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Annotated Atari Depositions - Part 4

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Today, we continue with Nolan Bushnell’s January 1976 deposition in the Magnavox v Bally et al case. This time, I don’t have as many comments/notes or pictures. It’s mostly just straightforward text.

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MR. WILLIAMS: Q. Mr. Bushnell, as I understand it, Documents 40-2, 40-3, 40-6, 40-7, 40-10, 40-11, 40-15 and 40-17 all relate to circuitry which you intended to use with the monitor in association with your system for playing games

A. Correct.

Q. But that there is, as I understand it, circuitry which you had also intended to use for that monitor which is not shown in any of these documents?

A. That's correct.

Q. Did you personally draw the diagrams of 40-2, 40-3, 40-6, 40-7, 40-10, 40-11, 40-14?

A. Yes, I did.

MR. HERBERT: Before I start questioning on that, prior to the recess I had indicated that we would, after finding the pre-production drawings for Pong and another game, Space Race, zero in on the earlier drawings on this to match up with what else goes here. During recess Mr. Bushnell told me that very probably all of the drawings that are missing from this package were left at Nutting. So we don't really expect to find them.

MR. WILLIAMS: Q. Do you believe that the drawings missing from Exhibit 40 relating to your monitor are at Nutting?

A. Yes, I do.

Q. Why were they left at Nutting?

A. Well, they were all essentially source documents which were later used to build the Computer Space machine which I sold to Nutting and since I had licensed them to build that machine exclusively they are obviously entitled to all the documents that have to do with that particular machine.

Q. Do you know when you drew these documents which I just enumerated?

A. I'd say it was probably around July or August 1970. It might have been as early as February for some of them, but I think the ones that I drew in February were rougher. These are more detailed as to interconnections.

Q. Since only a portion of the circuit of the monitor is shown on these drawings, it might help us if you could draw a block diagram of the operation of that monitor if you are able to do so?
A. Okay.

Q. And I might say that we will probably mark it as an exhibit. You will be forewarned.
MR. WELSH: Now, this is of the monitor system?

MR. WILLIAMS: Q. Yes.
A. Incidentally, this is generalized terminology for data bus architecture. I am indicating there are several lines. The exact number of lines depends on the resolution that you wish. This is approximately with some simplifications.

MR. WILLIAMS: I would like the Reporter to mark the block diagram that Mr. Bushnell has just draw as Atari Exhibit 41.
(Drawing made by the witness was marked Atari Exhibit No. 41 for Identification.)

MR. WILLIAMS: Q. Mr. Bushnell, will you just give us a description of the operation of this system shown in Atari Exhibit 41?
A. The oscillator runs a sync chain which essentially counts down the oscillator frequency into a horizontal and vertical component. There’s a number associated with each picture element in both the horizontal and a number coincident with each line in the vertical direction. These numbers are fed into a compare circuit which is compared to a number which is the shift register. If you can visualize a television screen, zero zero being in the upper left-hand corner and 256 by 256, the number 256 by 256 is the number of the lower right-hand corner. Then you can see that there is a series of ordered pairs which describe every point on the TV screen. Everyone follow that?

Q. I follow it.
A. The sync chain willcount every one of those numbers in one frame. So that first the vertical counter is at zero and the horizontal counter then counts up to 256 at which time it gives the TV screen a sync pulse and the scan is reset and now the vertical scan counts to 1 and again to 256, and then the vertical goes to 2, 3 until it's scanned the whole time.

Now, supposing that we wish to display an object at point 20/20. That would be one inch to the right and one inch down from the upper left-hand corner. We would then put the number 20/20 into the shift register. Upon 20 being compared--

Q. Excuse me. You mean load 20 into the shift register under the block marked “Sync H”?

A. Yes, and 20 into the shift register under the block "sync V." This comparator, all it does is look for a comparison. It says when is one number equal to another . As soon as it does, it goes, ''Hi," turns on the scanning matrix. The scanningmatrix then says, "Okay, I'm ready to scan," and it counts—I should say it is hocked into the oscillator or to the sync H and V.

We'll just for ease put the oscillator here (indicating).

It says, "Okay, I'll display a rocket ship at that point," and it counts through and displays a rocket ship at Point 20/20.

Now, what the comparator does is it feeds that number 20 into the shift register. Now, next frame it says, "Okay, I want the rocket ship to move downward and to the right.” So the next frame it will load into it number 21/21. The same thing happens.

This time, though, the rocket ship is moved slightly. It's no longer displayed at 20/20, it's at 21/21. And successively each frame. So in that way the rocket ship appears to be

traveling in a downward and to the right velocity because the eye integrates the motion. It's just like a series of cartoons and you display it at slightly different places each time and the picture appears to move.

Now, the computer, of course, is keeping track of one, if the control is being pushed, say, in the forward direction and it’s thrusting, it’s saying, “Okay, if I want the rocket ship to go faster I’m going to say instead of moving it from 20 to 21 I might move it from 20 to 22. That gives the appearance of a faster motion. Or if it wants to move slower maybe it says, “I’ll keep it at 20 for a couple of frames and then I’ll move it to 21 for another couple of framed and then to 22 for another couple of frames.” So it’s going half as fast.

If you wanted it to go straight up and down all you are doing is you leave the horizontal counter fixed at 20 and you just increment or decrement the vertical count and the computer keeps track of all these numbers and feeds a new number out each frame which places the rocket ship anywhere.

Now, obviously, if you wanted to, you could make the object jump anywhere you want to once each frame. But generally by making a piecewise continuous function you can have the appearance of smooth motion, but it’s not constrained to that.

Q. The computer which you refer to is not shown in Exhibit 41, as I understand i.

A. No. It’s a data bus here. It’s out here (indicating). It comes in on the bus. I should have put that down, “data bus.”

Q. There are two boxes in the lower left-hand corner. What does the label on the upper one of those boxes say?

A. “Interface.” It’s essentially the part of the circuit that’s described in 40-7.

Q. And the lower box in the lower left-hand corner is labeled “IO.” Is that correct?

A. Yes. That’s essentially the problem that we were talking about before. Whether you do that on an interrupt basis, or whether you do it just putting data into memory. Now, you can do it either way. That IO is either a direct memory access channel or it’s an interrupt channel.

Q. So the player’s controls are located within the box marked “control”?

A. No. Those are control switches and coin slot.

Q. Over on the lower right-hand corner?

A. Right.

Q. And that information goes through the box marked “control” to the box marked “IO”?

A. Yes. Input-output.

Q. So the box marked “IO” was actually only an output channel, is that right, the way you have drawn it?

A. in a computer there is never really an output without an input because there’s parity checks. It talks. You send signals in two directions and for a multitude of reasons, but it essentially can be looked at, it says, “Hey, I’ve got some information.”

The computer says, “Okay, I’m ready for the information. Go ahead and send it. “ So it sends it down. The computer says, “Okay, I’ve got it.”
And the guy says, “Is it right?”

And the computer says, “Yes, it was.” And they do these handshaking things all the time. It’s just the way the architecture is.
Q. But the basic purpose of the IO block is to get information from the monitor to the computer, as I understand it.

A. Yes.
Q. You described the way in which one rocket ship is show during one scan of the cathode-ray tube.

A. Right.
Q. In the system you were building in playing Spacewar I assume that you wanted to show at least two rocket ships.

A. Yes. That adds a whole new level of complexity. That’s kind of that this is. Because these are shift registers. I have two sets of shift registers, one labeled A and one labeled B. I am referring to Document 40-2. It’s necessary that you have two data boards, one the location of the rocket ship A and one the location of rocket ship B, and under the control you can switch from one to the other.
Q. What does the circuitry shown in Exhibit 41 provide? What is necessary to display two rocket ships?

A. Well, it depends on how much intelligence you ascribe to the control module. Like it’s possible that the control module or the computer is smart enough to serially order the information in shift registers, in these two shift registers, so that it always hits the first shift register of the first object in the scanning sequence, and then the minute it sees that then it dumps that information out, grabs another piece of data from the computer and says, “Okay, this is rocket ship No. 2.” That could do it. But I think that 40-2 is a better approach, It’s a little bit cleaner.
Well, this is again the problem that I ran into. If you do it this way the computer has to be very smart and it has to be fast because it has to have that information ready for the second rocket ship very, very quickly because the minute the one rocket ship is done, if the other rocket ship is very close to it it has to have that information in a big hurry or you’re going to lose it, the rocket ship will disappear if it gets close. So what you can do is you can say, “Okay, I’m going to make the monitor smarter and I’ll just dump the information out at one time,” say during frame scan or frame reset in which there’s a lot of time, and that way the computer doesn’t have to be as smart. This design was an afterthought of this kind of architecture.

Q. You are saying that the document of 40-2 is an afterthought to the architecture shown in 41?
A. Yes. I want to keep this simple so that you can understand it. You see, the more and more smarter I made the monitor, the less power I had to have in the computer itself until finally I said, “The hell with it, “ you know, “let’s just build the hardware unit.”

Q. And the computer system which you intended to use with the apparatus you have shown in the block diagram form in Exhibit 41 was the Nova 1200 series computer; is that correct?
A. That is ultimately. I think this was a general-purpose design. I’m not sure which one this was, how late it was. But I originally designed the general purposely so that it could adapt to essentially any 16-bit machine.

Q. Did you have any requirements on the memory capacity of a 16-bit machine with which this could be used?
A. Yes. As small as possible.

Q. What memory capacity was required for a game system using, for example, four monitors?
A. I felt that in my original thinking I could get by with four K.

Q. For four monitors?
A. Yes. And memory was never the problem in the design. It was always update speeds.

Q. Can you identify Exhibit 40-15?
A. Yes. It says, “System Input, one coin box to initialize particular CRT and program.” I think at that time we were talking about having it to be a situation where you could not only choose whether you wanted to place Spacewar, but whether you wanted to play any other game that we had in the program. That was kind of a question of memory. We thought that it would be interesting to have the switch selectable so that you could play a multitude of games. So that was No. 1 as far as system input.

“No. 2, counterclockwise rotater input on fixed-time increment and rotate counterclockwise one unit. Unit equals question mark degrees.” I don’t know.
No. 3 says, “Clockwise rotator SPP2.”

No. 4 is. “Accelerator input on fixed time increment and add velocity increment to VX and VY.”
No. 5 is, “Fire control causes missile to shoot at fixed speed relative to rocket in direction rocket is pointing. Output to CRT done by sorting position, line and data. Words into output area. An interrupt will be generated at end of each field to indicate.”

That’s it.

Q. Did you write the document of 40-15?
A. No, I didn’t.

Q. Do you know who did?
A. No, I don’t. I have been asking myself that. It could have been a guy named Larry Bryan who was going to do the software at that time.

Q. Do you know what the list of five items under the heading “system input” is?
A. Well, yes, I think it’s essentially all the things that we wanted to put into the system, you know, to make sure that we had enough input ports to play the game.

Q. Did Mr. Bryan generate this document 40-15 as a result of a special review?
A. If he, in fact, was the one that generated it, and I think he was, yes.

Q. Do you know when it was?
A. It was probably during the summer.

Q. Of 1970?
A. Yes.

Q. Was anybody other than Larry Bryan assisting you in the construction of your apparatus?
A. Ted Dabney.

Q. What part did Ted Dabney play in the construction, in the development, of that apparatus?
A. He was a good circuits guy. He ultimately designed most of the sound circuitry and the video amplifier.

Larry Bryan was the software man.
I was the hardware man and Ted was the analog man.

[NOTE – This is a major point of contention between Ted and Nolan. While all acknowledge that Ted did the sound and video circuitry, Ted maintains that he (Ted) did the motion circuitry described above while Nolan claims that it was his (Nolan’s) work. The motion circuitry is what Nolan’s patent covered – though as we shall see if I ever get to it, he claims that his patent was not based on work done for Computer Space.]
Q. Can you identify Exhibit 40-16?

A. A timing diagram to a Nova 1200 computer.
Q. Can you identify Document 40-8?

A. I think it was a pin designation of input and output for the interface unit to the computer. Yes, it’s a pin assignment.
Q. Did you write the document?

A. Yes, I did. Any of the documents that you can’t read are probably done in my handwriting.

Q. Can you identify Document 40-18?

A. It’s a timing diagram.

Q. Is that also of the Nova 1200?
A. I think so. I don’t really know what the difference between the two documents is. One might have been for the Nova 850 which was a faster machine. When we started getting into problems I thought it might have to go to a faster machine.

Q. Would you please identify Document 40-9?
A. It’s a Xerox of a Signetics integrated circuit, and why I’ve got it there I have no idea.

Oh, I know. That’s an interface chip. It’s the interface unit. I wanted to make sure that what I was feeding to the computer wasn’t going to blow it up. Yes, that’s what it was.
Q. Can you identify Document 40-5?

A. It looks like it’s part of the technical manual for the input-output bus structure for the Data General computer.
Q. Was that for the Nova 1200?

A. I believe it was.

Q. Can you identify Document 40-4?

A. Yes. That’s the pin-outs of the bus connections for the Nova 1200. These are all Xeroxes because before I had a chance to start talking to the Nova people I was scrounging around for a manual on it and there was only one in the plant that I could get ahold of.
Q. One in which plant?

A. Ampex.
Q. What do you mean by the term “pin-outs”?

A. Well, the bus is essentially the input ports and it tells what part of the computer is connected to what pin. You know, like is It an input port, an address port of interrupt port.

As an example, all I could use were the ones that were vacant, you know, upon the direct memory access. These are General Data bus structures.
See, you put input and output in terms of a word. You see these data A8, All, each one of these represents a bit in the data word.

Q. Can you identify Document 40-13?
A. Yes. It’s a page describing how the data channel transfers work with this particular computer. It’s necessary in designing the thing to really have that stuff well scoped out.

Q. Would this particular computer be the Nova 1200?
A. Yes.

Q. Can you identify Document 40-12?
A. This is an OEM discount schedule which tells you what your price would be depending on how many units you buy. I was trying to find some way to get them to believe me that I was going to take 200 units the first year so I could get a 40 percent discount, but I didn’t quite have that much guts. But I was projecting that if the item did very well there would be considerable savings in the computer.

Q. I believe you testimony is that sometime between January 26, 1971 and February 16, 1971 you decided not to use the central computer system?
A. Correct.

Q. What did you do after you decided not to use the central computer system?
A. I put my time into designing a very inexpensive and complex exerciser, if you would, that would essentially do the calculations and hardware. At that time I had had a very complex exerciser already going, but it took me quite a bit to get it up to the point where it controlled two objects. It was only good for one object at that point.

Q. “That point,” being the time you decided not to use the central computer system?
A. Correct.

Q. Did you eventually build that exerciser?
A. Well, I guess you can say that—What’s to say when something is complete? It was complete when it went into production at Nutting Associates. I mean, that was the first commercial result of that. But I could move objects around the screen before that time.

Q. What time did it go into commercial production?
A. We sold our first units in December of January of the following year. I guess that would be December ’71 of January ’72.

[NOTE – Numerous sources give a release date of November 1971 for Computer Space, but almost none of them give a source for the date. One that does is Michael Current’s excellent Atari timeline website, which lists the source as “Cash Box 11/27/71 ad p54; 12/4/71 p45”. I do not have either of these issues, but it looks like the November reference was an ad for the game. Ads/flyers typically first appeared in trade magazines about a month before a game was released. It is unclear if the December reference was an ad or an actual release announcement for the game. ]
Q. Did it go into production approximately the same time it was first sold?

A. Oh, yes.
Q. How long before it was first commercially sold would it have gone into production?

A. Well, I think we were trying to get some units out as soon as possible. We showed it at the show I think it was October-November, and as soon as we—we were hoping to have production units ready by then, but the just weren’t and the production units weren’t really ready to ship until that December.
Q. At what show did you show it?

A. Music Operators of America.
Q. Where was the show held?

A. It was a hotel in Chicago. The Palmer House, I believe.
Q. When you say you showed it at the show, was there an operative game there at the show?

A. yes, there was. But it was a lash-up. I carried the computers in my suitcase to the show and we had shipped the cabinets ahead and brought the computers in and installed them and babied them through.
Q. When did you commence your employment with Nutting Associates?

A. I think it was March or April of ’71.
[NOTE – According to Goldberg and Vendel, Nolan started working at Nutting in March of 1970, not 1971. To me, the 1971 date seems more plausible given the information in this deposition (i.e the fact that they were still writing letters to Data General in January and February of 1971) and assuming its accurate. It also seems a bit implausible to me that the worked on the game for Nutting for almost two years before releasing it, but it was sort of a side project and Nutting was inexperienced, so maybe. The claims in the deposition seem to fit better with Nolan visiting his dentist in February 1971 rather than February 1970 as reported in Business Is Fun. OTOH, Marty and Curt generally have solid documentation to support their dates, and it may be that they have such information in this case and maybe Nolan is a year off in his dates.]

Q. I think you testified that you took the computers in a suitcase. What computers are you referring to that you had in your suitcase?
A. That ones that were built for Computer Space.

Q. When was the first time that you had a completed apparatus on which you could play the Computer Space game?
A. You say the Computer Space game. There was a lot of variations and modifications to it.

Q. When was the first time at which you had an apparatus completed on which you could play any version of Computer Space?
A. Oh, it was probably April or May of ’71.

Q. In connection with Exhibit 40-15, I think you said that you wanted to make the system so you could play Spacewar or other games. What other games did you have in mind at that time?
A. Well, I had in mind, you know, various sports games, various arcade games that I had seen in school, you know, when I was at the amusement park. I was thinking particularly of baseball. I was also thinking of hockey.

Q. Do you have any documents which would show the games that you contemplated using with your system at that time?
A. Yes, I do. Now, these are some of the files, some of which are missing, and I don’t know why I’d have these and why I don’t have the others or why I have any at all. I think most of the others are at Nutting. I also have my book in which I have just essentially some of my cost estimates on the Nova and the PDP-8. This is the company that I rented some time on a 16K Nova.

Q. Before you go any further, these files, I gather you were pointing to four files, the first one marked “File No. 9
Q. Was that the same agreement as the agreement relating to Computer Space?

A. No. It was an employment agreement that Nutting had.
Q. Was there a separate agreement from the employment agreement which dealt with your retaining rights to video technology?

A. No. That kept my rights to video technology.
Q. That is, the employment agreement?

A. Right. The agreement that specified the rights that I was conveying to Nutting was in a separate agreement which spelled out the payment terms and things for Computer Space. I was listing each game individually.
Q. Were there any agreements on any other game than Computer Space?

A. Yes. We had an agreement on a game called Two Player Computer Space.
Q. Were there any other agreements relating to games with Nutting?

A. No, there weren’t.
Q. Can you describe for us the game Two Player Computer Space?

A. It was essentially two rocket ships fighting one another in a star field. It’s much close to Spacewar than Computer Space was because it didn’t have the computer-operated flying saucer. Or it did have it. It was one or two-player. You could play against the computer or you could play against the other rocket ship. Computer Space was just a single-player game and could only be played by one person.
Q. Did Nutting ever commercially manufacture the Two Player Computer Space game?

A. Yes, they did.
Q. Do you know when the commenced this manufacture?

A. I think it was shortly after I left. Not shortly after I left, I think it was the following fall.
Q. For how long did they manufacture that game?

A. I have no idea. It was my impression that the game was a mistake. I didn’t think it was a good idea. It was one of the items preceding the disagreement on which I left. I think history bears me out that I was right on it.
Q. Did they manufacture it for a period or months of a period of years or—

A. I have no idea.
Q. Do you know how much they sold that game for?

A. I think it was $1500 or something like that. Very expensive.
Q. Nutting, I assume, did commercially manufacture the Computer Space game?

A. Yes, they did.
Q. Do you know how much they sold that for?

A. Yes. They started out at $1,295. Or was it $1,195? Something like that. It was either $1200 or $1295. I think they later dropped the price to $950.
[NOTE – This is one of the few semi-contemporary references I’ve seen to Computer Space’s sales price. I’ve seen some accounts that indicate a price of around $3,000 or more, which seemed way too high to me. Benj Edwards (normally very accurate and one of the best writers on early video game history out there) at one point seems to use a price in this range when trying to estimate Nolan and Ted’s Computer Space royalties.

Nolan’s figure of around $1200-1300 seems more plausible to me Bear in mind, that he was likely referring to the distributor price, not the operator price. Distributors generally marked a game up by 30% or so when selling to operators. At some other point in the depositions, it was mentioned that Nutting had a brochure at the MOA promising a price of under $2000.]
Q. I think you testified earlier that they started their commercial production in either December of ’71 or January of ’72?

A. Correct.
Q. Do you know how long that game was in commercial production at nutting?

A. I think they produced that through the following fall. I think they produced Computer Space up until they got Two Player Computer Space into production.
Q. Do you know you many units of Computer Space they sold?

A. I think it was about 13 to 15 (hundred) units. Since I got a royalty on it I probably have the figure around somewhere for sure.
[NOTE – the actual transcript says “13 to 15 units.” There is a handwritten word about the “13 to 15.” It is illegible, but looks like it says “hundred.”

The number of units Computer Space sold has been variously reported as 500-2200. A number of sources, including Goldberg and Vendel, report a figure of 1500, which I consider to be the most reliable figure. Some sources report a production run of 1500, but indicate that Nutting actually sold less. The 1973 student documentary Games Computers Play also cites a 1500 figure (probably the first instance of that figure, or any figure, being cited), but I don’t remember if it was the number produced or the number sold.]
Q. Do you know how many units of Two Player Computer Space they sold?

A. I have no idea.
(22 lines missing?)

Q. After you left Nutting, what was the first video game that you think you worked on?
A. A game called Asteroid.

Q. Was it known as Asteroid at the time you started working on it?
A. That’s what we called it around the company.

Q. Was that similar to the game that was finally sold under the designation Space Race?
[NOTE – This is quite interesting to me. As most of you probably know, Midway’s Asteroid was basically the same game as Space Race.

As revealed in depositions from Bally/Midway executives (John Britz and Hank Ross), which I hope to post in the future, Asteroid/Space Race is actually the game that Nolan/Syzygy delivered to Bally in fulfillment of its video game contract. Contrary to what some have claimed, when Bally officially turned down Pong (though Midway later licensed it), it did not void Nolan’s contract. Instead, he ended up fulfilling it with Asteroid/Space Race. Midway used the original name when releasing it. When Atari later came out with Space Race, Midway indicated that this might have constituted a breach of contract on the part of Nolan and they ended up dropping the 3% royalty specified in the contract as a compromise.]

A. That’s correct. You will find in our papers that we often have an in-house code name that doesn’t always come to market under that name.
Q. Is that name also known as VP-2?

[NOTE that Pong was VP-1]
A. Yes, it is.

Q. What was the next game you started working on after Asteroid?
A. It would have to be the game which is now called Pong. Maybe for classification here there were three of us that were technical.

Q. “Three of us” in what that were technical?
A. Well, three of the employees of the then Syzygy Company were technical and we each had our projects. Mr. Dabney had the pinball projects which was part of the contract engineering for Bally Corporation.

I had the Two Player Computer Space design for Nutting as well as the Asteroid design. The Asteroid design, incidentally, had been actually started before Computer Space because of the star field and all the other stuff. We thought that the first game should be Computer Space, but it was an easier game to do and we probably should have done that as our first entrance but we didn’t. So it was just really picking up on that design and rejuvenating it.
Mr. Alcorn, when he came aboard, his first project was to build a simulated tennis game. I only did about two days’ work on Space Race because I got bogged down in administrative details and running the company other than design and was able to finish up the Two Player Computer Space for Nutting, but Mr. Alcorn ultimately finished the Space Race design.

[NOTE – Bushnell here claims that Space Race was not only started before Computer Space, but also that it was the first game he worked on after leaving Nutting, though he only did so for a few days. Maybe it’s just me, but I find that interesting – especially since I’ve never seen it mentioned anywhere else before.]
Q. When did Mr. Alcorn come on board?

A. I don’t know. I can check the records. It’s in the spring. It was shortly after leaving Nutting.
MR. ETLINGER: What year would that be, ’72?

THE WITNESS: ’72.
MR. WILLIAMS: Q. Shortly after you both left Nutting?

A. Yes.
(half a page missing?)

When you are a little company you think that model numbers are kind of window dressing.

Q. So the numbers were assigned sometime after the work on the machines actually began?

A. Yes.

Q. Did you give Mr. Alcorn the assignment of designing a simulated tennis game?

A. Yes, I did.

Q. How did you give him the assignment, was it orally or inwriting?

A. It was oral.

Q. Do you know when you gave him that assignment?

A. The day he came to work.

Q. Can you state what the assignment was?

A. Well, I told him to make a tennis game. I wanted the ball to go back and forth horizontally. I wanted two men, two little men with rackets to move around the play field controlled by a joy stick with a button on top and when the button was pushed the little racket in the man’s hand goes like that (indicating).

[NOTE that Bushnell says he initially wanted little men on the screen, not just paddles, and that he originally wanted to use joysticks.]

Q. Indicating a striking motion?

A. Right. And that after a point is scored the ball would appear on the screen and you would have to move your man behind it to serve and bat the ball to the other side; that each time a point was scored you would hear a sound of a crowd of thousands cheering, which is an electronic circuit that you can make that does sound like "Hurray," you know, applause, and I wanted a distant "pop" when the ball hit and I wanted the ball to make a different sounding "pop" when it hit the floor or the sides.

Q. Was Mr. Alcorn successful in developing a game as you have just described?

A. It's hard to say. We worked very closely at the time and the game came together. Designing a game is kind of like drawing a picture and you initially make the big outlines and then the game is refined and refined and refined sort of like coloring in the sections.

I would say the first thing that's done is the sync generator is built and the ball-motion circuitry is put together. After that the paddle control is put in. Well, in an XY joy stick it's just a linked potentiometer so in a lab environment you generally don't go right to a joy stick. You go to two pots. Before you go to two pots you go to one pot.

We looked at the first thing that we had up on a screen which was essentially a rectangular blob which would later be cut by a diode matrix into the little man and the ball. But you could also--you know, it's very easy to make it so that when the ball and the paddle intersect instead of waiting for the computer to detect the hitting motion, that it just automatically bounce off.

That's the way we did the initial one. It didn't play badly, you know. We played it a little bit and found that the game was kind of fun. The problem we had was that the ball speed was very high at the time and we had trouble returning the serve. So we said, "Hey, let's play this a little bit more. Let's slow-the ball down."

Mr. Alcorn slowed the ball down and we played it some more and now we could get the serve back, hut the game was kind of dumb. I mean, it wasn't that much fun, you know.

Oh. I'm leaving out one thing. In this kind of a hitting motion we wanted the racket to do—

Q. The striking motion?

A. The striking motion. If you struck the ball when your paddle was in this direction--
(indicating.)

Q. That is angled upward?

A. Angled upward, we wanted the ball to go up. If you hit it with the paddle perpendicular we wanted the ball to go straight over and if you hit it · while it was in this thing obviously the ball would go down (indicating).

Q. That is with the paddle angled downward?

A. Right. So we had various angles that the ball could have would be selectable. So we just selected which angle it bounced based on where the paddle was. That was in the game, but later it was going to be refined to detect coincidences of when the paddle moved, you know, where it was so that it was not just a, you know, get-in-front-of-the-ball kind of game, but a ball hitting the paddle, you know, where it was. So that was in the game. It played pretty fun, you know, it was pretty good. But, again, the ball now was too slow, and we said, "Well, if it's too slow, you know, if it needs to be slow to return the serve, but it needs to be faster after you get good to be fun." I said, "Well, why don't we just count the volleys and speed the ball up as a function of volley increase." So that's how that came into being. That was not part of the original design specification that I gave to Mr. Alcorn. So we put that in and it was fun. It was a good game.

Then we got into a big hassle. Mr. Alcorn didn't want to put the crowd of thousands in. He thought that it was a waste of time. He says, "Why not just a nice raspberry sound, sort of like (demonstrating) you know," and he said he could do that a lot cheaper.

I said. “Okay, put in the raspberry sound when it misses.” It was my idea that I wanted to cheer on the winner rather than badmouth the loser. But he prevailed on me. So the honk sound was put into the game on a miss. Digital scoring was put in. The game played pretty well. So we said, thinking in the back of our mind, "Hey, we’ve got this. We did it in a hurry. Let's give this to Bally satisfying their contract, their contract engineering. Then we can get off and get doing some of our own stuff.”

[NOTE – Pong was strictly a two-player game, so when one player scored a point, the other player missed. I think the fact that Nolan wanted to accentuate the positive while Ted wanted to highlight the negative says something about their personalities, but maybe that’s just psycho-babble.]

So this was a full six months ahead of schedule from when we were supposed to do it. So I thought, "Gee, this is great. The money is still rolling in and we will have satisfied our contract and happiness and bliss will reign in California." So I hopped on an airplane with the prototype, took it to Bally, showed it to Mr. Britts [sic – it’s actually “Britz”] and Mr. Lally who is, I guess, the vice-president of engineering at Bally.

Neither one of them liked it. The contract was so written that they could refuse--you know, that I had to provide to them an acceptable game, something that they accepted. So they said, "Aw, you have to have two people to play it. Who's going to pay a quarter to play ping pong on a TV screen," so on and so forth, "Go back to the drawing boards, Nolan."

So I did. I climbed back on the airplane very dejected because I thought it was a great chance to get off. I said, "Well, hell, we've got this game, it's designed. Let's put it in a cabinet and see how much it earns."

[NOTE that this is another bone of contention. Ted claims that it was his (Ted’s) idea to become a manufacturer, or at least that he was the main one pushing for it, while Nolan and Al were reluctant. Nolan and Al both say that it was Nolan that pushed for it while Al and Ted were reluctant.]

We did that. It earned very well. We all jointly made the decision that we were going to hock everything we had and gointo production. So we figured out exactly how many units we could buy the parts for and hopefully have them sold by the time we had to pay for the parts. We had developed a little bit of credit in the valley at that time and so we made our first order for 75 units which at that time represented about five times as much money as we had or had hoped to even get. We made sure that the parts came in all on the same day so that we could essentially get them all built in a very big hurry and out and sold.

[NOTE that other sources, including Nolan himself in future interviews, claim that after the prototype, Syzygy initially produced around a dozen units. After they were sold (or at least 10 of them), they scraped together everything they had and produced 50 more.

Also, I got the impression reading Business is Fun that the units all coming in at once was by happenstance, not design.]
We did it and we were successful in being able to sell the machines, and with that money we made a re-lease for I think 300 at that time which was out of sight because we were in, you know, 1500 square feet of building. We ended up doing an awful

lot of assembly out in the parking lot. But that's essentially what happened.

MR. WILLLIAMS: Let's take a short recess.

(Short recess)

 

--

That’s it for this time. Next time, we’ll hear about Nolan’s famous visit to the Odyssey demo in 1972.

In the meantime, here are a couple of goodies.

First up are these two photos of Nolan from the 1963 Utah State yearbook (“The Buzzer”).




 

Next is a letter that Nolan sent to Bally’s John Britz on July 10, 1972.








Two things that jump out:

1) Note Nolan’s claim that he will be delivering a hockey game in fulfillment of the video game portion of the contract. From the description, this is not just his term for what became Pong, but is a far more sophisticated game that involved actual goaltenders, the incorporation of ice effects etc.
The interesting part is that this goes seems to contradict the standard story that Nolan originally intended to deliver a driving game and only assigned the tennis game to Alcorn as a training exercise and warm up for the driving game. OTOH, the standard story is very well attested by all three principals (Nolan, Ted, and Al). Nolan himself doesn’t recall writing this letter so we’ll probably never know exactly what was going on with the hockey game.

 

2) Note that Nolan uses the term “video game” twice in this letter. This is the very first instance I’ve found of the use of that term, which is normally dated to 1973. Of course, etymology’s usually rely on public uses of a term, not uses in private letters, but it still mildly interesting.



Annotated Atari Depositions - Part 5

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Today, we continue with Nolan Bushnell's depositions from January 13 and 14, 1976.
 
MR. WILLIAMS: Q. As I understand your prior testimony, the game which eventually was known as Pong was· developed after you entered into the agreement with Bally Manufacturing?

A. That's correct.

Q. And Mr. Alcorn did not start working on the game until after that agreement was entered into?

A. That's correct. I think so, yes. I can't remember the exact chronology, but it was in the space of a week or a month or something like that.

Q. I have here a copy of Bushnell Exhibit 2 which was marked as an exhibit during your deposition in July of 1974. The first…

<26 lines missing>

Q. Have you ever seen a demonstration game sold by Magnavox under the name Odyssey?

A. Yes. I have.

Q. When did you first see such a game?

A. I saw it at some kind of distributor meeting or showing that they had in I think it was the Airporter Hotel by the San Francisco Airport, I don’t remember the exact date.

[Note - The exact date was May 24, 1972 at the Airport Marina Hotel in Burlingame. Below is a photo of Nolan's signature in the guest book for the event - taken from Goldberg and Vendel's Atari Inc.]
 
 

Q. Do you remember the approximate date?

A. No. I think Magnavox probably knows when it was better than I do.

Q. Do you recall whether it was prior to the time that you entered into the written agreement with Bally?

A. Yes, it was prior to that. It was while I was still employed at Nutting.

Q. So you must have seen it prior to the time that you instructed Mr. Alcorn to develop the game which subsequently became Pong?

A. That’s true.

Q. Did anybody else go with you to the distributor meeting?

A. Yes. I think it was either Mr. Ralston or Mr. Geiman or maybe both.

[Note the two other Nutting employees who attended were Rod Geiman and Charles Fibian.]

Q. Ralston?

[Note - the transcript misspells his name. It was actually Dave Ralstin (with an "I")]

A. Yes. He was the sales manager for Nutting.

Q. How do you spell Geiman?

A. G-e-i-m-a-n, I think.

Q. Did you go there as part of your employment with Nutting?

A. Yes, I did.

Q. Were you asked to go there?

A. Yes.

Q. By whom?

A. I think it was by Bill Nutting. I mean, either him or Geiman. They had heard about it, that it was a video game, and since we thought we were the only show in town we thought we would like to see what was happening.

Q. Do you recall what you saw at the demonstration?

A. Yes. I saw a game. I believe I saw a handball game or, you know, the thing that they called handball and the ping pong game.

Q. Did you see any other games at that demonstration?

A. They had the rifle there, but it wasn't working.

Q. Did you see any other games operating other than handball and ping pong?

A. No, I didn't.

Q. Could you briefly describe the ping pong game that you saw?

A. Well, it was, you know, the light spot that moved back and forth when you hit it with the paddles.

Q. The light spot was on the face of the television screen?

A. Right.

Q. And the paddles were also displayed on the face of the television screen?

A. Right.

Q. How did they appear?

A. They were square blobs

Q. Were there any other objects on the screen other than the paddles or the light spot?

A. Not to my knowledge.

Q. Was there a line down the center of the screen?

A. I don't remember.

Q. Did you play the game that you saw?

A. Yes, I did.

Q. Was there just one Odyssey unit being demonstrated or were there a number of them?

A. I believe that there was only one.

Q. Which one of the games that you saw did you actually play?

A. I think I played both of them.

Q. Do you recall how long you were at the show?

A. No, I don't., It wasn't very long. Ahalf-hour.

Q. Did you discuss what you saw at the show with anybody associated with Nutting?

A. Yes, I did.

Q. Who did you discuss it with?

A. Mr. Ralston, Mr. Geiman.

Q. . Did you  discuss it with Mr. Nutting?

A. I think on returning I did.

Q. What was your discussion with Mr. Nutting?

A. Oh, I just said that it was, you know, a home unit, not very interesting to play, no competition.

Q. Did you have any further discussion with Mr. Nutting about the Odyssey unit?

A. Concerning that? Oh, I can remember telling him that I didn't think that it used the kind of circuitry that we had. The motion was a little too erratic to be digitally manufactured.

Q. What did you discuss with Mr. Ralston relating to the Odyssey unit?

A. Pretty much the same thing, that I didn't consider that it was--you know, that it would ever be competition for us in the coin-op. That it was, you know, not a good game.

Q. What did you discuss with Mr. Geiman?

A. Pretty much the same thing.

Q. Did you discuss the features of the games as might be applied to coin-operated games?

A. No, I did not.

Q. When did you first meet Mr. Ted Dabney?

A. I guess the first day that I interviewed with Ampex.

Q. Did you discuss the Odyssey unit with Mr. Ted Dabney?

A. I must have. I mean, he was working at Nutting at the time

Q. Do you recall what that discussion was?

A. No, I don't.

Q. What was Mr. Ted Dabney's position at Nutting at the time?

A. I think he was an industrial engineer.

Q. When did you first meet Mr. Alcorn?

A. While he was employed at Ampex.

Q. Was Mr. Alcorn employed at Nutting also?

A. No, he wasn't.

Q. Was he employed at Ampex up until the time he started working for Syzygy?

A. No. Well, I hired him fromAmpex, but from the time i knew him at Ampex he was on a work·study program and I think he, upon graduation, went to work for another company in Los Angeles before returning to Ampex.

[Note: the company Al worked for was Peripheral Technologies, Inc.]

Q. Prior to the time you saw the Odyssey game at the distributors' meeting you were just referring to, had you learned of the existence ofthat game?

A. Through word of mouth somebody said that there was a game going to be shown up there. I believe it was Mr. Nutting who had learned of it first.

Q. When did you first learn of that game?

A. When Mr. Nutting told me.

Q. Can you place that in time, say, with relationship to when you went to the distributor meeting?

A. It was probably like a week in advance.

Q. What did Mr. Nutting tell you when he told you about the game?

A. He says, "There's a TV game by Magnavox I've heard of." He didn't know what Magnavox had on their mind. We were afraid they were going to compete with us in the coin-op. He.thought we should find out what's happening.

Q. Did he describe the types of games that you could play on the Odyssey unit at that time to you?

A. I don't believe he knew. I'm not sure. I really don't remember.

Q. Prior to the time when Mr. Nutting told you about the Magnavox game did you have any knowledge of any activities of any other companies in the field of video games?

A. None. Oh, let me take that back. There was a company that was attempting to do a Spacewar using a mini computer, and I believe we were aware of that. Somebody in Menlo Park.

Q. Do you know the name of that company?

A. No, I don't.

Q. Do you know the name of anybody associated with that company?

A. A guy named Bill Pitts.

Q. So as of the time when Mr. Nutting told you about the Odyssey game you had no knowledge of any activities by any companies other than Nutting or the company of Mr. Pitts relating to video games?

A. Correct.

Q. When did you first learn that Sanders Associates was doing work in the field of video games?

A. I believe that was subsequent .o my finding out that Magnavox had a patent and upon seeing the patent I saw that it was assigned from Sanders Associates.

Q. When did you find out that Magnavox had a patent?

A. It was sometime after I came back from Chicago. I think one of the guys from Bally said that there was a Magnavox patent.

Q. Was that after the time that you went to the distributor meeting and saw the Odyssey game?

<31 pages missing>

Associates?

A. It was after.

Q. As I understand your testimony yesterday, the game apparatus which you commenced building in 1970 along the lines indicated in your prior paper that you wrote while at the University of Utah was intended to use a raster scan cathode-ray tube display system?

A. That's Correct

Q. When did you first decide that you wanted to use a raster scan cathode-ray tube display system in that apparatus?

A. Probably it was coincident with the time that I decided to pursue this on an active basis.

Q. What time was that?

A. It was the early spring.

Q. Of 1970?

A. Yes.

Q. For what reason did you decide to use a raster scan cathode ray tube display instead of some  other t:rpe of cathode ray tube display system?

