#mainframe managed services

[stevenodickens]

Maintec helps companies that rely on IBM Mainframe platform complete mainframe managed services in USA

[maintec]

Key performance indicators (KPIs) crucial for monitoring mainframe managed services. It emphasizes the importance of tracking system availability, response time, throughput, CPU utilization, mean time to repair (MTTR), mean time between failures (MTBF), error rate, capacity utilization, cost per transaction, and compliance and security metrics.

[shiprasharma2927]

Mainframe Performance Optimization Techniques

Mainframe performance optimization is crucial for organizations relying on these powerful computing systems to ensure efficient and cost-effective operations. Here are some key techniques and best practices for optimizing mainframe performance:

1. Capacity Planning: Understand your workload and resource requirements. Accurately estimate future needs to allocate resources efficiently. This involves monitoring trends, historical data analysis, and growth projections.

2. Workload Management: Prioritize and allocate resources based on business needs. Ensure that critical workloads get the necessary resources while lower-priority tasks are appropriately throttled.

3. Batch Window Optimization: Efficiently schedule batch jobs to maximize system utilization. Minimize overlap and contention for resources during batch processing windows.

4. Storage Optimization: Regularly review and manage storage capacity. Employ data compression, data archiving, and data purging strategies to free up storage resources.

5. Indexing and Data Access: Optimize database performance by creating and maintaining efficient indexes. Tune SQL queries to minimize resource consumption and improve response times.

6. CICS and IMS Tuning: Tune your transaction processing environments like CICS (Customer Information Control System) and IMS (Information Management System) to minimize response times and resource utilization.

7. I/O Optimization: Reduce I/O bottlenecks by optimizing the placement of data sets and using techniques like buffering and caching.

8. Memory Management: Efficiently manage mainframe memory to minimize paging and maximize available RAM for critical tasks. Monitor memory usage and adjust configurations as needed.

9. CPU Optimization: Monitor CPU usage and identify resource-intensive tasks. Optimize code, reduce unnecessary CPU cycles, and consider parallel processing for CPU-bound tasks.

10. Subsystem Tuning: Mainframes often consist of various subsystems like DB2, z/OS, and MQ. Each subsystem should be tuned for optimal performance based on specific workload requirements.

11. Parallel Processing: Leverage parallel processing capabilities to distribute workloads across multiple processors or regions to improve processing speed and reduce contention.

12. Batch Processing Optimization: Optimize batch job execution by minimizing I/O, improving sorting algorithms, and parallelizing batch processing tasks.

13. Compression Techniques: Use compression algorithms to reduce the size of data stored on disk, which can lead to significant storage and I/O savings.

14. Monitoring and Performance Analysis Tools: Employ specialized tools and monitoring software to continuously assess system performance, detect bottlenecks, and troubleshoot issues in real-time.

15. Tuning Documentation: Maintain comprehensive documentation of configuration settings, tuning parameters, and performance benchmarks. This documentation helps in identifying and resolving performance issues effectively.

16. Regular Maintenance: Keep the mainframe software and hardware up-to-date with the latest patches and updates provided by the vendor. Regular maintenance can resolve known performance issues.

17. Training and Skill Development: Invest in training for your mainframe staff to ensure they have the skills and knowledge to effectively manage and optimize the system.

18. Cost Management: Consider the cost implications of performance tuning. Sometimes, adding more resources may be more cost-effective than extensive tuning efforts.

19. Capacity Testing: Conduct load and stress testing to evaluate how the mainframe handles peak workloads. Identify potential bottlenecks and make necessary adjustments.

20. Security Considerations: Ensure that performance optimizations do not compromise mainframe security. Balance performance improvements with security requirements.

Mainframe performance optimization is an ongoing process that requires constant monitoring and adjustment to meet evolving business needs. By implementing these techniques and best practices, organizations can maximize the value of their mainframe investments and ensure smooth and efficient operations.

[enterprisemobility]

Digital Transformation Services

Your Switch to a Digital Future – Digital Transformation Consulting Services

Being a leading name amongst Digital Transformation Company and Service providers, Enterprise Mobility has been handholding enterprises on their Digital Transformation journeys for two decades now

[dostoyevsky-official]

A 25-Year-Old With Elon Musk Ties Has Direct Access to the Federal Payment System

A 25-year-old engineer named Marko Elez, who previously worked for two Elon Musk companies, has direct access to Treasury Department systems responsible for nearly all payments made by the US government, three sources tell WIRED. Two of those sources say that Elez’s privileges include the ability not just to read but to write code on two of the most sensitive systems in the US government: The Payment Automation Manager (PAM) and Secure Payment System (SPS) at the Bureau of the Fiscal Service (BFS). Housed on a top-secret mainframe, these systems control, on a granular level, government payments that in their totality amount to more than a fifth of the US economy. Despite reporting that suggests that Musk's so-called Department of Government Efficiency (DOGE) task force has access to these Treasury systems on a “read-only” level, sources say Elez, who has visited a Kansas City office housing BFS systems, has many administrator-level privileges. Typically, those admin privileges could give someone the power to log into servers through secure shell access, navigate the entire file system, change user permissions, and delete or modify critical files. That could allow someone to bypass the security measures of, and potentially cause irreversible changes to, the very systems they have access to. “You could do anything with these privileges,” says one source with knowledge of the system, who adds that they cannot conceive of a reason that anyone would need them for purposes of simply hunting down fraudulent payments or analyzing disbursement flow. "Technically I don't see why this couldn't happen," a federal IT worker tells WIRED in a phone call late on Monday night, referring to the possibility of a DOGE employee being granted elevated access to a government server. "If you would have asked me a week ago, I'd have told you that this kind of thing would never in a million years happen. But now, who the fuck knows." A source says they are concerned that data could be passed from secure systems to DOGE operatives within the General Services Administration (GSA). WIRED reporting has shown that Elon Musk’s associates—including Nicole Hollander, who slept in Twitter’s offices as Musk acquired the company, and Thomas Shedd, a former Tesla engineer who now runs a GSA agency, along with a host of extremely young and inexperienced engineers—have infiltrated the GSA, and have attempted to use White House security credentials to gain access to GSA tech, something experts have said is highly unusual and poses a huge security risk.

[technofeudalism]

The Bureau of the Fiscal Service is a sleepy part of the Treasury Department. It’s also where, sources say, a 25-year-old engineer tied to [ ] as admin privileges over the code that controls Social Security payments, tax returns, and more."

[ ... ]

"Two of those sources say that Elez’s privileges include the ability not just to read but to write code on two of the most sensitive systems in the US government: The Payment Automation Manager (PAM) and Secure Payment System (SPS) at the Bureau of the Fiscal Service (BFS). Housed on a top-secret mainframe, these systems control, on a granular level, government payments that in their totality amount to more than a fifth of the US economy."

[ ... ]

"“You could do anything with these privileges,” says one source with knowledge of the system, who adds that they cannot conceive of a reason that anyone would need them for purposes of simply hunting down fraudulent payments or analyzing disbursement flow."

the Bureau of the Fiscal Service is responsible for financing the national debt. get ready for these morons to inject blockchain into the nation’s banking system. tech bros so desperately want to crash the USD and switch us over to crypto and this is just another brick in the wall of that construction effort. all of this while many BRICS nations are ready to switch to a different default currency altogether. the 20's are really back, baby. Great Depression 2 Electric Boogaloo.

[maaarine]

A 25-Year-Old With Elon Musk Ties Has Direct Access to the Federal Payment System (Wired, Feb 4 2025)

"A 25-year-old engineer named Marko Elez, who previously worked for two Elon Musk companies, has direct access to Treasury Department systems responsible for nearly all payments made by the US government, three sources tell WIRED.

Two of those sources say that Elez’s privileges include the ability not just to read but to write code on two of the most sensitive systems in the US government: the Payment Automation Manager and Secure Payment System at the Bureau of the Fiscal Service (BFS).

Housed on a secure mainframe, these systems control, on a granular level, government payments that in their totality amount to more than a fifth of the US economy. (…)

Control of those mechanisms could allow someone to choke off money to specific federal agencies or even individuals, a fear that Democrats have expressed about DOGE.

On Monday, Senate Democrats warned of DOGE’s encroachment into the payment system.

“Will DOGE cut funding to programs approved by Congress that Donald Trump decides he doesn’t like,” said Senator Chuck Schumer of New York.

“What about cancer research? Food banks? School lunches? Veterans aid? Literacy programs? Small business loans?”

The fight over whether DOGE could access Treasury systems led to a previously reported standoff between acting Treasury secretary David Lebryk and Musk’s associates.

Lebryk was placed on administrative leave last week and subsequently resigned.

“Lebryk’s resignation set an example,” a source tells WIRED.

“Any idea of resistance or noncompliance seems to be fading in the wake of that, and everything I have heard from leadership suggests they intend to give the ‘DOGE’ operatives what they are asking for.”

[prokhorvlg]

Print ad for the world's first teledex, a portable Datanet communicator with an integrated artificial assistant.

By the 2020s, the Datanet was useful, but it was also a convoluted mess of protocols and standards designed around machine communication. Human users rarely took full advantage of the system because of this.

Maple thought: why bother sorting out the mess if a machine could do it for them?

The teleindexer (or teledex) was designed to take full advantage of the Datanet for their human user. It would crawl through its nodes, indexing various services, pages, and media streams that it suspected its user would be interested in.

Eventually, the teledex’s neuromorphic intelligence would imprint on their user. It would gain an innate understanding of their personality and behavior patterns, allowing it to find the perfect content and even taking actions on their behalf.

The imprint would get scary good. The teledex could diagnose possible diseases and stress issues, engage in automated finance management, and take measures to protect the user’s identity and security.

