, “I can’t believe anybody would say we’re not big enough”. And I said, “Well, I don’t have a solution to it”. I tried to call him, and he was very nasty about it. So the next thing I know is, “Well look, we’re all gonna get together then, and if we all don’t get it, then none of us are gonna play it”. And I said, “That’s the smartest thing I’ve ever heard you say”. That’s the reason they all got together, and of course I tried to help them .

BM: Are there any other disco mixers you admire?

TM: I don’t really know anyone else who does what I do: see, I call myself the objective side of a producer. I’ll go in there being totally objective, and take out everything that doesn’t work, and put in stronger things that are the key to it. And the reason I’ve come to that conclusion is, I’ve tried to produce some things myself, and I found it very difficult in the mixing to be objective, to say it’s not really mine, it’s somebody else’s, and I’m out to get everything that’s good in the record.

BM: Have you ever overdubbed anything onto a record?

TM: Sure, background voices. In ‘Reach Out, I’ll Be There’ by Gloria Gaynor, the drums in the beginning. See, that was only once in the record, so we went in and overdubbed it, put it in again, kept repeating it.

BM: Did you change anything in ‘Call Me Your Anything Man”’, by Bobby Moore?

TM: No, but we had to triple the strings. We did it technically, cause there were only three violins, and rather than… I don’t like to add things to a producer’s record, I don’t think that’s right: if I can do it without that sort of thing, I would rather. ‘Cause I enjoy what I do, but I’m not trying to take it away from the producer either.

BM: ‘Anything Man’ had a lovely summer quality.

TM: I loved that record. Everybody always says the same thing, they always say “summer quality”. I was just fascinated with it. It’s the melody which I think attracted me to that record, and the girls’ voices. It’s like a lovers’ record, I can’t explain it. Like, to me that was a ballad. It wasn’t really disco. The original had a sideman (a rhythm box simulating sixteenths on a closed high hat) up louder, but the whole mix was much harder. And there’s that thin line where you’ve got to compromise, where you still want to retain the feel of the record, but you also want the beauty, and the minute that was up too loud, it clashed with what he was doing, it ruined the intimacy of what he was trying to say. You’ve got to consider the vocalist too.

BM: Has disco affected dance itself?

TM: It has; I don’t think the hustle would have come up without the disco. They call it the hustle, I don’t actually know how it got its name, but I know that a promotion man at RCA was the guy who gave Van (McCoy) the idea to record it. The rhythm is really a Philadelphia sound, what I call pretty soul.

BM: Is the bump surviving?

TM: I don’t think it was ever that big in New York. It was big with the blacks, but not so much with the whites. On a national basis, I’d say the bump is probably still popular.

BM: Has disco transcended ethnic lines?

TM: I find black music on the whole more effective than white records when it comes to generating excitement. I’ve grown up with black music, and maybe I’m prejudiced, but I prefer black music, only because there’s an excitement there. It’s like the way a black group performs versus a white group. It seems like a black group needs less to make it exciting, I don’t know why that is. Even vocally, they sing between the notes. I guess you’d call it soul. And why should that kind of music be just for the blacks, that’s not fair. I appreciate anything that’s real and exciting. That’s what I try to do in a mix.

BM: Aren’t discos expensive?

TM: No, they’re not. It’d probably cost you around five dollars to get in, then you’d probably spend maybe two or three dollars for a drink or whatever. That’s not a lot of money here.

BM: Are drugs prevalent on the scene?

TM: I think you’re gonna find them anywhere. I don’t think there’s as much as there used to be, but there’s still a lot of drugs around, let’s say grass, or they might be on amyl nitrate, what they call poppers here. But I don’t think there’s as much as before.

BM: Do you think that disco has hurt struggling live acts?

TM: No, because if you look at the charts, there’s still a great percentage of ballads. I just think that disco music has opened a whole new area and created some new record stars. Those small clubs still exist. There’s still a lot of people who like that kind of music.

Maybe it’s hurt them a little bit, but there are still people who want to hear the small trio, the piano lounge. A lot of restaurants have opened discos where before they had nothing. If you’re gonna go the music route, discos are hot right now. Rather than someone saying, “I wanna really increase my business so I’m gonna throw out the small group and start getting discos”. There are still a lot of places that have the small lounge acts.

BM: Do you see any signs of disco fading?

TM: No, because I don’t think it’s peaked yet.

BM: A lot of people have jumped onto the disco bandwagon; has James Brown?

TM: What James Brown used to do really wasn’t disco music. James Brown generates a raw excitement, and that’s a prime reason why a number of his records were played in the discos, because it had that raw excitement to make you wanna move. There’s a certain line there where it becomes listening music, and music where you’ve got to tap your foot or something; and that’s what you try to get out of a mix, to get people, like, to slap them in the face and say, “Hey, come on, let’s move”.

BM: What do you think of James Brown’s two latest disco albums?

TM: I wouldn’t want to comment on those.