A. I felt cost, and, you know, it was a consumerized manufacture version rather than a scientific item. It was just a more cost effective solution.

Q. That is, the cost of the raster scan system was more cost effective than some other type of scan system you might have used?

A. Any other system I knew of.

Q. In the monitor system which you did actually build what apparatus did you use for the cathode-ray tube display portion?

A. Oh, I used an old--it was either a Dumont or a Sears, Roebuck television set and I also used a small Miratel monitor. I really used both of the units in the development.

Q. Did you use the TV set that you referred to in the first part of the development and then switch to the Miratel monitor, or did you use them both at the same time?

A. I think the Miratel was used first.

Q. Was there a model number on that?

A. There probably was. I have no idea what it was. It was gray, about that long (indicating) and had about a 10-inch screen.

Q. About how long did you indicate?

A. About two feet.

Q. Where did you obtain the Miratel monitor?

A. We bought it from a surplus scrap dealer in Mountain View.

Q. Why did you stop using the Miratel monitor and go to the Dumont or Sears, Roebuck TV set?

A. Well, the Miratel was a high resolution 525 line machine and I think it had like a 10-megahertz video amplifier in it and we wanted to see what our machine looked like on a crappy standard consumer--we also wanted a bigger screen.

Q. Was the TV set which you used one which was capable of receiving television broadcast signals, at least prior to the time you started using it?

A. Before we got it, yes. After that we disabled the other junk in it.

Q. What part of the TV set did you disable?

A. Well, we just tied into the video amplifier. That's so that the IF and RF sections were not used.

Q. Did you make any other alterations to the TV set?

A. I think we used the audio amplifier as well.

Q. Did you modify the audio amplifier any?

A. I can't remember. I think the set was slightly over-scanned.

That's the end of the testimony I have from January, 1976. I also have depositions from 1974 and March 1976. I will probably start with those next time.
 
In the meantime, here are a few photos.
 
First, here's Bill Nutting from 1944:
 
 
 
 
Here are some marquees from some unreleased Bally/Midway games that I found on the web (I think the first two are from Arcade Heroes).
 
 
 

Speaking Willie Lump Lump, here's a picture of a promotional keychain for the game that sound designer Bob Libbe sent me.

 



Here is some concept art for Mothership and Earth Friend from Bill Kurtz's Encyclopedia of Arcade Video Games. At least Kurtz calls it concept art. The first one looks more like a marquee to me.
 The idea for Mothership came from Marvin Glass & Associates - a toy firm that did some video game design work for Bally/Midway. Mothership later turned into Kozmik Krooz'r by Midway's internal design team.

Earth Friend (aka Earth Friend Mission) was designed at Dave Nutting Associates but never released - though it was tested in the Chicago area.  It was supposedly a color vector game.
 
 
 
 
 Here is some concept art for another unreleased game called TankMaze that artist Steve Ulstad sent me.

 

 
 Finally, here is a cabinet for another unreleased Bally/Midway game called Aerocross. At least one is from Craig's List.


 



The Prehistory of esports - The First Video Game World Record?

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In today’s post, I take another look back at what I call the “prehistory” of esports. I have tackled the subject before in posts about the American Video Athletic Association, the Atari $50,000 Centipede tournament, the Electronic Circus, the 1974 All Japan TV Game championship and others. Sadly, this era is barely covered in what few histories of esports have appeared (and there have not been many). And in the few instances where it is covered, it is not covered in any depth. For instance, aside from the Centipede tournament, I have never seen any of the topics above even mentioned, much less covered in even cursory detail.
Today, I cover another possible seminal moment in the history of esports that I have never seen mentioned. Actually, I did not discover this one on my own. Marty Goldberg brought it to my attention when he sent me a short UPI article on the incident, prompting me to investigate further. So what is the incident? It was possibly the first serious attempt – or maybe the first attempt period – at a video game world record.

No, I am not talking about Steve Juraszek or Greg Davies or Atari’s 1980 National Space Invaders Championship. This one goes all the way back to May 1975 where Roger Guy English tried to get into the Guinness Book of World Records by playing a video tennis game for seven days straight – or possibly five (the details are a bit hazy as we shall see). Actually, English was already in Guinness – or about to be – at the time he made the attempt, as you can see from the UPI article below.

This article appeared in a number of papers around the country, but this is the earliest one I’ve found. It's from the May 11 issue of the Hayward Daily Review. It's also the one Marty sent me. English also claims that he once had a record for setting the most world records with nine (including the record for most records itself). But before we get into the details, let’s backtrack a little.

So who was Roger Guy English? English was born in 1950 and at the time of the attempt, he was living in La Jolla (a neighborhood in San Diego). One of English’s first loves was movies. In 1959, he started collecting movie posters after he got a poster for On the Waterfront from a local theater. By 1970, he had amassed a collection of 10,000 of them. He also had a movie museum in his garage and made annual trips to LA to see the Academy Awards, sometimes brining along a carload of friends. Hoping to make a career out of his passion, English studied cinematography at Mesa College in San Diego – though I don’t know if he graduated. He later studied literature at University of California, San Diego and wrote two, apparently unpublished, novels (one called “Don’t Stop the Rock”). Perhaps Roger’s first taste of national fame came in 1970 when he and a cousin hiked 2,000 miles from San Diego to Vancouver, British Columbia to promote ecological awareness. The trip took just over two months and earned mentions in a number of newspapers.



Roger and his cousin (though it may have been a friend) Valerie Mayers after their ecology walk - from the San Diego Union, October 29, 1970.

 In 1974, Roger was running a store in Pacific Beach called American Graffiti that sold nostalgic memorabilia. According to English, the incident that led to his year a serial record breaker came when a friend who owned a nightclub called and told him that the club was going bankrupt and asking for help. After racking his brain for weeks English came up with the idea of setting a world record for dancing the twist in the nightclub. Just as he was about to start, however, the police told him that there was a state law prohibiting anyone from doing anything for more than eight consecutive hours in a 24-hour period. Relieved, English called the attempt off, but when the story made headlines and people began organizing protests at the county courthouse, English decided to defy the police warning and go ahead with the attempt. From July 11 to 16 1973, he spent 102 hours, 28 minutes, and 37 seconds twisting the night (and the day, and the night and the day…) away and the resulting publicity made him a local celebrity. The attempt was later the subject of a question in Trivial Pursuit, Baby Boomer Edition.




From the 1977 edition of Guinness


Before long, others began calling English asking him to do similar publicity stunts to promote their businesses. For his second stunt, he decided to break the record for voluntarily going without sleep, which was then 11 days, 18 hours, and 55 minutes by Bertha Van der Merwe of South Africa. This time, the goal was to promote a local store called the Love Shop Waterbed showroom. English broke the record by staying awake for 12 days on a waterbed in the window of waterbed store from 10:30 a.m. on March 20 to 10:30 a.m. April 1, 1974.




After that, he set his sights on the record for treading water to promote the heart association. After just five minutes, he was exhausted and thought about giving up. If he did, however, he would lose the momentum he had built up. So he pressed on and treaded water for 18½ hours. If it was a record, it did not last long. In August 1975, Pete Bahn Jr. shattered the record by treading water for 41 hours and 11 minutes.
            In late April 1974, English participated in the Oddball Olympics in LA where he tried to set a record by singing for 75 hours – though it appears that he was not successful. Another unsuccessful attempt involved kite flying. If treading water had been difficult, another record was anything but when English kissed 3,000 girls in 8 hours
[1]. For his next feat, starting in August 1974, English swam the length of the Mississippi River from Minneapolis to New Orleans - though it is not clear if he finished. On December 27, 1974, Bank of America paid English $500 an hour to tell jokes for five hours and 15 minutes at the Winner’s Circle Lodge north of Del Mar. He claims he did not get a single laugh.

From the 1977 edition of Guinness



English in 1974, from the San Diego Union



            For his video game attempt, English set up shop in a mobile radio station at a shopping center, where he spent seven days and five minutes (though English says it was five days) taking on all comers before calling it quits on May 10. During his marathon session, English squared off against over 30,000 spectators, an anteater from the San Diego Zoo, and employees of KFMB radio station. English claims that he got so good at the game that he was able to beat two opponents at once while playing only with his toes.
   The big question for me is what game English played. Was it an arcade game or a home game? The above article refers to th game as “Pong” but it is unclear if they meant Atari Pong or Home Pong or some other Pong clone (the term "Pong" was sometimes used for ball-and-paddle games in general).. English claims that the attempt was intended to promote the introduction of the game. This makes it unlikely that it was Atari Pong and the date also seems a bit late for Home Pong. It could have been that he was doing a promotion for a department store etc. that was introducing a new console. If it was an arcade game, the May date and the fact that it was in San Diego make me wonder if it could have been Cinematronics' first game Cinematronics was founded in April, 1975 and could well have released their first game around this time.
    Perhaps even more interesting is the UPI article's claim that KFMB was the “sponsor of a countrywide ‘Pong-a-Thon’ tournament to determine who will represent the city in national competition.” Could this have been the first nationwide arcade video tournament in the US? (there was one in Japan in 1974). I've always suspected that there must have been at least a few Pong tournaments somewhere. Unfortunately, I have found no other reference to this one and am suspicious that it ever existed. The name 'Pong-a-Thon' sounds to me like a description of English's record attempt itself. On the other hand, the article specifically mentions a "national competition."
   As for the record, while English indicates that it made it in into Guinness I could not confirm that it did. Unfortunately, while my local library has almost every pass edition of Guinness, including the 1975 and 1977 editions, it does not have the 1976 edition (I have ordered a copy and it should arrive shortly). I could only find three records for English in the 1977 edition (staying awake, twist dancing, and kissing) and found no mention of a video game record of any kind – though I could have been looking in the wrong spot. Whether it made the official record books or not, however, it may well have been the first attempt at a world record involving video games.

Note – for more information on Roger, you can watch 2006 documentary “The Spectacle Artist”: https://www.youtube.com/watch?v=g5l1LzoYSD0. He discusses the video game record at the beginning of part two.

Aside from the article above and Guinness, primary sources include several issues of the San Diego Union. Oddly (given that the attempt was made in San Diego), while I found a number of articles on English’s earlier attempts in the Union, I didn’t find one on his video game attempt, or any articles on him at all in 1975 or 1976. Perhaps it is an issue with Genealogybank’s indexing of those issues. 

[1] English claims that the kissing record was his eighth record (which automatically gave him his ninth record for most world records) and that it occurred after his video game and swimming records but the record was reported in an April 29, 1974 newspaper story. The Guinness Book of World Records included the record, but did not indicate when it occurred. The UPI story claims that English kissed 2,892 women in 24 hours but that Guinness rejected the attempt – though this seems to be false given that the record was in Guinness.
 

The etymology of "video game"

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One subject I have toyed with addressing on this blog is the subject of what was the first video game or who created the first video game. So far, however, I have avoided tackling the subject, primarily because it generates so much rancor. There are not many “religious” issues in the history of video games, but this is one of them. And as with many such issues, those on one side often denigrate those on the other with epithets and accusations of incompetence, or worse. While I am not going to get into the issue here, there is an ancillary issue that shouldn’t generate as much heat – when was the term “video game” first used.

            First, let’s look at some standard sources for etymology. The Online Etymology Dictionary does not have an entry for “video game” but the entry for “video” notes, “video game is from 1973.” Dictionary.com’s entry for “video game” cites the Random House Dictionary (unabridged) as tracing the origin of the term to “1970-1975” – not very helpful. Merriam-Webster’s Collegiate Dictionary, 11th Edition also traces “video game” to 1973, as does Third Barnhart Dictionary of New English. But let’s cut to the chase. What about the Oxford English Dictionary and its extensive etymology citations? The second edition of the OED also traces the term to 1973 and lists as its first citation an article from the November 10, 1973 issue of Business Week. The section cited in the OED reads, “
The astonishing ability of the video game to lure quarters from the public and the electronic techniques used in its design are forcing major changes on the coin-op industry.” The term is used seventeen other times in the article, including in its title (“A red-hot market for video games”).

 
 

            Not to demean the OED, but surely we can do better than that. The OED probably does a fine job with tracing the first known usage of words from a century or more ago but I’m not sure how thorough they are in scouring sources for newer words. More importantly, we can look at sources that the OED editors almost surely did not, like game flyers and trade magazines. Before we do, however, some might wonder why I just don’t look up the term in Google NGram or an online newspaper archive. Wouldn’t that be the best way to settle the question? Actually, no it wouldn’t for a number of reasons. One of the biggest is that a raw search for “video game” or “videogame” doesn’t really help much since those words were used together long before 1973 in contexts that had nothing to do with electronic video games. To cite just one example: an article from the August 8, 1953 Long Beach Independent is titled “Tigers s. A’s – Video Game for Today”. A second problem is that even when an article does use the term “video game” to refer to an electronic game, the date given for the publication is often incorrect. Again, to cite but one example, a newspapers.com search for “video game” turns up an ad from the “28 Nov 1896” Laredo Times for an “Atari 2600 video game.” The indexed date is obviously wrong – it was actually the 28 Nov 1986 edition. While this was a mere number transposition and I could tell it was wrong by looking at the synopsis, other erroneous dates are not so easy to recognize and require opening up the images. The same kinds of errors are found in all of the online databases I checked, including NGram. While NGram does a better job, it still has these kinds of errors – only in Ngram the actual publication date is often much more difficult to identify (all the pre-1974 dates I checked in Ngram were erroneous – though I didn’t check them all). In addition, these two types of errors occur so frequently that it makes filtering them out so time consuming as to render the online sources as of little use.
            So how about a different tack? Another way to tackle the problem is to look for specific systems and see if the term “video game” was used to describe them. Since we know the term was used by at least November 1973, let’s look at two major video games that came out before 1973. – the Magnavox Odyssey and Computer Space.

Odyssey

I have not found any source referring to the original Odyssey as a “video game” or “videogame” prior to 1973. Not, AFAIK, has anyone claimed that the term was first used to describe the Odyssey. Even Ralph Baer, who was quite insistent that the Odyssey was the first “videogame,” never, to my knowledge, claimed that the term was first used in reference to the Odyssey. Note that Baer used the one word term “videogame” rather than the more common “video game.”
Baer’s original 1966 description of the game referred to it as “TV Gaming Display,” while later documents (which were reproduced in Baer’s Videogames: In the Beginning) from the 1967-1972 period call it a “TV Game.” None of the various patents that Sanders filed between prior to 1974 used the term “video game.” Instead, they usually called it a “Television Gaming Apparatus.” Ads for the system referred to it as and “electronic game,” as did most early articles.

Here’s an article from June 5, 1972 (though it’s hard to read).

 

And here’s an ad from December 4, 1972.

 

Computer Space

This one is a bit more interesting since we do have one source claiming that it was the first game to be called a “video game.”

In December 2007, Benj Edwards interviewed Nolan Bushnell. The interview included this exchange:

Edwards:Do you know how the term "video game" came about?
Bushnell:I think it was started at the first trade show that Computer Spacewas at. And I think it was coined by a reporter, and that was in the fall of 1971, when we showed it in Chicago. The reporter, writing for one of the trade magazines, coined the term "video game."
Edwards:
So it was around 1971, you think?
Bushnell: Yeah. To be exact, it was November 1971.
Edwards:Do you have any idea what reporter it was that might have coined the term?
Bushnell:
No, but I know the magazine. I think it was the magazine called Vending Times


So according to Bushnell, the term “video game” was first used in a trade magazine in November 1971 to describe Computer Space. He thinks the magazine was Vending Times.
Is his claim true? It appears not.

While I do not have any 1971 issues of Vending Times (though I do have the 1974-1985 issues), the magazine is still in existence, and they have a complete set of back issues. I contacted one of the editors and had them check and they did not find any article using the term “video game” in the November 1971 issue or any issue from 1971 or 1972. Another person (former GameRoom magazine editor Tim Ferrante) volunteered to go to Vending Times’ New York Offices to check the pre-1974 issues for anything of interest involving video games and they did not turn up any use of the term in 1971 or 1972 either. The earliest Vending Times article referring to the game that I have a copy of is the May 1972 issue. As you can see, it does not use the term “video game”

 

 

Could Nolan have been thinking of the other major coin-op trade magazine of the time, Cash Box. Again it appears not. Again, I don’t have all of the 1971 or 1972 issues, but Michael Current’s excellent Atari timeline website does include scans of an ad for Computer Space from Cash Box’s November 27, 1971 issue as well as an article announcing the game’s release from the November 4, 1971 issue. Neither of them uses the term “video game.” Note that while Billboard used to cover the coin-op industry extensively, it had stopped doing so by 1970.





What about flyers?
Here is a quick summary of all the flyers for video games produced prior to 1974, with approximate release dates, along with the term (if any) they used to describe the game (you can see most of the flyers at the Arcade Flyers Archive or Flyer Fever websites) A question mark indicates that either I didn’t find a flyer or the flyer was in Japanese. Note that flyers generally appeared in trade magazines about a month before the game was released – though it is possible that some of these flyers were alternate versions produced after the game was released. This is unlikely, and I suspect that the flyers here were all produced around the time of the game’s release.

·         Computer Space  (Nutting Associates, 11/71) – “game”
·         Star Trek (For-Play, 9/72?) – “game”
·         Pong (Atari, 11/72) – “video skill game”
·         Computer Space Ball (Nutting, ca 1/73-6/73) – none
·         Paddle Battle (Allied Leisure, 3/73) - none
·         Rally (For-Play, 3/73) – “fast action space age game”
·         Volly (Ramtek, 3/73) - ?
·         Winner (Midway, 4/73) – “television skill game”
·         TV Ping Pong (Chicago Coin, 4/73) – “electronic ping pong game”, refers to Chicago Coin as “the newest leader in electronic games”
·         TV Ping Pong (Amutronics 4/73) – “game”
·         Paddle Ball (Williams, 5/73) – “game”
·         Space Race (Atari, 7/73) – refers to Atari as “the originators of video game technology” and “the reliable leader in video games”
·         TV TableTennis (PMC Electronics, ca 7/73) - none
·         Tennis Tourney (Allied Leisure, 7/73) - none
·         Elepong (Taito, 7/73) – “video skill game”, “electronically simulated ping pong game”
·         TV Tennis (Chicago Coin, 8/73) – “electronic game”
·         Ric-O-Chet (Allied Leisure, 9/73) - none
·         Pong Doubles (Atari, 9/73) – “video game”
·         Winner IV (Midway, ca 9/73) – “tv game”
·         Pong Tron (Sega, 9/73) - ?
·         Elimination (Kee/Atari, 10/73) – “video game”
·         Gotcha (Atari, 10/73) – “video skill game”, also refers to Atari as “the originators of video game technology” and “the reliable leader in video skill games”
·         TV Table Tennis (United Billiards, ca 10/73??) - ?
·         Olympic TV Football (Chicago Coin, 11/73) - none
·         Olympic TV Hockey (Chicago Coin, 11/73) - none
·         Super Soccer (Allied Leisure, 11/73) – none
·         Deluxe Soccer Allied Leisure, 11/73) – none
·         Wham Bam (PMC, ca 11/73) – none
·         Hockey TV (Sega, 11/73) - ?
·         Pong Tron II (Sega, 11/73) - ?
·         Pro Hockey (Taito, 11/73) - ?
·         Soccer (Taito, 11/73) – “video reaction game”
·         TV Tennis (US Billiards, ca 11/73?) - none
·         Pro Tennis (Wiliams, ca 11/73) – “t.v. tennis game”
·         Hockey (Ramtek, ca 11/73?) – “video game”
·         Scoring (Volly, ca 11/73?) – “hockey game”
·         Tele-Soccer (BAC Electronics, ca 11/73?)
·         Champion Ping Pong (Arizona Automation, ca 11/73?) - none
·         TV Hockey (Amutronics, ca 12/73) - none
·         Pro Hockey (Williams, ca 12/73) – “game”
·         Asteroid (Midway, ca 12/73) – “TV thriller”
·         Leader (Midway, ca 12/73) – “game” or “TV knock-out”
·         Olympic Tennis (See-Fun, ca 12/73) – “game”, “electronic match-point tennis game”
·         Sports Center (For-Play, ca 12/73) – “t.v. game”
·         Elimination (Volly, ca 12/73?) - ?
·         Sportarama (United Billiards, ca 12/73??) – “video game”
·         Astro Race (Taito, 1973?) – “video game”
·         Davis Cup (Taito, 1973?) - none
·         Soccer (Ramtek, 1973?) – “video game”
·         Hockey (Volly, 1973) / Tennis (Volly, 1973) – “video game”, “video audio game”
·         Missile Radar (Nutting, 1973??) - none
·         Crazy Foot (Bally, 1973?) - none

So here are the flyers that used the term “video game” in 1973:
·         Space Race (Atari, 7/73)
·         Pong Doubles (Atari, 9/73)
·         Elimination (Kee/Atari, 10/73)
·         Gotcha (Atari, 10/73)
·         Hockey (Ramtek, ca 11/73?)
·         Sportarama (United Billiards, ca 12/73??)
·         Astro Race (Taito, 1973?)
·         Soccer (Ramtek, 1973?)
·         Hockey (Volly, 1973) / Tennis (Volly, 1973)

So it appears that Atari may have been the first to use the term “video game” on its flyers, starting with Space Race around June of 1973.
Finally, let’s look at magazines – trade and non-trade.

As far as non-trade magazines go, I have not found very many articles on video games prior to November 1973, aside from those mentioning the Odyssey. I did find an article in the November 1973 issue of ee Systems Engineering Today that also uses the term “video game.”

One of the earliest articles on coin-op video games was a UPI article on Atari that appeared around February 15, 1973. It refers to the games as “computerized ‘pinball’ machines.”

For trade magazines, the three major candidates I reviewed were Vending Times, Cash Box, and Marketplace. Play Meter did not publish its first issue until November 1974 and RePlay started in October 1975.

Vending Times

The first use of the term “video game” I found in Vending Times was an article in the May 1973 issue titled “Williams Introduces New ‘Paddle Ball’ Video Game.” While this might seem like a clear reference use of the term, it might have just been “headline-ese”- a shortening of a term like “video skill game” to save space in a headline. The body of the article calls it a “video ping pong game.” The term was also used unambiguously in the December 1973 issue,


Cash Box

I don’t have all of the early 1973 issues of Cash Box, but here are the ones I do have from the fist six months of the year: 1/20, 2/3, 2/17, 3/17, 4/14, 4/21, 5/12, 6/2, 6/16, 6/23.

I found nothing in the January and February issues, but in the March 17 issue, I hit pay dirt.

The first reference was an article titled “ACA & For-Play Introduce New Rally Video Game.” As I mentioned in an earlier post, however, this could be another instance of headlinese, however, as the body of the article uses the terms “video skill game” and “television control game”
 
 

 

What I did not notice last time, however, was that the same issue includes another article that also uses the term. The article, which discusses the Atari/Midway Pong licensing deal, actually uses the term twice, noting that Atari was “allowing Midway to produce its latest video game” and quoting Midway’s Hank Ross as saying that “We felt that the best way to produce the reliability operators demand in video games was to make use of Atari’s proprietary technology.”



So I think that both of these articles represent deliberate use of the term. While the body of the Rally article does not use the term, remember that the body of game announcements was usually supplied by the manufacturer, while the headline would have been written by someone at the magazine.

The next issue I have is the April 14 issue, which also uses the term “video game” multiple times. Once, in a article titled “ChiCoin Calls All Distributors to Chicago Meeting 3/30; Three New Novelty Pieces Previewed Including Video Game,” once in an article mentioning the “For Play Rally video game”, and most significantly in the issue’s editorial, which includes the line “Then came Periscope, the quarter novelties, something called ‘Speedway,’ soccer tables, now hockey tables, and what do they call them, ‘video games.”



The other 1973 issues also use the term multiple times.

And here’s what may be the kicker. The editor of Cash Box’s coin-machine section in 1973 was Ed Adlum, who later went on to found RePlay. The September 1982 of RePlay includes the following tidbit.

"RePlay's Eddie Adlum worked at 'Cash Box' when 'TV games' first came out. The personalities in those days were Bushnell, his sales manager Pat Karns and a handful of other 'TV game' manufacturers like Henry Leyser and the McEwan brothers. It seemed awkward to call their products 'TV games', so borrowing a word from 'Billboard's description of movie jukeboxes, Adlum started to refer to this new breed of amusement machine as 'video games.' The phrase stuck."

When I first read this, I was very skeptical but given the evidence above, it seems quite plausible indeed that Adlum coined the term around March 1973. The March timeframe especially makes since three of the earliest Pong clones were released that month, which could be seen as the beginning of the coin-op video game “industry.”

I cannot say, however, that the March 17 issue was the first time Adlum used the term since I don’t have the issues immediately prior to it. If I get them, I’ll post an update but if anyone else has them, let me now.

Finally, while Adlum may have coined the term as far as a public mention is concerned, there was at least one usage that predates March 1973. The below letter, which I posted earlier, was sent from Nolan Bushnell to Bally’s John Britz on July 10, 1972. In it, Nolan uses the term “video game” not once but twice.

 

So far, this is technically the very first usage of the term I’ve found, but since it was in a private letter, it is debatable whether or not it should count as a first usage or not.

So who coined the term “video game”? Nolan Bushnell? Ed Adlum? Someone else? From the evidence I’ve found, I’ll go with Adlum for now – though

ASIDE
As an aside, the first patent I found using the term “video game” was patent 4.006,47, filed 18 Mar 1976, for a Video Game Rebound Apparatus by Jeffrey Reed Lukkarila of Magnavox.

Another early patent to use the term was patent 4,116,441, filed 29 Oct 1976 for a “Moving goalie circuit for manually controlled electronic video game” by Robert Ralph Runte and Theodore A. Mau. Note that Runte was the founder of Fascination, Ltd., an early Pong clone manufacturer. In July 1974, he filed for one of the earliest patents on a video game cocktail cabinet (though the patent did not use that term).

 

Atari Depositions - Part 6

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First, for those who read my last post on the etymology of "video game," I was able to get some more issues of Cash Box and find a little more information - including a usage of the term in the March 10, 1973 issue. I updated my previous post to include the new information.  On to today's topic.


Here is another of the Nolan Bushnell depositions I have from the Magnavox case. This one was taken July 3, 1974. This represents about half of the deposition. I will post the rest later.
No annotations this time.

In the Unites States District Court
For the Northern District of Illinois
Eastern Division

The Magnavox Company, a corporation
And Sanders Associates, Inc., a corporation
Plaintiffs

Vs

Bally Manufacturing Corporation, a corporation,
Chicago Dynamic Industries, Inc., a corporation.
Et al.,

Defendants

Deposition of Nolan K. Bushnell

July 3 1974

Be it remembered that pursuant to Notice of Taking Deposition, and on Wednesday, the 3rd day of July 1974, commencing at the hour of 10:00 o'clock a.m. thereof, at the law offices of Messrs. Flehr, Hohbach, Test, Albritton & Hubert, 160 Sansome Street, San Francisco, California, before me, Ruth E. Benton, a Notary Public in and for the City and County of San Francisco, State of California, personally appeared

Nolan K. Bushnell

called as a witness on behalf of the plaintiffs, who, being by me duly sworn to testify the truth, the whole truth, and nothing but the truth herein, was thereupon examined and testified as hereinafter set forth.

Messrs. Thomas A. Briody and Neuman, Williams, Anderson & Olson, by Theodore W. Anderson, Esq., 77 West Washington Street, Chicago, Illinois 60602, appeared as counsel on behalf of plaintiffs.

Messrs. Flehr, Hobach, Test, Albritton & Herbert, by Thomas O. Herbert, Esq., and Baylor G. Riddell, Esq., appeared as counsel on behalf of the defendant Atari, Inc.

Messrs. Fitch, Even, Tabin & Luedeka, by Donald L. Wels, Esq., 135 South LaSalle Street, Chicago, Illinois 60603 appeared as counsel on behalf of the defendants Bally Manufacturing Corporation, Midway Manufacturing & Empire Distributing.

Observers present: Edward S. Wright and James Sholer.

MR. ANDERSON: I understand, Mr. Welsh, you had a statement for the record?

MR. WELSH: Yes. The depositions of Bally, Midway, and Empire taken last week in Chicago, there was a claim of confidentiality made with respect to certain documents produced by Bally and testimony with respect to those documents on behalf of Bally. I will now withdraw that claim of confidentiality both with respect to the documents and the testimony.

MR. ANDERSON: I think that is quite satisfactory to us of course and I think it expedites things a good deal.

MR. WELSH: I presume you will get that to the reporter?

MR. ANDERSON: Yes I will get that to Mr. Shapiro, and does that vitiate our signed stipulation?

MR. WELSH: No I would like to keep that in effect because there may be other documents such as those that we have agreed to produce from--

MR. ANDERSON: Then the stipulation remains in effect but there is nothing under it at the moment at all to the best of my knowledge.

MR. WELSH: Right.

MR. ANDERSON: That is fine.

MR. HERBERT: The removal of the confidentiality is certainly in accordance with the wishes of Atari.

MR. ANDERSON: I think maybe just for the record show the presence of these two gentlemen.

MR. HERBERT: WE have two observers here, Edward Wright and James Sholer.

---

Whereupon,

Nolan K. Bushnell

Called as a witness on behalf of the plaintiffs, having been duly sworn by the Notary Public to testify the truth, the whole truth, and nothing but the truth herein, was examined and testified as follows:


Examination by Mr. Anderson.
Q. Mr. Bushnell would you please state your full name?

A. Nolan K. Bushnell.

Q. Where do you reside?

A. I reside at 6101 Almirida, Campbell, California.

Q. Is Campbell in the San Jose vicinity?

A. Yes it is.

Q. By whom are you employed?

A. Atari Incorporated.

Q. That's A-t-a-r-I, I-n-c period?

A. That's Correct.

Q. Where is Atari located?

A. 14600 Winchester Boulevard, Los Gatos, California.

Q. Is Los Gatos in the San Jose vicinity?

A. Yes it is.

Q. What is your position with Atari, Inc.?

A. I am president.

Q. Do you hold any other titles or positions?

A. I am chairman of the board.

Q. Do you hold any other titles or positions?

A. No I do not.

Q. Do you hold any other titles or positions in any other corporations?

A. Yes I do.

Q. What other corporations?

A. I hold the position of president of Syzygy Company, S-y-z-y-g-y.

Q. And that is Syzygy Company?

A. Yes.

Q. Is that a California Corporation, do you know?

A. It's currently a California proprietorship. It's going through incorporation currently.

Q. Has it ever been a corporation?

A. Yes it has incorporated under the name Syzygy Game Company. Well, actually the assets of that corporation were purchased so essentially, you know, the business was not purchased but simply the assets of the corporation were purchased.

Q. The assets of Syzygy Game Company were purchased by the proprietorship of Syzygy Company?

A. Right.

Q. Which is now being formed into a corporation?

A. Right. We assumed the assets without the liabilities.

Q. When you say "we" who do you mean?

A. Ted Olson.

Q. Ted Olson?

A. Yes.

Q. O-l-s-o-n?

A. Yes.

Q. Who else?

A. There are a couple of other people. It's a small little game company which, you know, I really think is not material to this case.

Q. Is it in the video game business?

A. It's in the game operating business, yes.

Q. In the video game operating business?

A. Yes.

Q. Do you hold a controlling interest in Syzygy Company at the present time?

A. Yes.

Q. Where does Syzygy Company operate?

A. I don't have the address with me right now. It's on Walsh Avenue.

Q. Walsh Avenue in Los Gatos?

A. In Santa Clara.

Q. Does the Syzygy Game Company place video games on the street?

A. Yes.

Q. Where has it placed video games on the street?

A. Various places in the Santa Clara Valley.

Q. Anywhere outside the Santa Clara Valley?

A. No.

Q. Do you hold a position in any other companies other than Syzygy Company and Atari, Inc.?

A. There are positions--I hold a position in Atari Pacific but there are Atari subsidiaries. Do they need to be enunciated?

Q. At least we should identify them of I would like to. Atari Pacific?

A. Yes.

Q. Incorporated, is it?

A. Yes.

Q. I-n-c period and where is that located? AT the same address as Atari, Inc.?

A. No. It's in Honolulu and I do not have the address.

Q. What is your position with Atari Pacific, Inc.?

A. I am a member of the board.

Q. What is the nature of the business of Atari Pacific, Inc.?

A. It places and operated video amusement machines.

Q. Where does it place and operate video games or amusement machines?

A. in the Pacific Basin.

Q. Is that primarily in the Hawaiian Islands?

A. Yes, it is including Guam.

Q. For how long has Atari Pacific been in existence approximately?

A. Six months.

Q. Has it ever placed games outside of the Hawaiian-Guam complex?

A. No it hasn't.

Q. Do you hold a position in any other companies?

A. No I do not.

Q. Does Atari Inc. have any other subsidiaries partially or wholly owned?

A. We have a current investment in Japan but at this point Atari does not own that investment.

Q. Does Atari, Inc. have an investment interest in the Japanese operation?

A. Yes.

Q. Well, roughly what percentage interest?

A. Right now it's an accounts receivable interest and a cash interest and a formalization of that corporation is not complete.

Q. Does Atari, Inc. presently have any equity interest in the Japanese company?

A. No.

Q. Is it contemplated that Atari, Inc. will have an equity interest in the Japanese company once the mechanics are completed?

A. It has not been determined as yet.

Q. What is the name of the Japanese entity at the present time?

A. Atari Japan.

Q. What is the nature of the business of Atari Japan?

A. To assemble and operate video amusement machines.

Q. Is it presently assembling video amusement machines?

A. Yes.

Q. Is it presently operating video amusement machines?

A. Yes.

Q. In what geographical area is it operating these machines?

A. Tokyo.

Q. From whence does it obtain the parts and raw materials to assemble the video machines that they assemble.

A. Atari in the U.S.

Q. Does Atari assemble all of the component parts or does Atari, Inc. provide all the component parts for Atari Japan?

A. No.

Q. What parts does Atari, Inc. provide to Atari Japan?

A. Computers.

Q. In addition to a computer what are the basic building blocks of an Atari video amusement machine?

A. A cabinet, CRT monitor, coin mechanism.

Q. Has Atari Japan assembled any video amusement machines for export?

A. I don't know.

Q. Do you know whether it is contemplated that Atari Japan will assemble any video amusement machines for export?

A. They may if they so desire.

Q. Does Atari Inc. control whether or not Atari Japan exports to the United States?

A. No.

Q. Is it contemplated in the formative stage of Atari Japan that Atari Inc. will control the export of video amusement machines from Atari Japan to the United States?

A. It has not been determined as yet.

Q. Does Atari, Inc. have any other wholly or partially owned subsidiaries?

A. No.

Q. Does it control any other companies?

A. Excuse me, I would like to retract that last statement. We control Kee Games, Inc.

Q. That is K-e-e?

A. Yes.

Q. What is Kee Games, Inc.?

A. A manufacturer of video amusement machines.

(short recess)

MR. ANDERSON: Q. Mr. Bushnell, I think just before the break you started that Kee Games, Inc. was a manufacturer of video amusement games. Where is Kee Games, Inc. located?

A. They are located in Santa Clara.

Q. Do you hold any position with Kee Games, Inc.?

A. No.

Q. What is the relationship between Kee Games, Inc. and Atari, Inc.?

A Atari has an equity interest.

Q. Is it a controlling interest?

A. Yes it is.

Q. Does Kee Games, Inc. manufacture a different produce line than Atari, Inc.--

A. Yes.

Q. --or the same? A different?

A. Yes

(Off the record discussion.)

Q. Who are the principal officers of Kee Games, Inc.?

A. Joseph Keenan.

Q. K-e-e-n-a-n?

A. Yes.

Q. Is he president?

A. Yes.

Q. Who else?

A. Bill White.

Q. W-h-i-t-e?

A. Yes.

Q. What is his position?

A. I think he is secretary. Steven Bristow.

Q. B-r-i-s-t--

A. T-o-w and Gil Williams.

Q. What is Bristow's position?

A. He is treasurer.

Q. And Williams?

A. Director.

Q. Are any of these gentlemen officers or directors of Atari, Inc.?

A. No.

Q. Are any of them employed by Atari, Inc.?

A. No.

Q. What product line does Kee Games, Inc. manufacture in the video amusement game field or amusement device field?

A. The Kee product line under the name Kee Games.

Q. Do they specify product names within the line?

A. Elimination, Formula K, Spike.

Q. Any others?

A. That is it.

Q. Are any of these three games played in the same general manner as Pong?

A. Not in the same general manner.

Q. Is there a movable playing element that moves back and forth across the screen?

A. Yes.

Q. In which ones is that true?

A. There is motion involved with all the games.

Q. Are there players, two or more players in all these games?

A. No.

Q. In any of them?

A. Yes.

Q. In which game?

A. Elimination.

Q. How many players does Elimination have?

A. One to four.

Q. Is there a movable playing piece of some sort in Elimination?

A. There is motion involved. I don't understand the question.

Q. A display which is moving in the course of playing the game?

A. Yes.

Q. What do you call the thing which moves?

MR. HERBERT: I have to object. You are going substantially on the background but it seems to me we are getting a little more deeply into the construction, not only with our games but even Kee games, and my understanding of this deposition is that it is to be limited only to the question of venue so far as Atari is concerned.

MR. ANDERSON: I think one question in venue is what products are made and where they are made and where they are sold.

MR. HERBERT: As far as our motion for dismissal for lack of venue, the product line hasn't even been mentioned. The motion is based upon no business at all and no place of business at all in the northern district of Illinois.

MR. ANDERSON: I understand, you know, your affidavit I think and your contentions.

Q. What do you call the moving display in Elimination

A .The moving display, there is a--we call it variously the paddle.

Q. Now the paddle is manipulated by one of the players, is that right in Elimination?

A. Yes.

Q. And this is manipulated in order to hit some other display?

A. Yes.

Q. What do you call the display which the paddle is intended to hit? I'm just trying to get some nomenclature. We seem to be having trouble.

A. Ball.

Q. And Elimination has a ball?

A. It has a square.

Q. Would you call that square a ball?

A. Yes.

Q. Is it the object of the game that a player manipulates the paddle so that it will engage the ball and cause it to go toward the other player's end of the playing display?