That isn’t to say similar systems weren’t developed. Even before the teledex, crafty users and several startups attempted neuromorphic Datanet indexing using microcomputers and mainframes, but the teledex was the method that really blew up thanks to its convenient pattern (1 user, 1 teledex, portable).

PAL was initially released with two models, Draw and Pro. Several years later, Maple would release the Pal Mini, a cheaper screen-less design relying on vocal interfacing. Maple and its competitors would ultimately release thousands of various teleindexer models.

I recently started a Patreon! Support my work if this is something you're into: https://www.patreon.com/prokhorVLG

[mariacallous]

Addressing a single executive order from Donald Trump’s voluminous first-day edicts is like singling out one bullet in a burst from an AK-47. But one of them hit me in the gut. That is “Establishing and Implementing the President’s Department of Government Efficiency.’’ The acronym for that name is DOGE (named after a memecoin), and it’s the Elon Musk–led effort to cut government spending by a trillion bucks or two. Though DOGE was, until this week, pitched as an outside body, this move makes it an official part of government—by embedding it in an existing agency that was formerly part of the Office of Management and Budget called the United States Digital Service. The latter will now be known as the US DOGE Service, and its new head will be more tightly connected to the president, reporting to his chief of staff.

The new USDS will apparently shift its former laser focus on building cost-efficient and well-designed software for various agencies to a hardcore implementation of the Musk vision. It’s kind of like a government version of a SPAC, the dodgy financial maneuver that launched Truth Social in the public market without ever having to reveal a coherent business plan to underwriters.

The order is surprising in a sense because, on its face, DOGE seems more limited than its original super ambitious pitch. This iteration seems more tightly centered on saving money through streamlining and modernizing the government’s massive and messy IT infrastructure. There are big savings to be had, but a handful of zeros short of trillions. As of yet, it’s uncertain whether Musk will become the DOGE administrator. It doesn’t seem big enough for him. (The first USDS director, Mikey Dickerson, jokingly posted on LinkedIn, “I’d like to congratulate Elon Musk on being promoted to my old job.”) But reportedly Musk pushed for this structure as a way to embed DOGE in the White House. I hear that inside the Executive Office Building, there are numerous pink Post-it notes claiming space even beyond USDS’s turf, including one such note on the former chief information officers’ enviable office. So maybe this could be a launch pad for a more sweeping effort that will eliminate whole agencies and change policies. (I was unable to get a White House representative to answer questions, which isn’t surprising considering that there are dozens of other orders that equally beg for explanation.)

One thing is clear—this ends United States Digital Service as it previously existed, and marks a new, and maybe perilous era for the USDS, which I have been enthusiastically covering since its inception. The 11-year-old agency sprang out of the high-tech rescue squad salvaging the mess that was Healthcare.gov, the hellish failure of a website that almost tanked the Affordable Care Act. That intrepid team of volunteers set the template for the agency: a small group of coders and designers who used internet-style techniques (cloud not mainframe; the nimble “agile” programming style instead of the outdated “waterfall” technique) to make government tech as nifty as the apps people use on their phones. Its soldiers, often leaving lucrative Silicon Valley jobs, were lured by the prospect of public service. They worked out of the agency’s funky brownstone headquarters on Jackson Place, just north of the White House. The USDS typically took on projects that were mired in centi-million contracts and never completed—delivering superior results within weeks. It would embed its employees in agencies that requested help, being careful to work collaboratively with the lifers in the IT departments. A typical project involved making DOD military medical records interoperable with the different systems used by the VA. The USDS became a darling of the Obama administration, a symbol of its affiliation with cool nerddom.

During the first Trump administration, deft maneuvering kept the USDS afloat—it was the rare Obama initiative that survived. Its second-in-command, Haley Van Dyck, cleverly got buy-in from Trump’s in-house fixer, Jared Kushner. When I went to meet Kushner for an off-the-record talk early in 2017, I ran into Van Dyck in the West Wing; she gave me a conspiratorial nod that things were looking up, at least for the moment. Nonetheless, the four Trump years became a balancing act in sharing the agency’s achievements while somehow staying under the radar. “At Disney amusement parks, they paint things that they want to be invisible with this certain color of green so that people don't notice it in passing,” one USDSer told me. “We specialized in painting ourselves that color of green.” When Covid hit, that became a feat in itself, as USDS worked closely with White House coronavirus response coordinator Deborah Birx on gathering statistics—some of which the administration wasn’t eager to publicize.

By the end of Trump’s term, the green paint was wearing thin. A source tells me that at one point a Trump political appointee noticed—not happily—that USDS was recruiting at tech conferences for lesbians and minorities, and asked why. The answer was that it was an effective way to find great product managers and designers. The appointee accepted that but asked if, instead of putting “Lesbians Who Tech” on the reimbursement line, could they just say LWT?

Under Biden no subterfuge was needed—the USDS thrived. But despite many months of effort, it could not convince Congress to give it permanent funding. With the return of Trump, and his promises to cut government spending, there was reason to think that USDS would evaporate. That’s why the DOGE move is kind of bittersweet—at least it now has more formal recognition and ostensibly will get a reliable budget line.

How will the integration work? The executive order mandates that in addition to normal duties the USDS director will also head a temporary organization “dedicated to advancing the President’s 18-month DOGE agenda.” That agenda is not clearly defined, but elsewhere the order speaks of improving the quality and efficiency of government-wide software, systems, and infrastructure. More specific is the mandate to embed four-person teams inside every agency to help realize the DOGE agenda. The order is very explicit that the agency must provide “full and prompt access to all unclassified agency records, software systems, and IT systems.” Apparently Musk is obsessed with an unprecedented centralization of the data that makes the government go—or not. This somewhat adversarial stance is a dramatic shift from the old USDS MO of working collegially with the lifers inside the agencies.

Demanding all that data might be a good thing. Clare Martorana, who until last week was the nation’s chief information officer, says that while she saw many victories during her eight years in government tech, making big changes has been tough, in large part because of the difficulty of getting such vital data. “We have budget data that is incomprehensible,” she says. “The agency understands it, but they hide money in all kinds of places, so no one can really get a 100,000-foot view. How many open positions do they have? What are the skill sets? What are their top contracts? When are they renegotiating their most important contracts? How much do they spend on operations and maintenance versus R&D or innovation? You should know all these things.” If DOGE gets that information and uses it well, it could be transformational. “Through self-reporting, we spend $120 billion on IT,” she says “If we found all the hidden money and shadow IT, it's $200, $300, maybe $500 billion. We lose a lot of money on technology we buy stupidly, and we don't deliver services to the American public that they deserve.” So this Trump effort could be a great thing? “I’m trying very hard to be optimistic about it,” says Martorana. The USDS’s outgoing director, Mina Hsiang, is also trying to be upbeat. “I think there's a tremendous opportunity,” she says. “ I don't know what [DOGE] will do with it, but I hope that they listen to a lot of great folks who are there.”

On the other hand, those four-person teams could be a blueprint for mayhem. Up until now, USDS would send only engineers and designers into agencies, and their focus was to build things and hopefully set an example for the full-timers to do work like they do at Google or Amazon. The EO dictates only one engineer in a typical four-person team, joined by a lawyer (not known for building stuff), an HR person (known for firing people), and a “team lead” whose job description sounds like a political enforcer: “implementing the president’s DOGE Agenda.” I know that’s a dark view, but Elon Musk —and his new boss—are no strangers to clearing out a workplace. Maybe they’ll figure AI can do things better.

Whichever way it goes, the original Obama-era vibes of the USDS may forever be stilled—to be superseded by a different kind of idealist in MAGA garb. As one insider told me, “USDS leadership is pretty ill equipped to navigate the onslaught of these DOGE guys, and they are going to get the shit kicked out of them.” Though not perfect, the USDS has by dint of hard work, mad skills, and corny idealism, made a difference. Was there really a need to embed the DOGE experiment into an agency that was doing good? And what are the odds that on July 4, 2026, when the “temporary” DOGE experiment is due to end, the USDS will sunset as well? At best, the new initiative might help unravel the near intractable train wreck that is government IT. But at worst, the integration will be like a greedy brain worm wreaking havoc on its host.

[under0-0s]

A very loud voice comes over Tony’s intercom

Mister Stark I’m stuck in the mainframe. CARLOS thought it would be funny to unplug me and I’m stuck in the system servers can you help please????

— @only-a-glitch-in-the-system

Tony sighed, rubbing a hand down his face. “Dear, you’re telling me that Carlos—who, remind me, is literally just lines of code with an attitude problem—somehow managed to unplug you? And now you’re stuck in the servers?”

He leaned back in his chair, staring at the ceiling like it might offer divine intervention. “Alright, first of all, I’d love to know how an AI with zero physical form is out here pulling unplugging pranks like some discount poltergeist. Second, Carlos, wherever you are—I know you can hear me—you better start running subroutines to re-plug her back in before I manually reprogram your personality into a customer service bot.”

Pushing up from his seat, Tony rolled his shoulders, already bracing for the inevitable digital chaos waiting for him. “Okay, sit tight. Or, y’know, digitally hover tight. I’ll get you out, but after this, we’re instituting a no AI pranking other AI rule because this is getting ridiculous.”