BM: What do you think of ‘Bad Luck’, by Harold Melvin And The Blue Notes?

TM: It’s got to be one of my favourite all-time records. That of course was a million seller here. That’ll probably be the biggest record of ‘75 in terms of popularity, because people just don’t get sick of it.

BM: And The O’Jays?

TM: Believe it or not, The O’Jays are the biggest sellers on Philadelphia International. They’re probably one of the strongest black acts around; they do have some white appeal, but it’s primarily the black appeal for The O’Jays. ‘Love Train’ was probably their biggest seller to the white audience, and ‘For The Love Of Money’ was an incredible disco record.

BM: And The Temptations?

TM: It’s funny about Motown. I think the most exciting thing they’ve come out with is ‘Forever Came Today’, by The Jackson Five. That became a number one disco record here in New York; but as for some of their other products, it seems like there’s no excitement anymore. It’s like they don’t take it far enough, they confine it.

BM: Does that hold for The Commodores?

TM: Oh, I wish you didn’t say that. There’s one song I love right now, it’s my favourite song. It’s called ‘This Is Your Life’, it’s a ballad. That to me is one of the greatest Motown records I’ve ever heard. But I didn’t care for ‘Slippery When Wet’. If they applied the same approach to The Commodores’ up records as they did to ‘This Is Your Life’, they would really dominate the disco world.

BM: What about some other groups?

TM: I love Kool & The Gang, always have. I like The Ohio Players, they’re interesting. I’m surprised they’re as commercial as they are, because when you listen to them they’re really not that commercial. Love The Isley Brothers.

BM: Is side one of ‘The Heat Is On’ disco?

TM: Yes and no. That’s a group disco-wise that’s predominant in the straight clubs. It’s too repetitious for the gays. And it’s bigger in black clubs.

BM: And Barry White?

TM: He’s sort of over now. His last big record was ‘You’re The First, The Last, My Everything’.

BM: Are you involved in any work other than disco?

TM: I’ve been doing a lot of ballads lately. I think ballads are much easier to do. You can get more emotion out of a ballad, where, with a disco record, there’s a lot of things that you’ve got to keep going. ‘Cause if I get bored with it, then I know other people are. You’ve got to keep the excitement level up, whereas on a ballad you depend more on the lyrics and the melody.

BM: How do you see the future of disco?

TM: As long as people can go out and have a good time for five dollars, and feel uninhibited, because maybe it’s dark, and let’s say, escape, and just come out of your shell and dance, I think discos are gonna be around. Because it’s really a cheap way of having a great time.

Fake Steve Jobs & Letters from BILL G

by Matt Sephton — Sat, 19 Aug 2023 18:49:00 +0000

On 9th August 2006, “Fake Steve (Jobs)” started blogging at The Secret Diary of Steve Jobs. The blog featured scathing criticism of Silicon Valley and the tech industry at large, a pinch of political satire, along with many in-jokes and pandering to the zeitgeist. It was, above all else, very funny. A year or so after it began the identity of the ghost writer was revealed as journalist Dan Lyons. The blogging eventually stopped as the (real) Steve Jobs’ health deteriorated, and a single posthumous post appeared the day after his untimely death. I often think about Fake Steve, some of his best lines, some of his funniest observations. It was a different time.

Anyway… imagine my surprise when, earlier this year, I discovered that somebody in Japan had done a “Fake Bill (Gates)” a decade before Fake Steve! Truly, everything is a remix.

Letters from BILL G

ビル・Ｇからの手紙 “Letters from BILL G” was a column that appeared in EYE・COM magazine in 1996 and continued after the magazine was renamed to 週刊アスキー (Weekly ASCII) in May 1997.

The writer of the column was コモエスタ坂本 (Comoesta Sakamoto). Of course, his name is a pseudonym combining Spanish and Japanese. He was a philosophy graduate (Sophia University, 1988), performance artist, actor, punk singer with 坂本プロジェクト (Sakamoto Project, 1989), sports commentator, journalist, author, and all-round troublemaker. Quite a busy man! There is next to no information on the internet about all of this: a single blog post, some reminiscing on Twitter and a short bio. So I’ve done my best to dive deep into the Wayback Machine to uncover what I can.

The Letters from BILL G were eventually published in two books, with Volume 1 appearing in August 1998 and Volume 2 in July 1999. After the column had been running for around 6 months, ramping up to the publication of the first book, a teaser/promo website was introduced featuring a selection of letters. This is cool because internet was still pretty new at this point! Both the books and the website feature letters in their “original” English as well as in “translated” Japanese (of course, this is the opposite of the real order of events).

The Media King

BILL G is quite a character. He proclaims himself to be “The Media King” and claims credit for a whole host of aspects of modern technology some of which are true and some of which are, of course, blatant lies.

I would say that BILL G doesn’t call out specific people or turn to (tongue in cheek) personal insults as frequently as Fake Steve did. But BILL G is well remembered for his brutal opening remarks of many letters were he is condescending to Japanese people in general, explaining how he is better than them. And in some letters he response to “reader’s questions” which are equally scathing.