A. Yes.

Q. And if the paddle impacts the ball, does it change the direction of the ball?

A. Yes.

Q. And does that score a point?

A. No, it doesn't.

Q. What is the manifestation then of the ball going off the field?

A. It beeps.

Q. Is there any scoring involved in Elimination?

A. There is a tally which is eliminated.

Q. Are there upper and lower walls across the top and bottom of the display in Elimination?

A. No.

Q. Are there any fixed barriers that cause the ball to change its direction in Elimination?

A. Yes.

Q. Where are they located?

A. In the corners.

Q. If the ball impacts on one of the barriers, does it change its direction?

A. Yes.

Q. Does the description that you have just given generally describe the way in which Pong is also played?

A. No.

Q. How does it differ?

A. I don't really understand the question. The essential differences of the game?

Q. Yes.

A. One is a contest between two people only.

Q. That is Pong?

A. Yes, and there are no provisions for four players.

Q. Any others?

A. Let's say the paddles are arranged on four sides.

Q. In Elimination?

A. Yes.

Q. Any others?

A. No.

Q. Where does Kee Games Incorporated sell its products?

A. Throughout the United States and some into Europe.

Q. When was Kee Games, Inc. started?

A. October of 1973.

Q. Does Kee Game, Inc. place machines on the street?

A. No.

Q. Does it only sell products?

A. Yes.

Q. Does it have any other products other than the three games that you mentioned: Elimination, Formula K, and Spike?

A. There are small modifications but nothing we consider to be new products.

Q. Does Kee Games, Inc. have a distributor organization of some sort?

A. Yes.

Q. What is the name of that organization?

A. I don't know.

Q. Does it have any employees outside of the San Jose area?

A. No.

Q. Does Kee Games, Inc. have a distributor in the Chicago area that you know of?

A. Yes.

Q. Who is that?

A. Worldwide.

Q. Do you know the full name of the company?

A. No, I don't. I think it's Worldwide Distributors.

Q. Do you know where the y are located?

A. No, I don't.

Q. When did Kee Games, Inc. first deal with Worldwide Distributors approximately?

A. I don't know.

Q. Was it before the first of the year?

A. Yes.

Q. Has Kee Games, Inc. sold the game Elimination to Worldwide Distributors?

A. Yes.

Q. Has Kee Games, Inc. sold the game Formula K to Worldwide Distributors?

A. Yes.

Q. Has Kee Games, Inc. sold the game Spike to Worldwide Distributors?

A. Yes.

Q. How long has Elimination been in the Kee Games product line approximately?

A. December I believe was their shipment.

Q. Of Elimination?

A. Of any game.

Q. Was Elimination the first game that Kee Games, Inc. made and sold?

A. Yes.

Q. When was the first Formula K game sold approximately to Worldwide Distributors?

A. It probably would be April. I am not sure.

Q. Of 1974?

A. Yes.

Q. Does Formula K involve paddles?

A. No.

Q. Or a ball?

A. No.

Q. Does it involve motion of some sort of a playing device or display?

A. Yes.

Q. Do you by any chance have literature with you on all three of these games?

A. No.

MR. ANDERSON: May we have some literature on these three games, Mr. Herbert?

MR. HERBERT: We have no--at least I have no control over Kee Games. They are not party to this lawsuit. Do you have literature at Atari?

THE WITNESS: No.

MR. HERBERT: Atari does not.

MR. ANDERSON: It's a controlled corporation.

MR. HERBERT: It's also a separate corporation. The witness has already indicated he doesn't know what the distributorship arrangements are.

MR. ANDERSON: Well, he knows who the distributor is, when the product was shipped. You are going to stand on the corporate isolation that you are alleging?

MR. HERBERT: Oh, yes.

MR. ANDERSON: And will not provide us with printed distributed, publicly available literature on that basis?

MR. HERBERT: IF they have them at Atari I certainly will. If not I'm not going to Kee to get them, no.

MR. ANDERSON: Q. Describe the manner in which Formula K is played?

MR. HERBERT: I am going to object to this line of questioning again, that it has nothing really to do with respect to the venue questions before the court and I will instruct the witness not to answer. All it is doing is extending the length of this deposition.

MR. ANDERSON: Again I will say the witness has testified it's a wholly owned--

MR. HERBERT: No.

MR. ANDERSON: It is a controlled subsidiary and I think we are entitled to interrogate the witness to the extent he has this knowledge about a controlled subsidiary. I think I have made a long trip to get a reasonable amount of very basic information.

MR. HERBERT: If and when you pass the venue hurdle, I think that is probably true but until you pass that hurdle I don't think that you are entitled to go into the workings of fhe games of Kee or even of Atari.

MR. ANDERSON: I'm not asking about the workings of the game. I'm asking what an operator sees and does and experiences in playing the game, just the outward manifestation of a game which is made by a controlled subsidiary of Atari, Inc., a named defendant in this lawsuit.

MR. HERBERT: It has nothing to do with the venue question. The venue question at this point as far as I can see down the line has nothing to do with what is manufactured by Kee. It really has nothing to do with what is manufactured by Atari. We haven't even gotten into that. If and when we do we will get into whether or not Atari's machines or Kee's machines infringe any of the patents involved in the litigation.

MR. ANDERSON: And you are instructing the witness not to answer?

MR. HERBERT: I instruct the witness not to answer.

MR. ANDERSON: Well, we will certainly take appropriate steps, I hope not but perhaps to make another trip out here for that purpose at hopefully Atari's and Kee Games' expense because I think this is so clearly a thin corporate relationship that we are entitles to pierce or at least try to pierce that. We will certainly take the position you are violating the intent and the language of the Federal rules of civil procedure.

MR. HERBERT: You can try to pierce the corporate relationship to see whether Kee has a place of business in the northern district of Illinois, that is fine. You can attempt to do that. That is not what you are attempting to do with this line of questioning.

MR. ANDERSON: We have established that Kee Games are in the northern district of Illinois, they are sold there, delivered there I presume. We will get into that further, that they have a distributor there and I think we are entitled to explore just how these games are used, what is done with them when they get there to the extent this witness knows and if we can't get it from the witness we will make another trip out here to get the information we are entitled to.

MR. HERBERT: You are entitled to pierce the corporate veil if you can. You have not even attempted to do that at this point. Until that veil is pierced the activities of Kee Games, not being a party to that suit have nothing to do with it.

MR. ANDERSON: Q. Mr. Bushnell, does Formula K involve moving a paddle?

MR. HERBERT: I instruct the witness not to answer.

MR. ANDERSON: Q. Will you answer the question?

A. No, I will not.

Q. Does the game Spike involve moving a paddle?

MR. HERBERT: I instruct the witness not to answer on the same grounds.

MR. ANDERSON: Q. Does the game Spike involve a ball?

MR. HERBERT: I instruct the witness not to answer on the same grounds.

MR. ANDERSON: Q. What is the percentage control which Atari, Inc. has in Kee Games Incorporated?

Off the record.

(Unreported discussion)

THE WITNESS: Atari has in excess of 90 percent..

MR. ANDERSON: Q. That is 90 percent of the stock of Kee Games, Inc., is that correct?

A. That's correct.

Q. Who holds the remaining 10 percent?

A. Joseph Keenan.

Q. Was he ever employed by Atari, Inc.?

A. No, he was not.

Q. Was he ever employed by any other entity which Atari, Inc. owns or controls?

A. No.

Q. Are there any other companies which Atari, Inc. controls?

A. Previously stated.

Q. Other than the ones we covered already?

A. No.

Q. When was Atari, Inc. formed?

A. Its incorporation date was June of 1972.

Q. Did it continue the business activities of some other entity?

A. Yes, it did.

Q. What was that entity?

A. Syzygy Company.

Q. Was it then Syzygy Game Company?

A. No.

Q. It was then Syzygy Company?

A. Yes.

Q. A proprietorship?

A. A partnership.

Q. Who were the partners in Syzygy Company?

A. Myself and Mr. Ted Dabney.

Q. Did one of you control the company?

A. Yes.

Q. Did you?

A. Yes.

Q. At the time of the formation of Atari, Inc. did Syzygy have a product line?

A. Yes.

Q. What was that product line?

A. Pong. Excuse me. At the time that is not true. Pong wasn't really introduced until later on. I guess I should say publication here.

Off the record

(Unreported discussion)

MR. HERBERT: Back on the record.

THE WITNESS: What did you mean by do you have a product line?

MR. ANDERSON: Q. Did syzygy have any product that it was making and selling as of June 1972?

A. No.

Q. Did Syzygy Company at any time in its history sell a product?

A. What do you mean by product? We were operating amusement machines which we had purchased.

Q. As of June 1972 was Syzygy operating amusement machines which it had purchased?

A. Yes.

Q. Was Syzygy Company in June of 1972 operating any video amusement machines?

A. Yes.

Q. Was that portion of the business of operating video amusement machines transferred in some way to Atari, Inc. in June of 1972?

A. Yes, it was.

Q. Was the entire active business of Syzygy, Inc. transferred to ATarin, Inc. at that time?

A. Yes, Syzygy Co.

Q. Excuse me, Syzygy Co. I am sorry. Did Syzygy Co. at that time continue to have an operating business.

A. No, it didn't I turned into a DBA.

Q. And DBA is for--

A. Doing business as.

Q. I'm not sure I understand that. Who was doing business as what?

A. Atari was doing business as Syzygy.

Q. Syzygy became more or less just a name that Atari used, is that correct?

A. That's correct.

Q. In June of 1972, whose video amusement machines was Syzygy operating?

A. A game called Computer Space built by Nutting Associates.

Q. Did Atari, Inc. continue to operate video amusement machines after June of 1972?

A. Yes.

Q. Is Atari, Inc. operating video machines today?

A. Yes.

Q. At some point in time did Atari, Inc. operate any other games other than Computer Space?

A. Yes.

Q. What other games has Atari, Inc. operated?

A. Pong, Space Race, Gotcha, Grantrak, Rebound, Quadrapong.

Q. Any others?

A. World Cup, Super Pong, Pong Doubles, Color Gotcha.

Q. Is that the list as far as you know at the present time?

A. Yes.

Q. Of those which if any is Atari, Inc. not at the present time operating?

A. Color Gotcha--not, that is not true, I will take that back. All of them.

Q. By operating, do you mean street operation?

A. That's correct.

Q. Is there any separate entity of Atari, Inc. or a division which handles the street operation?

A. No.

MR. HERBERT: Before we go on I think the answer might be misleading. The question was which of these is Atari not operating and you answer was all of them.

MR. ANDERSON: Q. None of them? That is correct?

A. None of them.

Q. That is the way I understood your answer. Has Atari, Inc. operated any video games outside of the State of California?

A. Yes.

Q. Where outside of the State of California?

A. Salt Lake City, Hawaii, Tokyo, Guam. That is it.

Q. Within the State of California does Atari, Inc. operate games throughout the state or only in a limited geographical area?

A. A limited geographical area.

Q. Just generally what is the limited area?

A. Santa Clara Valley.

Q. At any time in the history of Atari, Inc. has it operated video games in areas other than those you have listed: Salt Lake City, Hawaii, Tokyo, Guam, and the Santa Clara Valley?

A. Clarify what you mean by "operate"?

Q. Street operation of any kind.

A. Define that.

Q. Well, it's a term that I found somewhere in your material, I think. Does street operation have a meaning to you?

A. Well, yes, it means placing on location and collecting the revenues therefor. That is what I mean by street operation.

Q. I then would ask you the question using that definition of street operation.

A. Could you repeat the question?

Q. Yes. Has Atari, Inc. at any time in its history operated in a street operation outside of the areas that you have listed, namely, Salt Lake City, Hawaii, Tokyo, Guam and the Santa Clara Valley?

A. No, we haven't. Excuse me. I will take that back. We have operated machines in Los Angeles which we sold.

Q. You have since sold?

A. Yes.

Q. Has Atari, Inc. at any time operated machines outside of the geographical areas you have just listed on a more limited basis than the operation which you described, total control, maintenance and so forth? In other words, have you placed any anywhere else in the United States where Atari, Inc. maintained ownership of it for some more or greater or lesser amount of time and perhaps received any coins that were place in it?

A. No.

Q. With respect to the operation of Syzygy prior to June of 1972, did it operate in all of the areas that you have listed in street operations?'

A. No.

Q. What area did it operate in?

A. Just the Santa Clara Valley.

Q. Did Syzygy, Inc. operate any games other than the one that you have mentioned made by Nutting Associated named Computer Space--I said Syzygy, Inc., I mean Syzygy Co.--prior to June of 1972?

A. We operated various other amusement machines purchased by various Chicago and Florida manufacturer that were nonvideo.

Q. Syzygy Co. purchased other amusement machines, nonvideo games, from other sources. Did this include Allied Leisure?

A. Yes.

Q. And what Chicago company? Midway?

A. There were all purchased in San Francisco.

Q. Whose Chicago machines did you purchase in San Francisco?

A. Oh, Midway, Gottlieb, Chicago Coin, Williams. We were in the operating business.

Q. Is the game Computer Space or is the video amusement machine Computer Space a paddle game?

A. No.

Q. Does it have a playing piece?

A. Yes.

Q. Is it a ball?

A. No.

Q. Can you just generally describe the game, Computer Space?

A. It's a rocket ship-flying saucer flight. The computer controlled flying saucer battles with a player controlled rocket ship.

MR. ANDERSON: I will have the reporter mark as Bushnell deposition Exhibit 1 a Notice of Taking Deposition.

(Notice of Taking Deposition marked Bushnell deposition Exhibit No. 1 for identification)

MR. ANDERSON: Q. And I hand you Exhibit 1, Mr. Bushnell and ask if you have seen that before or a copy of it?

A. Yes, I have.

MR. HERBERT: What is it? Can you identify it?

MR. ANDERSON: The Notice. Bushnell deposition Exhibit 1 is directed to defendant Atari, Inc. and has listed certain categories in which the defendant has been requested to produce documents.

Q. Have you caused a search to be made for documents responding to those categories?

A. Yes, I have.

Q. Have you produced any documents here today in response to that Notice?

MR. HERBERT: I might interject here with respect to Paragraph No. 1, the only documents located are documents which have already been produced in Chicago, the contracts. I have other copies but I am not going to add anything to it. The are the same at Britz deposition Exhibit 3, Britz deposition Exhibit No. 2 and Ross deposition Exhibition No. 2.

MR. ANDERSON: May I see them?

MR. HERBERT: I didn't even bring them in here. I have the--yes, I will get them.

(short recess)

MR. HERBERT: I was mistaken, I do not have the letter on Syzygy letterhead which is Britz deposition Exhibit No. 2 and in addition to that the contracts between Bally and Mr. Bushnell are not fully executed as were the agreements actually presented in Chicago.

MR. ANDERSON: Does Mr. Bushnell or Atari have fully executed documents?

MR. HERBERT: No, that we can locate.

MR. ANDERSON: Then what you have handed me are the best documents in the records of Atari, Inc. at the present time?

MR. HERBERT: That is all we can locate.

MR. ANDERSON: I will have the reporter mark as Bushnell deposition Exhibit 2 a stapled collection of documents which Mr. Herbert has handed me. the top page is marked "Royalty Agreement", it is two pages of Xeroxed material. It bears a date of 26 day of June 1972, followed by an Affidavit form bearing the date of 1st of June 1971, a second Affidavit form bearing the date of June 1972 and a second two page Royalty Agreement or document so labeled between Bally Manufacturing Corporation and Syzygy Co., the first one I notice between Bally Manufacturing Corporation and Nolan Bushnell.

(Group of documents being Royalty Agreements and Affidavits marked Bushnell deposition Exhibit No. 2 for identification.)

MR. ANDERSON: Q. Mr. Bushnell, I hand you Bushnell deposition Exhibit 2 and ask.--
Would you like to see it?

MR. WELSH: Yes, please.

MR. ANDERSON: Q. Mr. Bushnell, I hand you Bushnell deposition 2 which you heard me briefly describe on the record and ask you whether you are familiar with those documents?

A. Yes, I am.

Q. Did they come from any files whch you maintain?

A. Yes, they did.

Q. What file did they come from?

A. It came from what I call essentially the Bally file.

Q. Is that a file that is maintained at the offices of Atari, Inc.?

A. Yes, it is.

Q. Did you find in your search any other copies of the documents which are stapled together as Bushnell deposition Exhibit 2?

A. Yes, we have a copy of this document.

Q. You have another copy of the document?

A. Yes.

Q. Do you have originals or non-Xeroxed copies of the documents that you know of?

A. No, I don't believe I do.

Q. Do you have any copies of any of the documents which form a part of Bushnell deposition Exhibit 2 which bear actual signatures?

A. Not to my knowledge. This is the most complete form.

Q. Do you know who prepared the first document, the first two pages of Bushnell deposition Exhibit 2?

A No.

Q. Was it prepared in California or Chicago?

A. Chicago.

Q. How did it come into your possession?

A. It was given to me by Mr. Britz.

Q. Was that while you and he were together?

A. Yes.

Q. Where were you at that time?

A. I don't remember.

Q. Were you in Chicago at the time?

A. I am not sure whether I received it in the mail or whether it was handed to me in Chicago.

Q. Did you ever have any correspondence with anyone at Bally or Midway with respect to this subject matter?

A. I don't remember.

Q. Have you made a search for such correspondence?

A. Yes, I have.

Q. Have you been able to find any?

A. Only those things which are presented here.

Q. Are there any other documents, Mr. Herbert, that you are producing in response to our request?

MR. HERBERT: No. We had no other documents we consider to be in response to the request in the Notice but in view of the long discussion of our invoices in Chicago, we did bring invoices. I don't think they respond to any paragraph here but we do have invoices to Empire Distributing.

Q. All right. Perhaps we will just take those and mark them at this time or look at them and come back to them later.

MR. HERBERT: Insofar as marking and making of record, there are a fair number of them and they are invoices giving pricing information as well as the volume of business between Atari and Empire which may or may not be relevant here. I am perfectly glad to let you take a look at them. If you think any pertinent ones of them need to be marked as exhibits perhaps we can delete some portions that are not necessary for your purposes.

MR. ANDERSON: All right.

MR. HERBERT: But I prefer not to have them marked as exhibits at this time and let you take a look at them at your leisure, perhaps in a short recess.

MR. ANDERSON: All right. Why don't you lay them aside? We will look at them in a short recess and pursue the Royalty Agreement which is the first two pages of Bushnell deposition Exhibit 2.

Q. Mr. Bushnell, do you recall whether you signed the original of the Royalty Agreement which forms the first two pages of Exhibit 2?

A. Yes, I believe I did.

Q. I will show you the Ross deposition Exhibit 3 and ask you if you recognize that?

A. Yes, I do.

Q. And is that another copy of the Royalty Agreement which is the first two pages of Bushnell Exhibit 2?

A. It appears to be so.

Q. And does it bear your signature?

A. Yes, it does.

Q. Did you sign it on or about the 26th of June 1972?

A. I don't know. I believe that I did.

Q. The third page of Bushnell deposition Exhibit 2 is a form , unsigned, entitled "Affidavit" and it states in part "I, Nolan Bushnell, of ( ) hereby state and affirm that as of the 1st of June 1971 I no longer had any obligatory duties to Nulting [sic] and Associates" and it goes on. Do you recall having seen that affidavit before?

A. Yes, I have.

Q. Do you know who prepared it?

A. Bally Corporation.

Q. Did you provide them wit the information for its preparation?

A. No, I didn't.

Q. Do you know, did they ever give you any reason why they prepared it?

A. They felt that there might be some kind of conflict because I was previously in the employ of Nutting, and there was a document signed with Nutting with regard to certain things, certain tasks, that I would perform there, and they were concerned since they were in competitive areas that there may be some cause for legal action.

Q. Do you know if you signed the form Affidavit which comprises the third page of Bushnell deposition Exhibit 2?

A. Yes.

MR. HERBERT: I would like to point out to the witness the third page of Exhibit 2 looks very similar to the fourth page of Britz deposition Exhibit No. 3 and request that the witness look at it more closely rather than upside down as he is doing now.

MR. ANDERSON: That is an excellent suggestion. I might say I'm not trying to create an erroneous record, I only want to get the facts.

THE WITNESS: Yes.

MR. ANDERSON: Q. You will note the third page bears a date of June 1971 I believer, and the fourth page---

MR. WELSH: 1st of June.

THE WITNESS: Okay.

MR. ANDERSON: --is dated June of '72.

THE WITNESS: This is the one I signed.

MR. HERBERT: The witness is referring to the one marked Britz deposition Exhibit No. 3.

MR. ANDERSON: Q. And that is the fourth page of the set of documents I have had the reporter mark as Bushnell deposition Exhibit 2, is that correct?

A. Yes.

Q. Did Bally also prepare the Affidavit which you actually signed, do you know?

A. I don't remember. I believe they did.

Q. Do you now recall the reason that new affidavits were prepared?

A. I think there were several typographical errors in the first one and they were incomplete in some areas.

Q. Was the first merely a draft of the second as they appear in deposition Exhibit 2?

A. I'm not sure. I don't remember the events that clearly.

MR. ANDERSON: Mr. Herbert, are there any other documents that are being produced in response to this Notice?

MR. HERBERT: No. There is nothing else.

MR. ANDERSON: Q. Mr. Bushnell, how old are you?

A. I am 31.

Q. Would you briefly state your educational background after high school?

A. I went to Utah State University and later on continued at the University of Utah where I received a bachelor's degree in electrical engineering with an emphasis on computer design.

Q. In what year did you receive your degree?

A. 1968.

Q. Did you continue your education beyond that degree in 1968 or did you enter business?

A. I entered business.

Q. For whom did you go to work at that time?

A. Ampex Corporation.

Q. Located where?

A. In Sunnyvale, California.

Q. Just in general what were your duties?

A. I was in computer design, digital recording involved in an information, storage, and retrieval system.

Q. How long did you stay with Ampex?

A. Two years.

Q. So you left them about 1970?

A. That's correct.

Q. For whom did you become employed in 1970?

A. Nutting Associates.

Q. Where was Nutting located?

A. Mountain View, California.

Q. What was the nature of Nutting's business in 1970?

A. They were an amusement game manufacturer.

Q. At that time did they have a video amusement game that they were making and selling?

A. No.

Q. Just generally what was the nature of their amusement games at that time?

A. It was a question and answer game using film storage techniques.

Q. What were your duties when you joined Nutting?

A. As chief engineer.

Q. Approximately how many employees did Nutting have at the time?

A. 20.

Q. For how long did you stay at Nutting?

A. One year.

Q. So that you left in about 1971?

A. Yes.

Q. At the time that you left Nutting, did Nutting have a video amusement device that they were making and selling?

A. Yes.

Q. When in 1971 did you leave?

A. It was actually in June--it was February I believe of '72 actually.

Q. Did Nutting have more than one video game on the market that they were making and selling at that time in February of 1972?

A. No, they did not.

Q. What was the game?

A. Computer Space.

Q. On approximately what date was Computer Space first made and sold by Nutting as far as you can recall?

A. I believe that the firs unit was sold in late December or early January of 1972.

Q. Were you involved in the design of the game Computer Space or the machine Computer Space?

A. Yes, I was?

Q. What was your involvement?

A. The machine was designed by me independently and offered to Nutting Associates on a royalty basis.

Q. Was it designed by you independently while you were an employee of Nutting?

A. No.

Q. Was it designed prior to your employment at Nutting?

A. Yes, it was.

Q. Is there some other agreement between you and Nutting with respect to a royalty basis for amusement games at this time?

A. Yes, there is.

MR. ANDERSON: I will have the reporter mark as Bushnell deposition Exhibit 3 a copy of United States patent 3,793,483.

(Copy of United States patent 3,793,483 marked Bushnell deposition Exhibit No. 3 for identification)

MR. ANDERSON: Q. Mr. Bushnell, I hand you Bushnell deposition Exhibit 3 and ask if you are the Nolan K. Bushnell named I that patent?

A. I am.

Q. Is that a patent which you own?

A. It's currently assigned to Atari, Inc.

Q. Based on the disclosure of that patent, does that relate to the subject matter of the work that you did while you were at Nutting?

A. No. Well, it represents the subject matter which I did prior to working for Nutting.

Q. You testified that you had independently developed the game Computer Space before you joined Nutting I believe?

A. That's correct.

Q. And is that the subject matter to the best of your knowledge of your Patent 3,793,483?

A. I don't quite understand.

MR. HERBERT: I am going to object to this. We are getting again quite far afield from the venue question and I don't see the connection to the venue question. Perhaps there is one in your mind but unless there is I am going to instruct the witness--I do instruct the witness not to answer.

MR. ANDERSON: Q. Patent 3,793,483 relates to video amusement machines, does it not?

A. Yes it does.

Q. Does Atari, Inc. have any licensees under Patent 3,793,483?

A. Yes.

Q. Is Nutting Associates a licensee?

A. Only the that they have a right to manufacture or had a right I should say under the terms of a contract to build that particular machine which has now expired.

Q. When you say that particular machine, you mean the machine Computer Space which you developed?

A. Yes.

Q. Is Nutting no longer making the game or machine Computer Space to the best of you knowledge?

A. I don't know. I don't believe they are.

Q. Are there any other licensees under you Patent 3,793,483, Bushnell deposition Exhibit 3?

MR. HERBERT: I object to the question and instruct the witness not to answer on the ground that it has nothing to do with the venue question.

MR. ANDERSON: Well, I disagree that it has nothing to do with the venue question. I think that we perhaps can get back to it at a later point. We may find it more acceptable, I don't know.

MR. RIDDELL: Would it be improper to ask you to connect that up right now, as to where that is going?

MR. ANDERSON: All right, I will certainly at least do that in part for you, Mr. Riddell.

MR. RIDDELL: With regard to the venue question.

MR. ANDERSON: Q. Mr. Bushnell, what if anything did you do in response to or subsequent to the royalty agreement of June 26, 1972, Bushnell deposition Exhibit 2?

A. I produced a video amusement machine and a four player flipper type pinball machine.

Q. Did they have names?

A. The video amusement game had no name at that time nor did the pinball.

Q. Were they subsequently named, do you know?

A. The machine--when you say subsequent to, it should be clarified. I had in my possession at the time of the execution of this contract the architecture of several games including a flipper type pinball machine, including several video amusement games. The Royalty Agreement here referred not to any particular video amusement machine nor to any particular pinball machine.

MR. ANDERSON: Q. You stated that you did develop or had developed two amusement machines under--

A. Several.

Q. Well, you mentioned two, a video amusement machine I think and a four player flipper game, at least that is what my notes say and I think where we were I asked whether those had names, you said they didn't at the time that you delivered them to Bally. I asked if they were named subsequently and what is the answer to the question if you know?

A. There was a machine named, that was subsequently named Pong represented to Bally.

Q. And was that the video amusement machine that you referred to as one of the machines delivered to Bally under the provisions of P.X. 2?

A. Yes.

Q. Did you develop any other video amusement machines which you delivered to Bally or Midway?

A. Yes I did.

Q. How many?

A. There were two.

Q. Two additional ones beyond Pong?

A. No, one.

Q. One additional one. Was it delivered to Bally or to Midway?

A. To Midway.

Q. Was it done pursuant to the Royalty Agreement, the first two pages of Bushnell deposition Exhibit 2?

A. Yes, it was.

Q. Why did you deliver that game to Midway when you were under agreement with Bally?

A. I was instructed to do so.

Q. By whom?

A. By Bally.

Q. Who at Bally instructed you, do you know?

A. Mr. Britz.

Q. On what occasion did he instruct you to do that?

A. Upon the occasion when I presented the second game to them.

Q. Did you present that to them in person?

A. Yes I did.

Q. In the Chicago area?

A. Yes I did.

Q. Where did you do that?

A. At their corporate offices.

Q. At Bally's corporate offices?

A. At Midway's corporate offices.

Q. Is that in Schiller Park, Illinois, do you know?

A. Yes it is.

Q. What was the name of that game if it had a name at that time?

A. It was called VP-2 or Asteroid as it was later.

Q. Did VP-2 or Asteroid precede Pong in your development or was it subsequent.

A. When you say--would you elaborate on development?

Q. Well, perhaps we should establish which one you delivered to Midway or Bally first.

A. Pong.

Q. Approximately when did you deliver Pong to Bally or Midway, if you know?

A. It was in middle summer of '72.

Q. When did you deliver Asteroid of VP-2 to Bally or Midway?

A. It was sometime later than that. I think it was in early 1973.

Q. Did you deliver Pong to Bally or to Midway?

A. To Bally.

Q. But you delivered Asteroid to Midway?

A. Yes.

Q. I will show you a document that has previously been marked as Britz deposition Exhibit 2 and ask if you recognize that?

A. What was the question again?

Q. Whether you recognize the letter?

A. Yes, I do.

Q. Does it bear your signature.

A. Yes it does.

Q. Did you write it on or about the date that it bears?

A. I must have, yes.

Q. Does that refresh your recollection at all with respect to when you delivered the first Pong game to Bally?

A. Yes it was--I think it was prior to the date called for here but I think it was in the early fall.

Q. So that was subsequent to July 10 1972, the date of Britz deposition Exhibit 2?

A. Yes it was.

Q. But prior to November 15 you believe?

A. Yes.

Q. Did you attend the MOA show in Chicago in 1972?

A. Yes I did.

Q. Did you or any company that you controlled have a display at that show?

A. No we did not.

Q. Did you show a machine of any kind during that show while in conjunction with that show?

A. No I did not.

Q. Upon your being in Chicago for the show, is that the occasion on which you delivered the Pong game to Bally, do you know?

A. I believe that the delivery of the Pong game to Bally--not, I would say no, that was not the occasion.

Q. So in the fall of '72 then you made at least two trips to Chicago?

A. Yes, I did.

Q. How many trips did you make to Chicago during 1972 to the best of your recollection?

A. During the whole year of 1972 I would say four.

Q. When was the first trip to Chicago in 1972?

A. It was in early spring.

Q. What was the occasion for that trip?

A. As an employee of Nutting Associates.

Q. And who did you visit if anyone in the Chicago area at that time?

A. Empire Distributing.

Q. Was Empire Distributing a distributor for Nutting at that time?

A. Yes they were.

Q. What was the purpose of your calling on Empire at that time?

A. To teach a field service school.

Q. Prior to that visit to Empire in 1972 in the spring, had you made any prior trips to Chicago on behalf of Nutting?

A. Yes I did/ It was to the MOA Show.

Q. In 1971?

A. Yes.

Q. did Nutting have a booth at the 1971 MOA Show?

A. Yes.

Q. Had you made any other trips to Chicago on behalf of Nutting prior to your trip in the spring of 1972?

A. No.

Q. Did Nutting have the machine computer Space on display at the 1971 MOA Show as a part of their booth?

A. Yes they did.

Q. Who else from Nutting was at the MOA Show in 1971?

A. Bill Nutting, David Ralston, Rod Guyman [sic].

Q. After your trip to Empire in the spring of '72 what was the next occasion of your traveling to Illinois?

A. It was to obtain a consulting arrangement with Bally Manufacturing.

Q. To the beat of your recollection on what date did you make that trip?

A. I think it was somewhere around March or April of that year.

Q. At that time were you no longer in the employ of Nutting?

A. Yes I was no longer.

Q. Did Syzygy Company then exist?

A. Yes it did.

Q. You mentioned earlier that you think there was an earlier corporation called syzygy Games?

A. No, that was later.

Q. That came later?

A. The chronology, just to set the record straight, is Syzygy was rolled into Atari, Syzygy later became the operating arm of Atari, Ted Dabney who was my partner purchased the assets of Syzygy and operated it independently and at a later time I reacquired the assets of syzygy personally so that is the whole--during the time that Dabney ran it independently it was called Syzygy Game Company.

Q. I see. That would have been after June of '72?

A. That's Correct.

Q. As of March of 1972 you and Mr. Dabney were partners in Syzygy Company?

A. That's Correct.

Q. And as I understand it there were no other partners at that time?

A. That's correct.

Q. Did Syzygy have any other employees?

A. No they did not.

Q. Did it have a manufacturing facility?

A. No it did not.

Q. Did it have a laboratory or development facility?

A. Yes it did.

Q. Upon your visit to Chicago in March or April of '72 who did you call on at Bally?

A. John Britz.

Q. Did you meet with anyone else at Bally at that time?

A. I don't recollect.

Q. Did you meet with any other companies or individuals with respect to Syzygy business at that time?

A. I also met with Empire.

Q. With whom did you meet at Empire?

A. Mr. Kitt.

Q. What was the purpose of your meeting in Chicago with Mr. Kitt in March or April of '72?

A. We were friends.

Q. Was there any business purpose?

A. Only the introduction to Bally.

Q. Did you have a video game with you during your trip in March or April of 1972?

A. Explain yourself more?

Q. Did you have a physical device which operated as a video machine?

A. No I did not.

Q. Had you developed a video game other than the Computer Space as of March or April 1972?

A. Yes I had.

Q. Was that the game that became Pong?

A. Yes it was.

Q. Did you provide Empire or Bally with any written material with respect to the video game that became Pong during that visit?

A. Not to my recollection.

Q. Did you enter into any sort of a business relationship with Bally or Midway or Empire at or during that trip?

A. Which trip is that?

Q. March or April 1972.

A. Yes.

Q. What was that business relationship?

A. It was covered--it's in the essence of this contract which is labeled plaintiff's Exhibit 2. I mean that was the outcome document of those discussions.

Q. Then that would be actually Bushnell deposition Exhibit 2, the one with the yellow label?

A. Yes.

Q. How do you relate that with the July 10 1972 letter on the Syzygy letterhead which is Britz deposition Exhibit 2?

A. Now this was in response to receiving the contract.

Q. Then you received Bushnell deposition Exhibit 2, the proposed Royalty Agreement prior to your letter of July 10 1972?

A. To the best of my knowledge, yes.

MR. WELSH: I think your records are a little bit confused in that Bushnell Exhibit 2 contains more documents that just that particular agreement.

MR. ANDERSON: Your point is probably well taken. I was referring to the first two pages.

THE WITNESS: Yes, so was I.

MR. ANDERSON: Q. Then perhaps we can clarify that by just merely referring to Ross deposition Exhibit 3 which is the same Royalty Agreement but the one you said bears your signature?

A. Yes.

Q. If I understand it then at the termination of your meeting with Mr. Britz in March or April of '72 did you believe you had an understanding with Bally?

A. Yes I did.

Q. And it was just a matter of reducing it to writing later, is that correct?

A. Right.

Q. And as far as you understand it, Ross deposition Exhibit 3 was that reduction to writing?

A. That's correct.

Q. And the letter of July 10 that you wrote, Britz deposition Exhibit2, was merely a followup on Ross deposition Exhibit 3?

A. Yes.

Q. For what purpose?

A. Oh I needed several parts that we had agreed on that I had not received. It was a situation that I had been purposely vague in describing the product that I was going to produce for them, and upon receiving the documents and the money I was able to tell them a little bit more about the game which I was going to produce for them.

Q. What was the occasion of your next visit to Chicago after the March or April visit in 1972?

A. To show them a video game.

Q. When was that? Was that the one that you have referred to?

A. Yes that was the, you know, late summer, midsummer.

Q. At that time you had a game that was ultimately called Pong with you?

A. Yes I did.

Q. At the time of that trip I gather Atari, Incorporated had been formed?

A. Yes that is true.

Q. During that trip were you functioning on behalf of Atari, Incorporated?

A. Yes I was.

Q. Was the agreement between Nolan Bushnell and Bally Manufacturing Corporation, Ross deposition Exhibit 3, transferred over to Atari, Inc.?

A. In effect it was. I don't remember if there is any supporting documentation to that effect. No, there was.

Q. There was supporting documentation?

A. Yes.

MR. ANDERSON: Mr. Herbert--

MR. HERBERT: I don't know what it is. I have not seen it that I can recall.

THE WITNESS: I can remember signing something for the auditors.

MR. ANDERSON: Would you be good enough, Mr. Herbert, to find this supporting documentation?

<<To be continued>>

The First Light Gun Game

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I suspect that most readers of this blog have played an arcade light gun game – those rifle games that used a beam of light instead of bullets or wiper blades and contacts to determine when a target was hit. But do you know when the first light gun game was created? Some of you might guess the 1980s, when Nintendo produced the NES Zapper for the home and games like Duck Hunt and Hogan’s Alley for its arcade Vs. system. Others might opt for the 1970s, when arcade games like Nintendo’s Wild Gunman and Atari’s Qwak! Still others might say the 1960s when Ralph Baer, Bill Rusch, and Bill Harrison created a light gun game for their Brown Box and Nintendo produced its Beam Gun series.



All of those guesses are wrong. The first light gun game was not created in the 1960s, or the 1950s, or the 1940s. No, to find the first known light gun game, you have to go all the way back to the early 1930s, and perhaps earlier.

Before we get to that, however, let’s talk briefly about arcade gun games in general and the most common claimant to the “first light gun game” title – Seeburg’s 1936 Ray-O-Lite Rifle Range. Coin-operated gun games go back almost as far as coin-operated game themselves. According to Nic Costa’s Automatic Pleasures, the first coin-op gun game patent was filed (or perhaps granted) in 1887 by William Reynolds for his “Automatic Shooter.” I have not seen the patent myself, but from Costa’s description it appears that Reynolds merely attached a coin mechanism to an existing air rifle and his device did not include targets – though without seeing the patent it’s hard to say. In 1889, David Johnston patented another Automatic Shooter. According to Costa, this one was a mounted on a pedestal and was later made in Germany as the Electra Automatic Shooting Machine.


 
 
Like a number of early gun games, it was a “trade stimulator” – a type of machine that dispensed prizes like gum or cigars for certain winning combinations of high scores (though many of these were gun games, there was generally no skill involved and hitting targets was often a matter of luck). That same year, Coyle and Rogers of Washington DC produced its Shooting Gallery.
Interestingly, the first known electric gun game was patented by J.L. McCullough in 1896. The game used a wiper blade that brushed across a series of contacts when the gun was turned, creating a closed circuit when the bullet was pressed if the gun was aligned with the target. This style of game later became known as the “Dale Gun” after Eldon Dale of Dale Engineering, who created a popular variant called that he sold to the Exhibit Supply Company. Exhibit Supply released the first model in 1947 under the name “Deal Gun” and some mistakenly credit Dale with inventing the method, but it actually predated his creation by over half a century.



What about the light gun game? Most sources (including Wikipedia) claim that the first light gun game was Ray-O-Lite Rifle, a duck hunting game produced by Seeburg in 1936.
 
 
 
Above photos taken from Pinrepair.com
 
The first patent for the game was filed on April 12, 1934 by Charles W. Griffith of Tulsa Oklahoma for the Rayolite Rifle Range Company, which was incorporated in Tulsa on August 17, 1934.
 

The claim, however, may not be entirely accurate. It appears that the game may have been produced prior to 1936 and not by Seeburg. Aside from several patent claims filed in the 1930s and the company, however, I found almost no information on Griffith or the Rayolite Rifle Range Company other than a few brief mentions in trade magazines and a record of the company’s incorporation. I did find an article in the January 1937 Automatic Age titled "The Story Behind the Ray-O-Lite" rifle range. At first, I was very excited. Until I read it. As it turns out, it is nothing more than an ad for Seeburg in the form of an "article" (written by N. Marshall Seeburg) and makes no mention of Griffith or the Rayolite Rifle Range Company or any company besides Seeburg.

What I did find, however, seems to conflict with some of the details in the story above. The first trade mention I found of the company was in the February 1935 issue of Automatic Age. The issue includes a listing of exhibitors for the upcoming Coin Machine Exposition. In Booth 76, the Phoebus Amusement Company of Chicago was planning to show the “Rayolite Rifle Range.”
 
 
If true, it seems that Rayolite may have sold its game to Phoebus then later he may have either struck a deal with Seeburg, or perhaps Phoebus licensed it to Seeburg. According to this video, Seeburg's Shoot the Chutes (a 1939 rayolite game) was "manufactured by Phoebius [sic? - I assume he meant Phoebus] and licensed to Seeburg" and this may have been the same case with the original duck game.

Unfortunately, I found no other information on the Phoebus Amusement Company. I did, however, find an earlier mention of the Rayolite Rifle Range. This article from the January 24, 1935 edition of the Atchison (KS) Daily Globe offers a $100 reward “for the return of a rayolite rifle range which was stolen from a post on Cermak Road, Cicero IL.”
 
 
It further notes that “instead of a bullet, a ray of light is shot from the gun or revolver barrel at a moving target” and that the game “may be related to the Chicago district.” This seems to indicate that a Rayolte game was on location by January 1935 (though perhaps it was made, or was being tested by, Seeburg).