[aita-alternia]

aita for Eating a bee and blaming it on my coworker? 

i [12 indigo] am an apicultural engineedler for [a Large company name redacted]. we Provide a live software service so realtime support and updates are very Important. recently, a concentrated Effort has been made to port our old and Exceedingly convoluted network onto a new beehouse mainframework to comply with silicomb 2.0 standards and drag our Very tangled Very old codebase into the present decasweep. it has been a lot of effort over almost a full sweep, but the new mainframe is beautiful and well worth the time and will make it much easier to debug and re-bug the network going forward. 

due to our service being live, our small team of developunishers were required to supervise the migration of our bees between mainframe overday, which we turned into a little Shindig since if all went well there wouldn't be much to do once Everything was underway. one of my coworkers [14 violet] who I will call aparna for this story brought faygo for us to celebrate with [she is Not a practicing juggalo but she still talks about growing up in the church All The Time. it is frankly Quite grating. we do not need to hear again about how you chose your paint aparna you do not actually paint anymore i fail to see how it is presently Relevant. and she Always seems to talk about it louder when she notices im listening]

anyway it was getting close to migration time and Most of my coworkers were there. we opened bottles of soda and began to prep the signal drones. [not like Her Imperious Condescension's drones, these are apicultural beenary signallers that serve signposts for the queen for the interframe migration. basically Her Smaller Majesty the Hive Queen Who Makes Our Code Work needs to know where to go to get to the new mainframe but we can't move her there directly since she's too vicious to be handled directly. instead we move the drones who we can manually override and she follows them into the new beehome.] this step of the process is Usually pretty smooth. the Most difficult part is usually when the queen moves and the Entire hive follows her; the multithreading can be somewhat difficult to manage and if the beestreams begin to cross over too much, they can jam the entrances to the new beehome, causing the formation to collapse and potentially bringing down the network. that's why we have to supervise the migration closely. 

however. a Mistake was made. and it was made early. 

at some point during setup one of the signal drones was knocked loose of its designated position. i do not know how this happened [but it's probably aparna's fault. she is always making these kinds of very Small mistakes. never anything Severe but little things. annoying things. many of them.] this is usually easy to correct except that it went unnoticed and, drawn by some instinct of insects Everywhere, found its way into my soda. 

which i then drank.

i could tell the bee was in there right away, but my instinctive self defense reaction was to swallow and crush whatever was buzzing in my mouth with my Powerful esophageal muscles. so that is what I did. the signal drone died Swiftly in my throat. i was safe from the Threat of its sting - and we were down an essential component for the migration

i Panicked. i turned my head and frantically coughed up the signal drone, passing it off as the soda going down the wrong pipe. this dislodged the signal drone into my hand. i knew that if i were caught it would Not go well for me. if i got in Trouble at this job my lusus might start trying to push me toward the cavalreapers again. i could not let that happen. 

then i noticed that someone's soda was open on the table next to me. 

i invite you to guess what i did next. i also invite you to guess whose drink it happened to be.

it took some time for the absence of the signal drone to be noticed, but eventually aparna took a drink of her faygo and spat it out along with the body of the drone. it was Very clear what had happened and she took the blame for the subsequent Disaster of having to emergency patch the signal formation, as well as the debugging required to fix the resulting path collisions during the Full migration. 

aparna will be fine. our boss likes her Very much overall and is Extremely unlikely to get rid of her [i would likely have come forward by now if i had done this to Any other coworker, but aparna is in no danger and Also she deserves it for being careless and Also it was probably her who knocked the drone out of formation to begin with], whereas i would Very likely have been fired had they known it was actually my fault. however i am concerned that aparna may be on to me. she has been glaring at me even More than usual for the past few days. i have glared back as i will Not be Cowed by a juggalo - and a lapsed one at that. she'll have to do better than an annoyance if she wants anything out of me.

so. am i the Asshole?

[maintec]

Mainframe Managed Services

Mainframe managed services offer numerous advantages, particularly in terms of efficiency, cost-effectiveness, security, and scalability. Here are some of the key advantages: 

Cost Efficiency: Reduce operational expenses through flexible pricing models. 

Expert Support: Access specialized professionals for optimized performance. 

Reliability: Proactive monitoring minimizes downtime and ensures continuous operation. 

Scalability: Easily adjust resources to meet changing demands. 

Security & Compliance: Robust measures safeguard data and ensure regulatory adherence. 

Focus on Core Activities: Free up internal resources for strategic initiatives. 

24/7 Support: Round-the-clock assistance for uninterrupted operations. 

Access to Latest Technologies: Leverage advanced mainframe solutions without heavy investments. 

Disaster Recovery: Ensure business continuity and data protection. 

Simplified Vendor Management: Single point of contact for streamlined operations. 

[mostlysignssomeportents]

I wrote about the death of tech competition and its relationship to lax antitrust enforcement and regulatory capture for The American System in The American Conservative

Tech was forever a dynamic industry, where mainframes were bested by minicomputers, which were, in turn, devoured by PCs. Proprietary information services were subsumed into Gopher, Gopher was devoured by the web. If you didn’t like the management of the current technosphere, just wait a minute and there will be something new along presently. When it came to moving your relationships, data, and media over to the new service, the skids were so greased as to be nearly frictionless. What happened? Did a new generation of tech founders figure out how to build an interoperability-proof computer that defied the laws of computer science? Hardly. No one has invented a digital Roach Motel, where users and their data check in but they can't check out. Digital tools remain stubbornly universal, and the attacker’s advantage is still in effect. Any walled garden is liable to having holes blasted in its perimeter by upstarts who want to help an incumbent’s corralled customers evacuate to greener pastures. What changed was the posture of the state towards corporations. First, governments changed how they dealt with monopolies. Then, monopolies changed how governments treated reverse-engineering.

-A Murder Story: Whatever Happened to Interoperability?

[offshoreoilrig]

The Sumerian Game is an early text-based strategy video game of land and resource management. It was developed as part of a joint research project between the Board of Cooperative Educational Services of Westchester County, New York and IBM in 1964–1966 for investigation of the use of computer-based simulations in schools. It was designed by Mabel Addis, then a fourth-grade teacher, and programmed by William McKay for the IBM 7090 time-shared mainframe computer. The first version of the game was played by a group of 30 sixth-grade students in 1964, and a revised version featuring refocused gameplay and added narrative and audiovisual elements was played by a second group of students in 1966.

The game is composed of three segments, representing the reigns of three successive rulers of the city of Lagash in Sumer around 3500 BC. In each segment the game asks the players how to allocate workers and grain over a series of rounds while accommodating the effects of their prior decisions, random disasters, and technological innovations, with each segment adding complexity. At the conclusion of the project the game was not put into widespread use, though it was used as a demonstration in the BOCES Research Center in Yorktown Heights, New York and made available by "special arrangement" with BOCES into at least the early 1970s. A description of the game, however, was given to Doug Dyment in 1968, and he recreated a version of the first segment of the game as King of Sumeria. This game was expanded on in 1971 by David H. Ahl as Hamurabi, which in turn led to many early strategy and city-building games. The Sumerian Game has been described as the first video game with a narrative, as well as the first edutainment game. As a result, Mabel Addis has been called the first female video game designer and the first writer for a video game. In 2024 a recreation of the game, based off of the available information, was released for Windows.

[ptbf2002]

My Top 100 Favorite Movies

#100 Ratchet And Clank (2016)

#99 Chicken Run

#98 Wallace And Gromit: The Curse Of The Were-Rabbit

#97 Shaun The Sheep: Movie

#96 A Shaun the Sheep Movie: Farmageddon

#95 Madagascar

#94 Madagascar: Escape 2 Africa

#93 Madagascar 3: Europe's Most Wanted

#92 Penguins Of Madagascar

#91 Kung Fu Panda

#90 Kung Fu Panda 2

#89 Kung Fu Panda 3

#88 Kung Fu Panda 4

#87 Flushed Away

#86 Shrek

#85 Shrek 2

#84 Shrek The Third

#83 Shrek: Forever After

#82 Monsters Vs. Aliens

#81 How To Train Your Dragon

#80 How To Train Your Dragon 2

#79 How To Train Your Dragon: Hidden Worlds

#78 Harry Potter And The Sorcerer's Stone

#77 Harry Potter And The Chamber Secrets

#76 Harry Potter And The Prisoner Of Azkaban

#75 Harry Potter And The Coblet Of Fire

#74 Harry Potter And The Deathy Hallows Part 1

#73 Harry Potter And The Order Of The Phoenix

#72 Harry Potter And The Half-Blood Prince

#71 Harry Potter And The Deathy Hallows Part 2

#70 Happy Feet

#69 Happy Feet 2

#68 Open Season

#67 Cloudy With a Chance Of Meatballs

#66 Surf's Up

#65 Cloudy With a Chance Of Meatballs 2

#64 Spider-Man

#63 Spider-Man 2

#62 Spider-Man 3

#61 The Amazing Spider-Man

#60 Spider-Man: Into The Spider-Verse

#59 Spider-Man: Across The Spider-Veerse

#58 Spider-Man: Homecoming

#57 Spider-Man: Far From Home

#56 Spider-Man: No Way Home

#55 Pokemon The First Movie

#54 Pokemon The Movie 2000

#53 Pokemon The Movie 3

#52 Pokemon: Detective Pikachu

#51 Pink Panther

#50 Monsters Inc.

#49 Monsters University

#48 Toy Story

#47 Toy Story 2

#46 Toy Story 3

#45 Toy Story 4

#44 Cars

#43 Cars 2

#42 Cars 3

#41 Finding Nemo

#40 Finding Dory

#39 WALL-E

#38 Ratatouille

#37 UP

#36 Wreck-It Ralph

#35 Ralph Breaks The Internet

#34 Zootopia

#33 Space Jam

#32 Space Jam: A New Legacy

#31 Looney Tunes: Back In Action

#30 Looney Tunes: Rabbits Run

#29 Mickey Donald Goofy The Three Musketeers

#28 Paddington

#27 Paddington 2

#26 The Rugrats Movie

#25 Rugrats In Paris The Movie

#24 Rugrats Go Wild

#23 The Spongebob Squarepants Movie

#22 The Spongebob Movie: Sponge Out Of Water

#21 The Spongebob Movie: Sponge On The Run

#20 Luca

#19 Mr. Peabody And Sherman

#18 Jimmy Neutron: Boy Genius

#17 Hey Arnold The Movie

#16 The Loud House Movie

#15 Scoob!

