Nintendo Entertainment System
The Nintendo Entertainment System is an 8-bit home video game console developed and manufactured by Nintendo. It is a remodeled export version of the company's Family Computer platform in Japan known as the Famicom for short, which launched on July 15, 1983; the NES was launched through test markets in New York City and Los Angeles in 1985, before being given a wide release in the rest of North America and parts of Europe in 1986, followed by Australia and other European countries in 1987. Brazil saw only unlicensed clones until the official local release in 1993. In South Korea, it was packaged as the Hyundai Comboy and distributed by SK Hynix, known as Hyundai Electronics; the best-selling gaming console of its time, the NES helped revitalize the US video game industry following the North American video game crash of 1983. With the NES, Nintendo introduced a now-standard business model of licensing third-party developers, authorizing them to produce and distribute titles for Nintendo's platform.
It was succeeded by the Super Nintendo Entertainment System. Following a series of arcade game successes in the early 1980s, Nintendo made plans to create a cartridge-based console called the Famicom, short for Family Computer. Masayuki Uemura designed the system. Original plans called for an advanced 16-bit system which would function as a full-fledged computer with a keyboard and floppy disk drive, but Nintendo president Hiroshi Yamauchi rejected this and instead decided to go for a cheaper, more conventional cartridge-based game console as he believed that features such as keyboards and disks were intimidating to non-technophiles. A test model was constructed in October 1982 to verify the functionality of the hardware, after which work began on programming tools; because 65xx CPUs had not been manufactured or sold in Japan up to that time, no cross-development software was available and it had to be produced from scratch. Early Famicom games were written on a system that ran on an NEC PC-8001 computer and LEDs on a grid were used with a digitizer to design graphics as no software design tools for this purpose existed at that time.
The code name for the project was "GameCom", but Masayuki Uemura's wife proposed the name "Famicom", arguing that "In Japan,'pasokon' is used to mean a personal computer, but it is neither a home or personal computer. We could say it is a family computer." Meanwhile, Hiroshi Yamauchi decided that the console should use a red and white theme after seeing a billboard for DX Antenna which used those colors. During the creation of the Famicom, the ColecoVision, a video game console made by Coleco to compete against Atari's Atari 2600 Game system in The United States, was a huge influence. Takao Sawano, chief manager of the project, brought a ColecoVision home to his family, who were impressed by the system's capability to produce smooth graphics at the time, which contrasted with the flickering and slowdown seen on Atari 2600 games. Uemura, head of Famicom development, stated that the ColecoVision set the bar that influenced how he would approach the creation of the Famicom. Original plans called for the Famicom's cartridges to be the size of a cassette tape, but they ended up being twice as big.
Careful design attention was paid to the cartridge connectors since loose and faulty connections plagued arcade machines. As it necessitated taking 60 connection lines for the memory and expansion, Nintendo decided to produce their own connectors in-house rather than use ones from an outside supplier; the controllers were hard-wired to the console with no connectors for cost reasons. The game pad controllers were more-or-less copied directly from the Game & Watch machines, although the Famicom design team wanted to use arcade-style joysticks taking apart ones from American game consoles to see how they worked. There were concerns regarding the durability of the joystick design and that children might step on joysticks left on the floor. Katsuyah Nakawaka attached a Game & Watch D-pad to the Famicom prototype and found that it was easy to use and caused no discomfort. Though, they installed a 15-pin expansion port on the front of the console so that an optional arcade-style joystick could be used.
Uemura added an eject lever to the cartridge slot, not necessary, but he believed that children could be entertained by pressing it. He added a microphone to the second controller with the idea that it could be used to make players' voices sound through the TV speaker; the console was released on July 15, 1983 as the Family Computer for ¥14,800 alongside three ports of Nintendo's successful arcade games Donkey Kong, Donkey Kong Jr. and Popeye. The Famicom was slow to gather momentum. Following a product recall and a reissue with a new motherboard, the Famicom's popularity soared, becoming the best-selling game console in Japan by the end of 1984. Encouraged by this success, Nintendo turned its attention to the North American market, entering into negotiations with Atari to release the Famicom under Atari's name as the Nintendo Advanced Video Gaming System; the deal was set to be finalized and signed at the Summer Consumer Electronics Show in June 1983. However, Atari discovered at that show that its competitor Coleco was illegally demonstrating its Coleco Adam computer with Nintendo's Donkey Kong game.