Of course, in the mid- to late-90s Windows reigned supreme so the butt of the jokes tend to rest on Microsofts dominance in the marketplace and what seemed to be its inevitable encroachment on every facet of computer use. In letter 61, published in 1997, BILL G declares that he “invented the Internet”. A decade later Fake Steve would declare “I invented the iPhone!”

Topics include: Pocket PCs, Y2K, Tamagotchi, IE in Windows antitrust suit, Clinton/Lewinsky scandal, iMac introduction, sports events such as The Masters, and so on. Many topics that were mentioned are still relevant today: Digital currency, Network OS, Pokemon, Global warming, and more.

I recommend browsing the teaser/promo website in English or Japanese, but here are a few of my favourites:

the “true” story of Windows GUI vs Mac GUI
cloning himself into every PC “BILL G Inside”
Bing Crosby singing “White Christmas” at the Christmas Party (“he’s dead? no problem we’ll use a hologram”)
comparing a short trip around Japan to “Gulliver’s Travels”
his disclosure that micro drives came out of what “really” happened at Roswell, NM
his brief obsession with the game “Age of Empires”
a brief stint as “Counsellor for Love Affairs”
a virtual interview with Ghandi that ends in a fist fight

End Users

It feels to me that the BILL G column may have fallen out of Comoesta Sakamoto’s digital magazine 末期ユーザー “End Users” (phrased to mean “terminally ill”) that was similarly irreverent.

“End Users” was distributed Mac User’s MACBIN CD-ROMs (supposedly issues 20 to 26, but I can only find it on two of these). On the same discs were some Macintosh apps created by Comoesta Sakamoto, a mix of joke apps (one resets your Mac!), surreal point and click explorations of sound and image, and a text-mode baseball game (seemingly a version of an earlier game he’d made for Japanese NEC PCs). You can also find these on an archived version of his old website via Wayback Machine.

Legacy

BILL G is a product of its time, and neither it nor Fake Steve have the impact today that they had when they were published. But they’re both still pretty funny and seemingly fondly remembered around the world.

The BILL G column was well-remembered enough that it reappeared in MSX Magazine 永久保存版 2 (MSX Magazine Eternal Preservation Edition 2), released in December 2003, and available to read at Internet Archive.

Like a phoenix rising from the ashes: Letter from BILL G in MSX Magazine 永久保存版 2 (Dec, 2003)

SameGame

It seems that at some point Comoesta Sakamoto was swept up in the SameGame craze that happened in Japan during the mid-1990s. He wrote a strategy guide about how to play it, and published it in two minor variations: まきがめ必勝ガイド (MaciGame Victory Guide, for Macintosh) and さめがめ必勝ガイド (SameGame Victory Guide, for Windows/DOS).

さめがめ (SameGame) by Eiji “Kyoto” Fukumoto, is a variation of the original game in the genre: Chain Shot by Kuniaki “Morisuke” Moribe (1985, same year as Tetris which would remain behind the iron curtain until 1987).

まきがめ (MaciGame) was an expanded version for classic Macintosh that featured a GUI and customisable graphics. Between them the two games created a phenomenon of Tetris-level proportions.

There have been countless versions of the Chain Shot concept made over the years, most based on either SameGame or MaciGame, including one for Super Famicom (SNES) by Hudson which came about in an interesting way.

The goal of this type of game is to clear the board of blocks by clicking on groups of two or more, empty space is then removed vertical by the remaining blocks dropping down and horizontally by empty columns being replaced by their rightmost column. This means that over time blocks converge in the lower left of the play area.

…I’ll leave it as an exercise for the reader to figure out which book cover is PC and which is Mac.

Illustrator

I have to mention the illustrator of all of these books, 能美勉 (Nomi Tsutomu, also known as: nomitsutomuwaku, NohVenWaku, nomitom). His surreal take on mid-century Japanese advertising illustrations used a combination of scans and Photoshop and gave all of Comoesta’s articles and books a very distinctive look.

Again there is very little about Nomi online in 2023, but you can check out a couple of archived websites. Unfortunately his Instagram account @nmt_waku is private.

Ordering photocopies from Japan’s National Library

by Matt Sephton — Wed, 24 May 2023 00:00:00 +0000

Recently I have been looking for a specific issue of an old 1985 Japanese PC magazine, but there are non currently for sale, nor have there been any sold for some time judging by sold listings. Over the past several years what I would normally do in this scenario is play the waiting game and hope one pops up for sale and that I can win it. But this time I decided to play things a little different, after finding a detailed table of contents for the magazine at Japan’s National Diet Library (NDL) and seeing that they offered a remote duplication service.

Remote duplication?