How did the Rayolite work? In his How the Ray Gun Got Its Zap, Stephen Wilk describes its operation as follows: “A device shaped like a rifle fired a beam of light at a target that bore a corner cube reflector. The ‘rifle’ barrel also hosted a photocell receptor that registered a voltage when the light reflected from the corner cube back in the barrel.” This seems to indicate that the light beam was reflected back from the target to a receptor in the barrel. From reading the patent description, however, it seems that the receptor was actually in the target (as was standard with many light gun games).

After Griffith’s first patent, a number of others were filed improving on the device, as detailed here. Alvin Carter improved on the trigger mechanism and William Falkenberg, a Los Angeles operator, added improved targets. Seeburg made a number of Ray-o-lite games over the years, the most popular of which by far was 1947s’ Shoot the Bear, which was redone in video form in Atari’s Triple Hunt(though Triple Hunt did not use a light gun) .

While most sources seem to agree that Rayolite was the first light gun game, Nic Costa claims that a light gun game was patented in 1920 by W.G. Patterson, though there seems to be no record that it was ever produced. Costa also claims that a light gun game called Radio Rifle went into production in 1929, (according to Arcade-History.com this was in December) - though it did not take off until after 1931.  Once again, however, I an international patent search did not turn up the original patent and I found no other information on Patterson. I did, however, find an ad for the game in the February 1930 issue of Automatic Age.




From  videos of the unit on YouTube, however, it does not appear to have been a light gun game. Instead, it projected an image onto a screen or wall and they used another method  to detect hits (and given the video's claim that it was entirely mechanical other than the projector, it does not appear to have been a Dale Gun mechanism). Still, however, Costa may be correct about the Patterson patent but without more information, the jury is still out and even if it was a light gun game, it may never have been produced. So for now, it looks like the Rayolite may indeed have been the first light gun game - until someone finds an unambiguous reference to an earlier one.  
 
What about light gun video games? Here too, I do not know for sure which was first. Some sources claim it was Atari’s Qwak! Released in November 1974. Qwak! had some similarities to Nintendo’s Duck Hunt, including the duck hunting theme and a hunting dog that retrieved downed birds. Ironically, in 1986 Nintendo itself cited Qwak! in an attempt to invalidate one of Magnavox's video game patents by claiming that Ralph Baer (who had seen the game at the 1974 MOA show) had merely copied it to create the Odyssey rifle games – though the claim was clearly false since their rifle game was conceived in the late 1960s. Another candidate for first light gun video game is Sega's Balloon Gun, which used pistols rather than rifles. According to some sources, the game was released in August 1974 while others list it as a 1975 game. I don’t have any hard information on a release date. I’m not even sure if it used a light gun. The only information I have is a flyer, and from that, the graphics appear too advanced to me for a 1974 or 1976 game - though it could have used computer imagery superimposed on a filmed or physical background.


 

 

 

The Early History of Sega - Service Games Part 1 - the Prehistory of Service Games

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If you’ve read Steven Kent’s seminal Ultimate History of Video Games (and if you’re reading this blog, I suspect you have) then you probably know that Sega was formed in 1965 from a merger or two existing companies: Rosen Enterprises and Service Games. Service Games (from which the name “Sega” is derived) was formed in 1951 or 1952 by Marty Bromley, Dick Stewart, and Raymond Lemaire. In fact, however, most of that information is inaccurate. Service Games was not originally formed in 1951 or 1952, nor was it cofounded by Stewart and Lemaire - though to be fair to Kent, he does not actually say that the two were cofounders of the company and there was a partnership formed in 1952 between the two that operated under the name Service Games.

This is not to criticize Kent. Even I accepted this version of events until very recently and I’m still trying to sort out the Service Games situation, which is complicated by the many subsidiaries, dba names, aliases, and other entities that were created. And I'm sure I have similar errors in my work Ultimate History is invaluable and all video game historians owe Kent an enormous debt. While he may get the Service Games part wrong (or at least not tell the full story), his information on Rosen Enterprises seems to be largely reliable – though even here I am not am not sure. Yes, it seems to have been largely taken from interviews with David Rosen himself, but fist hand accounts have their own set of problems – especially they come from high ranking executives. Nonetheless, Kent’s book remains -perhaps the most thorough telling of the early history of Sega. And that’s part of the problem. You would think that for a company as important as Sega, its full history would be well known and well documented. Sadly, in my opinion, it is neither. Not only do most sources barely cover the company’s early years but they generally ignore its non-console history altogether. Even Sam Pettus’ Service Games: The Rise and Fall of Sega, is guilty. Of the book’s 386 pages (using my current Kindle settings), probably three of them talk about Sega’s pre-console history and arcade games probably don’t even get that. It’s really a shame, because Sega has probably produced more arcade games than any other company on the planet – well over 500 video games alone. Even the company itself does not seem to be aware of its own history and has listed 1951 as the date of its founding.
In this article, I will try to give a more accurate account of Service Games and its early history. I don’t pretend that this will be a comprehensive history and given the conflicting information that’s out there, I have no doubt that I will get some things wrong myself. One problem with researching Sega’s early history is the dearth of information in existing sources. Another (that seems endemic to video game histories) is that even those works that do have seemingly accurate information do not identify their sources. Nonetheless, I did find some sources that provide what seems to be some solid facts about Service Games and its founders. Two of them are legal documents (always a great source for hard dates and other info).

One is the case Martin Bromley and Allyn Bromley v. Commissioner United States Federal Tax Court, filed December 9, 1964 and available at this link

The other is a 1971 Senate investigation with the laborious title, “
Fraud and corruption in management of military club systems. Illegal currency manipulations affecting South Vietnam. Report of the Committee on Government Operations United States Senate made by its Permanent Subcommittee on Investigations. November 2, 1971”.

Most of the information in this post, aside from the biographical info, is taken from these sources.

Service Games actually appears to have been formed in 1945 by Irving Bromberg, his son Martin, and James L Humpert. Before we get to the company, however, let’s talk about the men who founded it.

NOTE – information below was taken from various sources available on Ancestry, including the 1920, 1930, and 1940 federal census, 1925 New York state census, Social Security Death Index, California Death Index, World War I Draft Registrations, New York Marriage Index, city directories from Los Angeles and Honolulu, and various ship passenger lists. This was made a bit difficult by the fact that there were two Irving Brombergs living in LA at the time, both with sons named Martin.



Irving Bromberg and Dave Robbins in 1937
 
The son of Russian Jewish immigrants, Irving Bromberg was born on June 10, 1899 in New York. On June 15, 1918 Irving, who had just turned 19, married Jeannette Blumenthal. In September 1918, Irving registered for the World War I draft in Brooklyn, listing his occupation as a salesman of glassware. On August 6, 1919 Irving and Jeannette’s son Martin Jerome Bromberg was born. On the 1920 census, Irving was still selling glassware. From 1923 to 1930, he served as president of the Greenpoint Motor Car Corp of Brooklyn and from 1930 to 1933 he operated a vending and coin-operated amusement machine distribution company called Irving Bromberg Co. in Brooklyn, Boston, and Washington DC (Fraud and corruption… 1971). On the 1930 census, Irving listed his occupation as a salesman of “chewing gum” (by then, they had a second child: daughter Ehthelda, who had been born in 1924). In 1933, he sold the New York office to Leon Taksen, who had managed the office (Billboard 7/29/33).  Though the July 1933 issue of Coin Machine Journal included an ad saying that the Supreme Vending Company of Brooklyn (Wm Blatt pres) had purchased the Irving Bromberg Company of Brooklyn. That same year Irving moved to Los Angeles and opened up either another company called Irving Bromberg Co. or another branch of his existing company


Ad for Irving Bromberg Co in Los Angeles, 1934
 


Irving Bromberg Co, New York 1932
 
 
 
 
 The March 1933 issue of Coin Machine Journal reported that Bally had opened "another office at 1034 W. 7th , Los Angeles, Calif., under the management of Irving Bromberg. The April 1933 issue of Automatic Age reported that "Irving Bromberg of Los Angeles has taken over the Pacific Coast representation of the Universal Novelty Mfg Co". So it seems he moved to LA in early 1933. Around September 1933, the Irving Bromberg Co and SS Glaser of LA merged (Automatic Age 9/33). Though it seems they operated under the name Irving Bromberg Co as ads continue to appear using that name.

According to the senate report, Iriving formed a new distribution company called Standard Games Co. in Los Angeles in 1934. A search of the arcade museum's Automatic Age and Coin Machine Journal archives, however, turns up no reference to the company (Perhaps they were doing business as Irving Bromberg Company??) As a distributor, Bromberg played a major role in the popularizing two of the most important early pinball games. The first was Bingo, released in 1931 by the Bingo Novelty Company. Bingo’s claim to fame is that it was sold to David Gottlieb, who modified the game and released it as Baffle Ball, which has been credited with launching the modern pinball industry. Bingo, however, was a national hit in its own right, a fact that pinball historian Dick Bueschel attributes to a salesman named Leo Berman. After Gottlieb began producing Bingo in the Midwest, Berman took the game to New York, where he paid a visit to his old operator friend Irving Bromberg to see if he was interested in becoming a Bingo rep. As Bueschel describes it in his 1996 book Pinball 1

"Bromberg, not having facilities of his own, got ahold of his friend, Hymie Budin, a specialty jobber of roasted peanuts, gum, candy and glass globes for vending machines, and sold him on the idea of leasing window space. That made Budin "the first distributor to have a pin game display in his quarters. That's when he was down on Dumont Avenue in East New York, Brooklyn, and Irving Bromberg ... displayed his first three Bingo machines in one of Hymie's front display windows. Hymie just couldn't waste the space in his store, for the men crowded in daily for their supplies of nuts and candies and peanut machines, so he allowed Irving to display his Bingo machines in his front windows."' The display got off to a slow start "and it was some time before Irving could get the operators to even think of buying this sort of contraption." lt wasn't long before "Bromberg had about ten Bingo games stocked one atop another and, after some effort, sold out in a few weeks at the price of $12.50 each."Bromberg was firmly established as a Brooklyn game distributor by late October, 1931."  (quotes are from The Coin Machine Journal, January 1941 and January 1940)

 In Los Angeles, Bromberg had a hand in the success of another influential pinball game – Harry Williams’ Contact. While Contact was not the first pinball game with sound, electricity, and a kicker device as some have reported, it did popularize the features. According to an article by Roger Sharpe in the July 1989 issue of Play Meter, ”Contact did not gain national recognition until it was noticed by a Bally distributor, Irving Bromberg,”

 
Meanwhile, Martin Bromberg graduated from high school and went to work for his father. At some point, Martin went to Hawaii and began selling games to US servicemen stationed there. At the time, Hawaii was still a US territory and mainland distributors were likely not selling games there. Exactly when the Brombergs began selling games in Hawaii is unclear. From passenger lists, we know that Irving and his wife made a trip there in January 1940. According to the 1964 case, “In or about 1940, Irving Bromberg, Glen Hensen, James L. Humpert, and the petitioner [Martin Bromberg/Bromley] formed a coin-operated machine company in Honolulu known as Standard Games." We also know that Martin Bromberg was inducted in the navy during World War II but was placed on inactive duty due to his employment at the Pearl Harbor shipyard (Fraud and corruption…1971). Humpert was also employed at the shipyard. From the wording, it seems that this “employment” was independent of their coin-machine company. According to other source, James Humpert was a friend of Martin’s – a claim that draws some support from the fact that the 1964 case reveals that he and Martin were each entitled to one-third of the profits of the Irving Bromberg Company of LA.

A very bad photo of Marty Bromley in 1941



And a better one from 1989 (Marty's the one on the left)



In any event, Irving Bromberg returned LA and continued to run his distributing companies. (as indicated by many references in Billboard). The January 12, 1946 issue of Billboard reports that Marty and Irving were due to visit Chicago to discuss selling the Irving Bromberg Co of LA to Chicago distributor Al Stern, which they appear to have done shortly thereafter.

The 1964 case claims that Standard Games of Hawaii "...continued until 1945, at which time it was sold."

NOTE - I have removed this part of the article after doing more research and will move it to part two, with the addition of further details

And to clean up some loose genealogical ends:

Irving Bromberg died on January 20, 1973 in Los Angeles.
Martin Jerome Bromley died on September 7, 2008 in London.

Bonus Pictures

Here's a rare photo of an upright Exidy 0077 cabinet from an industry show. They later added some more levels and renamed it Top Secret









 
 
 
 


The Early History of Sega - Service Games Part 2 - When was Sega/Service Games Founded

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NOTE - since my first post, I have finished reading the two source documents (or at least the parts referencing Service Games and Sega) and have new information, so I thought I would reorganize the posts and create one that just concentrates on Sega’s founding date (I changed my previous post to just talk about the pre-history of Service Games).
So when was Sega founded? Sega's website says it was 1951.
Of course it depends on what you mean by Sega and what you mean by founded. Others say it was 1952, 1965, or some other date.

Since Sega was preceded by Service Games, you might trace Sega’s founding to the founding of Service Games. So when was Service Games founded, and when did it become Sega? It depends on which “Service Games” you mean. Various entities existed under that name in the 1950s and ‘60s.

Here is a list of some of them. Note that most of these were subsidiaries rather than separate corporations:

Service Games, Inc. - Service Games, Hawaii, Inc. - Service Games, Japan, Inc.
Service Games, Korea, Inc. (located in Okinawa, later became Garlan) - Service Games, Philippines, Inc. - Service Games, Panama, Inc. - Service Games, Nevada, Inc.

There were also several other entities with different names allege to have been affiliated with Service Games, many of which had the same partners/executives.

This is the only ad I could find mentioning Service Games - from the April 2, 1949 issue of Billboard


To help answer the question at hand, here is a brief timeline:

1945 - Standard Gaems of Hawaii is sold. Irving Bromberg, Martin Bromberg, and James Humpert form a new company called Service Games, Hawaii to distribute slot machines and other coin-operated devices to US military facilities on the islands. Service Games is formed as a partnership with each partner contributing $50,000 in capital.
Humpert served as the company’s PR man, finding locations for machines and “keeping location owners happy.”
Martin Bromberg changed his name to Martin Bromley.

February 15, 1952 - Service Games, Hawaii and salesman Richard Stewart enter into agreement by which Stewart will move to Japan and open a distribution office, while Service Games will supply him with machines and pay him a 10% commission on gross sales.

February 1952 - Marty Bromley sends Stewart and mechanic Raymond Lemaire to Japan to promote and expand sales of Service Games on US military bases in the Far East. In Tokyo, they form a partnership called Lemaire & Stewart, which also does business as Japan Service Games, and Service Games, Japan.
Stewart and Lemaire leave the employment of Service Games, in which they have no financial interest at the time.
The partnership later becomes successful enough to warrant the establishment of factories and a sales organization.

1953 - Service Games, Japan, Inc. is organized??
In the senate report, Delmar Fox, Assistant Chief of the Fraud Investigations Division, Office of Special Investigations, US Air Force testified “I was able to trace the evolution of the Bromley enterprises in Japan to Service Games, Japan, Inc., which was organized in 1953.”
I am unsure of this. I don't know if Service Games, Japan was ever an actual corporation or if it was just a dba name for Lemaire & Stewart. It was referred to numerous times in the testimony, but I didn’t find any place that said it was actually incorporated as a separate company

September 10, 1953 - Service Games, Inc., Panama files for incorporation and becomes the controlling corporation for all of the other Service Games entities. Irving Bromberg, Marty Bromley, Raymond Stewart, Raymond Lemaire, and James Humpert each have a 20% stake (200 shares of stock).

September 22, 1953 - Service Games, Panama's second board meeting provides for Lemaire & Stewart to represent Service Games in Japan

April 24, 1954 – first use in commerce, and first use anywhere of the Sega trademark for coin-op amusement machines, as per the 4/2/1962 trademark application

April 30, 1955 - Martin Bromley and Irving Bromberg buy Humpert's interest in Service Games, including Service Games, Panama, for $50,000 each.

January 2, 1956 - Raymond Lemaire buys 50 shares in Service Games, Panama from Irving Brombeg for $30,000. Richard Stewart buys 50 shares from Marvin Bromley for the same amount. All four now own 250 shares (25% of the company)

1957 - Service Games, Nevada is incorporated. Korwin Hailey is president, Martin Bromley is VP, Irving Bromberg is secretary-treasurer, R.N. Nickels is director. Hailey subsequently names Stewart and Lemaire as members of the firm as well. Service Games, Nevada and Service Games, Japan have same cablecram code.

May 31, 1960 - Service Games (Japan), Inc. is dissolved. Two new companies are organized: Nihon Goraku Busan Kabushiki Kaisha (Japanese Automatic Manufacturers Company, Inc - sometimes called Nippon Goraku Bussan) and Nippon Kikai Seizo KK (Japanese Machine Manufacturers Co. Inc.)
Nihon Goraku Bussan was a distributor of coin-op amusement devices while Nippon Kikai Seizo manufactured slot machines and also did business as Sega, Inc.

June 1960? – According to Moody’s international manual, Sega was “established” in June 1960 as “Nihon Goraku Bussan Co. Ltd.”
Not sure about this one either. Is NGB “Co Ltd” a different company than NGB “KK”? I’m guessing that they are referring to the May 31 event.

September 5, 1960 - Billboard reports that the assets of Service Games (Japan), Inc. have been purchased by Sega, Inc. and Ultimatic Inc. (managing director: Richard Stewart) - Service Games itself has been liquidated
I think Sega, Inc. is Nippon Kikai ‘Seizo and Ultimatic is Nihon Goraku Bussan

March 31, 1961 - Irving Bromberg and Marty Bromley sell Service Games, Hawaii, Inc. to a group headed by Harold Okomoto for $1.4 million - they reserve the use of the name "Service Games" for their foreign operations

April 2, 1962 – Nippon Kikai Seizo files two trademarks on name “Sega”, one fior use on jukeboxes the other for use on other coin-op amusement devices

April 12, 1962 - Service Games, Panama, Inc. changes its name to Club Overseas Inc., Panama

June 1964 – Nihon Goraku Bussan acquires Nippon Kikai Seizo

July 1, 1965 - Rosen Enterprises and Nihon Goraku Bussan merge to form Sega Enterprises, Ltd.
NOTE that according to David Rosen's testimony in 1971, what technically happened was that Rosen Enterprises was acquired by Nihon Goraku Bussan

Mid June 1969 - Gulf + Western buy out Marty Bromley, Richard Stewart, and  Scott Dotterer's interest in Sega Enterprises, Ltd. Bromley is paid , 1,673,429 and 114,065 shares of Gulf + Western stock, Richard Stewart gets $836,710 and 57,032 shares, Scott Dotterer gets $371, 901 and  23,350 shares.

January 5, 1970 - Gulf + Western completes its buyout of Sega. David Rosen gets $513,173 and 32,850 shares and his wife Masako gets $185,894 and 11,881 shares. Based on the price of the stock at the time, the total sales price for the 1969 and 1970 transactions is to $9,977,043.
Gulf + Western now owns 80% of Sega Enterprises. Ltd. The other 20% is owned by Raymond Lemaire.

A few observations. As others have pointed out, the “Service Games” that became Sega was not the same Service Games that was founded in 1945, nor was it the same as Service Games, Japan. OTOH, I don’t know if you can really say it was a “completely different company” either. On paper, that may be true, since Service Games Japan was dissolved when Nihon Goraku Bussan was created. In reality, however, was Nihon Goraku Bussan just Service Games Japan under a new name? They seem to have had the same executives, but I cannot really say if they were different or not, since I am not sure what led them to dissolve the former and create the latter.

I mentioned earlier Steven Kent’s claim that “Service Games began in May 1952,” which I said was “wrong.” In reviewing the information, perhaps “wrong” was a bit strong. He seems to be referring to the Stewart & Lemaire partnership, which did business as Service Games Japan (SGJ). If so, I can see why he would pick that date rather than the founding of Service Games, Hawaii (SGH). He may have been thinking that SGJ is the one that became Sega (though this is not entirely accurate) while SGH did not. I am not sure what the significance of May 1952 was but if SGJ was incorporated on that date then I can see why he makes his claim.

As I said, however, I am not entirely sure that SGJ ever was officially incorporated.
What about the 1951 date? I’m sure where they got that one.

Next time, I’ll talk more about the problems Service Games had with the US government – and boy, did they have them.

Bonus Content

Since someone else made reference to the Polly Bergen Company last time, I thought I'd include this little blurb from my book about the formation of Sega Enterprises, Inc. (the American arm)

"Meanwhile, in 1974, a new corporate entity called Sega Enterprises, Inc. appeared on the scene, though it happened in a roundabout manner that only an accountant could understand. At the time, Gulf + Western, in partnership with David Rosen, was trying to establish a conglomerate in the Far East similar to Gulf + Western, with Sega as a subsidiary. When that effort failed, they decided to spin off Sega into a separate US company headed by Rosen (Kent 2001). One of Gulf + Western’s many holdings was a cosmetics company called the Polly Bergen Company, which they owned a 53.5% interest in via another subsidiary (naturally) called Consolidated Brands. By 1973, Polly Bergen was losing money and in March 1973 Gulf + Western sold its cosmetics business to Faberge, leaving Polly Bergen with no product line whatsoever. In March 1974, Gulf + Western transferred its Sega Enterprises, Ltd. subsidiary to the Polly Bergen Company. Then, on March 25, it effected a one-for-ten reverse stock split and acquired Polly Bergen for 1.7 million shares of stock, increasing its ownership of the company to 95%. The same day, they changed its name from The Polly Bergen Company to Sega Enterprises, Inc. with Sega Enterprises, Ltd. (Sega’s Japanese operations) as a subsidiary (makes perfect sense to me)."

This came from Sega's annual reports. Despite my comment at the end, I actually suspect that it made perfect sense to somebody. My initial suspicion was that it was done specifically to take control of Polly Bergen by diluting its stock. Since I am not well versed in such matters, however, that was a guess. Wikipedia claims that reverse stock splits are often done to  satisfy the stock exchange's reduce the number of shareholders so that the company is placed in a different regulatory category.


The Early History of Sega - Service Games Part 3 - Running Afoul of the Government

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Last time we talked about the founding of Service Games and a few of the many entities that were related to it. Today, we discuss their many run-ins with the government.

Service Games was initially founded in Honolulu to distribute slot machines and other coin-operated amusement devices to US military bases in Hawaii. As I mentioned last time, there were probably few, if any, distributors serving the Hawaiian market at the time, so Service Games likely had the market to themselves. The good times came to an end, however, in 1951 when Congress passed the Gambling Devices Transportation Act of 1951 (a.k.a. the Johnson Act), which made it a crime to transport gambling devices across state lines except to states where the devices were legal. This meant that slot machines were now illegal on military bases in the continental US and (likely) in the territories of Alaska and Hawaii, leaving Service Games with an abundance of them (Steven Kent reports that the government actually confiscated their machines and that the Brombergs bought them back, but I didn’t see any mention of that in the senate report, which merely reports that they had an abundance of machines).

In any event, the Johnson Act did not apply to US military bases in foreign counties, providing Service Games with an opportunity. In February 1952, Marty Bromley sent Richard Stewart and Raymond Lemaire to Japan to distribute Service Games machines to US military bases in the Far East. Initially they appear to have merely distributed slot machines made by Mills (and maybe Jennings) to PXs and servicemen’s clubs. In the 1960s, however, they began to manufacture Sega-branded slots. In They also distributed other kinds of coin-op amusement machines and sold things like pizza ovens, snacks, rotisseries and other goods.

As you might guess, not everyone liked the idea of the military having slot machines on its bases. During a 1971 senate investigation of fraud and corruption in military clubs in Vietnam, Senator Abraham Ribicoff said, "the sooner the military kicks out all the slots the better." In January 1951, Army brass directed that slot machines be removed from Army installations in the continental US, Alaksa, Hawaii, and the Panama Canal Zone. In February 1952, however, the Army Chief of Staff ruled that in US bases in foreign countries, it was up to each base commander to determine whether or not to allow the games. The Navy banned slot machines from all of its installations in 1951 but changed its mind in early 1959, after the Commander of the US Naval Forces, Japan recommended that slots be allowed in messes and PXs in his command. In July the Chief of Naval Personnel ruled that they could be. During the 1971 senate investigation, Marty Bromley claimed that there were 10,000 slot machines being operated by the combined armed forces. While it might seem odd that the military would allow slot machines at all, they felt that doing so would keep soldiers and sailors on base and out of local bars (and trouble). They also felt that the games would raise morale and that the money taken in by the machines, since at least part of it would go back to the facility owners, would directly benefit military personnel by keeping down the cost of food and other items. The machines were governed by strict rules, however. They had to be purchased from American manufacturers, they had to be owned and maintained by the PX or mess (renting was not allowed), and they had to pay back at least 93-94% of money to the players.
While the military, for the most part, did not have a problem with the slot machines themselves, they did have a problem with Service Games and the illegal activities that it was allegedly engaged in. In 1954, an informant sent a letter to the Office of Naval Intelligence saying that the company was illegally importing slots into Guam using phony release forms. In 1958, the IRS began investigating Bromley at the instigation of an employee of Service Games Hawaii. The investigation soon became a matter of public controversy and political interest and the IRS expanded its investigation into every aspect of every business in which Bromley was engaged. In the 1971 senate investigation, the military claimed they had reports of over 100 instances of violations of law by Service Games, including bribery, illegal use of military and sea transport, illegal imports, customs violations, fraud and forged documents, kickbacks, collusion in bidding, circumvention of the "Buy American" program  illegal gratuities, coercion, and intimidation. Alleged offenses by individuals associated with Service Games included theft, assault, intimidation, coercion, bribery, rape, assault with a deadly weapon, and others. In the fall of 1959, the eighth army blacklisted Service Games. In December 1959, the Navy banned Service Games and all of its officers, employees, and affiliates from its installations in Japan. When Service Games later began to offer machines on behalf of Utamatic and Nihon Goraku Bussan, the Navy banned those companies as well. In 1960, the Navy permanently banned Service Games from its installations in the Philippines. In 1961, the US Civil Administration of Okinawa fined Service Games $300,000 for smuggling, fraud, bribery, and tax evasion. The day before Christmas 1963, the Air Force debarred Service Games from its installations (the ban lasted until April 1967).
What, in particular, were some of the crimes Service Games was accused of? One was avoiding payment of required duties. Because Service Games' machines were imported for use on military bases, they were exempt from the normal import duties or commodities taxes. The company was accused of importing the games duty free, sometimes with counterfeit importation or customs clearance documents,  then diverting them to storage facilities and selling them on the Japanese market (slot machines were illegal in Japan). Service Games was also accused of manufacturing their machines outside of the US, sending them to Nevada for final assembly, then falsely claiming they had been made in the US as required by military regulations. Even when Service Games did place the machines in PXs, there were problems. While regulations required that clubs own any machines they operated, Service Games was accused of applying the club's take to the purchase price so that all they got was the machine itself with no benefit to the personnel. They were also accused of skimming profits from the machines  Marty Bromley was accused of using phony names to open Service Games accounts in Japan-based branches of US banks. The accusations continued after Service games “merged” with Sega Enterprises. In April 1969, a source who was allegedly “closely connected with the Service Games complex” began corresponding with federal authorities, claiming that Sega was shredding tons of documents relating to military coin machines. The source also claimed that Sega Enterprises, through David Rosen, had attempted to write off as tax deductible, bribes of 30 members of the US military. When Japanese tax authorities refused to allow it, Sega wrote them off as “business expenses.” In October 1969, the government claimed, Marty Bromley met with General Earl F. Cole at the Frankfurt airport and offered him a $50,000 bribe to take the fifth and not appear before the senate subcommittee investigating Service Games and Sega. Cole denied that he had met with Bromley and Bromley claimed he was in Madrid at the time.
For all the accusations, the government did not seem to have had much luck making any charges stick. In fall 1960, Service Games was tried by the Japanese Criminal Affairs Division in Yokohama but ended up only paying a small fine. In 1964, the IRS charged Marty Bromley and his wife with failure to pay $4.7 million in taxes between 1962 and 1964. They were only able to collect $47,145.26 and about $10,000 in interest, $15,000 of which was returned to the Bromleys. In December 1964, the US Tax Court found that there had been no fraud of any kind on the part of Bromley or anyone associated with Service Games.
So where does that leave us? Was Service Games guilty of the crimes it was accused of or was it the victim of an overzealous government investigation? From the information in the report, it’s hard to say. During the Vietnam conflict, there was so much graft and corruption in the military club system that it is difficult to determine to what degree Sega was involved, if at all. While Sega and Service Games were certainly discussed during the 1971 senate investigation, during which all of their principal officers were called to testify, it was only as part of a much larger investigation of the club system in general. The clubs were run by NCOs (non-commissioned officers), who often operated with little or no supervision. It is perhaps unsurprising, then, that some turned to graft and corruption. In 1965, a group of seven sergeants, led by William Wooldridge, who was appointed Sergeant Major of the Army in 1966, began to exploit the system for their own personal gain, something for which it seems Sega cannot be blamed. On the other hand, the sheer number of subsidiaries, the number and timing of corporate name changes, the admitted use of aliases, and the fact that Service Games had set up its controlling corporation in Panama, a well-known tax haven , do arouse one’s suspicions – or at least mine. On the other hand, it is not uncommon for companies to set up multiple subsidiaries in the countries in which they operate (though perhaps not as many and not with so many different names), not is it unheard of for a company to establish its headquarters in a tax haven. Still, while i' do not think they were guilty of some of the more egregious crimes they were accused of, I am nonetheless suspicious. Of course, that’s entirely subjective and it is entirely possible the Service Games was innocent of any wrongdoing. 


The Early History of Sega - Rosen Enterprises

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For the last few posts, we've been looking at the history of one of Sega Enterprises' predecessors, Service Games. Today, we take a look at the other one - Rosen Enterprises. Before we do, however, a quick correction. Early, I think I said that Service Games did not start making slot machines until the 1960s. Actually, I believe the first machine they manufactured was the 777 - a.k.a. the "Sega Bell," which they began making in 1957. Allegedly, the first one was built when they found an old Mills machine in the rubble of a bar and recreated it. I am still investigating the issue, however, and may come back to it in my last Sega post, which will discuss what the first Sega game was.

One other thing I mentioned earlier was that Steven Kent's Ultimate History (henceforth "Kent 2001") was practically the only extensive source of information I had found on Rosen Enterprises. That actually wasn't true either. Another excellent source was an article that appeared in the July 1982 issue of RePlay. Anyway, on to Rosen enterprises.

David Rosen and his wife Masayo in 1982
David Rosen had served in the US Air Force in Japan during the Korean War from 1949 to 1952. At the time, the Japanese economy was in the doldrums, but Rosen was impressed by the industriousness of the Japanese people and loved the country. After the war, Rosen returned home and set up a new business. He would send photographs from America to Japan where local artists would turn them into portraits. The venture failed and in 1954, Rosen decided to return to Tokyo to set up an import/export firm called Rosen Enterprises. In addition to importing products, and exporting products like paintings, sculptures, and woodcrafts, the company also manufactured small souvenir items, like cigarette lighters and money clips, engraved with advertisements from American companies (RePlay 7/82). Seeing that the Japanese had income to spend and a pressing need for identification pictures for employment, rationing, travel, and other activities, Rosen started a two-minute photo booth company that quickly became a nationwide chain. Prior to Rosen’s company, IDs were costly and took a minimum of 2-3 days to produce. In America, Photomat booths had sprung up offering photo processing in minutes instead of days. The only problem was that the photos they produced lasted only one or two years before fading and the Japanese needed photos that lasted at least four or five. After investigating the issue, Rosen found the problem. The Photomat booths produced photos without using negatives and lacked the temperature control required to produce durable results. Having found the source of the problem, Rosen decided to import some Photomat equipment to Japan and set up facilities where employees could develop the photos while monitoring the temperature to produce long-lasting pictures. The business was called Ninfun Shashin and the brand name was Photorama. The idea was an instant success and before long Rosen had over 100 locations throughout Japan (RePlay 7/82; Kent 2001). Being a foreigner provided Rosen with some advantages. At the time (and for years after) the Yakuza was heavily involved in the Japanese coin-op industry. When Rosen opened a Photorama booth in Tokyo's entertainment district, he failed to pay his respects to the local boss. Because he was a foreigner, however, he was let off with an apology and had little trouble with the Yakuza after that. Business competitors were a different story. Rosen's Photoramas were so successful that local photographers complained to the U.S. Consulate in an effort to put him out of business. As a compromise, Rosen offered to license Photorama franchises (possibly the first franchising business in Japan). The deal allowed Rosen to open up another 100 locations but it also allowed copycats to move in and by the early 1960s, Rosen was forced to shut Photorama down. (Kent 2001)

By then, however, he had already found another potential source of income. The booming Japanese economy and reduced work hours left people with more money to spend and more leisure time in which to spend it. Rosen decided to try and fill both needs. Many of Rosen’s photo booths were located in theatres and department stores and Rosen decided to replace them with American coin-operated amusement games, which had thus far been found almost exclusively in US military bases.
[David Rosen] To fully understand this decision, you have to realize there weren't any coin amusement games in Japan then, period. The games were abundant in the States but not a single one was on location in Japan, except on military posts. The machines were almost exclusively made in Chicago, and were usually target galleries or sports type themes like baseballs or hockey games. It took me about a year to convince the Japanese authorities to let me import these games. Until that time, they concentrated on essential goods only. Games were luxury imports. (RePlay 7/82)
[NOTE - Rosen here is not talking about pachinko machines, which were considered more akin to slot machines. Pachinko actually exploded in popularity in Japan after World War II - though it had also been popular before the war. According to some sources, pachinko was especially popular after the war for two reasons: 1)  people could exchange pachinko balls for scarce necessities like food (many Japanese were too proud to accept aid or handouts) 2) some pachinko parlors awarded tobacco as prizes, allowing people to get around wartime restrictions. I don't know if these stories are accurate or not and there's more to the pachinko story. I may do a separate post on the history of pachinko, but I don't want to do too many non-video game posts.]

In 1956, Rosen convinced the Ministry of International Trade and Industry to allow him to import $100,000 worth of machines. To stretch that allowance as far as he could, Rosen initially imported older, cheaper games. Two of the companies early hits were Seeburg’s Shoot the Bear and Coon Hunt rifle games.


[David Rosen] We set them up in stores, which became known as ‘gun corners." At that time in Japan, it was absolutely illegal for anyone other than the authorities to own or use firearms, so it gave the people the chance to take target practice, even though it was only a simulation. The went for it in a big way, especially after we set the games up in jungle or forest backgrounds by taking the cabinets off and letting the targets run around free. It was a free form shooting gallery. (RePlay 7/82)

Within a year, Rosen got authorization to purchase another $200,000 worth of games and continued to buy more games in the future. Rosen estimates that the number of used games he was buying exceeded the number of new games being produced in Chicago (RePlay 7/82). Eventually, over 1,000 gun corners were in operation throughout the country (RePlay 7/82).

[David Rosen] The Japanese, certainly at that time, were very possessive about their real estate…even when it came down to taking a few square feet of space in a store. But we were lucky at the start to make an arrangement with Toho Films to put games in their theater lobbies, which proved to be very successful (RePlay 7/82)

While Rosen had the market to himself for a year and a half, his success eventually drew in competitors. While the competition mostly concentrated on street locations, however, Rosen focused on arcades (RePlay 7/82) Within a few years Rosen Enterprises Ltd. owned a chain of 200 arcades throughout Japan (Kent 2001).

Meanwhile, flushed with successs, Rosen had begun to expan. He tried his hand at a chain of indoor golf centers, but the idea failed to catch on with the Japanese public, who considered golf an outdoor game. His next venture, a line of businesses built around slot cars, sparked a brief fad, but also eventually failed. With two strikes against him, Rosen set out again, and this time he met with unqualified success. Around 1963, AMF (American Machine and Foundry) and Brunswick had come to Japan to try and establish bowling as an entertainment option in the country. At the time, bowling alleys in Japan were found almost exclusively on US military bases. There was one alley in Tokyo, but it was mostly frequented by American GIs. Noting the new lanes being built by AMF and Brunswick, Rosen decided to give it a try.

[David Rosen] They got one or two centers opened, so we decided to take a try at it. But, to really do it right, we wanted a 'showcase' center, so we went to Tokyo's busiest entertainment area, which is called Shinjuku. This area had bar after movie house after restaurant. It was an 'adult Disneyland.’ Now, land was not only extremely expensive, it was virtually unattainable. So, we went to one of our movie friends and asked if we could build a bowling center on top of one of their theaters…To make a long story short, we installed 14 lanes on what amounted to the seventh story of this theater, with this huge six-story-tall movie house below it. The management was terrified about the possible noise and vibrations ... and, of course, we were all worried about the stress on the building. I was pretty nervous until we rolled that first ball. Guess what? Not a sound could be heard underneath. (RePlay 7/82)

Rosen also added an American style steakhouse overlooking the lanes. Before long, customers were waiting four or five hours to bowl and the center was staying open 22 hours a day, from seven a.m. to five a.m. (RePlay 7/82) While Rosen never opened another lane, Brunswick and other companies began opening them all over Japan, often with Sega or Taito arcade games in the lobby (RePlay 7/82; Kent 2001).

The Early History of Sega - What Was Sega's First Arcade Game

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This is my final post on the early history of Sega. In this post, we take up the question of what was Sega’s first arcade game. Of course, the answer to this question depends on which Sega you’re talking about. A number of sources claim that Periscope, released in 1966, was Sega’s first game. If you are talking about the first game made after Sega Enterprises was formed in 1965, that may be true but it may not. As we shall see, I am unsure about the 1966 date and even if it’s accurate, I don’t know if it was Sega’s first game. If we are talking the first game to bear the "Sega" brand name, then it almost surely was not the first. A quick note. I am actually probably not the best person to answer this question. My research focuses on arcade video games so I don’t have access to many of the sources that would be helpful in addressing this question – like issues of Cash Box and Vending Times from the 1960s. Nonetheless, here is what little information I’ve found on this issue

Note here that by game, I am not including slot machines. As I mentioned last time, I believe that the first Sega-made slot machine was the "Sega Bell" or "777" of 1957.

With that in mind, here are the candidates I’ve found so far for the title of "first Sega arcade game."

Punching Bag(1962?) – This one was just what the name implies – a strength tester in which you punched a bag with all your might. It is VERY similar to American Mutoscope & Biograph’s Deliver the Punch/Punch a Bag (which Pinrepair dates to 1910) and Mills Novelty’s Bag Puncher (a.k.a. Reward Paying Punching Bag) of 1903 and 1926-30. Mills Bag Puncher was designed by Herbert S. Mills, who filed a patent on July 31, 1903. The game was released in 1926 with a cheaper, simpler cabinet. I don’t know if it was the first punching machine with a boxing-style punching bag or not. There were earlier punching bag machines, but they used a leather pad rather than a bag. There is also a current machine that appears to be an update of this game.


As for the Sega version, arcade-history.com, Segaretro.org, and Pinrepair.com all list it as a 1962 game, though they don’t list their source and they may all be using the same one. I have not found any contemporary evidence confirming the 1962 date. A flyer for the game can be found at TAFA and other sights, but it is from Sega Enterprises Ltd and thus must date from 1965 or later. I did find an article mentioning the game in the October 19, 1968 issue of Billboard, confirming that it was produced by Sega Enterprises. I do not know when they started producing it or for how long it was out of production before they started producing it again. If the 1962 date is correct, then the game must have been produced by Service Games prior to the merger, so some may not count it as "Sega’s" first arcade game, even if it was the first to bear the Sega brand name.