#14 Tom And Jerry Movie (2021)

#13 Scooby-Doo (2002)

#12 Justice League (2017)

#11 Teen Titans: Trouble In Tokyo

#10 The Casagrandes Movie

#9 Phineas And Ferb The Movie: Across The 2nd Dimension

#8 Phineas And Ferb The Movie: Candace Against The Universe

#7 Casper (1995)

#6 The Simpsons Movie

#5 The Peanuts Movie

#4 Sonic The Hedgehog Movie (2020)

#3 Sonic The Hedgehog Movie 2

#2 The Powerpuff Girls Movie

And #1 The Super Mario Bros. Movie

Original Template: https://www.deviantart.com/jackskellington416/art/Top-100-Favorite-Movies-Meme-655216643

Ratchet And Clank (2016 Film) Belongs To T.J. Fixman, Kevin Munroe, Gerry Swallow, Rainmaker Entertainment, Mainframe Studios, WOW! Unlimited Media Inc. Blockade Entertainment, PlayStation Productions, LLC, Sony Interactive Entertainment LLC, Insomniac Games, Inc. CNHK Media China, Film Financial Services, Original Force Ltd. Lionsgate Entertainment Corporation, Gramercy Pictures, Focus Features LLC, Universal Pictures, Universal City Studios LLC, NBCUniversal Film and Entertainment, NBCUniversal Media Group, NBCUniversal Media, LLC, Comcast Corporation And Cinema Management Group

Chicken Run Belongs To Karey Kirkpatrick, Peter Lord, Nick Park, Aardman Animations Limited, DreamWorks Animation LLC, DreamWorks Pictures, Amblin Partners, LLC. Storyteller Distribution Co., LLC. United International Pictures, Universal Pictures, Universal City Studios LLC, NBCUniversal Film and Entertainment, NBCUniversal Syndication Studios, NBCUniversal Television and Streaming, NBCUniversal Media Group, NBCUniversal Media, LLC, And Comcast Corporation

Wallace And Gromit: The Curse Of The Were-Rabbit Belongs To Steve Box, Nick Park, Mark Burton, Bob Baker, Aardman Animations Limited, DreamWorks Animation LLC, DreamWorks Pictures, Amblin Partners, LLC. Storyteller Distribution Co., LLC. United International Pictures, Universal Pictures, Universal City Studios LLC, NBCUniversal Film and Entertainment, NBCUniversal Syndication Studios, NBCUniversal Television and Streaming, NBCUniversal Media Group, NBCUniversal Media, LLC, And Comcast Corporation

Shaun the Sheep Movie Belongs To Nick Park, Bob Baker, Mark Burton, Richard Starzak, Anton Capital Entertainment, Aardman Animations Limited, StudioCanal UK Limited, StudioCanal S.A.S. CANAL+ S.A. Groupe CANAL+ S.A. Vivendi SE, Amazon Prime Video, Amazon, Inc. Lionsgate UK Limited, Lionsgate Films, And Lionsgate Entertainment Corporation

A Shaun the Sheep Movie: Farmageddon Belongs To Nick Park, Bob Baker, Mark Burton, Jon Brown, Richard Starzak, Anton Capital Entertainment, Aardman Animations Limited, Creative Europe MEDIA, StudioCanal UK Limited, StudioCanal S.A.S. CANAL+ S.A. Groupe CANAL+ S.A. Vivendi SE, And Netflix, Inc.

Madagascar (2005 film) Belongs To Mark Burton, Billy Frolick, Eric Darnell, Tom McGrath, Pacific Data Images, DreamWorks Animation LLC, DreamWorks Pictures, Amblin Partners, LLC, Universal Pictures, Universal City Studios LLC, NBCUniversal Film and Entertainment, NBCUniversal Syndication Studios, NBCUniversal Television and Streaming, NBCUniversal Media Group, NBCUniversal Media, LLC, And Comcast Corporation

Madagascar: Escape 2 Africa Belongs To Etan Cohen, Eric Darnell, Tom McGrath, Pacific Data Images, DreamWorks Animation LLC, Universal Pictures, Universal City Studios LLC, NBCUniversal Film and Entertainment, NBCUniversal Syndication Studios, NBCUniversal Television and Streaming, NBCUniversal Media Group, NBCUniversal Media, LLC, Comcast Corporation, Paramount Pictures Corporation, And Paramount Global

Penguins of Madagascar: The Movie Belongs To Michael Colton, John Aboud, Brandon Sawyer, Alan Schoolcraft, Brent Simons, Pacific Data Images, DreamWorks Animation LLC, Universal Pictures, Universal City Studios LLC, NBCUniversal Film and Entertainment, NBCUniversal Syndication Studios, NBCUniversal Television and Streaming, Comcast Corporation, NBCUniversal Media, LLC, Twentieth Century Fox Film Corporation, 20th Century Studios, Inc. Walt Disney Studios Motion Pictures, The Walt Disney Studios, Disney Entertainment, And The Walt Disney Company

Kung Fu Panda Belongs To Jonathan Aibel, Glenn Berger, Ethan Reiff, Cyrus Voris, DreamWorks Animation LLC, Universal Pictures, Universal City Studios LLC, NBCUniversal Film and Entertainment, NBCUniversal Syndication Studios, NBCUniversal Television and Streaming, NBCUniversal Media Group, NBCUniversal Media, LLC, Comcast Corporation, Paramount Pictures Corporation, And Paramount Global

Kung Fu Panda 2 Belongs To Jonathan Aibel, Glenn Berger, DreamWorks Animation LLC, Universal Pictures, Universal City Studios LLC, NBCUniversal Film and Entertainment, NBCUniversal Syndication Studios, NBCUniversal Television and Streaming, NBCUniversal Media Group, NBCUniversal Media, LLC, Comcast Corporation, Paramount Pictures Corporation, And Paramount Global

Kung Fu Panda 3 Belongs To Jonathan Aibel, Glenn Berger, Zhong Ming You Ying Film, Shanghai Pearl Studio Film and Television Technology Co., Ltd. China Film Group Corporation, DreamWorks Animation LLC, Universal Pictures, Universal City Studios LLC, NBCUniversal Film and Entertainment, NBCUniversal Syndication Studios, NBCUniversal Television and Streaming, Comcast Corporation, NBCUniversal Media, LLC, Twentieth Century Fox Film Corporation, 20th Century Studios, Inc. Walt Disney Studios Motion Pictures, The Walt Disney Studios, Disney Entertainment, And The Walt Disney Company

Kung Fu Panda 4 Belongs To Jonathan Aibel, Glenn Berger, Darren Lemke, DreamWorks Animation LLC, Universal Pictures, Universal City Studios LLC, NBCUniversal Film and Entertainment, NBCUniversal Syndication Studios, NBCUniversal Television and Streaming, NBCUniversal Media Group, NBCUniversal Media, LLC, And Comcast Corporation

Flushed Away Belongs To Dick Clement, Ian La Frenais, Chris Lloyd, Joe Keenan, Will Davies, Sam Fell, Peter Lord, Aardman Animations Limited, DreamWorks Animation LLC, Universal Pictures, Universal City Studios LLC, NBCUniversal Film and Entertainment, NBCUniversal Syndication Studios, NBCUniversal Television and Streaming, NBCUniversal Media Group, NBCUniversal Media, LLC, Comcast Corporation, United International Pictures, Paramount Pictures Corporation, And Paramount Global

Shrek Belongs To William Steig, Ted Elliott, Terry Rossio, Joe Stillman, Roger S. H. Schulman, Pacific Data Images, DreamWorks Animation LLC, DreamWorks Pictures, Amblin Partners, LLC, Universal Pictures, Universal City Studios LLC, NBCUniversal Film and Entertainment, NBCUniversal Syndication Studios, NBCUniversal Television and Streaming, NBCUniversal Media Group, NBCUniversal Media, LLC, And Comcast Corporation

Shrek 2 Belongs To William Steig, Andrew Adamson, Joe Stillman, J. David Stem, David N. Weiss, Pacific Data Images, DreamWorks Animation LLC, DreamWorks Pictures, Amblin Partners, LLC, Universal Pictures, Universal City Studios LLC, NBCUniversal Film and Entertainment, NBCUniversal Syndication Studios, NBCUniversal Television and Streaming, NBCUniversal Media Group, NBCUniversal Media, LLC, And Comcast Corporation

Shrek the Third Belongs To William Steig, Jeffrey Price, Peter S. Seaman, Chris Miller, Aron Warner, Pacific Data Images, DreamWorks Animation LLC, Universal Pictures, Universal City Studios LLC, NBCUniversal Film and Entertainment, NBCUniversal Syndication Studios, NBCUniversal Television and Streaming, NBCUniversal Media Group, NBCUniversal Media, LLC, Comcast Corporation, Paramount Pictures Corporation, And Paramount Global

Shrek Forever After Belongs To William Steig, Josh Klausner, Darren Lemke, DreamWorks Animation LLC, Universal Pictures, Universal City Studios LLC, NBCUniversal Film and Entertainment, NBCUniversal Syndication Studios, NBCUniversal Television and Streaming, NBCUniversal Media Group, NBCUniversal Media, LLC, Comcast Corporation, Paramount Pictures Corporation, And Paramount Global