Japan has very strict copyright laws which are obeyed by their citizens and that goes for the library and its employees. Even though the magazine in question had been scanned onto their system the scans can only be viewed in person at NDL. That’s because even though the magazine is from 1985 it’s still in copyright so it’s a breach of that copyright to send the scans digitally: either over the internet to your web browser or by email. But they are totally fine making a photocopy and posting it to you. In this particular scenario, I’m totally fine with that!

Note: the majority of this process happens in Japanese so make sure to use the built-in translation features of your operating system (iOS can translate any selected text), email service (Gmail will offer to translate foreign language emails), or web browser (Safari and Chrome can translate any web page). With that out of the way, let’s go!

Step-by-step

It turns out this process is pretty old-school, powered by a mix of website and email.

Find the item on the NDL website and check if it’s available to view online, if so there’s no need for you to do this process!
If it’s only available for remote duplication you’ll need to set up an account at NDL Online, a little tricky as I could only find the registration form in Japanese and make sure to confirm your email address
Fill out the remote duplication form making sure to specify all details and most importantly the page number range. You can request an estimate up-front or wait for the invoice on receipt. That’s right, you don’t pay for this service until after you receive the material!
Next, waiting for the item to be picked from the shelves and make it to the front of the duplication queue. For me this took about a week, but it was easy to see it progressing as the status the request can be checked on the website at all times
At this point I received an email - in Japanese - asking me to please check my address and make sure that it contains the country. For whatever reason it didn’t have country, so I made sure to correct it and then replied to the email to let them know I’d done it
You’ll receive a final email when the item has been processed and shipped!
Wait for it to arrive, a mere 4 days to get to me in the UK

Costs

My request was only 3 magazine pages which, when scanned two-at-a-time, fit on two A3 sheets.

Charge	Cost
A4 paper (¥43 per sheet)	¥86
Packing charge	¥350
Postage charge	¥400
Total	¥836

Note: they recommend online payment by card as it’s free. If you really need to you can pay by bank transfer, but it costs an extra ¥4,000! Yikes.

Paying

As I mentioned earlier you don’t pay until you receive the material. Included alongside my two photocopies were: a 2-page stapled A4 invoice, a single A4 sheet payment request fax form, and an A5 information slip on how to request an online payment. So, let’s pay online!

Send an email to their email address, with your name and invoice number
They reply confirming and asking you to watch for an email from the payment provider, and reminding you that you need to pay within the 3 days during which the link is active
The payment website is basic but functional and straightforward
It accepted my strange European debit card
Total cost in GBP £4.89

Conclusion

All in all a very useful service, fairly painless process, and one that I will no doubt use again in future!

Roly-Polys World Tour (Demo)

by Matt Sephton — Mon, 01 Nov 2021 00:00:00 +0000

A previously unknown/lost demo of Roly-Polys World Tour (ローリーポーリーズの世界旅行) [aka Banabana’s First Big Adventure] has been found in my Japanese Macintosh magazine CD-ROM collection. It was featured on CD-ROM MacPeople 1998 No.2 1.15 in a folder of product demos.

Creator Osamu Sato is best known for cult game LSD: Dream Emulator released for Sony PlayStation in 1998.

Thanks to both the Shockwave and Osamu Sato Discords.

I’m preserving vintage Macintosh magazine media

by Matt Sephton — Sat, 30 Oct 2021 12:34:00 +0000

For a while now I’ve been collecting CD-ROMs and Floppy Disks that came with Japanese Macintosh magazines for the sake of preservation of classic Macintosh software and games.

These magazines were released before widespread adoption of the internet, when it was tricky to discover new software and even more difficult to obtain it. Buying a magazine with a disc containing hundreds or sometimes thousands of files was an easy way of getting the latest software. Of course, more than twenty years have now passed and software that was once common has all but disappeared. These magazine discs provide time capsules inside which live many long forgotten secrets.

This is such an amazing treasure trove of files, containing many long lost files of both English and Japanese origin. The scatter chart shows the range of date coverage of the collection, full file listings are searchable by file/directory name, file type, creator code at gingerbeardman.com/mmm/, by content at DiscMaster, and all files are uploaded to Internet Archive.

Archive status report

The archive as it stands (updated March 2025):

date range: 1991–2002
total media: 500 discs
total files: 1,086,536 files

Notable finds so far

JapanEase rolling demos of two gorgeous language learning HyperCard stacks from the early 1990s (one previously lost)
Hanafuda Stack from 1992/3 (previously zero google search results)
Emora Kart from 1994 (previously three google search results)
Unyo! 2 the infamous HyperCard stack version of the famous UNO card game, from 1995 (previously lost)
Tower Xmas Demo, a demo version of Yoot Saito’s Tower ~Christmas Disc~ add-on from December 1995 (previously lost)
Fans of Macromedia Shockwave and Osamu Sato uncovered a 1997/8 demo of Roly-Polys World Tour which is hugely exciting as the complete game remained lost to time (it has since been found, May 2023)
Pickle’s Pocket from 1998 is the first desktop toy and suite of tiny apps by Thoru Yamamoto (previously lost with zero screen grabs online)
MacCalligraphy Sansui Demo, version of Japanese calligraphy tool by Enzan-Hoshigumi from 1999 (previously lost) I also uncovered a promotional leaflet and demo guide from Wayback Machine
AsistantPickle from 2000 is a more advanced desktop toy and suite of tiny apps by Thoru Yamamoto (previously lost with zero screen grabs online)

My Patreon enables me to buy more discs to build out the database, finding more lost gems and sharing them once again with the world. I add missing discs to Internet Archive and the redump project and upload individual games to various Classic Macintosh archives.