Space Ace (1962???) – Even less is known about this one. About the only information I found is from the brief write-ups on Pinrepair and segaretro (including photos), which only show that it was a space themed gun game. The date on this one is really uncertain. Pinrepair lists it as "early 1960s (exact date unknown)" while arcade-history says 1962. According to a form post at sonicretro, both Space Ace and Punching Bag used the "1962 Sega logo" but I don't know how long this logo was used (perhaps this is the source of the 1962 date?).



Skill Diga (1965??) - This was a crane game. Sega also produced a game called Super Skill Diga. Ashcraft and Snow's book Arcade Mania claims that Skill Diga was released in 1965. arcade-history lists both Skill Diga and Super Skill Diga as 1968. I don't think segaretro lists Skill Diga(I can't tell because the site is down right now)but I think it lists Super Skill Diga as 1968 - though a commentator on the site wrote " Sega Skill Diga is 1965; Super Skill Diga is 1968. These two need to be separated." I originally thought that they might be the same game but Super Skill Diga actually has a second button that allowed players to mix the prizes once per game.




 Basketball (1966?) - In this game, you tried to pop a ping pong ball into a tiny basket. This may have been the first Sega game to be imported to the U.S. (though not by Sega). According to the below article from the May 27, 1967 issue of Billboard, Sega planned to begin producing inexpensive games for export to the US. The article notes that Basketball was "one of the first models". Rosen was careful to note, however, that he was not trying to compete with US manufacturers. The games would be manufactured in Japan and exported to the US. David Rosen was careful to note, however, that Sega did not plan to compete directly with US manufacturers but rather "to compliment the role of the US manufacturer." They also announced that they planned on seeking licensing arrangements with US manufacturers. That was the case with Basketball. While this article reports that the game "has been seen on test in the U.S.", another article from July 27, 1967 reveals that the game was licensed to Midway for US distribution (Midway also manufactured it). The arcade flyers website lists the Midway version as a 1964 game, but this appears to be incorrect.










Rifleman (1967?) - Another gun game. The player used a rifle to take ten shots at a paper target showing five bottles bearing bull’s-eyes. Swinging saloon doors would occasionally obscure the target and at the end of the game, the machine printed out a "score card" showing where the player’s shots landed. You can see a video about the game here. Pinrepair lists this game as 1967. The November 11, 1967 issue of Billboard reports that Sega showed both Rifleman and Periscope at the 1967 MOA show. That does not mean, however, that they released it that year. Note that the person in the video above claims that his machine was manufactured in 1968. He was also puzzled as to why it had English on the cabinet but used a 220-volt (or was it 240?) power supply. This would make sense if it was designed for US military bases overseas (though I thought that Japan used 100-volt power).



Periscope (1966 or March 1968?) - This was Sega's real breakout game and one of the most significant arcade games of the 1960s. Not only was it hugely popular in both Japan and the US, but (according to RePlay) it shattered "the American game operator’s reluctance to buy foreign-made equipment". IT was also allegedly the first arcade game to cost a quarter (at the time, pinball games cost a dime or three games for a quarter). Note, however, that Nutting's Computer Quiz, which was released in the US before Periscope, has also been described as the first game to cost a quarter. RePlay's Ed Adlum once called it first coin-op amusement machine to feature straight quarter play for a single game. RePlay, however also claimed that Periscope was the first arcade game to cost a quarter. Why the discrepancy? It could be that they were thinking of the 1966 release date for Periscope, but that seems unlikely. My guess is that Adlum did not consider Computer Quiz an "arcade" game since it was mostly sold to bars.
So when was Periscope released? Kent's Ultimate History says it was released in Japan in 1966 and that date has been repeated in a number of other sources. Cash Box magazine's equipment catalog listed it as a March 1968 game - a date also listed at Pinrepair.com. The March 1968 date, however, likely refers to its US release date. Unfortunately, I do not have a good source for Japanese release dates and Kent doesn't identify his source. It seems strange to me that Sega would have released the game in Japan in 1966 and waited until 1968 to release it in the US but maybe they (it WAS a very large game). In any event, I do not think Periscope was released in the US in 1966.






So what was the first Sega arcade game?

If we are talking about games bearing the Sega brand name, the leading candidate is Punching Bag (it almost surely wasn't Periscope). If we are talking about he first Sega-designed game released in the US, I'd guess it was Basketball, but that game was licensed to Midway, so it probably shouldn't count. If we are talking about the first game released by Sega Enterprises, it might be Periscope, but the evidence is unclear and I am not at all convinced that that is the case. If it WAS released in Japan in 1966 (and I am far from convinced that it was), it may have been beaten to the punch by Skill Diga and/or Basketball. In the US, it does not appear to have been released until 1968 and may have been preceded by Rifleman.

Atari Depositions Part 7

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Here is the last half Nolan Bushnell's July 3, 1974. Deposition. Kind of dry I know but think some of the others will be more interesting.

MR. HERBERT: As I understand it it's a paper you signed for the auditors?

THE WITNESS: Yes, it was just an internal memorandum that the auditors like so as to have the ends tied up.

MR. ANDERSON: Q. Ross deposition Exhibit 3 calls for monthly payments of four thousand dollars for a period of six months in paragraph 2 under consideration -- excuse me, paragraph 1 under consideration. Were those sums paid, do you know?

A. Yes they were.

Q. To whom were they paid?

A. To Nolan Bushnell.

Q. And did Nolan Bushnell transfer them to Atari, Inc.?

A. Yes I did.

Q. Was that true of all the six payments, do you know?

A. Yes.

Q. Did Bally ever accept a game that you submitted to them pursuant to the Royalty Agreement, Ross deposition Exhibit 3?

A. Yes they did.

Q. What game di they accept or games?

A. It was the Asteroid game.

Q. Did they make and sell the Asteroid game, do you know?

A. Yes they did.

MR. WELSH: You may want to clarify here whether he means Bally or some subsidiary of Bally.

THE WITNESS: Midway did.

MR. WALSH: You asked the question Bally and he answered yes.

MR. ANDERSON: Q. Do you know whether it was in fact Bally that made Asteroid or--

A. Bally did not make Asteroid.

Q. I gather from what you said Midway did make Asteroid?

A. Yes.

Q. So that when you answered my question with respect to Bally you were either thinking of or referring to Midway?

A. That's correct.

Q. When Bally accepted and made Asteroid and sold it, or Midway, did Midway at any time report to you with respect to the manufacture of Asteroid?

A. No.

Q. Did Bally or Midway at any time report to you any sales of games which they accepted from you pursuant to Paragraph 2 at the bottom of the first page of Ross deposition 3?

A. No.

Q. Did you or Atari call upon Bally or Midway to report with respect to games which they accepted and sold pursuant to this Royalty Agreement, Ross deposition Exhibit 3?

A. No.

Q. You have testified that they did accept a game that you made and sell it. Was there some reason that Atari did not call upon Midway or Bally to report pursuant to Paragraph 2 at the bottom of the first page of Ross deposition Exhibit 3?

MR. WELSH: So the record is clearer who do you mean by "they" in the beginning of your question?

MR. ANDERSON: By "they" I mean Midway or Bally.

THE WITNESS: Yes.

MR. ANDERSON: Now my question is--I guess you better read the who question and just think Midway or Bally when I said "they".

(Pending question read by reporter.)

THE WITNESS: The answer is yes and it was Midway.

MR. ANDERSON: Q. Is there a reason that you did not call upon Midway to report the production of a game which they accepted and made and sold?

A. Yes.

Q. What is the reason?

A. I didn't feel that the numbers made represented sums in excess of the advance and therefore I felt that it was unnecessary.

Q. And you never asked for an accounting to establish whether that was true or false?

A. No I did not.

Q. Did you ever discuss with Midway or Bally any patent rights which you might have had on video machines?

A. Yes.

Q. Did you ever discuss granting them any rights under patents which you might have had on video machines?

A. Not as part of any current existing contract or obligation.

Q. In any other context did you discuss your patent rights on video machines with Bally or Midway?

A. Yes.

Q. In what context did you discuss there?

A. I discussed with them that we did have several patents pending, that we would cover that under separate arrangements if and when those patents were finalized.

Q. When did that discussion occur?

A. At the time the other discussions were in progress.

Q. In early '72, March or April of '72?

A. Yes.

Q. Did you ever have these subsequent discussions that you referred to that you would have after the patents issued?

A. Yes.

Q. When did you have that subsequent discussion?

A. It was probably March of this year.

Q. Were you personally involved in that discussion?

A. Yes I was.

Q. Was anyone else from Atari involved?

A. No.

Q. With whom did you have that discussion?

A. With the counsel of Bally.

Q. Who was that, do you know?

A. I can't remember.

Q. Mr. Tomlinson?

A. Mr. Tomlinson.

Q. Anyone else at Midway or Bally that was involved in those discussions?

A. Yes, Mr. Ross at Midway.

Q. Anyone else?

A. No.

Q. Did this discussion occur in Chicago--

A. Yes it did.

Q. --or the Chicago area? Did that discussion involve your patent 3,793,483?

MR. HERBERT: I will have to object here again. We are going well beyond the area of venue. Licensing or negotiations for licensing of Atari patents doesn't have anything to do with venue in a patent infringement suit based upon Magnavox patent, and in view of that fact it is so far beyond the area of venue I instruct witness not to answer.

MR. ANDERSON: Well, as you well know, Mr. Herbert, one act of infringement is an inducement for someone else to infringe and we certainly think this goes to the question of whether Atari induced others to infringe on the Magnavox patents and therefore it's certainly relevant and it likely to lead to admissible evidence on those issues.

Q. Mr. Bushnell, was the patent, of plaintiff's Bushnell deposition Exhibit 3, one of the patents you did discuss with Midway or Bally?

MR. HERBERT: Go ahead and answer the question.

THE WITNESS: Would you rephrase the question?

MR. ANDERSON: Read it first.

(Pending question read by reporter.)

THE WITNESS: Yes.

MR. ANDERSON: Q. That was during the March 1974 meetings or meeting in Chicago?

A. Yes.

Q. Did you discuss with Mr. Tomlinson or Mr. Ross whether or not there was any relationship between the Royalty Agreement, Ross deposition Exhibit 3, and rights under your patent, Bushnell deposition Exhibit 3?

A. Yes.

Q. Please relate to me that discussion?

A. I felt that the patent was a separate situation to the Royalty Agreement.

Q. Has the Royalty Agreement, Ross deposition Exhibit 3, ever been canceled?

A. No it has not.

Q. Has it ever been modified either in writing or orally?

A. No.

Q. During your meeting in March of '74 or at any time prior to that, did you discuss with anyone at Midway or Bally modifying the Royalty Agreement, Ross deposition Exhibit 3?

Q. No.

Q. You indicated that there were I think four meetings or occasions when you were in Chicago in 1972 and you have described two of them. What was the next occasion where you were in Chicago in 1972?

A. I have described I was there for the MOA Show, I was there to teach a service school, I was there later to discuss this.

Q. And on the occasion when you had Pong with you?

A. That was a later occasion.

Q. That would be a third trip?

A. And I also went to the MOA Show.

Q. That would be three as I understand it?

A. No.

Q. To teach the course?

A. Teach is one.

Q. Attend the MOA Show?

A. No. The MOA was the last.

Q. And then to teach the Empire course was in March or April of '72.

A. Negotiate the contract.

Q. Negotiate the contract and when was that approximately?

A. It was in March or April.

Q. Was that a separate trip from teaching course, teaching trip?

A. Yes.

Q. At the end of 1972 approximately how many employees did Atari have?

A. Probably in the neighborhood of 30.

Q. Did any of those 30, approximately 30 employees make any trips to Chicago in 1972?

A. No.

Q. Approximately how many trips did you make to Chicago in 1973?

A. Maybe four.

Q. What was the first trip to Chicago that you recall making during 1973?

A. Boy, I really can't recollect. I believe it was in early summer, late spring.

Q. What was the purpose of the first trip that you can remember making to Chciago in 1973 or the Chicago area generally?

A. I don't recollect.

Q. What trip to you recall making to Chicago in 1973 specifically?

A. MOA Show.

Q. Did Atari have a booth at the MOA Show in 1973?

A. Yes we did.

Q. As of the date of the MOA show in 1973, approximately how many employees did Atari have?

A. 250.

Q. Did other Atari employees attend the MOA show beyond you?

A. Yes.

Q. Who in addition to you?

A. They were Mr. Wakefield, Mr. Mobilio.

Q. M-o-b-i-l-i-o?

A. Yes. Mr. Karns, K-a-r-n-s. Mr. Emmons.

Q. E-m-m-o-n-s?

A. Yes. Mayer.

Q. M-a-y-e-r?

A. Right. Alcorn.

Q. A-l-c-o-r-n?

A. Yes. Andres.

Q. A-n-d-r-e-s?

A. Yes. Faraco.

Q. Will you spell that one?

A. F-a-r-a-c-o. I think that is it.

Q. What was Mr. Wakefield's position at that time?

A. President.

Q. And is he a psychiatrist?

A. Yes.

Q. Mr. Mobilio, what was his position?

A. VP marketing.

Q. Mr. Karns?

A. National sales manager.

Q. Did he report to Mr. Mobilio?

A. Yes he did.

Q. Mr. Emmons?

A. Engineer.

Q. To whom did he report?

A. To Mr. Alcorn.

Q. Mr. Mayer?

A. Engineer.

Q. Did he report to Mr. Alcorn?

A. Yes.

Q. Mr. Alcorn?

A. Vice president of engineering.

Q. Mr. Andres?

A. That is Miss Andres. She is my secretary.

Q. Mr. Faraco?

A. Engineer.

Q. Did Atari have just one booth space at the MOA or more than one?

A. We had three contiguous booths?

Q. What did Atari have on display at the MOA in 1973 in the way of equipment?

A. It had Pong, Space Race, Pong Doubles, Gotcha.

Q. Was there more than one of any of these games in the three booths, three contiguous booths of Atari?

A. Yes.

Q. How many Pongs?

A. I don't remember.

Q. How many in all, approximately how many games in all?

A. I think there were approximately 10.

Q. Where they operative games?

A. Yes.

Q. All of them?

A. Yes.

Q. Were they operated at the show?

A. Yes.

Q. Who got to keep the quarters?

A. Free play.

Q. Did you use a token or just bypass the coin slot or how was it?

A. Bypass the coin slot.

Q. During 1973 did Atari have any machines in the Chicago area at any location other than in the booths at the MOA--

A. No.

Q. --at any time?

A. Would you clarify that question?

Q. Well you said that Atari had 10 machines approximately at the MOA.

A. Yes.

Q. And now were they all in the booth space of Atari at MOA?

A. We had two other machines in a hotel suite.

Q. In the Conrad Hilton, was that?

A. Yes.

Q. What machines were they?

A. World Cup.

Q. Is that an automotive racing game?

A. No.

Q. What is World Cup just generally?

A. It's a ball paddle game.

Q. What was the other game?

A. Grantrak.

Q. Were they operative games?

A. Yes.

Q. Were they actually operated during MOA?

A. Yes.

Q. Has Atari at any other time in 1972 had a machine at any location other than the two you have mentioned?

A. No.

Q. At any time in the history of Atari has it had any machines in the Chicago are other than at the MOA in our booth space and in the Conrad Hilton in a suite that you have referred to?

A. Not machines which Atari has owned.

Q. How many World Cup games did you have in the suite?

A. One.

Q. How many Grantrak ten games?

A. One.

Q. So you had approximately 12 games in Chicago during the MOA in 1973?

A. Yes.

Q. Where did those games come from?

A. Los Gatos.

Q. Were they invoiced to anyone or just kept in the property of Atari?

A. Just kept on the property of Atari.

Q. What was done with the machines after the show?

A. Most of them--some of them were shipped to Los Gatos.

Q. How many were shipped to Los Gatos?

A. I don't remember.

Q. What became of the rest of them?

A. They were shipped to Atlanta.

Q. For what purpose?

A. There was another show down there.

Q. Did you at one time work for a Salt Lake City amusement machine company?

A. No.

Q. Were you in some way involved with a Salt Lake City amusement machine company?

A. Well, there was a Salt Lake City amusement park.

Q. Is that the name of the entity?

A. No. It was Lagoon Corporation.

Q. What was your involvement with Lagoon Corporation?

A. I was manager of the games department.

Q. Was that while you were in college?

A. Yes it was.

Q. Did you have any relationship with Lagoon Corporation following your college career?

A. No, other than, you know, just being good friends with lots of people.

Q. Did Atari, Incorporated have any business relationship with Lagoon Corporation?

A. Yes.

Q. What is that relationship?

A. We sold an operation to Lagoon Corporation. We had machines in operation which I previously stated and sold that to Lagoon.

Q. Were those machines owned and operated by Atari, Incorporated or by some entity which Atari--

A. Some entity.

Q. What entity was that?

A. Called Martin Enterprises.

Q. When was Martin Enterprises created?

A. The summer of 1973.

Q. Does it still exist?

A. No it does not.

Q. When did it cease to exist?

A. Spring of 1974.

Q. Did it operate video machines?

A. Yes.

Q. What became of the video machines? Were they sold to Lagoon?

A. Yes.

Q. Are you familiar with an entity known as West World Amusements?

A. No I am not.

Q. Does Atari, Inc. have any interest in Lagoon Corporation?

A. No it does not.

Q. Other than the trip to the MOA Show about which you have testified, what other specific trips do you recall making to the Chicago area during 1973?

A. I remember the trip in which we talked about royalty arrangements under the patent.

Q. Now, was that in 1973?

A. Oh excuse me, that was in 1973. I'm sorry. I don't really recollect--maybe I didn't go there four times. I can remember the MOA. Things were so hectic I don't recollect. Maybe I only went there once in '73. That seems unlikely but--

Q. Do you keep records of your travel?

A. It should be in my calendar.

Q. Would you check and let us know how many trips you made to the Chicago area during 1973?

A. Sure.

Q. Did any other employees of Atari, Inc. make trips to the Chicago area during 1973 including the people that you have mentioned that were at the show but of course excluding the show which you have already testified about?

A. I think Mr. Karns probably made a trip there.

Q. More than one trip?

A. I would say maximum of two.

Q. And Mr. Karns in national sales manager, is that his title?

A. That's correct.

Q. How does Atari, Inc. distribute its products in Chicago area?

A. It sells them to Empire Distributing.

Q. Does it sell them to Empire Distributing exclusively in the Chicago area?

A. That is the only people, yes.

Q. Is there an agreement between Empire Distributing and Atari--

A. No.

Q. --either written or oral?

A. There is an oral agreement.

Q. Approximately when was that oral agreement reached?

A. Spring of '73.

Q. Where you personally involved in the reaching of that oral agreement?

A. Yes I was.

Q. Was that during one of your visits to Chicago?

A. No.

Q. How was it done?

A. On the telephone.

Q. With whom at Empire did you reach that oral agreement?

A. Gil Kitt.

Q. What is the oral agreement as best you understand it?

A. We would sell to Empire and no others in that area as long as, you know, they represented us fairly.

Q. Any other aspect of the agreement that you can recall that you discussed at that time?

A. Payment terms would be two percent, ten, net 30, and that they would pay shipment. The machines would be sold F.O.B. deck.

Q. Any other terms or conditions that you can recall?

A. No.

Q. Did you ever discuss with Mr. Kitt or anyone at Empire Empire's handling of competitive lines?

A. Yes.

Q. What was that discussion?

A. Oh just something to the effect that I was hopeful that some more Atari games were being sold that anyone else's.

Q. When did that occur?

A. Over the phone at various times.

Q. Any other discussions with respect to competitive lines?

A. Not to my recollection.

Q. Has there ever been a training course for Empire personnel with respect to Atari games of the type you described you conducted with respect to Nutting?

A. Yes.

Q. When have they occurred?

Q. I think there has been one that was conducted by Mr. Arkus. [sic - he is referring to Bill Arkush] Excuse me, that is not true. It was one of the employee technicans of Atari. I don't remember who.

Q. When was that course held?

A. Probably in early fall of '73. Joe Alig.

Q. What is his title with Atari?

A. He is no longer with Atari.

Q. What was his title when he was there?

A. Customer service.

Q. Customer service manager?

A. No, just customer service.

Q. Customer service man. For how long was the training course at Empire?

A. Probably one day.

Q. Did Mr. Alig make a tour at that time of several distributors?

A. Yes.

Q. Was the training course that you referred to in Chicago at Empire?

A. Yes.

Q. Did he teach at any other Midwest locations?

A. I'm sure he did.

Q. Do you know any of them?

A. Probably it would be Omaha, presumably Minneapolis. I think the closest Midwest would be--I guess we jumped from there over to New York.

Q. Did he go to any other Empire installation other than the one at Chicago, do you know?

A. No he did not.

Q. I understand they have places of business in other cities.

A. Yes. Can I get a glass of water?

Q. Certainly. Why don't we take a break and I will look through those invoices at this time.

(Short recess.)

MR. ANDERSON: Q. Earlier Mr. Bushnell, when I asked you for the basic blocks of a video amusement machine you mentioned a TV monitor. Has Atari used commercial TV receivers in contrast to monitors at any time in its manufacture of games or amusement machines?

A. No it has never used a TV receiver. It has used what was once a TV receiver.

Q. Was it purchased by Atari as a TV receiver and modified in some way?

A. Yes.

Q. We have gone through the invoices. At the moment I see no need to require copies or ask you to delete portions. We might at some future date want one or two of the earliest or latest but I think for the moment the easiest procedure is just to ask you one or two questions about the. I notice several of them relating specifically to the shipment of computers. Are they sold as such or are they only sold as replacement items, do you know? I have one here two Pong computers shipped at apparently no charge, N/C.

A. We have a warranty policy that they are shipped as a computer.

Q. Are they a replaceable item in the field, the computer?

A. Yes they are.

Q. This particular one is Invoice No. 3866 to Empire. Does Atari from time to ttime ship computers to Empire in Chicago for replacement purposes?

A. Occasionally.

Q. I noticed several relating to harnesses. What is a harness?

A. It's the wiring, the internal wiring of the machine.

Q. Why does Atari ship harnesses to Empire as indicated by some of the invoices?

A. Occasionally a connector becomes defective and it's cheaper to replace it than repair it.

Q. What promotional activities in general does Atari conduct with respect to the sale of its video amusement machines?

A. We occasionally advertise.

Q. Where does Atari advertise, in what outlets or--

A. Primarily Cash Box which is a trade rag.

Q. What other promotional activities does Atari--Cash Box is a nationally distributed magazine, I take it?

A. Yes.

Q. What other means of promotion does Atari employ?

A. The MOA Show.

Q. Any others?

A. No.

Q. Has Atari ever shipped a machine to a distributor for a field test or market test?

A. Well, I mean many of the machines are for market test but we sell them.

Q. Has Atari ever sold a machine for a test where the terms were in any way different from the ordinary terms that you testified about earlier?

A. No. Occasionally if we feel that a machine is what we consider to be not a production run we will have a reduced price on it.

Q. Do you ever permit deferred payments for a market test machine?

A. No, not really.

Q. What are your terms for return of a machine that a customer doesn't want to keep?

A. Generally there are no provisions for a return.

Q. And specifically other than the generalization if Empire took a new machine and decided they didn't think it fitted their market needs, could they return it to you?

A. They could at our discretion.

Q. Has this ever occurred that you know of?

A. We reshipped on occasion.

Q. You have reshipped. What do you mean by that?

A. Well, let's see, it would be a situation where if Empire didn't want the machine they would call us and sometime we would actually take it back.

Q. And it has occurred with respect to Empire?

A. On two occasions, yes.

Q. What tow occasions do you recall specifically?

A. There was a situation of a Quadrapong machine which they couldn't get to function properly so rather than, you know, repair it they decided to return it and we agreed.

Q. Were both of the two occasions you referred to Quadrapong?

A. Yes they were. Oh excuse me. There was one other in which it was a Grantrak that was a real lemon.

Q. But again it was a defective machine?

A. Yes it was.

Q. Has Atari ever accepted a returned machine for grounds other than malfunction?

A. No. It's not our policy.

Q. Approximately what percentage of the industry sales of video amusement machines does Atari have in your professional opinion?

A. I just don't know. I would like to know.

Q. Is there any trade source that from time to time issues such information?

A. Not to my knowledge. If you find it would you let me know?

Q. From your knowledge of the industry, what is the sales trend in the video amusement machine business?

MR. HERBERT: I object to that question. That has nothing to do with anything in the lawsuit. I instruct the witness not to answer.

MR. ANDERSON: Q. Other than the specific instances that you have already testified about where Atari has place machines for street operations, has Atari ever sent out a machine or sold a machine based upon a return that is a function of the revenue produced?

A. Not to my recollection other than those previously mentioned occasions.

MR. HERBERT: Perhaps I misunderstood the question. By return other than you mean being paid as a percentage of the take of the machine?

MR. ANDERSON: Yes or anything other than a fixed price sale.

Q. Is there any instance where Atari has sold a machine on anything except a set price sale or the instances of street operations that you have already testified about?

A. No.

Q. During your meeting in the spring of 1974, with Mr. Tomlinson and perhaps Mr. Ross, did you discuss the Magnavox patent position?

A. Yes we did.

Q. What was the discussion?

MR. HERBERT: Objection on this. Again we are getting beyond the area of venue.

MR. ANDERSON: I don’t know that that is true and I don't see how you do unless you know what this discussion was, Mr. Herbert. We have certainly established a relationship between Midway, Bally, Empire and Atari and I think we are entitle to explore it fully.

MR. HERBERT: All right.

MR. ANDERSON: Q. Will you answer the question please?

A. We discussed prior art that I have--which I had, not I have.

Q. Prior art with respect to the patent that Magnavox is asserting?

A. Yes.

Q. How did that subject of prior art first come up during the meeting?

A. Yes.

Q. How did that subject of prior art first come up during the meeting?

A. There was a, you know, a question was asked, what do you think about the Magnavox situation.

Q. Someone asked that of you?

A. Yes.

Q. Was that Mr. Tomlinson, do you recall?

A. No. I think It was Mr. Ross.

Q. What was your response?

MR. HERBERT: Objection. Now I do instruct the witness not to answer. This has nothing to do with venue, it only has to do with validity and possible scope of the patent.

MR. ANDERSON: Q. What prior art did you refer to in that conversation?

MR. HERBERT: Objection, same reason, instruct the witness not to answer for the same reasons.

MR. ANDERSON: Q. What other aspects of the Magnavox situation were discussed during that meeting other than your discussion with them of prior art that you had?

A. The question was raised if anyone felt that Magnavox was going to sue.

Q. At the time of your meeting was there not a lawsuit pending?

A. No there was not.

Q. Was there any discussion of any of the Bally companies indemnifying or holding Atari harmless in any way in the event of a lawsuit?

A. No.

Q. Was there any discussion of the possibility of Atari holding any of the Bally companies harmless or indemnifying them in the event of a lawsuit?

A. I would like to confer for a second.

(Short recess.)

THE WITNESS: Would you restate the question?

MR. ANDERSON: Would you read the question please?

(Pending question read by reporter.)

THE WITNESS: There was a discussion of a future further agreement in which one of the provision that we were discussing was a provision of indemnification.

MR. ANDERSON: Q. Was this a further agreement between Atari and one of the Bally companies?

A. There were no further agreements.

Q. I mean was there discussion with respect to a possible further agreement?

A. Yes.

Q. That is what you are referring to in your last answer?

A. Yes.

Q. With which Bally company was that being discussed or with respect to which?

A. It was with Mr. Tomlinson.

Q. And was he speaking then for Midway or Bally or Empire or do you know?

A. I don't know.

Q. Did he distinguish between those various companies during your discussion?

A. I don't recollect.

Q. Do you know who he was representing during the discussion? Was it Midway or somebody else?

Q. I don't know.

Q. What was the discussion with respect to indemnification in the event of a future agreement?

MR. HERBERT: I am going to object to this. Again this witness has already testified that there has been no agreement for indemnification and as far as the discussion as to what the future might be, I think that is pretty far afield again from the area with which we are concerned here so I instruct the witness not to answer.

MR. ANDERSON: I think the record in this deposition and prior ones shows a rather close relationship between these companies and I think we are entitled to explore it.

MR. HERBERT: Between what companies?

MR. ANDERSON: Between Midway, Bally, Atari, and Empire.

MR. HERBERT: Maybe I misunderstood your question but I think Mr. Bushnell already indicated he didn't know which of those companies the other party was representing and I may have misunderstood your question.

MR. ANDERSON: Your summary is exactly in accord with mine and my question is what was discussed between Mr. Tomlinson and Mr. Ross and Mr. Bushnell at the meeting in the spring of 1974 with respect to possible indemnification regarding the Magnavox patent claims and I would like to to answer that as best you can, Mr. Bushnell.

THE WITNESS: Well, it was primarily geared around, you know, the discussion of some of the prior art which I had and that I felt Atari would, you know, as part of a Royalty Agreement take on that burden.

MR. ANDERSON: Q. Now what burden is that?

A. In the event of a possible Magnavox patent infringement suit.

Q. And the burden would be what, that Atari would defend the suit?

A. Yes.

Q. Have there been any further discussions since the meeting between Mr. Tomlinson, Ross and you regarding this subject matters?

A. No.

Q. Either telephone or personal?

A. No.

Q. Have you discussed this subject matter with anyone, any of the Bally companies since that meeting in Chicago?

A. No I haven't.

Q. Did you ever discuss that subject matter with anyone in or any of the Bally companies prior to the meeting in Chicago with Mr. Tomlinson and Ross in March or April of this year?

A. I had mentioned on the telephone that I had a situation which I felt would be of interest to them and it included the indemnification provision.

Q. When was that conversation?

A. It was probably a week prior to my visit.

Q. And the proposal that you thought might be of interest to them included Atari's assumption of responsibility for defending claims by Magnavox, is that correct?

A. Yes.

Q. Did it also involve a license under Atari patent rights?

A. Yes

Q. Did it involve any exchange of know-how?

A. No it didn't.

Q. Or any engineering help of any kind?

A. Strictly a license under our patent.

Q. Prior to that telephone conversation had you ever discussed with anyone associated with any of the Bally companies the Magnavox patent rights and claims?

A. I was aware of it. We had discussed the existence of the Magnavox patents. That was about the extent of it.

Q. Have you had any discussions with any other manufacturers of video amusement machines with respect to the Magnavox patent position?

A. Yes I have.

Q. With whom?

A. Oh I think a fellow, Gary Stern from Seeburg.

Q. G-a-r-y?

A. Yes.

Q. S-t-e-r-n?

A. Yes.

Q. Who else?

A. Gene Lipkin from Allied Leisure.

Q. Who else?

A. That is about it.

Q. On how many occasions have you discussed the Magnavox patent position with Gary Stern?

A. I think I can only think of one phone call.

Q. When was that approximately?

A. I really don't know. It was prior to being served.

Q. Was it this year?

A. I don't believe so.

Q. Who initiated the phone call?

A. He did.

Q. Was it to inquire specifically about the Magnavox patent position?

A. Yes I believe it was.

 

Q. Approximately how long did this phone call last?

A. Five, ten minutes.

Q. Relate as best you can what he said to you and what you said to him.

MR. HERBERT: Objection again. It's still way beyond venue. It has nothing to do with this whole lawsuit. You are going far beyond. I instruct the witness not to answer.

MR. ANDERSON: Q. Will you answer?

A. No I will not.

Q. On how many occasions did you discuss the Magnavox patent position with Gene Lipkin?

A. One.

MR. HERBERT: Objection.

MR. ANDERSON: Q. On one occasion, is that right?

A. I will not answer.

Q. Mr. Herbert has not instructed you not to answer, he has merely recorded an objection.

MR. HERBERT: The answer is already in the record so I will let it stand.

MR. ANDERSON: Q. Approximately when was that one discussion with Mr. Lipkin?

MR. HERBERT: Objection again and instruct the witness not to answer.

MR. ANDERSON: I think these questions have relevance on the Atari involvement in Chicago.

MR. HERBERT: Not as you have made the questions insofar as what you discuss about the Magnavox patent position, it's too broad.

MR. ANDERSON: IT's the only way you can get the specific questions to establish a foundation, it's fundamental. IF I did it any other way you would have a valid objection.

Q. Approximately when was that one discussion with Mr. Lipkin?

MR. HERBERT: Answer that one.

THE WITNESS: I think that was probably in the summer of '73.

MR. ANDERSON: Q. What that a telephone conversation?

A. Yes it was.

Q. Who initiated the call?

A. I don't remember.

Q. Approximately how long did it last?

A. 10, 15 minutes.

Q. Was it initiated specifically with respect to the Magnavox patent position?

A. No, it wasn't

Q. Have you ever had any business relationship with any other manufacturers of video amusement machines other than the ones you have already testified about?

A. In terms of sales or--

Q. Sales, engineering help, agreements of any kind with Allied Leisure?

A. No.

Q. With Chicago Dynamic?

A. No.

Q. With Seeburg?

A. No.

Q. With Ramtek?

A. No.

Q. Are you familiar with Universal Research Laboratories?

A. Yes.

Q. Have you ever had any business dealings of any kind with Universal Research Laboratories?

A. No.

Q. Do you know whether Universal Research Laboratories is in the video amusement machine business in any way?

A. I don't know of their dealings. All I know is what I have heard.

Q. Has Atari at any time granted any rights to anyone other than one of the Bally companies under the agreements you have already discussed to make or sell video amusement machines?

A. Not as far as our computers. We are the sole manufacturer of our computers.

Q. Do you sell your computers to others for incorporation into video amusement machines?

A. Yes.

Q. To whom?

A. Various companies.

Q. Approximately how many companies have you sold your computers to for incorporation into their own video amusement machines?

A. Probably four.

Q. What are the names of those companies?

A. Atari U.K. No relation as a company, they just use our name. Socodimxsa.

Q. Is that a South American company or Mexican?

A. No, French.

Q. To whom else have you sold?

A. Segasa.

Q. Where is Segasa located?

A. Spain.

Q. Is Segasa related in any way to Seeburg, do you know?

A. I believe that it is.

Q. Do you know how?

A. I think Seeburg owns a percentage of them although I am not sure of what that is.

Q. And to whom else has Atari sold its computer for incorporation into their machines?

A. Hunter Electronics, PTC, LTD, Australia.

Q. Do you restrict in any way the places in which these four companies can resell their complete machines?

A. No.

Q. Do you know whether any of them do resell them in the United States or for shipment to the United States?

A. None to my knowledge.

Q. You gave me a list of machines at the beginning of this deposition and I will lay before you my list. Is that a complete list of the games which Atari, Inc. now has in their line?

A. There is one more and I don't know what it is. No. Yes that is a complete list.

Q. Do you know Joseph Robbins?

A. Yes I do.

Q. Have you met with him personally?

A. Yes I have.

Q. In Chicago?

A. Yes.

Q. Anywhere else?

A. He visited my factory at one time.

Q. Have you met with him on each occasion of your travelling to Chicago do you know?

A. No I haven't.

Q. Approximately on how many occasions have you met with him in Chicago?

A. Oh probably three or four.

Q. Do you know Mr. Wolverton?

A. Yes I do.

Q. Have you met with him personally?

A. Yes.

Q. On what occasions?

A. On visits to Midway.

Q. He is the president of Midway, is that correct?

A. Yes.

Q. Where these occasions other than the ones that you have already testified about or--

A. No. They were in conjunction with those previous meetings.

Q. Have you met Mr. David Braun?

A. Yes I have.

Q. On what occasions , if you recall?

A. At the MOA Show.

Q. And he is an officer of Allied Leisure, am I correct?

A. That's correct.

Q. At what other shows have you shown video amusement machines? other than MOA and I think you said one in Atlanta?

A. IAAP.

Q. What does that stand for?

A. International Association of Amusement Parks.

Q. Is that the show that is in Atlanta?

A. Yes.

Q. Have you ever shown at any others?

A. Oh there have been some small regional shows. Whether you can really call them shows or not is hard to say.

Q. Any in the Midwest?

A. I think there was one in Omaha.

Q. Any others that you can recall?

A. No.

Q. Was that in 1973 in Omaha?

A. Yes.

Q. Have you shown in the Atlanta IAAP on more than one occasion?

A. No.

Q. That was in 1973 also?

A. That's correct.

Q. When did you first learn of the video game that ultimately became known as Odyssey of Magnavox?

MR. HERBERT: Objection. That has nothing to do with the venue question either. I instruct the witness not to answer.

MR. ANDERSON: Q. What initiated the original discussion between you and Bally with respect to video games? Did you initiate it or did someone in the bally companies?

A. I initiated it.

Q. Did you approach other people at the time that you approached the Bally companies or were they the only company that you approached in the manner indicated by the exhibits that already are of record?

A. Nutting Associates--I don't know whether I approached them but upon leaving Nutting Associates I agreed to complete a prototype game for them.

Q. Is anyone else other than you involved in the design or engineering of the computers for Atari?

A. Yes.

Q. Anyone outside of Atari? In other words, not an employee of Atari.

A. No.

Q. Has Atari ever made an attachment for a TV receiver in the nature of Odyssey?

A. What do you mean?

Q. In other words, something that could be attached to a home TV receiver.

A. As a product?

Q. As a product or proposed product?

A. No it hasn't.

Q. Has it done any work on that product line or potential product line?

MR. WELSH: I'm wondering how that is relevant as to potential product line. I will object to that. I would like to request you to speed it up if you could. I am right at the door and no go.

THE WITNESS: Atari has the capability of doing that if it wishes to.

MR. ANDERSON: I will try to cut it short.

Q. Has it done it? You say it has the capability. Has Atari done any work?

A. On the consumer product?

Q. Yes.

A. Yes it has.

Q. Has it ever sold a product for the consumer market?

A. Well, we have had people who are nonprofessionals buy our coin operated pieces but that is the extent of it.

Q. Has Atari ever sold the computer part apart from a TV receiver or monitor other than to the four customers you named for incorporation by the customer with a TV receiver?

A. Not to my knowledge. I think there were some small companies in South America.

(Short recess.)

MR. ANDERSON: I have just one or two further questions.

Q. Is Mr. Wakefield still with Atari?

A. No he is not.

Q. When did he terminate?

A. Three weeks ago. We had a significant reduction in personnel.

MR. ANDERSON: I will have the reporter mark as Bushnell deposition Exhibit 4 a copy of the affidavit of John C. Wakefield.

(Copy of affidavit of John C. Wakefield marked Bushnell deposition Exhibit No. 4 for identification)

MR. ANDERSON: Q. Mr. Bushnell, are you familiar with Bushnell deposition Exhibit 4?

A. Yes I am.

Q. Has Atari, Inc. at any time during its existence had a telephone in the northern district of Illinois?

A. No it hasn't.

Q. Or a representative located there?

A. No.

Q. Has it ever had a business location there of any kind?

A. None whatsoever.

Q. Has Atari, Inc. ever accepted trade-ins of machines that it previously sold?

A. Never.

Q. Has it ever purchased back a machine that it sold other than the one that I think you mentioned earlier that was defective?

A. No it has not.

Q. Does Atari have any licensees other than the relationship to Nutting that you mentioned under Bushnell deposition Exhibit 3?