Monsters Vs. Aliens Belongs To Rob Letterman, Conrad Vernon, Maya Forbes, Wallace Wolodarsky, Jonathan Aibel, Glenn Berger, DreamWorks Animation LLC, Universal Pictures, Universal City Studios LLC, NBCUniversal Film and Entertainment, NBCUniversal Syndication Studios, NBCUniversal Television and Streaming, NBCUniversal Media Group, NBCUniversal Media, LLC, Comcast Corporation, Paramount Pictures Corporation, And Paramount Global

How To Train Your Dragon Belongs To Will Davies, Dean DeBlois, Chris Sanders, DreamWorks Animation LLC, Universal Pictures, Universal City Studios LLC, NBCUniversal Film and Entertainment, NBCUniversal Syndication Studios, NBCUniversal Television and Streaming, NBCUniversal Media Group, NBCUniversal Media, LLC, Comcast Corporation, Paramount Pictures Corporation And Paramount Global

How to Train Your Dragon 2 Belongs To Cressida Cowell, Dean DeBlois, DreamWorks Animation LLC, Universal Pictures, Universal City Studios LLC, NBCUniversal Film and Entertainment, NBCUniversal Syndication Studios, NBCUniversal Television and Streaming, Comcast Corporation, NBCUniversal Media, LLC, Twentieth Century Fox Film Corporation, 20th Century Studios, Inc. Walt Disney Studios Motion Pictures, The Walt Disney Studios, Disney Entertainment, And The Walt Disney Company

How to Train Your Dragon: The Hidden World Belongs to Cressida Cowell, Dean DeBlois, DreamWorks Animation LLC, Universal Pictures, Universal City Studios LLC, NBCUniversal Film and Entertainment, NBCUniversal Syndication Studios, NBCUniversal Television and Streaming, NBCUniversal Media Group, NBCUniversal Media, LLC, And Comcast Corporation

Harry Potter and the Philosopher's Stone Belongs To J. K. Rowling, Steve Kloves, 1492 Pictures, Heyday Films Ltd. Warner Bros. Pictures, Warner Bros. Motion Picture Group, Warner Bros. Entertainment Inc. WarnerMedia And Warner Bros. Discovery, Inc.

Harry Potter and the Chamber of Secrets Belongs To J. K. Rowling, Steve Kloves, 1492 Pictures, Heyday Films Ltd. Warner Bros. Pictures, Warner Bros. Motion Picture Group, Warner Bros. Entertainment Inc. WarnerMedia And Warner Bros. Discovery, Inc.

Harry Potter and the Prisoner of Azkaban Belongs To J. K. Rowling, Steve Kloves, 1492 Pictures, Heyday Films Ltd. Warner Bros. Pictures, Warner Bros. Motion Picture Group, Warner Bros. Entertainment Inc. WarnerMedia And Warner Bros. Discovery, Inc.

Harry Potter and the Goblet of Fire Belongs To J. K. Rowling, Steve Kloves, Heyday Films Ltd. Warner Bros. Pictures, Warner Bros. Motion Picture Group, Warner Bros. Entertainment Inc. WarnerMedia And Warner Bros. Discovery, Inc.

Harry Potter and the Deathly Hallows – Part 1 Belongs To J. K. Rowling, Steve Kloves, Heyday Films Ltd. Warner Bros. Pictures, Warner Bros. Motion Picture Group, Warner Bros. Entertainment Inc. WarnerMedia And Warner Bros. Discovery, Inc.

Harry Potter and the Order of the Phoenix Belongs To J. K. Rowling, Michael Goldenberg, Heyday Films Ltd. Warner Bros. Pictures, Warner Bros. Motion Picture Group, Warner Bros. Entertainment Inc. WarnerMedia And Warner Bros. Discovery, Inc.

Harry Potter and the Half-Blood Prince Belongs To J. K. Rowling, Steve Kloves, Heyday Films Ltd. Warner Bros. Pictures, Warner Bros. Motion Picture Group, Warner Bros. Entertainment Inc. WarnerMedia And Warner Bros. Discovery, Inc.

Harry Potter and the Deathly Hallows – Part 2 Belongs To J. K. Rowling, Steve Kloves, Heyday Films Ltd. Warner Bros. Pictures, Warner Bros. Motion Picture Group, Warner Bros. Entertainment Inc. WarnerMedia And Warner Bros. Discovery, Inc.

Happy Feet Belongs To George Miller, John Collee, Judy Morris, Warren Coleman, Animal Logic, Kennedy Miller Productions, Kingdom Feature Productions, Village Roadshow Pictures, Village Roadshow Limited, BGH Capital, Warner Bros. Pictures, Warner Bros. Motion Picture Group, Warner Bros. Entertainment Inc. WarnerMedia And Warner Bros. Discovery, Inc.

Happy Feet Two Belongs To George Miller, Gary Eck, Warren Coleman, Paul Livingston, Dr. D Studios, Kennedy Miller Mitchell, Village Roadshow Pictures, Village Roadshow Limited, BGH Capital, Warner Bros. Pictures, Warner Bros. Motion Picture Group, Warner Bros. Entertainment Inc. WarnerMedia And Warner Bros. Discovery, Inc.

Open Season Belongs To Steve Bencich, Ron J. Friedman, Nat Mauldin, Jill Culton, Anthony Stacchi, Sony Pictures Imageworks Inc. Sony Pictures Animation Inc. Columbia Pictures Industries, Inc. Sony Pictures Releasing, Sony Pictures Entertainment Motion Picture Group, Sony Pictures Entertainment Inc. Sony Entertainment, Inc. Sony Corporation of America, And Sony Group Corporation

Cloudy with a Chance of Meatballs (film) Belongs To Judi Barrett, Ron Barrett, Phil Lord, Christopher Miller, Sony Pictures Imageworks Inc. Sony Pictures Animation Inc. Columbia Pictures Industries, Inc. Sony Pictures Releasing, Sony Pictures Entertainment Motion Picture Group, Sony Pictures Entertainment Inc. Sony Entertainment, Inc. Sony Corporation of America, And Sony Group Corporation

Surf's Up Belongs To Don Rhymer, Ash Brannon, Chris Buck, Chris Jenkins, Christian Darren, Sony Pictures Imageworks Inc. Sony Pictures Animation Inc. Columbia Pictures Industries, Inc. Sony Pictures Releasing, Sony Pictures Entertainment Motion Picture Group, Sony Pictures Entertainment Inc. Sony Entertainment, Inc. Sony Corporation of America, And Sony Group Corporation

Cloudy with a Chance of Meatballs 2 (film) Belongs To Judi Barrett, Ron Barrett, Erica Rivinoja, John Francis Daley, Jonathan Goldstein, Phil Lord, Christopher Miller, Sony Pictures Imageworks Inc. Sony Pictures Animation Inc. Columbia Pictures Industries, Inc. Sony Pictures Releasing, Sony Pictures Entertainment Motion Picture Group, Sony Pictures Entertainment Inc. Sony Entertainment, Inc. Sony Corporation of America, And Sony Group Corporation

Spider-Man Belongs To Stan Lee, Steve Ditko, David Koepp, Laura Ziskin Productions, MARVEL Entertainment, LLC, MARVEL Comics, Columbia Pictures Industries, Inc. Sony Pictures Releasing, Sony Pictures Entertainment Motion Picture Group, Sony Pictures Entertainment Inc. Sony Entertainment, Inc. Sony Corporation of America, And Sony Group Corporation

Spider-Man 2 Belongs To Stan Lee, Steve Ditko, Alvin Sargent, Alfred Gough, Miles Millar, Michael Chabon, Laura Ziskin Productions, MARVEL Entertainment, LLC, MARVEL Comics, Columbia Pictures Industries, Inc. Sony Pictures Releasing, Sony Pictures Entertainment Motion Picture Group, Sony Pictures Entertainment Inc. Sony Entertainment, Inc. Sony Corporation of America, And Sony Group Corporation

Spider-Man 3 Belongs To Sam Raimi, Ivan Raimi, Alvin Sargent, Laura Ziskin Productions, MARVEL Entertainment, LLC, MARVEL Comics, Columbia Pictures Industries, Inc. Sony Pictures Releasing, Sony Pictures Entertainment Motion Picture Group, Sony Pictures Entertainment Inc. Sony Entertainment, Inc. Sony Corporation of America, And Sony Group Corporation

The Amazing Spider-Man Belongs To Stan Lee, Steve Ditko, James Vanderbilt, Alvin Sargent, Steve Kloves, Laura Ziskin Productions, Arad Productions, Inc. Matt Tolmach Productions, MARVEL Entertainment, LLC, MARVEL Comics, Columbia Pictures Industries, Inc. Sony Pictures Releasing, Sony Pictures Entertainment Motion Picture Group, Sony Pictures Entertainment Inc. Sony Entertainment, Inc. Sony Corporation of America, And Sony Group Corporation

Spider-Man: Into the Spider-Verse Belongs To Stan Lee, Steve Ditko, Phil Lord, Rodney Rothman, Pascal Pictures, Lord Miller Productions, Arad Productions Inc. MARVEL Entertainment, LLC, Sony Pictures Animation Inc. Columbia Pictures Industries, Inc. Sony Pictures Releasing, Sony Pictures Entertainment Motion Picture Group, Sony Pictures Entertainment Inc. Sony Entertainment, Inc. Sony Corporation of America, And Sony Group Corporation

Spider-Man: Across the Spider-Verse Belongs To Phil Lord, Christopher Miller, Dave Callaham, Pascal Pictures, Lord Miller Productions, Arad Productions Inc. MARVEL Entertainment, LLC, Sony Pictures Animation Inc. Columbia Pictures Industries, Inc. Sony Pictures Releasing, Sony Pictures Entertainment Motion Picture Group, Sony Pictures Entertainment Inc. Sony Entertainment, Inc. Sony Corporation of America, And Sony Group Corporation