Thanks for being on this journey with me!

Macintosh Story: Sweet or Sour Apple?

by Matt Sephton — Tue, 07 Sep 2021 00:00:00 +0000

Macintosh Story “Sweet or Sour Apple?” (マッキントッシュ物語リンゴ甘いか酸っぱいか) is a comic strip drawn by Hitoshi Tanaka for the 1993-11-25 “MacBoy” issue of Japanese men’s lifestyle magazine POPEYE (widely known as the “Magazine for City Boys”).

The comic strip details the history of Apple and the Macintosh from 1970 through to 1993, and features a whole lot of history over its four pages:

reality-distorting Steve Jobs
angry Steve Wozniak
a strangely ginger-bearded Doug Engelbart
Xerox PARC
Dynabook-dreaming Alan Kay
Bill Gates in shorts
a strangely blonde Bill Atkinson
Pepsi-sipping John Sculley
hand-drawn renditions of the 1984 ad, MacPaint and HyperCard
the break-up
NeXT
Knowledge Navigator
DynaMac (a Macintosh 512K marketed by Canon in Japan)
successors to the Macintosh
Apple prototypes
Newton
and more

I scanned these images today from my copy of the original magazine.

Thanks to my patrons for making this possible. More patrons means more cool stuff can be preserved/released.

High-resolution scans are available to my patrons.

Hope you enjoy it.

SkateBoarder Magazine

by Matt Sephton — Wed, 30 Dec 2020 00:00:00 +0000

SkateBoarder Magazine (1964–1980) scans at Internet Archive, these include pages missing from the official website.

Here’s a quick link to the famous Dogtown articles in these specific 9 issues: 2-2/5/6, 3-2/4/5/6, 4-1, 5-7

PC Engine Fanatics, Console Ma’zine, Electric Brain & Games Amusement Pleasure

by Matt Sephton — Mon, 30 Nov 2020 00:00:00 +0000

This collection is a British video game fanzine/magazine that ran from 1989 to 1993 for an almost uninterrupted total of 35 issues.

The first 8 issues went by the name PC Engine Fanatics which was a hand made fanzine/newsletter that was promoted in period magazines. The following 10 issues received a name change to Console Ma’zine along with expanded coverage of Sega’s Mega Drive, Atari’s Lynx, and Nintendo’s Game Boy as well as NEC’s PC Engine. The “final” 17 issues went by the name Electric Brain (taken from the Chinese word for computer) and it was during this run that, at least for a brief handful of issues, the fanzine turned into a proper magazine that was available to purchase from major newsagents on the high street.

After Electric Brain there was a year silence until GAP (Games Amusement Pleasure) followed for one last 5 issue finale, by which time the Internet had started to go mainstream and editor Onn Lee’s momentum finally waned after more than 15 magnificent years.

This publication is little known even in its native United Kingdom, but it is notable for featuring an English translation of an interview with Shigeru Miyamoto from the time of The Legend of Zelda: A Link to the Past_. This interview was next translated into English over 20 years later. There was a wiki page about these publications, but it fell victim to deletionists—but that’s a story for another day.

I’d like take this opportunity to thank Andy Harris for loaning me the majority of his collection of issues so I could scan and share the complete run rather than my few issues. I tracked him down a couple of years ago and thankfully managed to persuade him I wasn’t trying to steal his stuff! Thanks for trusting me Andy.

Enjoy!

archive.org/search.php?query=%22electric+brain%22+%22Onn+Lee%22&sort=titleSorter

My “Bubble Era” T-shirt Store

by Matt Sephton — Sat, 28 Nov 2020 00:00:00 +0000

I’m relaunching my “bubble era” T-shirt store on @teespring with international shipping in time for Christmas! teespring.com/stores/gingerbeardman

Retro games, computers, scooters and other cool logos on your favourite colour T-shirts!