A. There is no agreement between Nutting and Bushnell on this agreement.

Q. I think you said there was some relationship that was terminated.

A. We had an agreement but it had nothing to do with our patent.

Q. Does Atari have any licensees under Bushnell Exhibit 3?

A. No.

Q. When did Atari first become aware of the patents under which Magnavox makes its claims?

A. Vaguely or detailed?

Q. Well, vaguely.

A,. It was probably middle--I would say 1972, middle of '72.

Q. How did Atari gain that awareness?

A. There was some mention of the existence of such patents from Bally Corporation.

Q. Was that during a meeting?

A. Yes.

Q. In Chicago?

A. Yes.

Q. Was that the meeting when you entered into this agreement?

A. When we negotiated it.

Q. When you negotiated it. Has Atari, Inc. ever indemnified any customer against infringement of the patents under which Magnavox makes its claims?

A. No it has not.

Q. When did Atari gain more specific knowledge of the Magnavox patents, more specific knowledge than your vague information in the summer of '72?

A. It was probably--I went home and I think I applied for a copy of those patents and I think it was two or three months thereafter.

Q. Did Bally give you the patent numbers during the meeting?

A. I don't recollect.

Q. How di you apply for copies of them or request them?

A. I must have had patent numbers. My secretary--I just said that I understand there is a Magnavox patent and she as good little secretaries do came up with the goods.

MR. ANDERSON: We have no further questions.

MR. WELSH: I have no cross-examination.

MR. ANDERSON: I would suggest that we agree that Mr. Bushnell can sign the deposition before any notary public.

MR. HERBERT: So stipulated.

(Whereupon, the taking of the deposition was concluded)

Bonus - Someone mentioned earlier that they wanted to see pictures of Dave Nutting. I don't have any from when he was active in the coin-op industry but here are two from his earlier days:

1949 - Culver Military Academy





1953

Softape History - Part I (plus a review of Atari: Game Over)

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A few weeks back, I posted an all-too-brief history of Programma International – one of the earliest and largest Apple II software publishers. Today I cover an even earlier company that is in some ways even more interesting – Softape. Once again, this post will be more of a very brief sketch rather than a proper history and will surely not come close to doing the company justice and I hope that others will take up the mantle and flesh out more of the details of this sadly unappreciated company.

The above image, and many others, were taken from http://www.artscipub.com/history/, which also includes more information on Softape


Setting the Stage

      Softape was founded in late 1977, a key year in personal computer history. According to a number of histories, the personal computer industry was still in its infancy at the beginning of 1977. While this is arguably true, I would actually argue that it would be more accurate to say that it was in its teenage years. Contrary to popular belief, personal computers did not start with the Apple II, at least not if we define "personal computer" as a computer marketed for personal (rather than corporate or institutional) use. While they are largely forgotten today, there were many personal computers (or microcomputers as many called them at the time) that appeared prior to mid-1977. The June, 1977 issue of Byte for instance, featured ads for the Apple II, the IMSAI 8080, the Sol 20 (Processor Technology of Berkeley), the Poly 88 (Polymorphic Systems, Santa Barbara), the Altair 8800b and 680b (MITS, Albuquerque), the Z-2 (Cromemco, Mountain View), the SWTPC 6800 (Southwest Technical Products, San Antonio), the OSI Challenge (Ohio Scientific Instruments, Hiram OH), the Equinox 100 (Parasitic Engineering, Albany),  the Compucolor 8001 (Compucolor Corp, Norcross GA), the FD-8 (Midwest Scientific Instruments, Olathe KS), the Xitan Alpha-1 (Technical Design Labs, Princeton), and machines by Denver's digital group, as well as reviews of the KIM 1 and the Noval 760 (the latter produced by a division of Gremlin Industries – yes THAT Gremlin - and co-designed by one of the designers of Blockade and other arcade games). And personal computers didn't start with the Apple I either, or even the Altair 8800 (though the Altari could be credited with launching the revolution). A handful of other kits, projects, and machines appeared earlier, such as the Mark-8 and the Scelbi 8H. Some trace personal computers all the way back to the ECHO IV in 1967, or even earlier).

Sadly, these machines have been largely ignored in most computer histories. Two exceptions are Paul Frieberger and Michael Swaine’s Fire in the Valley: The Making of the Personal Computer and Stan Veit’s History of the Personal Computer. While both are outstanding, I found that the former left me wanting, really only serving to whet my appetite for more information on these early machines. By far, the best source of info I’ve found about these seminal companies and machines is Stan Veit’s wonderful book. It certainly isn’t the best-written book on personal computer history (though neither is it poorly written), but it may well be my favorite. Aside from the fact that these machines were mostly hobbyist kits, one reason they have been forgotten is that they didn’t last. In 1977, however, three PCs appeared that did: the Apple II (introduced in April and first sold in June), the TRS-80 (released in August), and the Commodore PET (released in October). Unlike most (though not all) early PCs, these machines were (relatively at least) user friendly and sold well. It was in this milieu that Softape appeared on the scene.

The History of Softape




Softape was the brainchild of three people: William V. Smith, Bill DePew, and Gary Koffler, all of whom had attended John Burroughs High School in Burbank (though none of them realized this fact when they first met). Smith graduated from high school in 1974 and earned an AA degree from Los Angeles Valley College in 1977 (an interesting aside that has nothing to do with computers or computer games - Smith’s grandmother was Beatrice Roberts, a model, dancer, Miss America finalist, actress [she played Queen Azura in a 1938 Flash Gordon serial], wife of Robert Ripley [of Believe It or Not fame], and mistress to producer Louis B. Mayer [the second M in MGM]). More relevant to our purposes was Smith’s first encounter with computers, which came in 1976 or 1977 when he saw an article in Popular Science detailing how to build an S-100 bus computer (the hardware bus used in the Altair 8800 and other early PCs). After taking a computer class at Los Angeles Valley College in 1977, Smith and his best friend, Dave Mosher, built the computer, with the help of the owner of The Byte Shop in Pasadena[1] and parts cobbled together from various computer manufacturers. Realizing that other people had invested similar time and effort (not to mention money) in computers of their own and needed a way to protect them, Smith and Mosher formed a company called International Computer Accessories that sold clear Plexiglas computer covers nationwide for machines like the Imsai and Byt-8 (a personal computer created and sold by Byte Shopfounder Paul Terrell). Meanwhile, Mosher had taken another job selling fish and fish supplies to aquariums and pet stores. While selling his products, Mosher met another aquarium-supply salesman named Gary Koffler, who also collected and traded Apple II software on cassette. After Dave told Smith about Koffler, the two met and formed an instant connection inspired by their shared love of computers. They quickly wrote a program called Rollin’ On the River that Koffler began trading with his many computer contacts, one of whom another Apple II enthusiast named Bill DePew. DePew had graduated from John Burroughs High in 1972 before briefly attending UCLA. He also had an uncanny ability to learn new things quickly. The three met at DePew’s house in Burbank and decided to start a company to make products for the Apple II, something few companies were doing for the still relatively new computer. The three initially planned to offer both software (programs Koffler had collected plus others written by DePew) and hardware (like a thermostat they found that connected to the Apple II’s game port). Calling their company Softech, and funded by profits from Smith’s Plexiglas cover business as well as a vending route he owned, they rented a 900-square-foot building on Vanowen Street in North Hollywood for $195 a month and went into business, with Smith handling the marketing, accounting, and office management, Koffler heading up sales, and DePew developing the software (Debbie Jorman was the office assistant).


Softech’s first product was something called the Software Exchange (later the Softape Software Exchange), which Softape’s winter 1978 catalog described as follows:

The largest problem in personal computing today is the lack of organization and distribution of software. Much software exists, but it is not readily obtainable, Softape is committed to filling this void. Since you had the insight to join the microcomputer revolution, we have no doubt that you will recognize the value of this opportunity. The Softape Software Exchange was created to interface the microcomputer ownerand the microcomputer programmer. Through the exchange every kind of program will be available quickly and inexpensively. Programmers, both novice and professional, can have their software distributed nationally. If the software is "top notch" and of sufficient interest, Softape will contact you about royalties. No program will be distributed until the author has given his permission, and a mutually beneficial agreement has been agreed upon.

 After paying a $20 membership fee, customers could order software “modules” on cassette for $2 each. The first title, Module 1, included three games: Advanced Dragon Maze (a lo-res maze game by Gary Shannon), Digital Derby (a lo-res horse racing game), and Saucer War (a two-player space combat game). William Smith describes Module 1 as "the first program available nationwide for the Apple II". While I am not sure this is true, it was likely among the first. The group mailed a copy of the program to every Apple II retail store they knew of, a task that was made easier by Apple, who had kindly provided them with pre-printed labels, along with its dealer and warranty lists (they bought one of the first 5 MB hard drives from Corvus Systems to store them). At one point, Softech even paid to fly Steve Wozniak down to Burbank to attend a club meeting, after which he retired to Smith’s house to watch Battlestar Gallactica.





Just as they got started, however, a company from San Diego contacted them and told them that they were already using the name Softech so the group changed the name to Softape, which had nothing to do with a downy gorilla, but rather referred to the fact that they made software on cassette tape (the standard method of distributing software at the time). In an effort to save money, the fledgling company cut corners whenever it could. Rather than buying an expensive tape duplicator, Bill DePew created an audio bridge that allowed them to make multiple copies of a tape at once. (in later years, Softape partnered with GRT Corporation, a large music tape and record manufacturer with more extensive duplication facilities). Instead of advertising in national magazines like Byte, Creative Computing, or the Apple II magazines that were just beginning to appear on the scene, Softape marketed its product directly via a newsletter they created called Softalk.



The Softape Software Exchange grew to include at least eight modules with utility and productivity software in addition to games. Eventually, however, Softape found that some programs like DePew’s blackjack game Apple 21 and Bob Bishop’s Music Kaleidoscope merited release as stand-alone products, which they sold for $9.95. While these may seem like “bargain basement” prices compared to those of Apple programs of the early ‘80s, it was actually fairly standard pricing for the cassette-based programs of the time, which rarely sold for more than $15-20 (with the exception of business software). In its relatively brief life, Softape released at least 75 programs for the Apple II (and possibly many more). Among them were graphics programs (Etch a Sketch), music programs (Appleodion), utilities (Dump/Restore), educational programs (Typing Tutor) a Forth interpreter (Forth ][) and over 50 games. It also produced a handful of titles for other systems like the TRS 80. Among the more interesting (or at least interesting sounding) games were Baseball Fever (a full color baseball simulation), Coney Island (featuring 22 different ball-and-paddle games), Journey (a little-known text adventure that may not have been released), and Microgammon. I’m not sure what their most popular games were, since they mostly came out before Softalk’s bestseller lists and other lists, but my guesses would be Microgammon,Photar, Planetoids, Star Mines, Apple 21, and Best of Bishop (which combined Rocket Pilot, Space Maze, Star Wars, Saucer Invasion, Apple-Vision, and Dynamic Bouncer).




Its most groundbreaking program may have been Apple-Talker/Apple Listener, perhaps the earliest speech synthesis/voice recognition program for the Apple II. Softape used the technology in programs like Tic-Tac-Talker (a talking version of tic-tac-toe with voice control). The company’s most ambitious effort was probably Magic Window, a full-function word processor created by Gary Shannon and Bill DePew and released in 1982 under the Artsci/Softape label. Its most unusual feature was that the onscreen cursor actually stayed still while the virtual “paper” moved (like an old school typewriter). The program was voted #1 Word Processor of 1981 (according to Softalk) and came with an optional spell checker (Magic Words) and a mail merge program (Magic Mailer).


In addition to the software, the company also made hardware, like the Bright Pen (a light pen input device that they also used in games like Bright Pen Craps), Reset Guard (which prevented Apple II users from inadvertently hitting the machine’s  reset key), and the Axiom-820 printer. One of the company’s greatest legacies was not a program, but amagazine. After three issues, the Softalk newsletter was converted into a full-scale color magazine (and, IMO, one of the best Apple II magazines on the market) in July, 1980 under the direction of William Smith, Bill DePew, and Margo Tommervic. In 1979, Tommervic, then a freelance textbook editor, won $15,000 on the gameshow Password. She and her husband Al, an editor at Variety, decided to use the money to purchase a TRS-80 microcomputer. After a rude Radio Shack salesperson chided Al for smoking his pipe in the store, however, the two left and bought an Apple instead. Margot became an instant computer addict and gamer. While visiting Rainbow Computing (an early computer retailer) she saw an ad for a new adventure game called Mystery House from On-Line Systems, offering a prize for the first person to finish it. When the game went on sale that Friday, Margot was there to purchase a copy and by noon the next day she had solved it. Around this time, Tommervic visited Softape (whose offices were a short distance from where she lived) to buy a copy of Magic Window. Within a few days, she and Smith agreed to start a new company to publish Softalk as a full-scale glossy magazine with Tommervic (who had used the rest of her Password winnings to help finance the venture) as Editor, Smith as Advertising Manager, and Bill DePew as Technical Editor. Publishedfrom September, 1980 until August, 1984, Softalk grew to over 400 pages at its peak and included how-to articles, industry news, product reviews, fiction, and monthly games and contests (one asked readers to count the number of turkeys hidden throughout the issue, another asked readers to guess the identity of Lord British, based on clues provided in each issue). For the video game historian (or at least this video game historian), two features stand out. One was the monthly bestseller lists for software in various categories, based on actual retailer sales figures. The other was the monthly “Exec” column, which featured an in-depth history/profile of a single company.

Overall, Softape/Artsci sold over 100,000 cassettes and 200,000 disks and had annual sales of over $3 million. Unfortunately it never made the transition to the IBM PC (it did try its hand at a few programs for the Macintosh, but it never really panned out), and disappeared along with the Apple II itself (in addition, many of its programmers were hired away by Apple). Eventually, the three partners had a falling out (involving, in part, a woman). DePew and Smith renamed the company Artsci while Koffler went to work for DataMost (whose founder Dave Gordon was an early friend and customer). Bill Depew died on August 2, 2011 in Burbank. In our

The Artsci crew in 1983

Bonus - Automated Dress Pattern, 1978

This is only tangentially related to Softape. The image below is from the September, 1978 issue of Interface Age. It is for an Apple II dress pattern program written by William V. Smith and Paul Essick. The pattern was available from McCall's Dress Pattern Company and could be printed on a 132 column printer.
The interesting thing to me, however, is the medium. The program was distributed on "floppy ROM". I can't imagine that anybody reading this wouldn't know what a record is (even people born after they were supplanted by CDs and mp3s generally know what they are). But if you weren't around during the record era, you may not remember these things. They were "records" printed on flexible plastic that were often distributed as promotional items in magazines or other media (there were even cardboard records that could be cut out of the back of cereal boxes). Even less known is that they were used to distribute computer software, though only rarely. In a way, this isn't surprising. The data from the record was read in through the cassette input port, but the port could be used with any audio source (the data is the same no matter what source it comes from).
Anyway, I thought it was an interesting sidelight of computer history.







[1] According to Smith, this was none other than yoga master, Guru Prem Singh Khalsa

Review - Atari: Game Over

Many of you probably know this, but today marked the release of Atari: Game Over, a documentary about the infamous E.T. cartridge burial in Alamogordo, New Mexico. This thing has been the subject of much discussion in the last several months. I just finished watching it and thought I'd post a few comments.  (NOTE there are some "spoilers" below, though if you've paid any attention to this story, they really don't spoil anything as there isn't really anything to spoil)

I have to admit, that I was actually dreading seeing this thing. From what I had seen I knew what I was expecting and it wasn't good. What I was expecting was that they would dig up the site and find a number of different cartridges and other items, including some E.T. cartridges. Actually, I basically already knew that was what they'd find, since I'd read as much elsewhere and was already convinced that that was what was buried there.

What I feared is that they would then say that the "myth" had been proven true after all and that all those people who said it wasn't true would now have to eat crow (followed by online attacks on the E.T. deniers as a bunch of buffoons or accusations that they "refused to believe" the obvious evidence and continued to cling to their unfalsifiable myth claims).
I was even worried that they would only show photos of the ET cartridges they unearthed, rather than the other material they found - giving the false impression that they had found nothing but ET carts, and millions of them.

The first 90% or so of the movie did nothing to allay my fears.
I am happy to report, however, that my fears were largely unfounded. In the end, they freely admit that they did non find millions of ET cartridges, that only about 10% of the carts they found were ET, and that the dump was a general dump of overstock merchandise that had nothing to do specifically with ET.

In short, while they perhaps didn't say so explicitly, they basically confirmed that the story is a myth.

Let me clarify. The "myth" I'm talking about is not that there were ET cartridges buried in a New Mexico landfill (that much has been known for some time - though some continue to inaccurately report that this is the "myth" that the deniers are denying). Rather, the myth was that there were millions of ET cartridges (and only ET cartridges) buried in New Mexico in an effort to hide (or at least dispose of) all evidence of the ET fiasco - a fact that was seen as having deeper significance as a symbol of the fall of Atari and the video game industry in general).

I suspect that there will still be those who claim the film proves that the "myth" was actually true, which truly bugs me as an amateur historian (as does the seeming fact that the true story has actually been available for over 30 years to anyone who actually bothered to read contemporary press accounts in the Alamogordo and El Paso papers [in other words, anyone who bothered to do basic research])

The landfill story actually forms a relatively small part of the documentary, and the actual revelation at the dig comes across as something of an anticlimax. The documentary is really more about the story of ET itself, and especially Howard Scott Warshaw (the best part of the documentary IMO) with a lesser focus on the history of Atari and the video game industry itself. I personally would have like to have seen them go a bit more into the burial and how it came about (they mention next to nothing about the El Paso plant, for instance), but that would have been a boring story for most people so I understand why they didn't dwell on it. My favorites parts of the movie were those with Warshaw, particularly his emotional reaction at the big reveal. They also interview a number of other people, including Manny Gerard, Nolan Bushnell, and Ernest Cline (author of Ready Player One).

While there is nothing new in the documentary for anyone with even a passing familiarity with Atari history, I did find it quite well made and enjoyed it - though that may be more out of relief than anything else (I should also mention that I have very low expectations for video game history documentaries). Zach Penn clearly seems to have a passion for the 2600 (if not its history).

I certainly think it's worth watching (it is available for free for XBox users, or on xbox video of PC users).

Finally, here are a couple of random photos of Big Paw's Cave, the fifth (or sixth?) game in the Moppet series (the second photo is from the AMOA show). 







I'm Hooked, I'm Hooked, My Brain Is Cooked - Two Pieces of Video Game Radio Ephemera

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Today, I cover a couple of little discussed radio relics of the golden age of video games – one a pop song and the other a radio drama.

 Space Invaders by Uncle Vic
 
The pop song is the 1980 novelty hit "Space Invaders" by Uncle Vic, one of a number of songs related to the game Others include “Disco Space Invaders” by Funny Stuff, released in 1979 on Elbon records; “Space Invaders”, another 1979 song by the Australian band Player 1/Playback and The Pretenders 1979 instrumental “Space Invaders”. Those songs will have to wait for another day. Today, we’re talking about Uncle Vic. Before we get started, here's a link to a YouTube video of the song
     Uncle Vic was Victor Earl Blecman, a 27-year-old musician, nightclub owner, and DJ for WGCL in Cleveland. Blecman's music career has started in Elyria, Ohio in1965 when he formed a band called The Cavemen with three junior high school classmates. The band continued through Blecman's high school and  community college years under various names, including Flight, Pennsylvania Crude Oil, Revolver, and Izz, playing at various local clubs like Pickle Bill's and Big Dick's (in 1971, Izz shared a bill with Black Sabbath). Vic would often inject his oddball sense of humor into the band's sets and before long he was doing more joking than playing. He eventually landed a job as a disk jockey in Elyria, while performing disco-themed comedy as "The Fantastic and Intergalactic Uncle Vic" at Elyria's Rathskellar Club (where, in 1976, he tried to set a Guinness World Record for continuous joke-telling). In January, 1977 he opened an adults-only disco club in Elyria called Uncle Vic's Night Club along with two partners. Meanwhile, Blecman had patented a keyboard instrument called the "talking machine" that made use of recorded sounds. In June of 1978, he attended a Chicago trade show trying to find a manufacturer for his device when he ran into the Bradley Brothers, an English trio who had invented another keyboard instrument called the Novatron and signed up to distribute the machines in North America. He also recorded a record called "Baby, Now That I've Found You", scoring a minor local hit.

Uncle Vic in his high school days (from Elyria Chronicle, 1970)



From Elyria Chronicle, 1969

Izz - From Elyria Chronicle, 1971


The idea to create a novelty record based on a video game came around May of 1980 when Vic was playing a show at his night club and noticed that his audience was distracted by the blooping and bleeping of a Space Invaders machine in the back room. Annoyed, Vic's band began playing along with the game, imitating its sounds. The audience loved it and Blecman soon decided to record a song based on the game. 

[Vic Blecman] That's where I saw people line up for the machine. Cheering and yelling and completely lost in playing. So were the watchers. Then I read about the space machines in magazines and heard about tournaments in Europe, South America, America, and Japan. It's international. I decided something that popular deserved to have a song written about it. <Jane Scott, "'Space Invaders' 45 could blow your mind', Cleveland Plain Dealer, July 4, 1980>

 
Uncle Vic's Night Club - birthplace of "Space Invaders"

Then Blecman found out that the Pretenders had included a song called “Space Invaders” on their debut album and almost dropped the idea, until he found out that the song had nothing to do with the game. Blecman then assembled a group to record his song (which he claims he wrote in his bathroom in about half an hour) and recorded it at 3 A.M. at Kirk Yano's After Dark recording studio in five hours at a cost of $4,000. Backing up Blecman (who played bass and sang vocals) were Kirk Yano on guitar, Jose Ortiz on drums, and Pete Tokar (who duplicated the machine's sounds on a synthesizer[1]). 
       "Space Invaders" opened with the lines "Well, there it is in the corner of the bar / I tried to run, but I didn't get far / Those weird little men; I blow 'em away / Id' sell my mom for a chance to play", followed by the song's hook, sung in an alien voice: "He's hooked, he's hooked, his brain is cooked". The chorus featured the words "Space Invaders" sung over and over as the synthesized sounds of the game played in the background. As the song ended, it got faster and faster (like its coin-op inspiration) before ending with a loud explosion.




Blecman pressed 2,000 copies of the record on his own Partay Label and negotiated with Progress Records to distribute them, mailing copies to a number of radio stations. The song quickly became the most requested song on Cleveland area stations (though Blecman, who was also a disk jockey at Cleveland’s WGCL, wasn't allowed to play it on his own show due to FCC regulations) and also became a hit in St. Petersburg and Tampa, Florida. Blecman then struck a deal with Prelude Records, who'd also released the novelty classics "Ahab the Arab" by Ray Stevens and "My Ding-A-Ling"(shamefully, Chuck Berry's biggest hit) to release "Space Invaders"nationallyas a single (b/w "Ode to Slim", an homage to Slim Whitman). While "Space Invaders"failed to crack the national charts, it became a Dr. Demento staple and, for those who heard it, a fondly-remembered relic of the golden age of video games. Two years later, Uncle Vic tried again with another video game song based on Pac-Man titled "It Won't Beat Me". The song went nowhere.

 


Space Invaders
©1980 by Uncle Vic

Well, there it is in the corner of the bar
I tried to run, but I didn't get far
Those weird little men; I blow 'em away
I'd sell my mom for a chance to play

(He's hooked, he's hooked. His brain is cooked.
He's hooked, he's hooked. His brain is cooked.)

They start off slow, but they don't play clean
It's tricky and low; it's a mean machine
There's lots of them and one of you
When the walls are gone, they'll get to you

(He's hooked, he's hooked. His brain is cooked.
He's hooked, he's hooked. His brain is cooked.)

Space invaders (game sounds)
Space invaders
Space invaders
Space invaders

Faster and faster all the time
An hour of this will blow your mind
Gotta get them before they get you
and you'll be broke before you're through

(He's hooked, he's hooked. His brain is cooked.
He's hooked, he's hooked. His brain is cooked.)

As the gang looks over your shoulder in awe
They don't believe what they just saw
You slid to the left and slid to the right
You're the Space Invaders king tonight

(He's hooked, he's hooked. His brain is cooked.
He's hooked, he's hooked. His brain is cooked.)

Space invaders (game sounds)
Space invaders
Space invaders
Space invaders

A feeling of power comes over your hand
Row by row, you're in command
There's one last devil movin' real fast
One single shot (shot noise); got him at last

Space invaders (game sounds)
(Hey, wow, man!)
Space invaders
(I'm gonna get me one of these)
Space invaders
(Yeah!)
Space invaders
(Got it going now!)
Space invaders
(I'm on my fourth row!)
Space invaders
(Gee, they almost got me.)
Space invaders
(We're in trouble now!)
Space invaders
(Oh, wow, really cosmic, man!)
Space invaders (pace quickens)
Space invaders
Space invaders
(Too fast for me, man!)
Space invaders
(high incomprehensible squawking)
Space invaders
Space invaders
Space invaders
Space invaders....
(explosion)


Uncle Vic in 2008

Nightfall – No Quarter
While Uncle Vic’s hit is far from well-known, I’m sure a number of readers will remember it. I can’t say the same for my next bit of radio ephemera. Actually, I’ve already written about this one, but it was way back in the second post I ever did, so some of you may have missed it (for those who didn’t, this part will largely be a repeat of my earlier post).

 

This one isn’t a song, but a bit of radio drama, an art form that has become increasingly rare, but was a bit more common back in the 1970s and 1980s (remember the NPR production of Star Wars?). This one, however, wasn’t an NPR program. In fact, it wasn’t even American. It was an episode of Nightfall, a Canadian horror anthology series broadcast on CBC from July, 1980 to May, 1983. I am actually a longtime fan of “OTR” (old time radio), particularly radio horror. Nightfall isn’t OTR, but it is one of the finest radio horror anthologies ever produced, IMO.
Unfortunately, the subject of this post wasn’t one of the program’s finest efforts (though I enjoyed it thoroughly anyway). . It was, however, a rare (if not unique) example of a video-game-themed radio drama. The episode I’m talking about is “No Quarter”, which aired on March 4, 1983. You can download it from many places on the web. Here is a link to an internet archive page with “No Quarter” along with most of the other episodes of the series (if you have any interest in horror or radio drama, check out some of the other episodes)
"No Quarter” tells the story of Paul Weaver, a poor shlub who becomes obsessed with video games after playing Donkey Kongwhile waiting for a delayed flight at the Vancouver Airport.  On a drive home from dinner, he and his wife get into an argument over the time he's spending on the games. She is concerned that the games promote anti-social behavior in violence. He replies that the games are educational ("The Defense Department uses Armor Attack as a simulator for tank training." he argues). After he loses his job when he misses an important meeting because he's busy playing Defender ("It you want to beat Defender, don't use the smart bomb in hyperspace”, the arcade owner dubiously tells him), his wife launches a public crusade against video games. One day, Paul gets a mysterious package containing an ultra-advanced arcade game called Death Ship in which an intergalactic slave laborer tries to escape his "Robotron masters". Paul begins playing the game, drawn in by its incredible graphics, voice synthesis, and hyper realistic action. As his score mounts, the game becomes even more lifelike, until it eventually becomes a little too realistic (you’ll have to listen yourself to find out how it ends). Almost unknown today, the episode contains a host of video game references. Death Ship’sdigitized voice intones "coin detected in pocket" ala Berzerk. At one point, the arcade owner tells Paul "Some computer science student in Buffalo blew the brains out of a Pac-Man. You know it only stores six figures. Well, he turned it over three times and the screen split the maze on one side and this electronic gibberish on the other."




[1] Jane Scott, “’Space Invaders’ 45 could blow your mind”, Cleveland Plain Dealer, July 4, 1980.  Other sources report that Blecman played all of the instruments except keyboard.

Swordquest Origins

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While working on the section of my book on video game comic books, I came across some information on the Swordquest series that I found interesting and I that I haven't seen mentioned on the various Swordquest sites on the web.





I'm sure most of you know all about Swordquest, but just in case here are the broad details:

Back in 1982, Atari decided to create a sequel to its Adventure cartridge called Adventure II. The game eventually morphed into something completely different: a series of four interconnected cartridges called Swordquest in which players competed to win an actual treasure. There were supposed to be four games in the series, each based on an element - Earthworld, Fireworld, Waterworld, and Airworld. Each would also come with a mini comic book produced by DC Comics (DC was owned by Warner and had already produced the Atari Force mini-comics that had been included in various 2600 games, starting with Defender). The player used clues in the games and comics to solve a puzzle that they would submit to Atari. 50 of the solvers (I may be getting the details wrong) would then be selected (based on a statement saying what they liked about the game) to go to Atari HQ to play a custom version of the game with the winner being awarded a prize worth $25,000. The winners of the four individual games would then compete for the grand prize - a jewel-encrusted "Sword of Ultimate Sorcery" designed by the Franklin Mint worth $50,000.

In Earthworld (I think the others worked the same way but I'm not sure) the way it worked was that the player would travel through various rooms (in this case, based on the 12 Zodiacal signs), often by playing brief arcade game sequences. For certain rooms if they dropped the right combination of items, a pair of numbers would appear, directing them to a certain page and panel of the comic, in which a hidden word appeared. Then then had to take five of the ten words (part of the puzzle was figure out which ones - I think it Earthworld it was the ones with a prime number) and send them to Atari.

Anyhow, the first game drew about 5,000 entries, but only eight were correct. The prize (a talisman and small sword) was won by Steven Bell. The contest for the second game (Fireworld) - a jeweled chalice - was won by Michael Rideout.

Next came Waterworld, but while finalists were apparently selected, but final prize was never awarded and, in the wake of the video game crash, Atari dropped the entire contest and never produced Airworld. No one is sure what happened to the final three prizes (the Waterworld finalists were supposedly given $2,000 each while Rideout and Bell were given $15,000 each as compensation).

Anyway, the whole thing was an excellent idea gone bad. Aside from the crash, one problem was that the games themselves, to put it bluntly, stunk. I realize this a matter of opinion and I have to admit that I didn't actually own any of them, though I was actually quite excited about the contest. A friend of mine had Fireworld, however, and after I played it, I was shocked at how bad it was and quickly decided I wasn't willing to submit myself to the agony of playing the game just to win a jewel-encrusted tchotchke that I would likely never use and didn't know how easily I would be able to sell.
As a standalone game, it was (again, IMO) worthless. The only reason to play it was if you were going to enter the contest.

Anyhow, that's now what I want to write about. What I wanted to write about was some new info I found.

I was actually researching Atari Force at the time, not Swordquest. Since the Atari Force comics were written by Gerry Conway and Roy Thomas, I immediately wondered if they might have been discussed in Alter Ego, a comic book fanzine edited by Roy Thomas.

I didn't find a complete article, but they were discussed in an interview with Thomas in Alter Ego #100. There was only a paragraph on Atari Force, which didn't really reveal anything new (other than that the idea started when DC's Jenette Khan had Conway and Thomas fly to Silicon Valley to meet with atari engineers and the fact that Conway did basically all the work on the series, despite the fact that Thomas was credited as co-creator).

More interesting to me was the following paragraph on Swordquest:

"Then came Swordquest. Gerry and I came up again and huddled with a couple of Atari’s engineers. The company had this general idea for a series of four interconnected games under the banner 'Swordquest', with a grand prize they’d promote to help sell it. A sword was to be buried somewhere in the United States, and the person who found it – working from clues that were to be imbedded in the games themselves – would get a considerable amount of money. This was based on a similar gimmick that we were told had recently been used by a book company, with clues hidden in some picture book; that had sent people scrambling all over the country in search of a buried treasure. Gerry and I immediately came up with the idea that the four games should be based on the four classical 'elements'– earth, air, fire, and water. It was basically a rather effete sword and sorcery comic – Atari wouldn’t have wanted any real blood-and-guts – and George Perez was assigned to pencil the accompanying comics, which would again be printed in a pocket size. Gerry and I split the work on this one, but I forget exactly who wrote what."
 
The next paragraph is even more interesting.

"Only thing is, as I recall, before we did the fourth comic, a real problem arose with the earlier treasure hunt thing. We were told there were lawsuits in the case of the earlier book because some overeager people hunting for the treasure were digging up people’s lawns and demolishing property. So Atari pulled the plug on the Swordquest game before it got completed. Well, the comic book was a lot better than the game anyway."
Now this last paragraph conflicts with what is known about the game. As far as I've read, the final contest was never supposed to involve digging up the sword. Instead, it would be similar to the others - players would play a custom game and the winner would be awarded the sword. In addition, I've never heard that Atari's dropping the series had anything to do with potential lawsuits. It's always been presented as being due to the video game crash and Atari's financial situation.
While I don't think Thomas's info is entirely accurate, however, I don't think he just made it up either. Nor do I think he was just getting the book contest he mentioned confused with the Swordquest contest (he specifically says that they were told about the lawsuits and that the original idea was based on the books).
My first question, however, was what book contest Thomas was talking about. I distinctly remember one such contest from around that time but not distinctly enough to remember the name.
A quick bit of research turned up two possibilities.


The first was Masquerade, a book written by Kit Williams and published in the UK in 1979 that consisted of a series of 16 paintings that provided clues to the location of a jewel-encrusted, golden hare that had been buried somewhere in the UK.  The book sold over a million copies worldwide.

 
The second was Treasure: In Search of the Golden Horse, written by Dr. Crypton (puzzle writer for Discover magazine)  and published in 1984 (as an alternative to the book, a video tape was also produced that provided the requisite clues). In this one, a golden horse worth $25,000 was buried somewhere in the US, along with a key to a safe deposit box containing a $500,000 annuity.
Was one of these the book Thomas was talking about?
One problem with Masquerade was that the treasure was hidden in the UK, not the US (though the book was published in the US by Schocken Books). In addition, a "winner" to the contest was declared in March, 1982, which doesn't seem to fit Thomas's story either (though it might). OTOH, while I didn't find any references to lawsuits, contestants did dig up private property, causing some controversy (read the Wikipedia article for more detail).
Treasure: In Search of the Golden Horse might seem a better candidate. The problem here is the 1984 publication date, which seems to rule it out. . After looking into the book's history, however, I'm not so sure.

According to an August 21, 1989 article in the New York Times (reproduced here) the idea for the book was cooked up in 1982 by Dr. Crypton and filmmaker Sheldon Renan (who produced the video tape for the game) who sold the rights to former record company exec Barry Grieff in 1983. Grieff then raised $3.5 million, formed a company called Intravision to market the idea, and contracted with Warner Books and Vestron Video to distribute the book and video tape. Unlike Masquerade, this one was a flop. Only about 80,000 books and 12,000 videos were sold, Intravision went into debt, and the treasure was never found (at least not by the time of this article - the annuity was donated to Big Brothers/Big Sisters).

The interesting part for our purposes was that the book was published by Warner (Atari's parent). Unfortunately, it seems that they didn't know about it until 1983. If so, it seems it couldn't have been the book that Thomas was talking about.

So where does that leave us?
Is Thomas's story completely inaccurate?
Is there another such contest that could have served as inspiration? (there were a few other "armchair detective" book/contests I found from 1982 involving buried objects, but they were all were in the UK. As I mentioned, I clearly remember one such contest but I'm not sure it was Masquerade or the golden horse book or some other books I couldn't find reference to).
Did Warner know about the golden horse book earlier?

My guess (and it's just that - a total guess) is that the idea for Swordquest did have something to do with one of the buried item book/contests, though I'm not sure which one. I don't know if Atari ever considered burying the sword, however. If they did so, it may have been early in the concept stage, since from what I've read, the initial rules stated that the finals would involved playing a video game (though, oddly, my initial memory was that there was a buried sword involved). And I don't think that the cancelling of the series had much do to with worries about a lawsuit (at least not about digging up private property - though they may have been worried about being sued for something else). It seems to me that the standard explanation (i.e. that they were cancelled for financial reasons) is the most likely. OTOH, I do wonder where Thomas got the info..

A quick aside that has nothing to do with Swordquest or buried treasure contests. A similar idea appeared in 1983 when William Morrow published a book called "Who Killed the Robins Family" in which players tried to solve a murder mystery to win a $10,000 prize. In 1984, Warner Books published the paperback addition. This one I definitely remember (it also sold a million copies).







History of Softape - Part 2

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Two posts back, I gave a brief account of the history of the early Apple II software publisher Softape. Today, I will take a closer look at three of its most prolific game programmers.

Gary Shannon

NOTE – I already talked about Gary Shannon in my history of Programma International. The information below is a copy-and-paste of that material.

Gary Shannon's Dragon Maze


In 1963, Gary Shannon was fresh out of high school when a neighbor who worked for IBM taught him the rudiments of computer programming for a job he wanted Gary to work on. To further hone his skills, Shannon went to a commercial programming school in Los Angeles and also did contract work installing IBM 370s as well as business programming for Hughes Aircraft and Capitol Records. In the 1970s, he took a job with Cal State University, Northridge, where he soon discovered another passion.

[Gary Shannon] They had a policy where you could take classes during the work day as long as you got your 8 hours in so I started to work on a Masters in Computer Science. I didn't finish it, though. What they were teaching didn't have much to do with the real world of programming, so I dropped out of the program. Also, that was about the time that the Apple II first hit the market and I got totally addicted to game programming.

As his interest in the Apple II grew, Gary took a job at Rainbow Computing in Los Angeles. Founded in 1976 by Gene Sprouse and Glen Dollar, Rainbow Computing was one of the earliest Apple retailers (they also sold computer books and magazines, software, and other computers like the Jupiter III). Among the customers who frequented the store were Ken Williams (who founded Sierra On-Line in 1979), Sherwin Steffin (who founded Edu-Ware in 1979) and Dave Gordon (a friend of Shannon’s). Shannon soon began producing games for Programma, including Dragon Maze, Jupiter Express (an outer space shooter), Nightmare Number Nine, and Othello. Shannon's Nightmare #6 had been distributed by Apple in 1978. Shannon also produced games for Softape,including Advanced Dragon Maze (one of the games on Softape’s very first program – Module 1), Monster Maze, Jupiter Express(in which the player piloted a ship through the asteroid belt between Mars and Jupiter), and Othello. He also produced Forté– a language for inputting music data.

Steve A. Baker

Another prolific Softape game programmer was Steve A Baker, who produced over a dozen titles for the company. Baker was studying to be a cosmetologist, and was actually close to graduating, when a friend showed him an HP-25 calculator. The two of them entered a Lunar Lander program and played it for hours. Interested, Baker found a gravity simulator program in an issue of Popular Electronics in which the player launched a spacecraft that was then controlled by gravity. After modifying the program to include a moon that the player could orbit, Baker was hooked and decided to launch a new a career as a computer programmer.


            He soon landed a job at a surplus electronics store that also carried a number of early hobbyist computers like the Imsai and the KIM-1 and began reading everything he could get his hands on from the store’s extensive library of computer books and magazines (a task made easier when the store gave its employees one copy of every magazine it had as a Christmas gift).