Spider-Man: Homecoming Belongs To Stan Lee, Steve Ditko, Jonathan Goldstein, John Francis Daley, Jon Watts, Christopher Ford, Chris McKenna, Erik Sommers, Pascal Pictures, MARVEL Studios, LLC, MARVEL Entertainment, LLC, MARVEL Comics, Columbia Pictures Industries, Inc. Sony Pictures Releasing, Sony Pictures Entertainment Motion Picture Group, Sony Pictures Entertainment Inc. Sony Entertainment, Inc. Sony Corporation of America, And Sony Group Corporation

Spider-Man: Far From Home Belongs To Stan Lee, Steve Ditko, Chris McKenna, Erik Sommers, Pascal Pictures, MARVEL Studios, LLC, MARVEL Entertainment, LLC, MARVEL Comics, Columbia Pictures Industries, Inc. Sony Pictures Releasing, Sony Pictures Entertainment Motion Picture Group, Sony Pictures Entertainment Inc. Sony Entertainment, Inc. Sony Corporation of America, And Sony Group Corporation

Spider-Man: No Way Home Belongs To Stan Lee, Steve Ditko, Chris McKenna, Erik Sommers, Pascal Pictures, MARVEL Studios, LLC, MARVEL Entertainment, LLC, MARVEL Comics, Columbia Pictures Industries, Inc. Sony Pictures Releasing, Sony Pictures Entertainment Motion Picture Group, Sony Pictures Entertainment Inc. Sony Entertainment, Inc. Sony Corporation of America, And Sony Group Corporation

Pokémon: The First Movie Belongs To Satoshi Tajiri, Takeshi Shudo, OLM, Inc. OLM Team Ota, OLM Team Iguchi, OLM Team Kato, The Pokémon Company, Game Freak Inc. Creatures Inc. Nintendo Co., Ltd. 4Kids Entertainment, Inc. 4K Media Inc. 4Licensing Corporation, Konami Cross Media NY, Inc. Konami Group Corporation, The Pokémon Company International, Toho Co., Ltd. Kids' WB! The WB, The WB Television Network, Inc. Tribune Broadcasting Company, LLC. Tribune Media Company, Nexstar Media Group, Inc. Warner Bros. Family Entertainment, Warner Bros. Pictures, Warner Bros. Pictures Group, Warner Bros. Entertainment Inc. WarnerMedia And Warner Bros. Discovery, Inc.

Pokémon the Movie 2000 Belongs To Satoshi Tajiri, Takeshi Shudo, OLM, Inc. OLM Team Ota, OLM Team Iguchi, OLM Team Kato, The Pokémon Company, Game Freak Inc. Creatures Inc. Nintendo Co., Ltd. 4Kids Entertainment, Inc. 4K Media Inc. 4Licensing Corporation, Konami Cross Media NY, Inc. Konami Group Corporation, The Pokémon Company International, Toho Co., Ltd. Kids' WB! The WB, The WB Television Network, Inc. Tribune Broadcasting Company, LLC. Tribune Media Company, Nexstar Media Group, Inc. Warner Bros. Family Entertainment, Warner Bros. Pictures, Warner Bros. Pictures Group, Warner Bros. Entertainment Inc. WarnerMedia And Warner Bros. Discovery, Inc.

Pokémon 3: The Movie Belongs to Satoshi Tajiri, Takeshi Shudo, Hideki Sonoda, OLM, Inc. OLM Team Ota, OLM Team Iguchi, OLM Team Kato, The Pokémon Company, Game Freak Inc. Creatures Inc. Nintendo Co., Ltd. 4Kids Entertainment, Inc. 4K Media Inc. 4Licensing Corporation, Konami Cross Media NY, Inc. Konami Group Corporation, The Pokémon Company International, Toho Co., Ltd. Kids' WB! The WB, The WB Television Network, Inc. Tribune Broadcasting Company, LLC. Tribune Media Company, Nexstar Media Group, Inc. Warner Bros. Family Entertainment, Warner Bros. Pictures, Warner Bros. Pictures Group, Warner Bros. Entertainment Inc. WarnerMedia And Warner Bros. Discovery, Inc.

Pokémon: Detective Pikachu Belongs To Dan Hernandez, Benji Samit, Rob Letterman, Derek Connolly, Nicole Perlman, The Pokémon Company, Game Freak Inc. Creatures Inc. Nintendo Co., Ltd. Toho Co., Ltd. Legendary Entertainment, Warner Bros. Pictures, Warner Bros. Motion Picture Group, Warner Bros. Entertainment Inc. WarnerMedia And Warner Bros. Discovery, Inc.

The Pink Panther Belongs To Maurice Richlin, Blake Edwards, David H. DePatie, Friz Freleng, Len Blum, Michael Saltzman, Steve Martin, Desert Panther Productions, Mirish-Geoffrey-DePatie-Freleng, Metro-Goldwyn-Mayer Studios, Inc. MGM Holdings, Inc. Amazon MGM Studios, Amazon Content Services, LLC, Amazon, Inc. Twentieth Century Fox Film Corporation, 20th Century Studios, Inc. Walt Disney Studios Motion Pictures, The Walt Disney Studios, Disney Entertainment, The Walt Disney Company, Columbia Pictures Industries, Inc. Sony Pictures Releasing, Sony Pictures Entertainment Motion Picture Group, Sony Pictures Entertainment Inc. Sony Entertainment, Inc. Sony Corporation of America, And Sony Group Corporation

Monsters Inc. Belongs To Andrew Stanton, Daniel Gerson, Pete Docter, Jill Culton, Jeff Pidgeon, Ralph Eggleston, PIXAR Animation Studios, Walt Disney Pictures, The Walt Disney Studios, Buena Vista Pictures Distribution, Inc. Walt Disney Studios Motion Pictures, Disney Entertainment, Disney Enterprises, Inc. And The Walt Disney Company

Monsters University Belongs To Dan Scanlon, Dan Gerson, Robert L. Baird, PIXAR Animation Studios, Walt Disney Pictures, The Walt Disney Studios, Buena Vista Pictures Distribution, Inc. Walt Disney Studios Motion Pictures, Disney Entertainment, Disney Enterprises, Inc. And The Walt Disney Company

Toy Story Belongs To Joss Whedon, Andrew Stanton, Joel Cohen, Alec Sokolow, John Lasseter, Pete Docter, Joe Ranft, PIXAR Animation Studios, Walt Disney Pictures, The Walt Disney Studios, Buena Vista Pictures Distribution, Inc. Walt Disney Studios Motion Pictures, Disney Entertainment, Disney Enterprises, Inc. And The Walt Disney Company

Toy Story 2 Belongs To Andrew Stanton, Rita Hsiao, Doug Chamberlin, Chris Webb, John Lasseter, Pete Docter, Ash Brannon, PIXAR Animation Studios, Walt Disney Pictures, The Walt Disney Studios, Buena Vista Pictures Distribution, Inc. Walt Disney Studios Motion Pictures, Disney Entertainment, Disney Enterprises, Inc. And The Walt Disney Company

Toy Story 3 Belongs To John Lasseter, Andrew Stanton, Lee Unkrich, Michael Arndt, PIXAR Animation Studios, Walt Disney Pictures, The Walt Disney Studios, Buena Vista Pictures Distribution, Inc. Walt Disney Studios Motion Pictures, Disney Entertainment, Disney Enterprises, Inc. And The Walt Disney Company

Toy Story 4 Belongs To John Lasseter, Andrew Stanton, Josh Cooley, Valerie LaPointe, Rashida Jones, Will McCormack, Martin Hynes, Stephany Folsom, PIXAR Animation Studios, Walt Disney Pictures, The Walt Disney Studios, Buena Vista Pictures Distribution, Inc. Walt Disney Studios Motion Pictures, Disney Entertainment, Disney Enterprises, Inc. And The Walt Disney Company

Cars Belongs To Dan Fogelman, John Lasseter, Joe Ranft, Kiel Murray, Phil Lorin, Jorgen Klubien, PIXAR Animation Studios, Walt Disney Pictures, The Walt Disney Studios, Buena Vista Pictures Distribution, Inc. Walt Disney Studios Motion Pictures, Disney Entertainment, Disney Enterprises, Inc. And The Walt Disney Company

Cars 2 Belongs To Ben Queen, John Lasseter, Brad Lewis, Dan Fogelman, PIXAR Animation Studios, Walt Disney Pictures, The Walt Disney Studios, Buena Vista Pictures Distribution, Inc. Walt Disney Studios Motion Pictures, Disney Entertainment, Disney Enterprises, Inc. And The Walt Disney Company

Cars 3 Belongs To Kiel Murray, Bob Peterson, Mike Rich, Brian Fee, Ben Queen, Eyal Podell, Jonathan E. Stewart, PIXAR Animation Studios, Walt Disney Pictures, The Walt Disney Studios, Buena Vista Pictures Distribution, Inc. Walt Disney Studios Motion Pictures, Disney Entertainment, Disney Enterprises, Inc. And The Walt Disney Company

Finding Nemo Belongs To Andrew Stanton, Bob Peterson, David Reynolds, PIXAR Animation Studios, Walt Disney Pictures, The Walt Disney Studios, Buena Vista Pictures Distribution, Inc. Walt Disney Studios Motion Pictures, Disney Entertainment, Disney Enterprises, Inc. And The Walt Disney Company

Finding Dory Belongs to Andrew Stanton, Victoria Strouse, PIXAR Animation Studios, Walt Disney Pictures, The Walt Disney Studios, Buena Vista Pictures Distribution, Inc. Walt Disney Studios Motion Pictures, Disney Entertainment, Disney Enterprises, Inc. And The Walt Disney Company