These T-shirts have been a side-project of mine for many years—I redraw old logos as vector art, just for kicks! The oldest designs—CHOP and SPRINT—date back over 15 years to the time when I realised how easy it was to get T-shirts printed

Every so often I pick a design out of my folder of ideas and draw it up as vectors. I find the process of redrawing shapes with “good paths” quite relaxing and therapeutic, kind of like an open-ended puzzle game. (glyphsapp.com/learn/drawing-…)

Hachisuke (ハチ助 in Japan; Hu-bee in USA) was the mascot of HUDSON SOFT. Apparently a mixture of bee and mouse or cat! Sometimes referred to as “a fanciful depiction of a bee”. After seeing this vintage T-shirt I set about redrawing it using old photo ref

The main outlines of Hachisuke were easy enough to draw, but the halftone dots on the hat took some thinking. Eventually I achieved the effect using a series of dotted lines. And I found a bug in @affinitybyserif Designer whilst doing it! (teespring.com/stores/gingerb…)

One of my other favourite logos is for an old game called BILLIARDS which features a balloon style typeface. At this time magazine layout and graphic design was likely to have been done using phototypesetting rather than using computer. (teespring.com/stores/gingerb…)

DENGEKI G’s ENGINE magazine evolved from covering just the PC-Engine and games by NEC, to a broader range of games. The G in the title refers to Gals and Games which means there is often a broad range of content in the magazine, if you get what I mean. 🍑 (teespring.com/stores/gingerb…)

HIPPON SUPER! magazine was known for having a different tone than its main competitors, such as (Weekly) Famitsu and GAMEST. It had a whole bunch of logos over its lifetime, but I think the first one is by far the best. (teespring.com/stores/gingerb…)

As much as I enjoy figuring out the best paths to represent a shape that was probably originally drawn/cut by hand, I’m happy to take some short cuts at times. Here on MSX・FAN I use two rectangles to cut into neighbouring shapes when I should have just used thick strokes

The “Oh!” series of home cpmouter magazines are some of my favourites, and each of them (there are dozens!) had wonderful logos. I redrew a handful of them in black and white so they work on dark or light coloured T-shirts. (teespring.com/stores/gingerb…)

Oh! MZ is probably my favourite of the bunch, featuring amazing cover art including Syd Mead’s Blade Runner concept art for no reason other than it looked cool.

The Sharp MZ-series of computers couldn’t do bitmap graphics so everything had to be done using the character set, which lead to this genius set of Hanafuda cards:

Oh! HIT BIT is a magazine specific to Sony’s line of MSX computers and was a real joy to redraw as it’s geometric nature allowed me to use a grid! I LOVE GRIDS. (teespring.com/stores/gingerb…)

Speaking of grids, there’s a cool app for macOS called KARO GRAPH which is a “graph paper” vector drawing tool with always-on grid and snapping to encourage structured drawing. I really dig it; you might too: (apps.apple.com/gb/app/karo-gr…)

This next logo, for PASOCON SUNDAY, was spotted in a YouTube video of an old PC-focussed TV show. After spotting it there I managed to find higher resolution versions of it in Japanese magazines from the same era: (youtu.be/Bwpsbg6j0DI?t=…)

I should mention the custom type old Japanese video game magazines used to headline articles about various games. SO COOL. (teespring.com/stores/gingerb…)

Articles often contained custom illustrations. I chose to take them out of their original context and surroundings and place them as large as possible on the front of a T-shirt. (teespring.com/stores/gingerb…)

Another love of mine are “bubble era” Japanese vehicles, from crazy vans with skylite roofs to cute scooters. All of which seem to have the coolest names. (teespring.com/stores/gingerb…)

If you’re into those check out my collection of old Honda scooter brochures: (flickr.com/photos/emsef/s…)

Moving from Japan to USA @scottekim has kindly given me permission to reproduce some T-shirts he designed in the 80s for CGDC (Computer Games Developer Conference, which became GDC after they realised games are also on consoles) and HACKERS’ CONFERENCE (as worn by @AndyHertzfeld)

Back in the UK 80s music TV series “The Tube” had a logo that was actually a neon tube light. Drawing this was similar to the previous BILLIARDS logo, but its more freeform nature actually made it more difficult! (teespring.com/stores/gingerb…)

UNITS “digital stimulation” is the album cover for the 1980 release but I added to the bottom of the design to make it look better on a T-shirt. The original artwork was created with strips of translucent plastic and the print on the T has the same effect! (discogs.com/Units-Digital-…)

POPEYE Big 100th issue (1981-04-10)

by Matt Sephton — Fri, 06 Mar 2020 00:00:00 +0000

This is a special 100th issue of POPEYE a Japanese lifestyle “Magazine for City Boys”: archive.org/details/popeye-magazine-for-city-boys-1981-04-10/mode/2up

Only very minor game related things in this, but I thought it worth posting. There’s a Game & Watch as a selectable reward/prize in a competition by Puma. Plus a “how to” for Hanafuda (the reason I bought the issue) and reviews of various physical card games. Plus lots more besides!