 

            When the Apple released the Apple II, Baker built his own system using an Apple II motherboard and parts he cobbled together from the store’s inventory and began programming games in Apple’s Integer Basic. Unable to afford the expensive 16K RAM chips, Baker initially had to make do with 4K chips, which limited him to lo-res graphics. His first game, Gunslinger, was a lo-res gunfight between a cowboy and R2D2. At a computer club meeting, a friend introduced him to the owner of Softape, who hired him as a programmer for $800 a month and published a number of his games, starting with Gunslinger and Fighter Pilot (on the same double-sided cassette) Fighter Pilot was a lo-res first-person space combat game that also included synthesized speech (produced via Apple Talker). According to Baker, the game originally included a number of elements borrowed from Battlestar Gallactica (such as the character Starbuck), but they were removed after the show’s lawyer’s complained. Before long, Bill Graves (who’d written Softape’s Forth ][ assembler) introduced Baker to assembly language and hi-res graphics and he began creating more sophisticated games, like Star Mines and Nightcrawler. The latter was a computer version of Atari’s Centipede with the addition of a number of elements like a black hole that would warp the player to a lower pit on the screen. The game was later released as Photar with many of the Centipede-like elements removed. Baker’s bestselling was probably Microgammon, an ASCII-graphics version of backgammon (a game baker had learned while working for Mattel in the Intellivision). Other Softape titles by Baker included Go-Moku, Journey, and Burn-Out

 

            After leaving Softape, Baker worked on a number of games for other systems, including Defender and Stargate ports for the Atari 800 and Apple II, the Atari 2600 ports of Epyx’s Summer Games, Winter Games, and California Games, and Pilgrim Quest and Sporting News Baseball for the Apple II.

Bob Bishop




 

Softape's most prolific and well-known programmer was probably Bob Bishop. Born in Milwaukee, Bishop attended the University of Wisconsin at Madison, where he majored in physics. Bishop initially had little interest in computers until one fall when he signed up for a Fortran programming class and got a copy of Daniel McCracken's seminal A Guide to Fortran Programming. First released in 1961, the work (and its successors) became the standard Fortran textbook in colleges across the country. About three days later, Bishop wrote his first program to solve a problem he'd first begun to work on in his high school days involving calculating the area of a square based on a point a given distance from three of its corners. While waiting for the results of this program (this was in the days when programs had to be submitted to an operator on punch cards), he wrote another to generate prime numbers. Unlike his first program, this one worked the first time it ran (eventually the physics department obtained a CDC 3600 that cut the turnaround time to about two hours).

 
 


            With his new interest in programing, Bishop went to grad school at UCLA where a campus computer club allowed students two minutes a day on the school's mainframe. After earning his MS, Bishop worked at Xerox for a few years, then moved on to NASA's Jet Propulsion Lab where he worked on the Apollo 17 project, the HEAO (High Energy Astronomical Observatory), and the IRAS (Infrared Astronomical Satellite) as head of the 20 programmers in the science ground data handling group. Eventually, the group got an IBM 7044, which Bishop was able to use for his own projects (he later called it his first "personal" computer). Before long, real personal computers began to appear. In 1975, Bishop began seeing ads for MITS' Altair 8800, IMS Technologies' IMSAI, and - the one that really excited him - the Sphere. Despite his persistent calls, however, he was never able to get his hands on a Sphere (neither were many other hobbyists). Then, in 1976 he saw an ad for the Apple I and was so eager to get one that he drove to the address on the ad. Expecting to find a large, fully functional company, he was surprised when he was given Steve Jobs' personal phone number. He eventually made his way to Jobs' house, where Jobs' mother invited him inside to wait. When Steve showed up a few minutes later wearing a scraggly beard and sandals, he took Bishop to his garage and tried to demo the Apple I but couldn't get it to work. Eventually, he got the machine working well enough to convince Bishop he had to have one (which likely wasn't too hard). In November (1976), a fellow employee named Gordon Culp, who was staring a computer retailing company of his own, sold Bishop an assembled Apple I for about $1,000 and he created his first game to reach the public - a Star Trek program written in BASIC that was published in the May, 1977 issue of Interface Age. In early 1977, Apple began advertising the Apple II and once again, Bishop knew he had to have one. Unfortunately he couldn't afford the $1678 price. He made another trip to Apple where he met with Steve Wozniak and Mike Markkula and explained the situation. They took him into a back room and offered to sell him one for a "few hundred dollars" if he gave back his Apple I. Bishop readily agreed and went home to wait for his new machine, which was scheduled to arrive on July 3 (less than a month after its official release on June 10th). Much to Bishop's chagrin, the machine didn't arrive on the 3rd and he spent what he called "the lousiest fourth of July of my life" waiting for the next mail day. At ten the next morning, he finally got his machine (serial number 0013) and turned it on, only to find that nothing happened. He eventually figured out he had to press the reset button and before long began experimenting with the machine's new hi-res graphics capabilities. By the next morning, he'd written a game called Rocket Pilot, which was published in the January, 1978 issue of Kilobaud. He followed with three more games: Saucer Invasion, Space Maze, and Star Wars  (Bishop claims they were the first four hi-res games written for the Apple II).In April of 1978, he wrote Apple Vision, a hi-res graphics demo program in which a dancer appeared on a tiny television, gyrating to the tune of "Turkey in the Straw". While it was crude by latter standards, it was a revolution at the time (it took Bishop two weeks to write) and Apple even included it on the disks that shipped with the Apple II, giving many users their first glimpse of hi-res graphics.      


 

 
 


            While Bishop's initial games were all published as program listings in magazines of the time, he also offered them for sale on cassette via Computer Playground, a computer store in Westminster, CA where Bishop was teaching programming classes. One night while lying in bed, Bishop began to think about how the Apple read data from cassette via its cassette-in port (this was before a floppy drive was available) then converted it to 1-bit digital format  and stored it in memory (to output data, it did the same thing in reverse, via the cassette-out port). What if, Bishop thought, he connected a microphone to the cassette-in port and used to record his own voice data? In just half an hour, Bishop wrote a program called Apple-Talker, the first speech synthesis program for the Apple II and followed with Apple Listener, the first speech recognition program. The next day, Bishop demoed the program for his students. When no one said anything, Bishop figured that had been unimpressed. In truth, they had been stunned into silence and soon asked him to do it again.

 

            At some point, Bishop began to work for Softape, who released all of these programs on cassette along with a number of others, including another game called Bomber, a music/graphics program called Music Kaleidoscope, and a database called The Electronic Index Card File (originally created to catalog Bishop's collection of Donald Duck comics). After his career at Softape, Bishop created a number of other games for DataSoft (most notably Dung Beetles and Money Munchers), and later worked for Apple (a job he says Apple offered him mainly to keep him from taking a job at Atari) and Disney Studios and on the game show Tic Tac Dough(which used nine Apple II's for its prize board).

 

 

Annotated Atari Depositions, Part 1

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Today I thought I’d try something different and see if goes over well. In the past several months, I’ve come into possession of a number of legal documents from various video game lawsuits of the 1970s. I thought I’d post some of the info to see if there’s any interest. These documents came from two primary sources:

1)    Some were sent to me by William Ford, who obtained them from NARA. (I think I mentioned it earlier, but Ford is the author of the excellent article on the Allied Leisure v Midway lawsuit found here

2)    Ralph Baer. Baer had a huge amount of materials from the Magnavox lawsuits. Some of it (from the 1985 Activision suit) has already been posted online. Other material, he sent to Marty Goldberg and Curt Vendel for archiving. Marty was kind enough to share some with me.

Speaking of the Ralph Baer materials, Marty and Curt are currently working on scanning the material they have and putting in a Ralph Baer repository, which I think will be made available online. This is awesome news and a great way to honor Ralph’s memory. (he wanted his materials to be made available to researchers) In case you didn’t know, Ralph was an absolute packrat. He kept everything. And from what I’ve seen, there’s all kinds of stuff in here. Depositions from Willy Higinbothom, Bill Nutting, Alan Kotok, Steve Russell, Nolan Bushnell. Internal company documents (including documentation on unreleased games, contracts, financial statements. Old magazine articles. References to little known corners of video game history. This stuff promises to be a treasure trove for video game historians or just plain video game history fans.

The stuff I have is voluminous, however, running to over a thousand pages. I, of course, have read it all. So I thought I’d save people the trouble of doing likewise and post some of the stuff I found most interesting (though I only have a tiny percentage of the total).

I’d thought I’d start with transcripts of some of Nolan Bushnell’ depositions in the Magnavox trials.

First, however, here are a couple of documents you might find interesting.
First up is the 1972 Royalty Agreement between Nolan Bushnell and Bally.
 

 
  


 
 
 
 
 
 
This is the contract Syzygy had with Bally when they incorporated as Atari.
Note that this is actually between Nolan and Bally, not Syzygy and Bally.
Note also that it is only for two games (not three as some have reported). The pinball game was a three-level game with the levels based on heaven, earth, and hell (at least according to Nolan, who said it was called Transition - though another document refers to it as Fireball. This was  the same as Bally's popular Fireball pin, which came out earlier).
Contrary to popular belief, after Bally turned down Pong, it did not cancel the contract. Nor did Bally license Pong to them in fulfillment of the contract (they did license Pong, but not to fulfill the contract).
 
The contract was actually fulfilled by Space Race, which Midway released as Asteroid. They also claimed that Atari was in breach of contract for having released Space Race on its own. IIRC the solution was that Atari agreed to forego the 3% royalty on Asteroid to make up for it.
 
Next time, I'll post the Pong licensing agreement, but for now, I thought I'd start posting some of the depositions I mentioned.
 
The first is from January 13 and 14, 1976. This is only about an eighth of it. If I decide to continue, it will take me a while to get through it. And if my OCR doesn't get a good portion of the text, I may end up dropping the whole thing (unless I get a lot of positive feedback).
 
I will add some notes at various points (marked "[NOTE - blah blah blah]").
 
For those who don't know, in April of 1974, Magnavox (manufacturer of the Odyssey) filed the first of its many lawsuits to protect the Sanders Associates/Ralph Baer patents on the Brown Box/Odyssey.
They started by bringing suit against Seeburg and Chicago coin, but eventually extended the suit to include Atari, Sears, Bally, and many more companies.


On to the deposition:
This part concerns Nolan's work history in college. Some will probably find it boring, but I found it kind of interesting. Part two will probably be of more interest.

Deposition of Nolan K. Bushnell

 
Tuesday, January 13, 1976
Wednesday, January 14, 1976

Be it remembered that pursuant to notice of taking…..yadda yadda yadda…at the hour of 10:20 AM….personally appeared Nolan K. Bushnell, called as a witness, who….

Mr. Williams: This is the deposition of Nolan K. Bushnell and Atari, Inc., and is being taken pursuant to Notice in three civil actions all pending in the Northern District of Illinois.

The first action is…

Mr. Williams: Would you state your full name, please, Mr. Bushnell.

A. Nolan K. Bushnell.

Q. Are you the same Nolan K. Bushnell whose deposition has previously been taken in the civil actions just referred to, Magnavox versus Bally?

A. Those two, yes.

Q. What is your present residence?

A. 15289 Top of the Hill Road, Los Gatos, California, 95030.
 
[NOTE - not sure if this was in the ritzy section of town or not, but I think this is what the place looks like today:
 
 

Q. Are you presently employed?

A. Yes, I am.

Q. By whom are you presently employed?

A. Atari, Incorporated in Los Gatos.

Q. What is your position with Atari, Inc.?

A. Chairman of the board.

Q. Did you hold any other positions with Atari incorporated?

Q.  Do you hold any other positions with Atari, Inc?
A.  No, I do not.
 
Q.  What are your present duties as chairman of the board?

A.  Primary direction of the company, strategies, plans, future developments.
Q.  How long have you had these duties with Atari?

A.  Approximately 2 1/2 years.
Q.  What were your duties with Atari prior to that time?

A.  I was president of Atari.
Q.  How did your duties when you were president differ from your present duties?

A.  I was more involved in day-to-day operations. 
Q.  How long were you the president of Atari?

A.  Since its founding in February or March 1972.
Q.  And you were president from that time until you became chairman of the board?

A.  That's correct.
Q.  Have you held any positions with Atari other than president or chairman of the board?

A.  No.
Q.  Would you briefly outline your education for us since high school?  I gather you graduated high school?

A.  Yes.
Q.  What has been your education since that time?

A.  I went to Utah State University in engineering, later in business.  I transferred to the University of Utah at which I pursued a degree in economics and later graduated in engineering.  Bachelor of Science degree in Engineering.
Q.  For how many years were you at Utah State University?

A.  Approximately three.
Q.  Three calendar years or three academic years?

A.  Three academic years.
Q.  When did you commence your studies at Utah State University?

A.  If had to be 1961.
Q.  So you were there from 1961 through 1964?

A.  I believe that's true.
Q.  When did you begin your studies at the University of Utah?

A.  I actually started, I took a summer class at the University of Utah in 62 or 63, but then I later lived closer to the university than I did to Utah State and then I transferred full time to--
Q.  What that in September of 1964?

A.  No.  I believe I transferred mid-year.  I believe I transferred the winter quarter.
Q.  Of what year?

A.  I don't remember.
Q.  Do you think it was approximately 1964 or 1965?

A.  I think that's close enough.
Mr. Herbert: I might say that among the things that you have requested we are proposing to obtain some materials which would more exactly set the dates that Mr. Bushnell was at Utah State and the University of Utah and we do not have those items but we will be getting them.

Mr. Williams: is that primarily in transcript you were referring to?

Mr. Herbert: the transcript.
Mr. Williams: Q. When did you graduate to the University of Utah?  When did you get your degree?

A.  I graduated in the class of ‘69, but I graduated mid-year and it was December of ‘68, I believe.

Q.  While you were in college were you a fulltime student, or were you employed part time.

A.  I was employed all the time.

Q.  Can you give us an outline of the jobs you held while you were in college?

A.  Sure.  I went to work for Litton Guidance Systems.  I worked during school year for Hadley, limited which is a clothing store.  I worked for one of the industrial engineering departments for a while.  I don't remember exactly who the professor was.  Then I worked for my own company which was an advertising company for several summers, and I worked for Lagoon Corporation as manager of the games department.  Initially I started working at Lagoon as just someone--you know, as one of the employees and was made manager three seasons later or two seasons later.
 
[Note - Nolan's advertising company was called the Campus Company. Three times a year, he made blotters for four different universities with a calendar of events in the center and advertising around the outside. He gave the blotters away and sold the advertising, supposedly making about $3,000 for each one (they cost about $500 to produce). Or so says Nolan.]


Q.  Did you hold any other jobs while you were in college?

A.  Oh, I sold Encyclopedia Americana for a while.  I operated some coin machines at Lagoon in Salt Lake City.  That's about it of any substance.
Q.  Do you recall the approximate period of time which you worked for Litton Guidance Systems?

[NOTE  - Litton Guidance and Control Systems was a division of Litton Industries. It made guidance systems for military aircraft. They had a huge facility in Salt Lake City (I think they still do). They are now known as Northrop Grumman Navigation Systems Division.



On a side note, the military actually had a strong presence in the area of Clearfield, Utah (Nolan’s hometown) at the time Nolan was born. Hill Air Field (later Hill Air Force Base) opened in 1940 and became an important supply depot during World War II. As did the Clearfield Naval Supply Depot, which opened in 1943. It might seem odd to have a military supply depot in the middle of Utah but they picked it for its dry climate, large local population, and security from enemy attack.]
 


The Clearfield business district in 1941 (Two years before Nolan's birth

 
 

A.  I think it was ‘61 or--I think it was the summer of ‘62.

Q.  Just during the summer of ‘62?
A.  Yes.

Q.  And you said you worked for one of the industrial engineering departments?  Do you recall what period that was?
A.  I think it was the fall quarter of ‘62 or ‘63.  It was for one of the professors.

Q.  What were your duties in this job?

A.  Draftsman.  Some design.

Q.  Design of what?

A.  Irrigation systems.
Q.  Agricultural irrigation systems?

A.  Yes.
Q.  When did you commence your employment with Lagoon Corporation?

[NOTE - Lagoon Amusement Park is located in Farmington and looks like it was a pretty cool place. It as built by future Utah governor Simon Bamberger in 1886 to draw customers to a railroad he was building between Salt Lake City and Ogden. It's still in existence. They almost tore it down after World War II, but didn't (if they had, video game history might be different). The Beach Boys even mentioned in in their song Salt Lake City.




One might wonder why the Beach Boys would mention a local amusement park in a song but I think a better question is why anyone is there a song about Salt Lake City.
Note too that there is no mention of Nolan's going to work for Lagoon because he lost his tuition money in a poker game. He's told that story on more than one occasion. In other accounts, however, he claims that he went to work there because he had his day job selling calendars and thought that the easiest way to keep from spending money was to get a night job.

 
 
These accounts aren't mutually exclusive but I've always found the poker story a bit too-good-to-be-true. Plus, as you can see, Nolan was no stranger to work, so I think he has plenty of money.]
 
Yes, that's Janis Joplin riding the Flying Jets at Lagoon Amusement Park. You think maybe Nolan...Nah!
 
 

Holey Moley, that's Jimi Hendrix playing Lagoon Amusement Park in 1969. Maybe I should take back my earlier comment.
Photos from http://brianrecord.com/2.html

A.  I started in the summer of ‘63.
Q.  How long were you with Lagoon?

A.  I was with Lagoon for five years.
Q.  What your employment with Lagoon continuous over that five-year period or were there breaks in it?

A.  It was hot and heavy, of course, during the summer months.  It fit very well with an academic career because there were always plans that were made and things that were being done all year long and it was a situation where we could put in as many hours as we wanted a two as long as it was job-related--you know, that there was work to do and generally it was pretty much part-time work during the winter months.

Q.  But there was not a period during that five-year when you weren't employed by Lagoon either on a fulltime or a part-time basis?

A.  It was kind of a thing where I always knew the people and any time I wanted to work I could.  It was hard to say, you know, when I was not employed and when I was with the relationship we had.

Q.  Where you paid on an hourly basis or a salary basis?

A.  Hourly.  After I was manager it was essentially a salary because it was fixed, you know, a fixed amount and you made the big thing on the profit-sharing basis.  We had Christmas bonuses that generally would finance the fall and winter quarter.

Q.  You initially when you were with lagoon that you were initially just an employee.  What were your first duties when you first went to work for lagoon?
A.  My first duties were I was the Spill-the-Milk operator.  That's a game in which a patron comes to knock over milk bottles with baseballs.  You stand out and say, "Step right up and come and play the game and win a stuffed animal."

Q.  And this was an amusement center of some type operated by lagoon?
A.  Well, Lagoon Corporation is an amusement park outside of Salt Lake City.

Q.  After you were the Spill-the-Milk operator, what were your next duties for Lagoon?
A.  Well, after about a half a season I became--you know, they moved us around and I ran and Shooting Waters and Guess Your Weight, Bowling and Tip 'Em Over and Flukie-Ball.

[NOTE - Flukey Ball was the one where you tried to land a ball in a basket with a sloping board over it. I don't know if it was gaffed or not.






Q.  Did you have any connection with coin-operated amusement machines during that period of your employment?

A.  Yes, I did.  Bowling was a game that we had which I was an operator on for months and it involved maintenance of the machines as well as selling.

Q.  As well as selling what?

A.  Well, getting people to play the games.

Q.  But bowling was a coin-operated games?

A.  Yes, it was.  Skee-Ball was also a coin-operated game which I operated.

Q.  How many employees did Lagoon Corporation have when you first went to work with them?

A. During the peak of the season, during the summer months - - and there were actually three corporations, but they were all owned and run by the same one. So when I talk about Lagoon Corporation it’s actually Amusement Services that was the corporation that I worked for, but it was all considered to be Lagoon even though I don’t know why they had been separated that way.

Q. What were the other corporations?

A. The Fun House Corporation. I think that as the same of it, something like that. I think they split that out because the Fun House is an extremely high-liability thing. People are always breaking arms and legs and things like that. So I think from a liability standpoint they had it separated out.

Q. What as the third corporation.

 A. Lagoon Corporation. Amusement Services ran the food operations and the games. Lagoon Corporation owned all the heavy capital equipment, rides, everything with the exception of the roller coaster. I think the roller coaster as a separate corporation also and, again, I think it was from the liability standpoint.

 Q. Did Lagoon Corporation have any arcades with coin-operated pinball machines and things such as that?

 A. Yes, they did.

 Q. Were the arcade located in the—

 A. Well, that was Amusement Services again that had the arcades, not Lagoon Corporation, if we’re going to divide those.

 Q. Were the arcades located in the park?

 A.  Yes, they were.

Q.  When you were made manager, were you still employed by Amusement Services or were you employed by Lagoon?

A.  It was all Amusement Services.

Q.  When you were made a manager for Amusement Services what were your duties?

A.  It was too essentially operate a complete games department.  I had P and L responsibility, hiring, firing, maintenance responsibility, planning responsibility.

Q.  What types of games were included in the games department?

A.  Coin-operated games, ball-throwing games, penny-pitchers, shooting games, arcade, quick-draw games, guess-your-weight games, basketball-throwing game, High Strikers, Skee -Ball, photo studio, coin-operated photo machines, water pistol games.  Let's see, what are some of the others?  Rolldown, fun balls, darts, Bingoring which is a coin-operated game, Bang.  That's about it.

[NOTE I believe "Bingoring" is actually "Bingorino", a "rolldown" game made by Scientific Machine Company as a followup to their popular "Pokerino" (in which you made poker hands). I think the Broadway Arcade in New York had a row of these machines.

I didn't find a picture of Bingorino, but here's Pokerino]


  

Q. You said Bingoring as a coin-operated game

A. Yes.

Q. Could you describe the game Bingoring?

A. Well, it has a series of holes which you roll a ball down and attempt to get a bingo. Each of the holes are numbered and it lights a light on the back. You get certain patterns, you win points which can be traded for prizes. Oh, baseball was another one.

Q. You mentioned that tone of the areas was an arcade. Would you briefly describe what the arcade was or what it contained?

A. Well, it was a traditional penny arcade which had various things that you can do. The direct responsibility for the arcade was a fellow called Steve Hyde. It contained photocard machine, pinball machines, peep shows -- not the X-rated kind, but, you know, look and see the San Francisco Earthquake and that kind of stuff. There were a few that the little boys thought were really racy at that time, but it's nothing in comparison to what we have now. It also vended fish food to feed to the carp in the lake. Skiing machines, baseball machine. Hockey machines. Driving machines. Just the regular tuff you see in any amusement park arcade.
Q. You said Steve Hyde had responsibility for the penny arcade?

A. Yes.
Q. Did Mr. Hyde report to you or did you report to Mr. Hyde?

A. We reported on an equal level to Mr. Freed.
Q. F-r-e-e-d?

A. Yes. We shared P and L responsibility and maintenance responsibility of the equipment.

Q. As manager was it your responsibility to select the games that were run by Amusement Services Corporation?

A. Only those which were out on the midway. Mr. Hyde and I would discuss the things, but it was ultimately Mr. Freed's decision as to capital equipment purchase. We would both make recommendations.

Q. How many employee did you have reporting to you while you were manger?

A. 60 to 100.

Q. What was Mr. Freed's position?

A. He was president of Amusement Services. He might have been general manager, I'm not sure. He was the man, though. He was the boss. I'm not sure exactly what his title was.

Q. Did you find that when you and Mr. Hyde made recommendations concerning the games to be purchased by Mr. Freed that he often accepted your advice?

 
A. Yes, he did.

Q. How long did you remain a manager of the Amusement Services Corporation?

A. I was manager for three years.

Q. During that entire period did your duties were as you just outlined them for us?

A. Yes.

Q. At the end of this period did you then leave Amusement Services Corporation?

A. Yes, I did.

Q. What was your next employment after that?

A. Ampex Corporation.

Q. I think you stated that for a period while you were in college you were employed by Barlow Furniture during TV and appliance repair and delivery?

[Note Barlow Furniture was actually owned by the husband of Nolan's second cousin. http://www.legacy.com/obituaries/saltlaketribune/obituary.aspx?pid=147132265]


 
A. That’s correct.

Q. Could you outline the nature of your duties concerning television repair?

A. I was really good at switching tubes around. I didn’t have the capital equipment to do some of the heavy repairing. That was left up to some of the other people.

 

Q. You say you didn’t have the capital equipment?
 
A. Yes.

Q. Were you working as a contractor for Barlow essentially or –

A. No. I was just employed on a salary. Hourly, actually.

Q. But were you using your own equipment, your own television repair equipment?

A. Yes, I had my own pliers.

Q. Prior to the time that you worked for Barlow did you have any background in television service or—

A. Well, I played around with ham radio. I had a ham license in 1955, I guess. I was one of the youngest ham radio operators in Utah. That was when I was about ten or eleven, I guess. I just always fooled around. I fixed my own TV’s and then pretty soon I started fixing the neighbors’ TV’s and, you know, it just kind of mushroomed. I worked for Barlow, incidentally, all during high school. It was just kind of one of those evolutionary things.

[NOTE that Ted Dabney disputes this claim (Nolan fixing TVs when he was ten), as detailed here.


At the risk of sounding like an old fogey (I’ll try to forego the “Let me tell you sonny” and “by cracky"s, If you are of my age, you probably remember when changing tubes on a TV was easy. They used to have little stations at the front of every grocery store and supermarket where you could test them. On top was a kind of breadboard that you plugged your tube into to test it and underneath was a rack of tubes. While a ten-year-old could easily have handled that, apparently that was not the case in the 1950s. Back then (says Ted) changing tubes was much more difficult, not to mention dangerous.

You young ‘uns have probably never seen one of these since now, as George Carlin once said “We are essentially tubeless.”
Whether Dabney's claim is true or not, I can't say (I'll take his word for it). Nor am I convinced that Nolan could not have done some minor TV repair in his youth. Alexander Smith discussed this issue  in a recent blog post
 and I basically share his opinion on this one, though I'm a tad more skeptical.
While I think there may be some truth to Nolan's claim, however, there was a motive for him to exaggerate his abilities (not that I'm saying he did so). Nolan has always said that the spot motion circuit he filed for Pong was all his work while Ted says it was his. Ted says that Nolan didn't have the knowledge of television electronics to create such a circuit. Claiming that he repaired TVs would establish that he had the such knowledge (though he wouldn't have to claim he did it when he was ten).

BTW - if you haven't checked out Alex's blog, do yourself a favor and do so.]
 

 

 

  
Q. While you were working for Barlow all during high school during that entire period you were involved in the fixing of televisions?

A. That’s true. It wasn’t my primary responsibility. I’d say I was a better washerman. We were at RCA at that time.

Q. You were what?

A. RCA at that time.

Q. Barlow was RCA?
 
A. Yes.

Q. You mean they were an RCA dealer?

A. Right. We didn’t like the Magnavox guy down the street.

 
--- (gap?) ---

 
Q. You said while you were in college ??? some coin machines on a route in Salt Lake City?

 
A. That’s correct.

 
Q. When did you start operating coin machines that way?

 
A. It had to be about 1965, I think. Each year in the arcade they’d junk some machines or sell them off to employee for five bucks. I’d repair them and fix them up and put them around in some fraternity houses at school and keep them operating and collect the money and split the revenue with the house manager of the fraternity house.

Q. And over how many years did you do that?

 
A. Three years.

Q. So you did it until approximately the time you left Amusement Services?

A. Yes. I sold my route at the time to one of my fraternity brothers.

 
Q. Any you had control over which game you placed on your route?

 
A. Yes, I did.

Q. Did you have any employees?

A. No, I didn’t.

Q. What type of coin machines did you place in various places on the route?

A. Primarily they were baseball machines. The sports game always seemed to do very well.

Q. Would you describe what you mean by baseball machines?

A. It as a machine which essentially consisted of two buttons as far as player controls. One controlled the pitch and the other one controlled the bat. You pushed the pitch button and it would roll a steel ball down toward the bat which, when you pushed on it, it would hit the ball up into a series of holes along the back. If you hit the center hole you’d get a home run and the little man would run around the playfield. If you hit one to the corners you’d get a single or if you hit another place you’d get an out. The object was to obviously hit the bet holes without hitting the out, and if you got three outs the game would be over. There were several variations on the basic theme. Some of them would have little ramps that if you hit the ramp it would knock it up into the bleachers. Which would be a special home run and it would give you three runs or something like that.


[NOTE – The “Baseball” games Nolan is talking about are called “Pitch-and-Bat” games in the biz. The unit with the baserunners is called a “running man” unit.


Here is an excellent sitewhere you can read more about, as well as other EM games. (I got the picture below from there, which is actually from a football game.]









Q. Is there any other type of machines you place other than baseball machines?

 
A. There was one that was called a Boozarometer which essentially was a stick or a wand that had a ring on it that was captive on a wiggly piece of wire, and you would put in a coin and attempt to not touch the wire while moving this spring around. If you touched it the game would be over and a bell would ring. So the idea was to get it clear across the wire without touching it, which is a difficult task. It supposedly was more difficult when you had been drinking than if you hadn’t been.


[NOTE – I think he meant to say “Booz-Barometer”]

 
<Lines 22-27 missing?>

 
Q. You stated that you graduated with a BS in engineering: is that correct?

A. Correct.

Q. Any particular field of engineering?

A. Electrical engineering. Essentially it was a computer-oriented electrical engineering degree that I had.

 
Q. What do you mean by computer-oriented?

 
A. Logic design, systems design, software.

 
Q. You mean that you took courses in logic design and systems design itself?

 
A. Yes. You had many electives internal to the engineering department that you could major in like power distribution, you could major in circuits or you could major in semiconductors, or you could major in computer design, and based on the engineering elective that you took it would pretty much determine, you know, where your interest was and ultimately where your job would be.
 

Photo Odds and Ends

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I thought I'd take a quick break to post some interesting photos I've come across recently.

First up are some more photos from the 1974 All Japan TV Game Championship that I reported on before (http://allincolorforaquarter.blogspot.com/2013/04/early-video-game-tournaments-and-players.html). As I mentioned, it was likely the first national video game tournament and one of the first major coin-op video game tournaments.

(BTW - I have discovered yet another early attempt at an e-sports league from ca 1982. I am going to try to contact that people who started it for more information. I am also still corresponding with Dennis DeNure of the Video Athletes Assn and hope to do a more in depth post on that one soon.)

These are from the November 30, 1974 issue of Marketplace.




Here's tournament winner Osamu Kuroda (a 28-year-old banking employee).





From Video Games magazine, here are articles on two rare games:





A few other rare video and non-video games:

 
 
 
 
 

 
 
Not a video game, but an odd video game-related product from the 80s.
 

 
 
 
Here's a photo of The Country Store from ca 1985, which was formerly the famous Andy Capp's Tavern (where Pong was play tested and the coin-op video game industry was arguably launched).
I don't know when it stopped being Andy Capp's and so far, I have yet to see an actual photo of Andy Capp's (The San Jose Mercury News might have printed a photo of it, but I don't have access to their archive). I think that today, the site is occupied by Rooster T. Feathers comedy club.
 
 

Finally, from Taito's history blog, here are some photos of a Space Invaders parlor, some bags used to collect quarters from Space Invaders, and a few other Taito products.








Annotated Atari Depositions - Part 2

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Today we continue with Nolan Bushnell’s deposition from January 13 and 14, 1976. In this part, Nolan discusses his various experiences with computer games at the University of Utah. This (when and if Nolan first saw Spacewar, when he got the idea for a video game, what kind of programming experience he had etc.) is one of the biggest bones of contention in the depositions as well as from a historical standpoint. Before getting into the details, then, it might be helpful to have a few dates in mind:
* Summer 1961 - Steve Russell, Wayne Wiitanen, and J.M. Graetz conceive of Spacewar
* January 1962 - Russell completes "bare bones" version of Spacewar
* May 1962 - Spacewar featured at MIT open house
* September 1962 - Russell completes updated MIT version of Spacewar
* Fall, 1962 - Russell moves to Stanford to join John McCarthy
* 1961 or 1962 (Fall?) - Nolan Bushnell begins studies at Utah State
* 1965 - David Evans accepts offer to come to University of Utah and establish the Computer Science department.
* 1964 or 1965 (Fall?) - Nolan Bushnell transfers to University of Utah
* 1966 - Ralph Baer begins working on what later becomes the "brown box"/Odyssey
* November, 1966 - Univac 1108 arrives at University of Utah computer lab
* 1968 - Ivan Sutherland comes to University of Utah to join David Evans in the Computer Science department
* March 18, 1968 - Ralph Baer files for patent on "Recording crt light gun and method"
* 1969 - Nolan Bushnell encounters Space war at the Stanford Artificial Intelligence Lab (SAIL)
* May 27, 1969 - William Rusch files for patent on "Television Gaming Apparatus"
* August 21, 1969 - Rusch, Baer, and William Harrison file for patent on "Television Gaming Apparatus"
* March 22, 1971 - Baer files for a patent on "Television gaming and training apparatus" (the "480" patent)
* August 10, 1971 - Baer's light gun patent granted
* November, 1971 - First Computer Space sales begin.
* June 27, 1972 - Atari is officially incorporated
* August, 1972 - Magnavox Odyssey released in North America
* ca mid-August, 1972 - First Pong prototype is placed on location at Andy Capp's for field testing.
* November, 1972 - Pong is "released"
* November 24, 1972 - Nolan Bushnell filed for patent on "Video image positioning control system for amusement device"
* February 19, 1974 - Bushnell's patent granted
* April, 1974 - Magnavox files its first patent infringement


Anyway, on to the depositions

MR.WILLIAMS. Q. Were you personally involved in any activities prior to December 31, 1969 relating to apparatus for playing of games which utilized cathode ray tube displays?

A. Yes, I was.

Q. What was the first such activity of any kind that you can recall?

A. I recall playing a game on a computer at the University of Utah.

Q. And that was the first activity of that nature that you can recall that you were involved in?

A, Yes on a cathode-ray tube.

Q. When did that occur?

A. I have been trying to pinpoint that. I think it was in the neighborhood of 1965. It was shortly after I came to the University of Utah.


[NOTE - The first question that may come up here is why the court spends so much time on this issue. You might think that it was just the court going over minutiae in mind-numbing detail, as they did with Nolan's employment history, but here the issue is likely more substantial.

At issue is exactly when Nolan got the idea for a video game and, more importantly, if he did so before Ralph Baer.

From a legal standpoint, I’m not entirely sure of the details of exactly what Atari’s claim was (if any). Were they trying to show that Baer’s patents were invalid due to Nolan’s “prior art”? Were they trying to show that Bushnell hadn’t violated Baer’s patents because he got the idea first?

We'll continue to discuss this as we go along, but I thought I'd mention a few things here.

First, the defendants in the various Magnavox lawsuits made numerous attempts to declare Magnavox’s patents invalid. The most common ways to invalidate a patent are to show that it was not original due to “prior art” (i.e. someone else did it first), to show that it was “obvious” (one requirement for a patent was that it had to be for something that is non-obvious), or to show that the patent application was improper. In the Magnavox cases, the defendants tried all three and more.  A number of proposed examples or prior art were brought forward, including Spacewar. We’ll get into specifics later on.

Of course, if Atari was trying to show that Baer’s patents were invalid or that Nolan didn’t infringe on them, they’d have to do a lot more than show that Nolan had merely played Spacewar at University of Utah. At a minimum, it seem he would have actually had to have had a patentable idea. He would not necessarily had to have built anything. Technically, to get a patent, you only have to describe something thoroughly enough that it could be built (though I should say that I am no legal expert). So if this is Atari’s strategy, this is only part of it.

Having said that, however, there are a couple of questions/issues.
First is that the 1965 date has been seriously called into question. Curt Vendel and Marty Goldberg made an extensive effort to vet the claim (along with various others) and the results (which you can read about here) don’t bode well for the 1965 date.

We will discuss further later, but the first question is: is the 1965 date important? Or, to put it another way, if Nolan was being less than forthcoming (and I’m not saying he was), why would he make up a date of 1965 instead of 1966 or 1967 or even 1969 (when no one doubts that he saw the game).
At first it might seem like this was an attempt to establish that Nolan started working on his game before Baer started work on the Brown Box in 1966.

I do not think this is the case, however, for a number of reasons.
First, as mentioned above, merely establishing that Nolan had played the game would be of almost no use from a legal standpoint.
Second, I doubt if Nolan could have known about the 1966 date at this point. AFAIK, it was never mentioned in any of the patent applications.

Another question is why the emphasis on Spacewar? If Nolan was going to make something up, couldn’t he have just claimed he saw some other game? (of course, if he really did play the game in 1965, it's a moot point).
One important thing about Spacewar is that it directly inspired Nolan to create Computer Space, but Magnavox’s lawsuit was surely over Pong, not Computer Space.

As we will discuss later, in regards to Baer’s patents, not just any old game will do. It had to have some specific features, as we shall see.
For the moment, let’s move on.]


Q. By shortly after you came to the University of Utah, how long a period do you mean by shortly?

A. I really don’t recollect. It was one of those things that I just didn’t think that much about it at the time. The University of Utah has a strong computer center, a graphics laboratory. The games that were programmed there and pretty much a common knowledge. I had a friend in the engineering department that I used to play chess with that said, “There’s some great games over at the computer center.” and we went over one night and played.

[Note - this is somewhat significant as it shows that Nolan was talking about the computer center at Utah’s graphics lab (as opposed to another lab on campus).

One issue here is that the University of Utah had just established its Computer Science department in 1965 and David Evans (who founded and ran the graphics lab) had just arrived that year. I’m not sure how much of a lab they could have had by the fall of 1965 and I don’t think the graphics program had really gotten started yet (I don’t think it really kicked into high gear until Ivan Sutherland arrived in 1968)]

Q. What as the friend’s name?

A. His name was Jim Davies, I think.

Q.  And you knew him through your work at the University of Utah?

A.  No.  I knew him through the chess club.

Q.  Do you know where Mr. Davies is located today?

A.  I have no idea.  I'm not really sure that Davies was his last name.  In fact, just a second.  I'm not sure that Jim Davies wasn't another guy. It's Jim something, and it started with a D, but I'm not sure.

Q. Do you recall when you last saw this individual that took you to the computer center?

A. It was during the academic year. He was a senior, I believe, at that time or a graduate student and I really don't know which. You know, a casual acquaintance. We used to have coffee together and talk about politics and philosophy and that sort of thing after chess and I think that he graduated and left the school year at that time.

Q. Could you describe the game which you saw on a computer at the University of Utah, this first game that you saw?

A. Yes, it was called Space War [sic].

[NOTE – Yes, I know that it’s spelled Spacewar or Spacewar! But I’m using the spelling used in the depositions.]

Q. Could you describe how Space War was played?

A. Gee, don't you know by now? It's a rocket ship game in which you fire missiles at the other rocket ships. In some versions there is a sun and in sun versions there aren't, and I don't remember whether this one had a sun or not. It turns out having a sun with gravity is one of the tougher programming problems.

[NOTE – I love Nolan's smart aleck answer here. As mentioned above, by this time Magnavox’s lawyers had likely discussed the details of Spacewar ad nauseum.]

Q. On this first occasion when you saw this game you just walked into the computer center and the game was being played at that time?


A. No. We went in the graphics lab and the guy said to the fellow that was there, "Can we get some time to play Space War?"  And the guy said, "Sure," and something happened and a few minutes later Space War came up on the screen.

Q. And the game was played on a computer, you say?

A. It was played--

Q. Using a computer?

A. Yes.

Q. What kind of a computer was it being used?

A. I'm not sure. That's one of the things I can't put the time on it. It was either a Univac 1108 or an IBM 7094. The University of Utah changed computers while I was there and I'm not sure which one it was, really.