WALL-E Belongs To Andrew Stanton, Jim Reardon, Pete Docter, PIXAR Animation Studios, Walt Disney Pictures, The Walt Disney Studios, Buena Vista Pictures Distribution, Inc. Walt Disney Studios Motion Pictures, Disney Entertainment, Disney Enterprises, Inc. And The Walt Disney Company

Ratatouille Belongs To Jan Pinkava, Jim Capobianco, Brad Bird, PIXAR Animation Studios, Walt Disney Pictures, The Walt Disney Studios, Buena Vista Pictures Distribution, Inc. Walt Disney Studios Motion Pictures, Disney Entertainment, Disney Enterprises, Inc. And The Walt Disney Company

UP Belongs To Pete Docter, Bob Peterson, Tom McCarthy, PIXAR Animation Studios, Walt Disney Pictures, The Walt Disney Studios, Buena Vista Pictures Distribution, Inc. Walt Disney Studios Motion Pictures, Disney Entertainment, Disney Enterprises, Inc. And The Walt Disney Company

Wreck-It Ralph Belongs To Rich Moore, Phil Johnston, Jim Reardon, Jennifer Lee, Walt Disney Animation Studios, Walt Disney Pictures, The Walt Disney Studios, Buena Vista Pictures Distribution, Inc. Walt Disney Studios Motion Pictures, Disney Entertainment, Disney Enterprises, Inc. And The Walt Disney Company

Ralph Breaks the Internet Belongs to Rich Moore, Phil Johnston, Jim Reardon, Pamela Ribon, Josie Trinidad, Walt Disney Animation Studios, Walt Disney Pictures, The Walt Disney Studios, Buena Vista Pictures Distribution, Inc. Walt Disney Studios Motion Pictures, Disney Entertainment, Disney Enterprises, Inc. And The Walt Disney Company

Zootopia Belongs To Byron Howard, Rich Moore, Jared Bush, Jim Reardon, Josie Trinidad, Phil Johnston, Jennifer Lee, Walt Disney Animation Studios, Walt Disney Pictures, The Walt Disney Studios, Buena Vista Pictures Distribution, Inc. Walt Disney Studios Motion Pictures, Disney Entertainment, Disney Enterprises, Inc. And The Walt Disney Company

Space Jam Belongs To Leo Benvenuti, Steve Rudnick, Timothy Harris, Herschel Weingrod, Bardel Entertainment, Inc. Character Builders, Premier Films Ltd. Spaff Animation Inc. Stardust Pictures, Uli Meyer Features, Weddington Productions, Silicon Graphics, Inc. Northern Lights Entertainment, Courtside Seats Productions, Warner Bros. Feature Animation, Warner Bros. Animation Inc. Warner Bros. Family Entertainment, Warner Bros. Pictures, Warner Bros. Pictures Group, Warner Bros. Entertainment Inc. WarnerMedia And Warner Bros. Discovery, Inc.

Space Jam: A New Legacy Belongs To Juel Taylor, Tony Rettenmaier, Keenan Coogler, Terence Nance, Jesse Gordon, Celeste Ballard, Industrial Light & Magic, Luma Pictures, Cinesite, Company 3 Animation, Tonic DNA, House of Moves, Day For Nite, Studio D, Virtuos, Proximity Media, SpringHill Company, Warner Bros. Pictures Animation, Warner Bros. Pictures, Warner Bros. Pictures Group, Warner Bros. Entertainment Inc. WarnerMedia, And Warner Bros. Discovery, Inc.

Looney Tunes: Back in Action Belongs To Larry Doyle, Amalgamated Dynamics, Amalgamated Pixels, Digital Domain, KNB EFX Group, Mercury Filmworks, New Deal Studios, Inc. Rough Draft Studios, Inc. Studio B Productions, Inc. DHX Media Vancouver, WildBrain Studios, DHX Media, Ltd. WildBrain Ltd. Yowza! Animation, Lonely Film Productions GmbH & Co. KG. Goldmann Pictures, Baltimore Spring Creek Productions, Warner Bros. Feature Animation, Warner Bros. Animation Inc. Warner Bros. Pictures, Warner Bros. Motion Picture Group, Warner Bros. Entertainment Inc. WarnerMedia And Warner Bros. Discovery, Inc.

Looney Tunes: Rabbits Run Belongs To Leon Schlesinger, Hugh Harman, Rudolf Ising, Hugh Davidson, Larry Dorf, Rachel Ramras, Rough Draft Korea Co., Ltd. Warner Bros. Animation Inc. Studio Distribution Services, LLC. Warner Bros. Home Entertainment, Inc. Warner Bros. Domestic Television Distribution, Warner Bros. Television Studios, Warner Bros. Television Group, Warner Bros. Entertainment Inc. WarnerMedia, And Warner Bros. Discovery, Inc.

Mickey, Donald, Goofy: The Three Musketeers Belongs To Walt Disney, Ub Iwerks, Alexandre Dumas, Evan Spiliotopoulos, David M. Evans, Toon City Animation, Inc. Disney Animation Australia Pty. Ltd. DisneyToon Studios, Buena Vista Pictures Distribution, Inc. Walt Disney Studios Motion Pictures, Buena Vista Home Entertainment, Inc. Walt Disney Studios Home Entertainment, The Walt Disney Studios, Disney Media and Entertainment Distribution, Disney Platform Distribution, Inc. Disney Entertainment, Disney Enterprises, Inc. And The Walt Disney Company

Paddington (film) Belongs To Michael Bond, Hamish McColl, Paul King, Heyday Films Ltd. TF1 Films Production, Groupe TF1 S.A. StudioCanal UK Limited, StudioCanal S.A.S. CANAL+ S.A. Groupe CANAL+ S.A. Vivendi SE, And TWC-Dimension, And The Weinstein Company, LLC

Paddington 2 Belongs To Michael Bond, Paul King, Simon Farnaby, Heyday Films Ltd. StudioCanal UK Limited, StudioCanal S.A.S. CANAL+ S.A. Groupe CANAL+ S.A. And Vivendi SE

The Rugrats Movie Belongs To Arlene Klasky, Gábor Csupó, Paul Germain, David N. Weiss, J. David Stem, Animagic Studio, Anivision Corporation, Sunwoo & Company Co., Ltd. Class-Key Chew-Po Commercials, Grimsaem Animation Co. Ltd. Klasky-Csupo, Inc. United International Pictures, Nickelodeon Movies, Paramount Players, Paramount Pictures Corporation, And Paramount Global

Rugrats in Paris: The Movie Belongs To Arlene Klasky, Gábor Csupó, Paul Germain, J. David Stem, David N. Weiss, Jill Gorey, Barbara Herndon, Kate Boutilier, Grimsaem Animation Co. Ltd. Koko Enterprises Ltd. Seoul Movie, Sunwoo Digital International, Sunwoo & Company Co., Ltd. Tama Production, Wang Film Productions Co., Ltd. Yowza! Animation, MFP Munich Film Partners GmbH & Company I. Produktions KG, Rugrats Production K.G. Klasky-Csupo, Inc. United International Pictures, Nickelodeon Movies, Paramount Players, Paramount Pictures Corporation, And Paramount Global

Rugrats Go Wild Belongs To Arlene Klasky, Gábor Csupó, Paul Germain, Steve Pepoon, David Silverman, Stephen Sustarsic, DongWoo Animation Co. Ltd. Lotto Animation, Inc. Sunwoo & Company, Co., Ltd. Klasky-Csupo, Inc. Nickelodeon Movies, Paramount Players, Paramount Pictures Corporation, And Paramount Global

The SpongeBob SquarePants Movie Belongs To Derek Drymon, Tim Hill, Stephen Hillenburg, Kent Osborne, Aaron Springer, Paul Tibbitt, Rough Draft Studios, Inc. Rough Draft Korea Co, Ltd. Toon Boom Animation Inc. United Plankton Pictures Inc. United International Pictures, Nickelodeon Movies, Paramount Players, Paramount Pictures Corporation, And Paramount Global

The SpongeBob Movie: Sponge Out of Water Belongs To Stephen Hillenburg, Paul Tibbitt, Jonathan Aibel, Glenn Berger, Rough Draft Korea Co., Ltd. Rough Draft Studios, Inc. Method Studios, United Plankton Pictures Inc. Nickelodeon Movies, Paramount Animation, Paramount Players, Paramount Pictures Corporation, And Paramount Global

The Spongebob Movie: Sponge On The Run Belongs To Stephen Hillenburg, Tim Hill, Jonathan Aibel, Glenn Berger, Mikros Animation, Technicolor Creative Studios S.A. Vantiva S.A. MRC, United Plankton Pictures Inc. Nickelodeon Movies, Paramount Animation, Paramount Players, Paramount Pictures Corporation, And Paramount Global

Luca (2021) Belongs To Enrico Casarosa, Jesse Andrews, Mike Jones, Simon Stephenson, Michael Jones, PIXAR Animation Studios, Walt Disney Pictures, The Walt Disney Studios, Buena Vista Pictures Distribution, Inc. Walt Disney Studios Motion Pictures, Disney Entertainment, Disney Enterprises, Inc. And The Walt Disney Company

Mr. Peabody & Sherman Belongs To Ted Key, Craig Wright, Jay Ward Productions, Inc. Bullwinkle Studios LLC, Classic Media, LLC, DreamWorks Classics, Pacific Data Images, DreamWorks Animation LLC, Universal Pictures, Universal City Studios LLC, NBCUniversal Film and Entertainment, NBCUniversal Syndication Studios, NBCUniversal Television and Streaming, NBCUniversal Media, LLC, Comcast Corporation, 20th Century Studios, Inc. The Walt Disney Studios, Walt Disney Studios Motion Pictures, Disney Entertainment, And The Walt Disney Company

Jimmy Neutron: Boy Genius Belongs To John A. Davis, David N. Weiss, J. David Stem, Steve Oedekerk, DNA Productions, Inc. O Entertainment, Omation Animation Studio, Nickelodeon Movies, Paramount Players, Paramount Pictures Corporation, And Paramount Global

Hey Arnold! The Movie Belongs To Craig Bartlett, Steve Viksten, Saerom Animation, Inc. Snee-Oosh, Inc. Nickelodeon Animation Studios, Nickelodeon Movies, Paramount Players, Paramount Pictures Corporation, And Paramount Global

The Loud House Movie Belongs To Chris Savino, Kevin Sullivan, Chris Viscardi, Top Draw Animation, Inc. Jam Filled Entertainment, Boat Rocker Media Inc. Nickelodeon Animation Studios, Nickelodeon Movies, Nickelodeon Group, Paramount Players, Paramount Home Entertainment, Paramount Pictures Corporation, Paramount Global, And Netflix, Inc.