If you don’t have time to flick through 276 pages, then I created a twitter thread that summarises the most interesting stuff: twitter.com/gingerbeardman/status/1235585813137756161

“Game Machine” magazine archive

by Matt Sephton — Wed, 20 Nov 2019 00:00:00 +0000

343 issues of Japanese arcade magazine GAME MACHINE spanning 1974/08 to 1988/12: https://onitama.tv/gamemachine/archive.html

Mirrored as one archive: https://archive.org/details/game-machine And as a collection at: https://archive.org/details/game_machine_magazine_jp

Interesting issues:

Yoshikazu Endo honors Special Issue (No. 72 May 15, 1977) https://archive.org/details/game-machine-magazine-19770515p Invaders boom heyday (No. 117 April 15, 1979) https://archive.org/details/game-machine-magazine-19790415p Video game machine Special Issue (No. 201 November 29, 1982) https://archive.org/details/game-machine-magazine-19821129p Thanks to the fine folks at ONION software / onitama and Amusement Press Inc. for making these available. The scans are well done with OCR selectable/searchable Japanese text.

I took some time to mirror the collection at the Internet Archive. Enjoy!

Update, May 2023: A further 269 issues of Japanese arcade magazine GAME MACHINE spanning 1991/01 to 2002/06 have been uploaded to Internet Archive, which brings the current total to 612!

Verbum “The Journal of Personal Computer-Aesthetics”

by Matt Sephton — Wed, 10 Jul 2019 00:00:00 +0000

Verbum “The Journal of Personal Computer-Aesthetics” (1986–1991) was an early computer lifestyle magazine focusing on interactive art and computer graphics.

All issues (well, except issue 4.3): archive.org/details/verbummagazine?&sort=date
Table of contents for all issues: en.wikipedia.org/wiki/Verbum_(magazine)
Podcast interview with its creator Michael Gosney: www.drfutureshow.com/drfutureblog/interview-media-pioneer-michael-gosney-on-the-renaissance-of.html

Back In Time: Vintage Maps of Akihabara (1976–2001)

by Matt Sephton — Sat, 11 May 2019 00:00:00 +0000

I often browse old Japanese console and computer magazines. I’m mainly searching for old Hanafuda Koi-Koi video games, but sometimes I stumble across something else that is interesting in a totally different way.

In May 2019, whilst browsing an old issue of POPCOM over at the wonderful Internet Archive, I found a period map of the Akihabara 秋葉原 district—famous for its multitude of stores selling electronics, video games and other otaku goods.

I shared the map on Twitter, where it was well received, so I decided to go into this a bit more deeply here. Every so often I add any maps I find and there are now over 20 covering almost every year throughout the 1980s and 1990s.

Get in touch if you have a map of Akihabara from the missing years. The Japanese あきはばら地図 or 秋葉原マップ mean “Akihabara map”.

Further reading in Japanese: there’s a great article at NIKKEI that’s well worth a read. If you want something heavier, there’s a blog post with history of the area and its name change.

Thanks to my Patreon supporters for funding this research. New supporters are always appreciated!

Browse by Year

1976 … 1981 1982 1983 1984 1985 1987 1988 … 1991 … 1994 1995 1996 1997 1998 1999 2000 2001

1976

The November 1976 issue of I/O magazine included a map of Akihabara which at this point was mostly radio electronics shops, with only very early signs of DIY computers.

Two maps can be seen in the combined book of issues from 1976 and 1977 that is available at Internet Archive. Hurrah!

1981

A map was featured in だからいまマイコン “So now Microcomputer” by the University of Tokyo Microcomputer Club, Shueisha, 1981. Amazon Japan link. Thanks to a generous Twitter user for posting this photo at my request.

1982

Missing: another one from 1982 on Twitter, if I’m reading correctly it’s from the book こんにちわマイコンに載 “Konichiwa Microcomputer”. Amazon Japan link.

Here’s a map from the January 1982 issue of I/O, also featured in the March 1982 issue which has different article about the shops so both are worth reading. Contrast with the much expanded map that appears further down this page in the 1984 section.

The first ever issue of Technopolis, in August 1982, featured a lovely map.

archive.org/details/technopolis-volume-1-august-1982/Technopolis%20-%20Volume%201%20-%20August%201982/page/154/mode/2up

Such maps make frequent appearances in Technopolis the one below is from an issue dated November 1982. Given its illustrated nature the map is somewhat stylised but the landmarks are easily recognised.

archive.org/details/technopolis-volume-4-november-1982/page/101/mode/2up

1983

A map was included with the January 1983 issue of Micom BASIC magazine. The below image is saved from a Yahoo! Japan Auction listing.

The map below is from POPCOM 1983-05 and is followed by 4 pages of listings that refer to the map using the A/J–1/10 key along its edge just in case you want to look some things up.

archive.org/details/POPCOM198305/page/n73/mode/2up

1984

This one from I/O 1984 May issue was found through Google and Wayback Machine, and I was lucky enough to be able to find matching scans on from Internet Archive. Compare with the earlier 1982 map from the same magazine.

1985

Missing: Weekly GENDAI 週刊現代 featured a map in issue 206, 13th July 1985. Auction link and image here.