This violation of Atari's exclusive license with Nintendo to publish the game for its own computer systems delayed the implementation of Nintendo's game console marketing contract with Atari. Atari's CEO Ray Kassar was fired the next month, so the deal went nowhere, Nintendo decided to market its sys
Shoot 'em up
Shoot'em up is a subgenre of the shooter genre of video games. There is no consensus as to; some restrict the definition to games featuring spacecraft and certain types of character movement. The genre's roots can be traced back to Spacewar!, one of the earliest computer games, developed in 1962. The shoot'em up genre was established by the hit arcade game Space Invaders, which popularised and set the general template for the genre in 1978, the genre was further developed by arcade hits such as Asteroids and Galaxian in 1979. Shoot'em ups were popular throughout early 1990s. In the mid-1990s, shoot'em ups became a niche genre based on design conventions established in the 1980s, catered to specialist enthusiasts in Japan. "Bullet hell" games are a subgenre that features overwhelming numbers of enemy projectiles in visually impressive formations. A "shoot'em up" known as a "shmup" or "STG", is a game in which the protagonist combats a large number of enemies by shooting at them while dodging their fire.
The controlling player must rely on reaction times to succeed. Beyond this, critics differ on which design elements constitute a shoot'em up; some restrict the genre to games using fixed or scrolling movement. Others widen the scope to include games featuring such protagonists as robots or humans on foot, as well as including games featuring "on-rails" and "run and gun" movement. Mark Wolf restricts the definition to games featuring multiple antagonists, calling games featuring one-on-one shooting "combat games". Critics described any game where the primary design element was shooting as a "shoot'em up", but shoot'em ups became a specific, inward-looking genre based on design conventions established in those shooting games of the 1980s. Shoot'em ups are a subgenre of shooter game, in turn a type of action game; these games are viewed from a top-down or side-view perspective, players must use ranged weapons to take action at a distance. The player's avatar is a vehicle under constant attack. Thus, the player's goal is to shoot as as possible at anything that moves or threatens them.
In some games, the player's character can withstand some damage. The main skills required in shoot'em ups are memorising enemy attack patterns; some games feature overwhelming numbers of enemy projectiles and the player has to memorise their patterns to survive. These games belong to one of the fastest-paced video game genres. Large numbers of enemy characters are featured; these enemies may behave in a certain way dependent on their type, or attack in formations that the player can learn to predict. The basic gameplay tends to be straightforward and many games offset this with boss battles and a variety of weapons. Shoot'em ups have realistic physics. Characters can change direction with no inertia, projectiles move in a straight line at constant speeds; the player's character can collect "power-ups" which may afford the character greater protection, an "extra life", or upgraded weaponry. Different weapons are suited to different enemies, but these games keep track of ammunition; as such, players tend to fire indiscriminately, their weapons only damage legitimate targets.
Shoot'em ups are categorized by design elements viewpoint and movement:Fixed shooters restrict the protagonist to a single axis of motion, enemies attack in a single direction, each level is contained within a single screen. Atari's Centipede is a hybrid, in that the player can move but that movement is constrained to a small area at the bottom of the screen, the game otherwise meets the fixed shooter definition. Tube shooters feature craft flying through an abstract tube, such as Gyruss. Rail shooters limit the player to moving around the screen. Examples include Space Harrier, Captain Skyhawk, Star Wars: Rebel Assault, Panzer Dragoon, Star Fox 64, Sin and Punishment. Light-Gun games that are "on-rails" are not in the shoot-em-up category but the FPS category, the term has been applied to scripted events in first-person shooters such as Call of Duty. Scrolling shooters include horizontal scrolling games. Vertically scrolling shooters: In a vertically scrolling shoot'em up, the action is viewed from above and scrolls up the screen.
Horizontally scrolling shooters: In a "horizontal shooter" or "side-scrolling shooter", the action is viewed side-on and scrolls horizontally. Isometrically scrolling shooters: A small number of scrolling shooters, such as Sega's Zaxxon, feature an isometric point of view. Multidirectional shooters feature 360 degree movement where the protagonist may rotate and move in any direction. Multidirectional shooters with one joystick for movement and one joystick for firing in any direction independent of movement are called "twin-stick shooters."Bullet hell is a shoot'em up in which the entire screen is almost fille
Konami Holdings Corporation referred to as Konami, is a Japanese entertainment and gaming conglomerate. It operates as video game developer and publisher company. Besides those, it has casino around the world and operates health and physical fitness clubs across Japan. Konami is best known for their video games, including Metal Gear, Silent Hill, Contra, Gradius, Yu-Gi-Oh!, Suikoden and Pro Evolution Soccer. Additionally, Konami owns Bemani, known for Dance Dance Revolution and Beatmania, as well as the assets of former game developer Hudson Soft, known for Bomberman, Adventure Island, Bloody Roar and Star Soldier. Konami is the twentieth-largest game company in the world by revenue; the company originated in 1969 as a jukebox rental and repair business in Toyonaka, Japan, by Kagemasa Kōzuki, who remains the company's chairman. The name "Konami" is a portmanteau of the names Kagemasa Kozuki, Yoshinobu Nakama, Tatsuo Miyasako. Konami is headquartered in Tokyo. In the United States, Konami manages its video game business from offices in El Segundo and its casino gaming business from offices in Paradise, Nevada.
