Mazes
From Maze
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While 10 PRINT seems to be a non-interactive 2D third-person maze, its single line of code produces an unusual twist on this form of maze, shifting it to a different axis than is traditionally used. This is accomplished by the simple selection of two diagonal character graphics. It introduces another complexity: even though the maze is built from left to right and down the screen, the walls and paths do not have to follow this axis of construction. | While 10 PRINT seems to be a non-interactive 2D third-person maze, its single line of code produces an unusual twist on this form of maze, shifting it to a different axis than is traditionally used. This is accomplished by the simple selection of two diagonal character graphics. It introduces another complexity: even though the maze is built from left to right and down the screen, the walls and paths do not have to follow this axis of construction. | ||
| + | === Entering the Maze === | ||
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| + | Without tracing through the maze's role in culture completely, it clearly is a resonant symbol, and structure, which has evoked a variety of feelings and suggested many different associations throughout the centuries. In the mid-1980s, it would be impossible for most users to consider a maze-generating computer program without thinking of the many computer games that take place in mazes. But for many the maze would also be associated with different types of terror, play, contemplation, and experimentation. This richness, we believe, was part of what made this program a provocative way to encounter computing. The many aspects of the maze were part of what encouraged new Commodore 64 programmers to "enter the maze" (by entering this program on their computer) and to work at solving it, so as to better understand how computing functioned and how it could produce meaningful output. | ||
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=== Works Cited === | === Works Cited === | ||
