A mid-length editorial piece uncovering the artifacts of a 1990’s real-time computer graphics competitive subculture called the Demoscene.
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The glory of the Demoscene lays in rooms of computer geeks getting together over a few days to team up in collaborating towards what are essentially CGI short films, the catch being that every frame of the film has to be rendered in real time.
The AmigaDOS was the most popular machine used in the demoscene. This spread begins the book in the same way the demoartists do.
Demoartists are known by their distinctive calling cards.
A narrow 1/4th margin adds a certain visual intensity to the design, mirroring the cramped spaces and tight deadlines demoartists usually find themselves in.
In moving from the first section of the book—devoted to the culture itself—to the second part of the book—devoted to the work, another division spread is shown, alluding again to process.
A monowidth typeface is paired with a tech-driven San-Serif to allude to the visual language of early technology while feeling contemporary in style.
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Usually one part of the film is devoted to showcasing performance, and another devoted to pure style and personality.
The book ends in the same way it begins: this time logging off.