Its Australian gaming operations are located in Sydney. As of March 2016, it owns 21 consolidated subsidiaries around the world; the company was founded on March 21, 1969 and was incorporated under the name Konami Industry Co. Ltd. on March 19, 1973. The company's founder and current chairman, Kagemasa Kozuki ran a jukebox rental and repair business in Toyonaka, Osaka before transforming the business into a manufacturer of amusement machines for video arcades, their first coin-operated video game was released in 1978, they began exporting products to the United States the following year. Konami began to achieve success with hit arcade games such as 1981's Frogger and Super Cobra, many of which were licensed to other companies for stateside release, including Stern Electronics and Gremlin Industries, they established their U. S. subsidiary, Konami of America, Inc. in 1982. It was during this period that Konami began expanding their video game business into the home consumer market following a brief stint releasing video games for the Atari 2600 in 1982 for the U.
S. market. The company would release numerous games for the MSX home computer standard in 1983, followed by the Nintendo Entertainment System in 1985. Numerous Konami franchises were established during this period on both platforms, as well as the arcades, such as Gradius, Twin Bee, Ganbare Goemon and Metal Gear. Due to the success of their NES games, Konami's earnings grew from $10 million in 1987 to $300 million in 1991. In June 1991, Konami's legal name was changed to Konami Co. Ltd. and their headquarters would relocated to Minato, Tokyo in April 1993. The company started supporting the 16-bit video game consoles during this period, starting with the Super NES in 1990, followed by the PC Engine in 1991 and the Sega Genesis in 1992. After the launch of the Sega Saturn and PlayStation in 1994, Konami became a business divisional organization with the formation of various Konami Computer Entertainment subsidiaries, starting with KCE Tokyo and KCE Osaka in April 1995, followed by KCE Japan in April 1996.
Each KCE subsidiary would end up creating different intellectual properties such as KCE Tokyo's Silent Hill series and KCE Japan's Metal Gear Solid series. In 1997, Konami started producing rhythm games for arcades under the Bemani brand and branched off into the collectable card game business with the launch of the Yu-Gi-Oh! Trading Card Game. On July 2000, the company's legal English name was changed once again to Konami Corporation, the Japanese legal name remained the same; as the company transitioned into the developing video games for the sixth-generation consoles, they branched out into the health and fitness business with the acquisitions of People Co. Ltd and Daiei Olympic Sports Club, Inc. which became Konami subsidiaries. In August 2001, Konami invested in another video game developer, Hudson Soft, which became a consolidated subsidiary after Konami accepted new third-party shares issued by them. In March 2006, Konami merged all their video game development divisions into a new subsidiary known as Konami Digital Entertainment Co. as the parent company became a pure holding company.
Their headquarters would be relocated once again, this time to headquarters was moved to Minato, Tokyo, in 2007. The absorption of Hudson Soft in 2012 resulted in the addition of several other franchises including: Adventure Island, Bloody Roar, Far East of Eden and Star Soldier. In April 2015, Konami delisted itself from the New York stock exchange following the dissolution of their Kojima Productions subsidiary. In a translated interview with Nikkei Trendy Net published in the following month, the newly appointed CEO of Konami Digital Entertainment, Hideki Hayakawa announced that Konami will shift their focus towards mobile gaming for a while, claiming that, "Mobile is where the future of gaming lies." The trade name of the company was changed from Konami Corporation to Konami Holdings Corporation during the same month. In 2017, Konami is to publicly announce that they would be reviving some of the company's other well-known video game titles following the success of their Nin
Video game genre
A video game genre is a classification assigned to a video game based on its gameplay interaction rather than visual or narrative differences. A video game genre is defined by a set of gameplay challenges and are classified independently of their setting or game-world content, unlike other works of fiction such as films or books. For example, a shooter game is still a shooter game, regardless of when it takes place; as with nearly all varieties of genre classification, the matter of any individual video game's specific genre is open to personal interpretation. Moreover, each individual game may belong to several genres at once; the first attempt to classify different genres of video games was made by Chris Crawford in his book The Art of Computer Game Design in 1984. In this book, Crawford focused on the player's experience and activities required for gameplay. Here, he stated that "the state of computer game design is changing quickly. We would therefore expect the taxonomy presented to become obsolete or inadequate in a short time."
Since among other genres, the platformer and 3D shooter genres, which hardly existed at the time, have gained a lot of popularity. As hardware capabilities have increased, new genres have become possible, with examples being increased memory, the move from 2D to 3D, new peripherals and location. Though genres were just interesting for game studies in the 1980s, the business of video games expanded in the 1990s and both smaller and independent publishers had little chance of surviving; because of this, games settled more into set genres that larger publishers and retailers could use for marketing. Due to "direct and active participation" of the player, video game genres differ from literary and film genres. Though one could state that Space Invaders is a science-fiction video game, such a classification "ignores the differences and similarities which are to be found in the player's experience of the game." In contrast to the visual aesthetics of games, which can vary it is argued that it is interactivity characteristics that are common to all games.