This one I found referenced on Twitter, a lovely map from the April 1985 issue of POPCOM (complete with cover artwork by Hiroshi Okamoto)

archive.org/details/popcom-198504/page/122/mode/2up

1987

Missing: I found mention of maps in a 1987 issue of Be-VAP　ビ・バップ magazine, in fact there seem to be two. Auction archive is here with incomplete image one and incomplete image two.

One from 1987 on Twitter. This one I have tracked down as being from ラジオ技術　1987年6月号 the June 1987 issue of Radio Technology.

1988

Missing: I found one on Twitter from a 1988 issue of ぴあ “Pia” magazine, but so far I’ve been unable to find scans of it.

This one from Google, but thankfully also present on Internet Archive. From I/O アイ・オー 1988年07月号 the July 1988 issue of I/O magazine.

1991

Through Google I found a map featured in “AK gazette” from Winter 1991.

asahirom.blog28.fc2.com/blog-entry-58.html

1994

A partial map is featured in this article by NIKKEI which details the history of Akihabara and the phases of changes that happened throughout the 1980s and 1990s. Essential reading!

1995

There are three really cool maps in ゲームウララ Vol.1より Game Urara Vol. 1 featuring PC, video game and food/amenities. One was seen on Twitter and the other two were a happy discovery after finding the scans on Internet Archive.

archive.org/details/gameurara-vol1-1995-600DPI/Game%20Urara%20-%20Vol.%201/page/n101/mode/2up

1996

Whilst searching my ever-growing archive of Japanese Macintosh Media I found an archived copy of the Akiba organisation website on the Nikkei MAC CD Vol. 9, from 1997-02-15.

「ボーナスは大切にネ！!　秋葉原を上手に歩こう」 (“Take care of your bonus! Walk well in Akihabara.”) is a copy of the Akiba website dated June 1996, some four months before the earliest version in the Wayback Machine. A lot of the files that comprise the website are dated 1993, which I assume is when the site was first created. This sort of hand-built site really brings back some fond memories of the websites I built in the mid-90s: image maps, optimised GIFs, no content management system. Ah! The good old days.

The 250+ maps it contains are hyperlinked in a multitude of ways and the website navigates quite well considering its age. I’ve had most luck browsing using Netscape Navigator 3.01 (ja). The whole thing is quite comprehensive: maps are split into geographical zones and are detailed to a building floor level. Alternative lists by category and product type are also included. There are a total of 221 stores, of which 68 are member stores and receive more in-depth coverage with their own page and photos.

Check out screenshots of the website home page and main map page.

Another one from 1996 via Google, which was featured in the 「ASCII-DATES 1996」 notebook.

1997

From Google, I found a map featured in either PC自作派 “PC DIY” Vol.1 (1997) or Vol.8 (late-1998).

setoalpha.hatenablog.com/entry/2019/08/12/024509

1998

This new discovery reminded me of another vintage map of Akihabara that I had seen recently, only this time it was digital and available for platforms that were popular at the time: Palm OS (as a native app), Macintosh and Windows (as a FileMaker Pro interactive database).

All versions of these interactive maps can be downloaded at the following links:

I think of this map as the DogCow Map due to the domain it was hosted on at the time, but its official name is Kosapi’s Akiba Map 「こさぴーの秋葉マップ」named after the group of fans that created and curated it by documenting their trips to Akihabara.

web.archive.org/web/20041207024829/http://homepage1.nifty.com:80/akiba/index.html

1999

This one found on Twitter. A 1998/1999 issue of PC magazine DOS/V POWER REPORT featured a detailed map and list of stores. It would be really interesting to see if any of those stores still exist.

2000

Missing: around this time you could buy the 秋葉原攻略ハンドブック Akihabara Strategy Handbook which included comprehensive maps and shop guides across hundreds of pages.

The HTML version was typical of websites at the time: way too many HTML files and images with image-maps presented as a frameset that makes specific pages pretty much impossible to bookmark. Ah, the heady days of Y2K web development!

web.archive.org/web/20050212144103/http://homepage1.nifty.com/akiba/akibaweb2kr1.zip

2001

The digital download versions of Kosapi’s Akiba Map were updated until around 2001, when I guess easy access to the internet made offline maps like this somewhat less useful.

But the FileMaker Pro database is interesting, as it can still be loaded and viewed on modern macOS. Using a vintage Trial version of FileMaker Pro 11 from 2010 which just about manages to run on macOS 10.13.6—the database can be converted to a more modern format. You can click around hyperlinks to navigate and view business details in a very CD-ROM kind of way.

Anyway, I did a bunch of image grabbing and assembling to put together this large 27.8 megapixel version of the map (click the image below):

Aside: 1999–2009

For 10 years, an interactive online map was published by Impress Corporation under the title of AKIBA PC Hotline! It’s similar to Kosapi’s Akiba Map and arguably better made.

web.archive.org/web/19991012053357/http://watch.impress.co.jp/akiba/map/index.html

More?

I’ll be sure to add to this post if any other interesting vintage maps of Akihbara come to light. Especially for the years we’re currently missing maps.