[NOTE – As discussed in the link above, this appears to be a major problem with Nolan’s claim. The Univac 1108 didn’t arrive until November of 1966. The lab did have an IBM 7044 (not a 7094) but that supposedly didn’t have a graphical display. The university also had a PDP-8 that was used as a graphics buffer for the Univac and it had both a vector and a raster terminal but the vector terminal didn’t arrive until November, 1966 either. Vendel and Goldberg consider it unlikely that a raster port of Spacewar had been created. In addition, they claim that the PDP-8 was almost entirely dedicated to actual research.

On an interesting side note, Sperry Rand/Univac actually had a major factory in Salt Lake City that employed over 2,000 people in the late 1960s. It was initially known as Sperry Utah Division but later renamed UNIVAC Salt Lake City.]

Q. But you believe it was one of those two?

A. Yes. I tend to think it was the Univac 1108.

Q. You said the University had changed computers while you were there. Did they change from a Univac 1108 to an IBM 7094. or vice versa?

A. No. You never change in that direction. It changed to an 1108.

[NOTE – This part is true. The University did indeed replace the 7044 with a Univac 1108.]

Q. I think we are going a little more deeply into your recollection of the game Space War.

A. Okay.

Q. You say there were rocket ships?

A. Right.

Q. How did the rocket ships appear on the screen?

A. In a side view rockets. When you pushed a button a missile issues from the nose, travels across the screen. If you hit the opponent’s rocket ship it explodes and you score a point.

Q. Can the play control the position of the rocket ship?

A.  Yes, they can.

Q.  How does it do that?

A.  This one was a four-button model.  You push bombs to rotate your rocket ship right, counterclockwise or clockwise.  If you pushed one button it would rotate clockwise, and if you pushed the other button it would rotate, clockwise.  Then you had a thrust button which would give acceleration and the direction that the rocket was pointed or deceleration as the case may be.  The other one was the first missile button.

Q.  Where were the buttons located?

A.  They were in a little box it was about this (indicating).  It was hooked somewhere into the bowels of the machine.

Q.  Did each player have a box?

A.  Yes.

Q.  How many players were there?

A.  Two.

Q.  You when a torpedo hit a rocket there was the explosion.  How did the explosion appear on the screen?

A.  I think it says, "Bang," or "Boom," or something.  I've seen several versions of this and I'm a little fuzzy which version the first one I saw was.  But I believe it said Bang, and then the rocket ship disintegrated.  Or turned into a series of dots and the rocket ships would start again from opposite corners of the universe.

[NOTE – This is another interesting claim. The original version of Spacewar didn’t print “Bang” or “Boom” or anything else on the screen. In fact, I’m not sure I’ve ever heard of a version that did (though I haven’t really looked into the issue). Nor does it seem to me that this would have been a trivial addition. It would be interesting to see if any of the Stanford versions of the game had such a feature and, if so, if it was original to them.]

Q.  You say it said "Bang." What said "Bang"?

A.  It printed out "Bang" on the screen.

Q.  Over a relatively small portion of the screen or across the entire screen?

A.  I have seen it both ways.  I believe that this was a small "Bang" in regular, you know, say, quarter-inch high characters.

Q. You said that the rocket ship disintegrated. What do you mean by disintegrated?

 A. I think it just turned into some dots. You know, it’s one of those things.

 Q. Did the dots go off in different direction, or did the dots stay in the same spot that the rocket ship had before it disintegrated?

[NOTE – This may seem like more pointless minutia, but it is actually far from it. This touches on the issue of exactly what the Magnavox patents actually covered. The 507 patent, for example, covered “an apparatus for generating symbols upon the screen to the receiver to be manipulated by at least one participant, comprising a means for generating a hitting symbol and the means for generating a hit symbol, including means for ascertaining coincidencebetween said hitting symbol and hit symbol and means for imparting a distinct motion to said hit symbol upon coincidence" (emphasis mine). In other words, Baer’s (on in this case, Rusch’s) patents covered detecting when two objects on the screen touched one another and when one object (such as a paddle) imparted motion to another (such as a ball) under player control. This goes far beyond just ball-and-paddle games. While this might seem overly broad to modern readers, two things should be borne in mind. First, Baer’s patent was a “pioneer patent” and was thus supposed to be interpreted broadly. Even more important, however, is that, as simple as they might seem today in the age of software, things like “ascertaining coincidence” between objects and “imparting motion” were far from trivial in the late 1960s, when they had to be achieved using hardware to control the signal from a standard TV set.

So plaintiff’s lawyer here appears to be trying to establish whether or not Spacewar involved “ascertaining coincidence” or “imparting a distinct motion”. This issue came up repeatedly (and I mean repeatedly) in the various trials. For the most part (IIRC), it was ruled that Spacewar did not involve these things. Though on at least one occasion the judge ruled that it did (though he still ruled that it did not invalidate Baer’s patents). Similarly, with the issue of vector vs. raster, for the most part, the court held that, as a vector game, Spacewar was not germane to the Baer patents (again, however, on at least one occasion, the judge ruled that the vector/raster distinction was irrelevant). Baer’s patents only covered producing images on a raster display, which uses entirely different than doing do on a vector display.]
 
 A. I don’t remember.

 
Q. While the rocket ship was disintegrating, did the dots or whatever appear to keep on moving with the same velocity the rocket ship had before?

A. I don’t remember.

Q. What kind of a display was used in connection with the games you saw?

A. I really don’t know. There’s a screen. I think it was a 12 to 14-inch screen.

Q. Was it a rectangular screen or a circular screen?

A. I really don’t remember.  I think the viewing area for this game was rectangular. Now, whether that was housed in a circular tube or a square tube, I don’t remember.

Q. What do you mean by the viewing area?

A. Well, you would fly off the screen up and you would enter the bottom, but you wouldn’t really fly off the screen, you’d just see half of your rocket ship disappear and the other half would come up through the bottom.

Q. Was this operation you described of flying off the top of the screen and coming on the bottom, was that common to all versions of Space War that you saw?

A. Later than that I’ve seen one which, you know, there was essentially a boundary that you had to stay inside of and in some of the versions if you hit the boundary the rocket ship

<2 pages missing>

 Q. When you first aw this Space War game in this first session that you’re talking about, did you play the game yourself?

A. Yes, I did.

Q. Did you play it with another person?
 
A. Yes.

Q. Do you know who that other person was?

 A. It was Jim Davies, but I don’t think that’s right. Jim D.

Q. Did you play with anybody else at that time during this first occasion that you saw the game?

A. Yes. I played with a graduate student who was there.

Q. Do you know his name?

A. No, I don’t. It was his baby, the graduate student’s. He was kind of a custodian, I think, of that particular Space War game.

Q. What do you mean by the term custodian?

A. I don’t know. He just seemed very knowledgeable and—you know like it was not Jim’s. Jim had just played it, saw it, knew the guy. Brought me in.

Q. Do you know if the graduate student was the one who wrote the program?

A. I had a feeling he was, though I don’t believe he ever said so.

Q. did the graduate student have the program in his possession at the time?

 A. I don’t know.

 Q. Do you know what form the program was in at that time?

 A. No, I can’t

 Q. Was it necessary for that particular graduate student to be present before somebody could play Space War at that particular institution?

 A. I don’t know.

 Q. After this first session when you saw Space War shortly after going to the University of Utah that your next activity with relation to the apparatus for playing games using a cathode-ray tube display?

 A.  Well, it was about, Oh, somewhere around a year later and one of my fraternity brothers got involved in the computer center a little bit more introduced me to several of the people and we got talking about the games and I thought would be kind of fun to learn how to program games.

[NOTE - Note that Nolan here says that after encountering Spacewar (if he did so), he didn't have any more involvement with computer games for a year. He makes this point more explicitly later.]

Q.  You say this is approximately a year after you saw Space War game for the first time?  Who

A.  Yes.

Q.  Did you see any Space War games between the first time that you saw it and the time approximately a year later when your fraternity brother got involved in the computer center?

A.  No, I didn't.

Q.  What did you do as a result of your thinking that it would be fun to program games?

A.  Well, I asked for a listing of the current Space War game, I think I wanted to understand how they had done what they had done, you know, and made some modifications.

Q.  Who did you ask for this?

A.  Randall Willey.

Q.  Who was Randall Willey?

A.  He's a fraternity brother.

Mr. Herbert: How do you spell Willey?

The Witness: w-i-l-l-e-y, I think.

Mr. Williams: Q. Do you know where Mr. Willey is located presently?

A.  I think he's in New York or Washington.  He works for the Navy in their computer operations.

Q.  You mean in New York City?

A.  I'm not sure.  I haven't really kept in touch with him.

Q.  When was the last time you saw Mr. Willey?

A.  I think when I left Salt Lake is the last time I saw him.

Q.  What fraternity were you and Mr. Willey in, do you remember?

A.  I was a Pi Kappa Alpha.

Q.  Does the Pi Kappa Alpha have a national headquarters?

A.  Yes.  It's in the south somewhere.  We were supposed to know that as pledges.  I don't remember.  I think it's in Virginia.

Q.  Do you get any kind of directory of the membership in pi Kappa Alpha?

A.  No, I don't.

Q.  Do you have any kind of directory of that fraternity?

A.  No.

Q.  Do you know if one exists?

A.  I think probably they do.  You know, I get letters from them occasionally putting the bite on me for money, which I think is the main function of alumni.

Q.  You said you asked Mr. Willey for a listing of the current Space War games.  The duties of the listing?

A.  He told me where I could get one.  He directed me to a guy and he gave me a listing.

Q.  Who was the guy?

A.  I don't remember.

Q.  In what form was listing when you received it?

A.  It was a printout.

Q.  Was in the English language?

A.  Oh, no.  It was in FORTRAN.

[NOTE - I actually found that kind of funny, but it's probably just me. On a more serious note, this is another possible problem. Goldberg and Vendel were unable to find any evidence of a FORTRAN version of Spacewar at University of Utah or anywhere else in this timeframe. I don't have access to all their evidence, so I can't say that no such version existed or that some anonymous programmer couldn't have ported it, but at present, the claim is uncorroborated.] 

Q.  At the time you received this printout, what prior experience had you had with computers?

A.  I had had a couple of classes.  I think I had had EE-75 and EE-175 at the time which was an electrical engineering programming class.

Q.  By classes do you mean courses covered in that periodical?

A.  Yes.  There were also engineering-related or computer-related problems in some of the other classes.

Q.  Do you recall what the subject matter of EE-75 was?

A.  It was introduction FORTRAN.

Q.  Any particular version of FORTRAN?

A.  I don't remember.

Q.  What was the subject matter of EE-175?

A.  It was an upper--you know, it was continuing course.  I think it's FORTRAN and I think we got into a little bit of Algol.  The listing may have been Algol.  I'm not sure.  If I could pin the time, because I obviously didn't know how to read Algol before then.  But it was a computer language.  I think it was FORTRAN.

Q.  You didn't know how to read Algol before when?

A.  Before EE-175. I think it's EE-176. It's the later-on computer language.

Q. So you think that you received the computer listing after you had completed the EE-175 course?

A. I just don't know.

Q. But you had at least completed the EE-75 course?

A. Oh, yes. You play in that country, you have to know the language.

Q. What did you do with the listing after you received it?

<2 pages missing>

Space War program as we talked about?

A. I personally really didn't do that much. It was a very complex program. It was, quite frankly, a little bit better than--you know, it took a little better capability than I had at the time.

[NOTE that here Nolan is candid about his modest programming abilities at the time.]

Q. This was the Space War program?

A. Yes, Space War, and there were some other--you know, it was primarily the modifications of Space War but there were some other things that--we took out gravity and tried a flying game, you know, in which the thing as more like a jet. That wasn't quite as much fun as Space War.

[NOTE - Okay, now we have something more than just playing the game. Nolan says he actually made some modifications to it. Again, however, I don't think this would have had much bearing on the issue at hand since Spacewar wasn't his game. As mentioned earlier, it was also deemed irrelevant to the Baer patents, but this had probably not been established at this point In any event, if it were deemed relevant, it seems that Nolan's modifications would have had to made it so in order for them to be germane.]

Q. I guess I don't understand what the flying game was all about.

A. Well, in the Space Wars you always had free fall so that you could point in the opposite direction than you were traveling and then if you pushed the thrust button it would slow you and pretty soon you would move back in a different direction.
If you're taking the flying algorithm, then you're moving in a direction wherever you are pointing. But that's a very simple modification to the program.

Q. Did you do anything else to the program during that work?

A. I don't really remember which things we played there and which things I played later than that. I know that I can remember the first things that I did--you know, it was not really any big deal at the time. It was just a lot of fun to do it and it took a certain amount of dedication to get up at 2 in the morning to go in and get some free computer time. So it wasn't one of those things you did a whole lot.

Q. but all of the activities during this quarter were on the Univac or the IBM 7094?

A. Right.

Q. With the same displays we have testified about previously?

A. Right. We did a lot of things with just playing around with the computer in terms of I can remember we did some really interesting designs, just making designs on the screen, you know. You put in a polar coordinate equation and trace it out and you'd make some pretty designs. There was an interesting one that we did in which they had a round ball, they called it a mouse. You could program it so that you could rotate a cube in any direction and try some of those modifications. But there were very--you know, they were more toys really or using it as a very expensive sketch.

Q. It was not a game as such?

A. No. I mean, we did games, but we also just did other things having to do with the computer itself.

Q. Following the quarter which you were testifying about, what was your next activity relating to the--

[NOTE again that Nolan seems to be saying here that after the quarter in question, he didn't have much, if anything, to do with computer games until he saw them at Stanford in 1969. As to what other games he might have programmed at Utah, we'll be going over that in some detail soon.]

A. It would have to be at the Artificial Intelligence Laboratory at Stanford after I came to California.

Q. When was that?

A. It probably was in the middle of '69.

Q. What was your first activity relating to the playing of games at the AI lab?

A. Oh, Space War.

Q. It was Space War?

A. Right.

Q. What kind of machine was Space War played on at the AI lab?

A. I think it was a PDP-6 or a PDP-10. That was on an XY display.

Q. While you were at the University of Utah did you record any of the work that you did relating to the playing of games on a

<2 pages missing>

To be continued...

In the meantime, here's another Atari document. In this case, it's the royalty agreement between Midway and Atari.


 


 

Annotated Atari Depositions, Part 3

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written down the titles of the papers of the people.
Q. I gather you have ordered a copy of the transcript from the University of Utah?

A. Yes.
Q. And have you corresponded with Dr. Atwood to try and get a description of the course?

A. I have been attempting to get ahold of Dr. Atwood, but he is not full-time at the University any more. It's been a little tough getting ahold of him.
Q. Do you have any idea when you expect the transcript to arrive?

A. I think any day now.
Q. As best you can recall at the present when did you take the Senior Thesis course?

[Note – This section concerns a senior thesis Bushnell claims to have written in which he describes an arcade game consisting of a central computer connected to six terminals
Nolan may well have written such a paper, but no copy of it has ever turned up and likely never will so it’s probably impossible to verify the claim.

I see nothing suspicious in the fact that Nolan didn’t keep a copy of the paper (how many of you kept copies of your college papers? I know I didn’t). I’m not sure if anyone ever asked his professor about it either, but I wouldn’t have expected him or her to remember it either. Still, without the paper, or someone to corroborate its existence, the story remains unconfirmed and given the disputes over some of the other facts in question, some are going to be suspicious of the paper’s existence.]

A. I think it was the spring of '67.
Q. Can you describe in a little bit more detail what was included in that paper? You said it as a block diagram. Can you reproduce the block diagram?

A. Sure. These are monitors and then I had controls feeding back to the computer. I mean, it was not a technical exercise. It was more of a written exercise.

Q. Was that the only diagram that was included in the paper?
A. I think so. It wasn't a very long diagram. Or, I mean, it wasn't a very long paper. I think that's the only picture that was there.

Q. Did the paper say anything about what would be contained in the box which you have labeled on the diagram you just drew as "computer"?
A. Computer? It was a general-purpose time-sharing type computer. I will have to admit this is very foggy recollections on some of this.

Q. You have drawn six small boxes connected by lines to two parallel lines and I gather you have meant to indicate that each one of those six small boxes--

A. Was a monitor.
Q. What do you mean by the word monitor?

A. What do I mean now or what did I mean then

Q. What did you mean then?
A. I think I just meant the type of display that I was familiar with at the school.

Q. You mean an XY type display?
A. I don't know what that was.

Q. You mean the type of display used in conjunction with the Univac or the IBM 7094 that you were working with?
A. Yes. Let me take that back. I don't really know what kind--you know, it was just a monitor that you could play games on for an amusement park.

Q. Did the paper include any description of the types of games that might be played don it?
A. Yes, it did.

Q. What kind of games were described?
A. Space War.

Q. The Space War similar to the Space War which you played on the computer--
[NOTE – Obviously if it could be proven that Nolan could not have seen or played Spacewar at the University of Utah, it would throw doubt on his account here. Conversely, if a copy of the paper ever turned up and it did in fact include a description of Spacewar it would confirm that Nolan had encountered the game by this time (though not necessarily at University of Utah)]

A. Yes. Hangman, which is a word game. The question and answer game, you know, which question will flash up and you had a multiple choice answer. A baseball game.
Q. Any other games?

A. I think those were the only three that I described.
Q. Would you describe what the baseball game was, how you intended it to be played?

A. I intended it to be played similar to the machines that I was operating at the time in which there was a ball and a bat and you were to attempt to hit targets.
[Note – Again, Nolan is describing a “pitch-and-bat” game here, as discussed in the first post in this series.]

Q. How would the ball appear at the plate?
A. I didn’t go into that.

Q. Did you describe in the paper the game baseball in greater detail?
A. I just said a game that simulates the game of baseball in which a ball is pitched to a batter and the batter is controlled by the player. The attempt is to hit the ball straight back to get a home run. If you deviate from the center, then you can get anywhere from a single run to an out. Three outs—and it was a dime in those days. Three outs and you had to put in another dime to play.

Q. Did you state in the paper whether you expected that there be a symbol on the screen which a player could maneuver somehow?
A. Well, I mean, if you’re going to have a ball on the screen I suppose that would be symbol. I don’t think I used that verbiage.

Q. Was the bat to be moved on the screen?
A. Obviously.

Q How was that to be done
A. By pushing a button.

Q. What would occur when one pushed the button?
A. The bat would swing.

Q. Was this described in the paper?
A. I really don’t remember. I just remember that I described a video version of the games that were around at that time.

Q. Did anyone other than you and Dr. Atwood and your wife see the paper?
A. I really don’t know.

Q. Do you think other persons might have seen the paper?
A. I think it is possible. If I knew who they were I would know by now. I mean, I would have talked to them by now.

Q. So you have searched for other people or attempted to recollect who they might be?
A. I have tried to get some confirmation on that, yes.

Q. Have you talked to your wife concerning whether she remembers the contents of that paper?
A. Oh, yes, obviously.

Q. Obviously yes?
A. Yes.

Q. Does she remember what was in that paper?
A. Not in great detail.

Q. Does she remember the description of the game baseball?
A. No.

Q. Did you ask her if she read the description of the game baseball?
A. No, I didn’t.

Q. What is your wife’s present residence?
A. 3872 Gibson. Santa Clara.

Q. What is her name?
A. Paula Bushnell.

Q. I assume that you and your wife are divorced?
A. Yes, we are. I’m not sure if that means you’ve got a friendly witness or not.

Q. How many monitors did you contemplate could be attached to a single computer for the playing of the game?
A. I thought six was—the speeds and the kinds of information at that time.

Q. Did you have any thoughts as to what was the capacity of the computer would have to be to play six games?
A. It had to do an awful lot with how much refresh you had to do, so it meant how smart the computer was. Or the terminal I should say.

Q. Did you do any calculation to figure out what the correlation might be between the capacity of the computer and, as you put it, how smart the monitor was in order to get an acceptable  apparatus?
A. No. I think I just wet my finger—you know, I was trying to get the paper out and I didn’t care about technical excellence because I knew I was going to get graded on punctuation. The nice thing about schools is that you don’t have to build anything that you design.

[NOTE – This raises a semi-important point. From a legal standpoint, even if Nolan did write such a paper, I do not find it likely that it would have constituted an instance of “prior art” that would invalidate Baer’s patents. A mere description of a system in which a central computer controlled remote terminals, even one that included descriptions of games that involved imparting motion or detecting coincidence, probably would not have sufficed. He (IMO) would have had to have described the system in sufficient detail that it could have been built – including a description of exactly how he was going to detect coincidence and impart motion And (again, IMO) he would have had to have described how to do so with a raster display. I’d also imagine he’d have to have done so in a manner similar to that used by Baer.
From a historical standpoint, in regards to establishing who was the “father of the video game industry”, I’m not sure this paper would be of much use either. By his own admission, Nolan’s idea (if it existed) did not have the makings of a viable commercial product at this time. Its main value, I think, would be in establishing when Nolan first got the idea that eventually led to Computer Space.]

Q. Did you ever build an apparatus as it was shown in the paper?
A. I attempted to later on. I mean, a time-sharing system.

Q. When did you attempt it or when did you first start to attempt it?
A. I would say the middle of 1970 or early 1970.

Q. Did you complete building the apparatus as described in the paper?
A. No, I didn’t. I just got to a paper design.

Q. Is there any particular reason why you stopped working?
A. Yes, I found a better way.

Q. What way was that?
A. Well, in the using of a computer and a monitor, the calculations you were talking about, I kept going through them finding that I was running out of time doing the kinds of things on the six monitors that I wanted to. So then I cut it back to four monitors and in doing more interface and more software I found that I was again running out of time. Since I decided that we had to design the monitor because the terminals at that time were very expensive, I was building my own monitor, a special-purpose terminal for this thing. Each time I would find in the computer that I was running out of time I’d take some of the functions out of the computer and put it into a slightly more intelligent terminal. After I went through the loop two or three times and each time finding conditions in which the computer would run out of time, I took a look at the terminals and I said, “Gee, they’re getting so smart, why do I really need that? Let’s throw away the mini-computer and put it all in the terminal.” That’s really now the stand-alone games evolved. I was really happy because it made a lot more economic sense, you know, once you can split them apart so that your stand-alone units, limiting you market to the large amusement parks, you know, that would have to take the six or seven terminals to make it justifiable economically.

[NOTE here that Nolan doesn’t claim to have actually built a system with multiple terminals (as some seem to have erroneously concluded). This was all done on paper.]
Q. As far as you know was it ever actually done in 1969 that the games were played on a raster scan display setup?

A. To the best of my knowledge, no, they weren’t
Q. I believe you stated that in early 1970 you attempted to build an apparatus for playing games similar to the one described in the paper which you wrote at the University of Utah?

A. Right.

Q. Prior to that did you do anything or attempt to construct or interest anybody else in constructing the apparatus as described in that paper?

A. No, I didn’t.

Q. did you ever show the paper to anybody at Lagoon Corporation or Amusement Services Corporation?

A. No. I think I talked to some of the people at Lagoon saying you know, “Gentlemen, it would be neat if we could have a computer out here and hook it up.” But, you know, it was one of those things where when you’re talking about six games that would cost as much as a roller coaster, it was kind of an academic kind of discussion.

Q. How much did you think six games would have cost at that time?

A. Using that system probably a quarter of a million dollars.

[NOTE - I may be missing something obvious here but it seems that Bushnell could have built a cheaper system using the DEC PDP-8 (generally considered the first successful, mass-produced minicomputer), which had been released in 1965 and cost around $18,000. Perhaps it initially cost more than that or perhaps it was impractical or incapable of driving multiple displays, or maybe he just wasn't aware of it.]

Q. At that time would that have been an economic investment as far as you know to get six games?

A. I don’t know. The question then becomes if you had six of them—well, let’s put a pencil to it. If you could get fifty cents a game and it plays in two minutes, that would be $15 an hour times six, that would be $90 an hour. If you amortized the thing over three years, what does it come out to? Say that you want a ten-percent return on your capital. A quarter of a million dollars and a ten-percent return. If you have two years which is 24 months--this says that you would have to make $11,000 a month. $11,000 a month at $90 an hour, let's divide 24 into that. That is $490 a day. So that says that you could just barely make it if you could keep the machine going full tilt for five hours a day or six hours a day, rather. So it was marginally doable based on some good assumptions.
Q. At that time was fifty cents a game a realistic price?

A. Well, I'm saying that games were really great. The market at that time was 25 cents. So it says that you would have to keep the game going for 10 or 12 hours. I don't think I would invest my money in it.

Q. Do you have any documents relating to your attempts to build the system of your paper in early 1970?

A. Yes, we do. They are right here (indicating).

Q. You have pointed out two files, one labeled "Data General" and the other one labeled "System Planning, Nova Interface.”

A. Right.

Q. And those are the only two files?

A. That's all that I could find. They were down in the bottom of a box of all kinds of junk.

MR. WILLIAMS: I would like to have the Reporter mark as Atari Exhibit 39 a manila file bearing the label "Data General,' and as Atari Exhibit 40 a manila file bearing the legend  "System Planning, Nova Interface."
I think maybe, Mr. Reporter, if you could mark each paper in each one of these files as in the case of Exhibit 39, 39-1 through 39 whatever it takes, and likewise with Exhibit 40.

(File folder labeled "Data General 'I"was marked Atari Exhibit 39-1through 39-7 for Identification.)

(File folder labeled "Legend System Planning, Nova Interface" I was marked Atari Exhibit 40-1 through 40-18 for Identification.)

[NOTE – This section deals with the Data General Nova. I’m sure most of you already know this, but the seeing an ad for the Nova was what convinced Nolan that his idea might be practical. Data General was founded by several former DEC employees in 1968 to produce low-cost minicomputers. The Nova was a minicomputer that was introduced at a base price of $3,995 (far cheaper than DEC’s PDP-8, considered by many the first successful minicomputer).]




MR. WILLIAMS: Q. Mr. Bushnell, I hand you Atari Exhibit 39 and the document which has been marked 39-1 and ask if you can identify that document for me.

A. Yes.

Q. What is it?

A. It's a letter that I was going to-- No. It's an envelope. It's a letter in which-

Q. You are referring to 39-2 as the letter?

A. Yes. 39-1 is an envelope. --in which we were going to order a Data General computer.

Q. You say, "We were going to order a Data General computer"?

A. The company. The Syzygy Company at that time.

Q. And Syzygy at that time was a partnership; is that correct?

A. Yes.

Q. Consisting of you and Mr. Dabney?

A. Right.
Q. How did this relate to your infiltration of the system of your prior paper?

A. Well, we had gotten to a point where we felt that we had feasibility on the system and so we needed a machine to actually build one.

Q. The letter-- A. Well, what it was, we wanted to get the best price we could so we ordered six of everything except for one item which I guess we needed more than that. Because we didn't have any money. So we wanted to, you know, give the impression at least that we were high rollers.

Q. Was that letter ever sent?

A. No, it wasn't.

Q. It appears to bear the date January 26, 1971.

[NOTE – this letter seems to indicate that Nolan still hadn’t entirely dropped the idea of using a Nova as of late January, 1971.]

A. Correct.

Q. Was it written on or about that date?

A. Yes, it was.

Q. Prior to the time of writing that letter had you built any devices for the playing of games using a cathode-ray tube according to your system of your prior paper?

A. Yes. We had put some stuff together as far as a monitor goes. See ,wi1h this system we were building terminals to hook on which this would drive and we had established at that point that we could get a tube hooked up to a raster scan responding to that and I think we moved some objects around.

Q. Well, on January 26th of 1971, you were considering using a raster scan display on your system?

A. Yes.

Q. You say you put a monitor together prior to that January 26th, 1971 date. Was the monitor as you had built it useful for playing games?

A. Well, the way we had done it, it possibly could have been. We were trying to build--Spacewar was the game that we were trying, and Spacewar needed some very complex calculations and the device that we lashed up didn't have the ability to do complex calculations. It was more of a display device.

Q. You say it could have been used for playing games, but was it used for playing games prior to that January 26, 1971 date?

A. Well, if you mean we moved objects around on it and had a little bit of fun, yes, we did. It goes into our definition of what is a game. It wasn't anything that kept score or that I said, "Whoopee, I beat you.'' But we did move objects on it.

Q. How did the objects that were moved appear to the participants?

A. Well, one was we had a rocket ship that would move up, down, right or left. I guess before that we had ~ a square that would move up, down, right or left. Then we hooked in a diode matrix and turned the square into a rocket ship.

Q. How did the participant effect this motion up, down, right or left?

A. Flipped switches.

Q. Was there only one rocket ship or square as the case might be on the screen at a time?

A. Well, at what point in tine are you talking about?

Q. Prior to the January 26th, 1971 date.

A. Yes. It was just one object. Just a second, I'm going to ~ take that back. There was only one independently moving object. In developing the objects youcan gate them in and out and there were, you know--during the first gating, you know, there could have been 48 objects and then you gate it out again and it turns--or I guess it would be 64 and then it goes down to 32 and the more gating that you do the fewer things until you finally get down to just one object. But we had beaucoup objects on the screen many times.

Q. As I understand it, even though you may have had many objects on the screen at the same time, if one moved they all moved with--

A. Correct.

Q. I show you a document which has been marked 39-3 and 39-4 and ask if you can identify that?

A. That's a listing that came from one of the trade journals, and I don't remember which one it was, which listed all the mini computers that were on the market at that time, their approximate costs and how fast the cycle time was and what the architecture of the machine was. It was sort of a thing that we went through to see if there wasn't a cheaper system that we could buy that would do essentially the same thing.

Q. Essentially the same thing as what?

A. The same thing as the Data General unit that we felt probably was as good a buy on the market at the time for what we wanted.

Q. I notice that those two documents bear the dates August 1970. Were these documents that you were considering after the date of January 26, 1971 or prior to that time?

A. Well, it was prior because, you know, obviously we had made a decision at the time this letter was written as to which computer we wanted and we had been looking at this quite a bit before August 1970 and was very happy when they published this because it made us evaluate a lot more units.

Q. You said you were looking into it quite a bit before August of 1970. I gather from your prior testimony that all of your activities were during the year of 1970 with respect to the building of this?

A. That is true, in terms of actually putting any hardware together or, you know, drawings.

Q. ·I will hand you Exhibit 39-5 and ask if you can identify that?

A. It's just basically a little further detail on the Nova computer series.

Q. This was the computer series that you were considering using in your system?

A. That's correct.

Q. Was that the Nova 1200 as described in this exhibit?

A. Correct.

Q. I show you Exhibit 39-6 and ask you if you can identify that?

A, It's an OEM blanket quantity and cumulative discount agreement. That was the thing that we were planning to I really buy a bunch of these things so we wanted to get the price out of the chute that we could.

Q. Can you identify Exhibit 39-7?

A. It's a Super Nova pricelist and it goes through the options and the things that you want. It's essentially the source document that allowed us to write this other letter.

Q. That is Document 39-2?

A. Right.

Q. 39-2 appears to include a list of various components and associated prices. I ~ender if you might go through this list and tell us which each one of the items identified by a number is, such as 3101, 8102, et cetera.

A. It's been a long time. I would just have to go through these things. They are essentially parts to a mini computer.

Q. So far as you know the identifications given in 39-7 of the various type numbers I believe are the same type numbers referred to in 39-2?

A. Right, yes.

Q. Is the description given in Document 39-7 of each of those type numbers accurately reflective of the description of the items listed in the letter of 39-2?

A. I think so, unless we made a mistake.  

MR. HERBERT: I object. I don't think there is any description of an item on 39-2, nothing more than a type number. 

THE WITNESS: But the description is in here. 

MR. WILLIAMS: Q. Do the descriptions of the type numbers shown in document 39- 7 accurately describe the units listed in 39-2?

A. Yes.

Q. Are the prices shown in 39-2 opposite the corresponding units a unit price?

A. I think that was an OEM discount based on the quantity, discount price.

Q. That was the price you expected to pay for the units if you had actually purchased them from Data General at the time?

A. Right.

Q. So that, for example, one 8101 would have been $1,617?

[NOTE – the 8101 was a “Nova 1200 central processor with six additional subassembly slots”  In the pricelist linked here, it has a price of $2400.]

A. Right.

Q. At the time of the preparation of the letter 39-2 did you have an estimate of what the cost per game would be in the system you were constructing?

A. Yes.

Q. Do you know wb.at that estimate was?

A. I think it was around $1,000.

[NOTE – This price, if accurate, makes more sense to me. At the prices that are quoted for the Nova in most sources, I don’t think Nolan’s idea would have been practical. Wikipedia claims that the base price was 3995 price (ca $27,000 in 1913 dollars, depending on which method you use), which I think is still far too expensive for a practical arcade game (not to mention Wikipedia’s claim that the base unit was all but useless without adding core memory, which added another $4,000 to the price).

I am not sure what model the $3,995 price referred to. From the pricelist above, it might have been for the 4001, which was more expensive than the 8101 that Nolan was apparently considering.]

If Nolan could have got a volume discount that lowered the price to $1,000 per game, it would make for a much more practical product. Whether or not he could really have gotten that price I can’t say.]

Q. At that time were you considering using six games on each system?

A. It was either six or eight. I think I started out with eight and then backed into six as I started running out of tir.ie on the computer.

Q. Did you ever order any computers from Data General for this system?

A. No, I didn't.

Q. Did you order computers from anybody else for this system?

A. No, I didn’t.

Q. Did you ever complete building this system?

A. No, I didn't.

Q. I hand you Atari Exhibit 40 and ask you if you can identify Document 40-1?

A. This is a letter from Bob Washburn who was the sales engineer in the area for Data General. We had kind of been stringing him along because we weren't ready to commit the dollars and we had sort of told him, "Yes, the order is coming. The order is coming." I think this letter is to just sort of jack us up and trying to push us into a close. It was during this period that I had pretty much decided that I was not going to go the direct computer route but was going to go to a single stand-alone unit.

[NOTE – so it seems that sometime between these two letters [i.e. between January 26 and February 16], Nolan and Ted had decided to go with a single computer.]

Q. During what period was this that you just referred to?

A. Between I got that. the time of composing that letter to the time that Because it was--I was almost ready to go but I just wanted to go back and check to make sure that the system as I had configured it made sense. I wanted to make sure the thing was doable, and so I wanted to get closer-- I had found a place where I could rent a Data General computer and I had gotten a little bit closer to a guy that was there who wastrying to sell me some time on the machine. He pointed out something that I had failed to take into consideration on my initial calculations and it scared me into thinking that maybe I wasn't even going to be able to get four monitors to go. So at that point I decided that I really needed to change one of my design at that time and that pushed me into the thinking of just doing it all hardware and not doing it software with the computer.

NOTE – I am not sure what the “something” was that Nolan had failed to take into consideration. Perhaps it was the fact that the system needed extra memory to be useful. That is pure speculation, of course, and I really don’t know the actual issue was.]

Q. And the period during which this occurred that you are referring to was the period between the dates of 39-2 and 40-1?

A. Right.

Q. What was the date on 40-1?

A. February 16, 1971.

Q. I show you a document 40-2 and ask if you can identify that, please.

A. This was the interface unit that took the data from the computer and displayed it on the TV screen, part of the interface unit.

Q. Was that part of the monitor which you were considering?

A. Right.

Q. Was that apparatus ever built?

A. No, it wasn't. well, parts of it were. This part was never built (indicating).

Q. Which part is that?

A. That is 40-7.

Q. What is shown on 40-7?

A. This was basically the part that made the monitor talk to the computer.

Q. Was there a name for that part?

A. I didn't put it on. I think I always called that the interface card. This other one would probably be called the address card.

Q. What document are you referring to?

A. Oh. 40-2

MR. HERBERT: It would be called what?

THE WITNESS: The address card. I'll be darned if I know what 40-3 is. I would have to think about it for a minute.

MR. WILLIAMS: Q. Is 40-3 another diagram associated with the monitor of a diagram of a portion of the monitor?

A. Yes. All of these have to do with the monitor.

Q. By "all of these”, you are including--

A. 40-6, 40-8, 40-10, 40-11, 40-14, 40-15, 40-17. Portions that were built were the sync generator and the--

Q. Do you know which diagram the sync generator is?

A. I'm not sure. Frankly, I don't see the sync generator   diagram here. I think the only reason that we have these documents are these are the parts that ended up not being used in the ultimate system and the other stuff got reworked and  used and ultimately in the filing system and where they are heaven only knows. I was actually surprised I even found these things.

Q. By "the ultimate system" you mean the stand-alone games?

A. Right.

Q. Do you think that the drawings that were reworked into the stand-alone game still exist?

A. I just have no way of speculating on that.

Q. Did you look for them?

A. Yes, I have.

MR. HERBERT:· These are among the things that I have asked Mr. Bushnell's secretary to go through and try to find and she has indicated that for all of the games there may be the files of 20 different engineers. She is going to try to get the beginning ones for those two games tomorrow and try to zero in on this particular one after that.

MR. WILLIAMS: Q. You started saying that you had built the sync generator?

A. Yes.

Q. Which other portions did you build?

A. Some motion circuits and a scanning matrix, video amplifier.

Q. What was the purpose of the sync generator?

A. Well, to get the scans going. You have to have a frame of reference.

Q. This was to generate the scan for the cathode-ray tube display?

A. Right.

Q. What was the purpose of the motion circuits?

[NOTE – the issue of who designed the motion circuit for Computer Space is one of the major bones of contention between Bushnell and Dabney. Ted claims the design was entirely his while Nolan says it was his. I will not get into the merits of the claims here.]

A. To put the objects on the screen and move them around. Actually, the motion circuits that we used at that time were more exercisers to take the place of the computer because the way we had it was that the computer would put out an address word that would tell the monitor where to display the object and by putting in counters you could simulate that address word and move objects around the screen. That turned out to be the essence of the way it was instead of being an exerciser ultimately taking the place of the computer it replaced the computer. Did I make sense en that?

Q. What do you mean by the term exerciser?

A. Well, to get your hardware working a lot of times you need a very predictable signal so that you know that your hardware is working so that if you get information out of the computer you can make sure that it's not--you know, you have a problem sometimes whether it's the computer that's fouling up or whether it's your hardware. So you develop a little very simple computer, you would say, which we call an exerciser which would essentially be partitioned outside of the system, but to the system would look like a computer but without all the bells and whistles as far as the capability that the computer would have.

Q. Was an exerciser to be used with the monitor when the monitor was attached to the computer as you intended in your system?

A. Initially, no. The exerciser would be taken off and the computer would be hooked where the exerciser was.

Q. But at some later time it was to be used with the monitor as it was attached to the computer?

A. When I decided to not go with the computer system the exerciser was modified so that it did more things. What essentially happened is I made a very sophisticated exerciser which ended up playing the whole game instead of the computer doing it.

Q. What as the purpose of the scanning matrix circuit?

A. It's relatively easy to just put square blobs on the screen. The matrix was to turn the blob into a rocket ship.

Q. That the diode matrix?

A. Correct.

Q. What was the purpose of the video amplifier?

A. To make it talk to the television set at levels it could see.

Q. To make what?

A. The signal, the output of the computer.

MR. WILLIAMS: Let's take a brief recess.

(Short recess.)

To be continued.

Sine I didn't have many photos for this one, here are a couple of Atari-related ones I came across recently.




This one is from Atari's 1978 distributor meeting. This one had an old west theme. Unfortunately it doesn't identify who the people are. Front and center (in the loud pants) is Frank Ballouz. Behind him, I think, is Steve Bristow. I think that's Gene Lipkin in the sombrero. One of the females may be Lenore Sayers or Sue Elliot.


This one appeared in the February 1974 issue of Oui.
 


 
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