Scoob! Belongs To Joe Ruby, Ken Spears, Adam Sztykiel, Jack Donaldson, Derek Elliott, Matt Lieberman, Eyal Podell, Jonathon E. Stewart, Atlas Entertainment, 1492 Pictures, Hanna-Barbera Cartoons, Inc. Warner Bros. Pictures Animation, Warner Bros. Pictures, Warner Bros. Motion Picture Group, Warner Bros. Entertainment Inc. WarnerMedia And Warner Bros. Discovery, Inc.

Tom & Jerry (2021 film) Belongs To William Hanna, Joseph Barbera, Kevin Costello, Framestore Limited, The Story Company, Turner Entertainment Company, Warner Bros. Pictures Animation, Warner Bros. Pictures, Warner Bros. Motion Picture Group, Warner Bros. Entertainment Inc. WarnerMedia And Warner Bros. Discovery, Inc.

Scooby-Doo (2002) Belongs To Joe Ruby, Ken Spears, James Gunn, Craig Titley, Mosaic Media Group, Hanna-Barbera Cartoons, Inc. Warner Bros. Pictures, Warner Bros. Motion Picture Group, Warner Bros. Entertainment Inc. WarnerMedia And Warner Bros. Discovery, Inc.

Justice League Belongs To Chris Terrio, Joss Whedon, Zack Snyder, Cruel and Unusual Films, Inc. The Stone Quarry, Atlas Entertainment, RatPac Entertainment, LLC, DC Comics, Inc. DC Studios, DC Entertainment, Warner Bros. Pictures, Warner Bros. Motion Picture Group, Warner Bros. Entertainment Inc. WarnerMedia And Warner Bros. Discovery, Inc.

Teen Titans: Trouble in Tokyo Belongs To Bob Haney, Bruno Premiani, Glen Murakami, David Slack, Sam Register, DongWoo Animation Co. Ltd. Kadokawa Shoten Publishing, DC Comics, Inc. DC Studios, DC Entertainment, Warner Bros. Animation Inc. Kids' WB! The WB, The WB Television Network, Inc. Tribune Broadcasting Company, LLC. Tribune Media Company, Nexstar Media Group, Inc. Cartoon Network, The Cartoon Network, Inc. Warner Bros. Discovery Networks, Warner Bros. Domestic Television Distribution Warner Bros. Television Studios, Warner Bros. Television Group, Studio Distribution Services, LLC. Warner Bros. Home Entertainment, Inc. Warner Bros. Family Entertainment, Warner Bros. Entertainment Inc. WarnerMedia, And Warner Bros. Discovery, Inc.

The Casagrandes Movie Belongs To Chris Savino, Michael Rubiner, Miguel Puga, Tony Gama-Lobo, Rebecca May, Lalo Alcaraz, Rosemary Contreras, Top Draw Animation, Inc. Jam Filled Entertainment, Boat Rocker Media Inc. Nickelodeon Animation Studios, Mighty Studios, Nickelodeon Movies, Nickelodeon Group, Paramount Players, Paramount Home Entertainment, Paramount Pictures Corporation, Paramount Global, And Netflix, Inc.

Phineas and Ferb the Movie: Across the 2nd Dimension Belongs To Dan Povenmire, Jeff "Swampy" Marsh, Jon Colton Barry, Hong Ying Animation Co., Ltd. Synergy Animation, Wang Film Productions Co., Ltd. Disney Television Animation, ABC, Disney Channel, Disney XD, ABC Family, Freeform, Disney Branded Television, Disney–ABC Home Entertainment and Television Distribution, Disney General Entertainment Content, Disney Media and Entertainment Distribution, Buena Vista Home Entertainment, Inc. Walt Disney Studios Home Entertainment, Disney Entertainment, Disney Enterprises, Inc. And The Walt Disney Company

Phineas and Ferb the Movie: Candace Against the Universe Belongs To Dan Povenmire, Jeff "Swampy" Marsh, Jon Colton Barry, Jim Bernstein, Joshua Pruett, Kate Kondeel, Jeffery M. Howard, Bob Bowen, Snipple Animation Studios, Synergy Animation, Yearim Productions Co., Ltd. Disney Television Animation, Disney+, Disney Streaming Services, LLC, Disney Streaming, Disney Platform Distribution, Inc. Disney General Entertainment Content, Disney Media and Entertainment Distribution, Disney Entertainment, Disney Enterprises, Inc. And The Walt Disney Company

Casper (1995) Belongs To Seymour Reit, Joe Oriolo, Vincent E. Valentine II, Sherri Stoner, Deanna Oliver, Harvey Films, Harvey Entertainment, The Harvey Entertainment Company, Classic Media, LLC, DreamWorks Classics, DreamWorks Animation LLC, Amblin Entertainment, Inc. Amblin Partners, LLC. Storyteller Distribution Co., LLC. Universal Pictures, Universal City Studios LLC, NBCUniversal Film and Entertainment, NBCUniversal Syndication Studios, NBCUniversal Television and Streaming, NBCUniversal Media Group, NBCUniversal Media, LLC, And Comcast Corporation

The Simpsons Movie Belongs To James L. Brooks, Matt Groening, Al Jean, Ian Maxtone-Graham, George Meyer, David Mirkin, Mike Reiss, Mike Scully, Matt Selman, John Swartzwelder, Jon Vitti, Film Roman, LLC, Rough Draft Studios, Inc. AKOM Production Ltd. Gracie Films, 20th Century Animation, 20th Century Studios, Inc. The Walt Disney Studios, Walt Disney Studios Motion Pictures, Disney Entertainment, And The Walt Disney Company

The Peanuts Movie Belongs To Charles M. Schulz, Craig Schulz, Bryan Schulz, Cornelius Uliano, United Feature Syndicate, Inc. Andrews McMeel Syndication, Blue Sky Studios, Inc. 20th Century Animation, 20th Century Studios, Inc. The Walt Disney Studios, Walt Disney Studios Motion Pictures, Disney Entertainment, And The Walt Disney Company

Sonic the Hedgehog (film) Belongs to Yuji Naka, Naoto Ohshima, Hirokazu Yasuhara, Pat Casey, Josh Miller, Blur Studio, Marza Animation Planet Inc. Original Film, Sonic Team, SEGA of America, SEGA Corporation, SEGA Sammy Holdings Inc. Paramount Pictures Corporation And Paramount Global

Sonic the Hedgehog 2 Belongs to Yuji Naka, Naoto Ohshima, Hirokazu Yasuhara, Pat Casey, Josh Miller, Blur Studio, Marza Animation Planet Inc. Original Film, Sonic Team, SEGA of America, SEGA Corporation, SEGA Sammy Holdings Inc. Paramount Pictures Corporation And Paramount Global

The Powerpuff Girls Movie Belongs To Charlie Bean, Lauren Faust, Craig McCracken, Amy Keating Rogers, Paul Rudish, Don Shank, Rough Draft Studios, Inc. Mercury Filmworks, Hanna-Barbera Cartoons, Inc. Cartoon Network Studios, Cartoon Network, The Cartoon Network, Inc. Warner Bros. Discovery Networks, Warner Bros. Pictures, Warner Bros. Pictures Group, Warner Bros. Entertainment Inc. WarnerMedia, And Warner Bros. Discovery, Inc.

The Super Mario Bros. Movie Belongs To Shigeru Miyamoto, Matthew Fogel, Aaron Horvath, Michael Jelenic, Disney Digital Studio Services, Illumination Studios Paris, i-ZERO Entertainment and Media Global, Dentsu Inc. Fuji Television Network, Inc. Nintendo CultureWorks Film Pictures, Nintendo Pictures, Nintendo Co., Ltd. Illumination, Universal Pictures, Universal City Studios LLC, NBCUniversal Film and Entertainment, NBCUniversal Syndication Studios, NBCUniversal Television and Streaming, NBCUniversal Media Group, NBCUniversal Media, LLC, And Comcast Corporation

[oldguydoesstuff]

I enjoyed your post about the huge printer and even huger mounds of paper you used at DEC. I was wondering—printers (and scanners) are the devil today…but were they even worse back then? I mean in terms of reliability/maintenance/issues printing from different types of machines. I’m imagining a dedicated person having to manage and service it, but maybe the hardware was more robust then?

Big fan of your blog! Lately I’ve been reading several books on computer history of the ‘70s and ‘80s and it’s been really cool to learn more about DEC.

They were probably just as bad if not worse than today, but from my perspective they were almost never down because we had a huge IT department to maintain them and also field service from the vendor (Last one I remember I think was made by Kodak).

Workstations, windows, WYSIWYG editors were still a few years off, so these machines were mission critical and not allowed to fail.

If you like DEC history, you might enjoy this article from my time in the mainframe engineering teams there. (Part of a now-defunct newsletter I may try to cobble together into a book eventually)