datagubbe.se » scene archetypes
Computer science may not be about computers the way astronomy isn't really about telescopes, but the demo scene is about computers the same way painting is about brushes and tempera. They're a means to achieve an end, but also tools that affect the creative process and become part of the work itself. There are certain aesthetics you simply cannot achieve on certain platforms, and certain other aesthetics that are encouraged or determined by specific platform hardware. If there is one such platform close to my heart, it's the Amiga 500. Around 1993, a distinct demo aesthetic emerged on this platform, serving as inspiration for this page.
In the end, however, it's the hand of the artist that ultimately decides the quality of the outcome. Artists are key to the scene, dutifully enabled by all those who may not partake in the creative process but certainly help facilitate it.
Here is a tribute to a few of the main players, presented for your enjoyment.
Good music is what makes a good demo really good. Good music can make mediocre code look better, it can enhance the cute or striking or awesome elements of a picture, it sets the tempo and mood of a production and can completely change its overall vibe. Demo effects riff off it, and vice versa, constructing that special weave of synchronized audiovisuals that so defines the scene. Without music, demos would just be cute display hacks and, like most of those, long forgotten.
As far as talent overlap goes on the scene, it seems there's a pathway from musician to coder and back again. I suppose most old school tracker musicians need to be at least part coder anyway; tracking carries distinct elements of rudimentary programming.
Not a "graphics artist", because that's what happens when teenagers who don't really know English decide that if music is made by a musician, then graphics must surely be made by a graphician. Anything from logos to full screen paintings to fonts to effect palettes and layouts will benefit from the touch of a skilled graphician.
For a long time, formulaic copying of fantasy artwork was standard fare, but with age comes maturity and today we see as many unique, lovely styles as there are artists.
Modern drawing tablets and powerful paintbox programs may form a large part of today's workflow, but even the best of those images must be downscaled, downsampled and then hand edited to fit in an Amiga demo. There are also still many who, like me, prefer classical pixel painting programs. Incidentally, all the pictures and custom fonts on this page were hand pixeled in Grafx2 on Linux and Deluxe Paint IV on Amiga.
Graphics and music on the scene have their own peculiarities, history, mannerisms and aesthetics - but they are, in the end, digital forms of analog art.
The coder is what makes the scene truly unique, not only by tying the graphics and music together but by bringing a completely new kind of visuals to the table: mathematics in real time motion.
Even though pushing technical innovation on the Amiga is an increasingly challenging task, a new record was achieved earlier this year. Still, modern demo coding is perhaps less than ever before about pure optimization.
With an increasing emphasis on aesthetics in everything from the simplest of transitions between two different screens to the most elaborate and intricate fractals and 3D landscapes, a good demo coder must have a very particular visual thinking all of his own.
According to scene lore, there wouldn't be a scene without the cracker: bragging rights for liberating software from its copy protection were expressed through what evolved into the demos of today. I'm sure modern software is still cracked - I honestly don't know. But I do know that there are still Amiga game crackers out there, jonesing for a fix, trying their hand on whatever game, old or new, that has not yet been cracked.
Godspeed, you criminal masterminds. My childhood would have been poorer without you.
If anyone has gotten poor from partaking on the scene it's the swapper and his cousin, the modem trader. Many other sceners may have swapped a bit in their day, but a dedicated swapper had hundreds of contacts and constantly needed new ways of counterfeiting postage and defrauding telephone companies.
Without swappers, precious few demos would have been watched by anyone but the artists and their closest friends. Floppies had to be sent out so that creative honour could be claimed and the demo group name be made known and feared among the competition.
The Internet may have eliminated the need for industrial scale mail swapping, but it hasn't removed the joyful surprise of receiving physical media in your mailbox. I was actually sent a few disks just last month: a small package of happiness and excitement.
There are of course many other creators and facilitators on the scene. BBS SysOps, webmasters, ASCII and ANSI artists, disk magazine editors, demo party organizers, people who just appreciate demos, and many more.
I want to thank you all, too.