Descriptive names of genres take into account the goals of the game, the protagonist and the perspective offered to the player. For example, a first-person shooter is a game, played from a first-person perspective and involves the practice of shooting; the term "subgenre" may be used to refer to a category within a genre to further specify the genre of the game under discussion. Whereas "shooter game" is a genre name, "first-person shooter" and "third-person shooter" are common subgenres of the shooter genre. Other examples of such prefixes are real-time, turn based, side-scrolling; the target audience, underlying theme or purpose of a game are sometimes used as a genre identifier, such as with "games for girls," games for cats,"Christian game" and "Serious game" respectively. However, because these terms do not indicate anything about the gameplay of a video game, these are not considered genres. Video game genres vary in specificity, with popular video game reviews using genre names varying from "action" to "baseball."
In this practice, basic themes and more fundamental characteristics are used alongside each other. A game may combine aspects of multiple genres in such a way that it becomes hard to classify under existing genres. For example, because Grand Theft Auto III combined shooting and roleplaying in an unusual way, it was hard to classify using existing terms. Since the term Grand Theft Auto clone has been used to describe games mechanically similar to Grand Theft Auto III; the term roguelike has been developed for games that share similarities with Rogue. Elements of the role-playing genre, which focuses on storytelling and character growth, have been implemented in many different genres of video games; this is because the addition of a story and character enhancement to an action, strategy or puzzle video game does not take away from its core gameplay, but adds an incentive other than survival to the experience. According to some analysts, the count of each broad genre in the best selling physical games worldwide is broken down as follows.
The most popular genres are Shooter, Role-playing and Sports, with Platformer and Racing having both declined in the last decade. Puzzle games have declined when measured by sales, however, on mobile, where the majority of games are free-to-play, this genre remains the most popular worldwide. List of video game genres
Hi no Tori Hououhen: Gaou no Bouken
Hi no Tori Hououhen: Gaou no Bouken is a 1987 video game for the Famicom developed by Konami, produced alongside a named game for the MSX. Both games are based on the manga series Phoenix created by renowned Japanese manga artist Osamu Tezuka; as a child, a young boy named Gaou lost an arm and an eye, as a result, from a young age he was discriminated against and teased, unable to fit in with his peers. The constant ridicule and persecution caused Gaou to become bitter, hardened turning to a life as a thief. In spite of his wicked and corrupt lifestyle, Gaou met a woman who saw goodness in him, the two were married. However, one day, over nothing more than a trifling disagreement, Gaou lost control of himself, killed his wife. Realization of what he had done caused Gaou to regret his wicked deeds, reform his behavior. Gaou encountered a Buddhist monk who helped him change his ways, discover his passion for sculpting. Renouncing his previous life of violence, Gaou became a Buddhist sculptor, devoting himself to the creation of magnificent sculptures renowned for the raw and powerful emotions he was able to invoke in his work.
One day, together with a fellow sculptor Akanemaru, Gaou encountered a mythical phoenix, according to legend, can bestow eternal life to those who drink its blood. Inspired, Gaou devotes himself to the creation of a magnificent phoenix sculpture. However, shortly after finishing the sculpture, it was stolen from him, broken into 16 pieces, hidden in different time periods of the past and the future. In order to recover the 16 phoenix sculpture pieces, Gaou embarked on a perilous journey that would take him through space and time. Gaou no Bouken is an action-platforming game; the player's objective is to guide Gaou through each of the game's 16 levels to collect the 16 sculpture fragments, restore the phoenix sculpture. By defeating a boss enemy awaiting him at the end of each stage, Gaou can claim one of the sculpture fragments and clear the level. In certain levels, instead of a boss enemy, Gaou must avoid a trap such as falling rocks, or destroy an impeding wall in order to progress; the game makes use of a life system in which Gaou has three lives, each life comprising a limited number of hit points.
When Gaou comes into contact with an enemy or an enemy's projectile, he will lose one hit point. When his hit points are reduced to zero, he will lose one of his three lives. Falling in a pit or failing to complete the level before the timer runs out will result in Gaou losing a life. Additionally, if Gaou finds himself in a situation where he is trapped and unable to progress, the player can press the select button, causing Gaou to self-destruct and restart the level. If Gaou loses all three of his lives, the player will encounter a game over screen, have the option of continuing from the beginning of the current stage
Video game music
Video game music is the soundtrack that accompanies video games. Early video game music was once limited to simple melodies of early sound synthesizer technology; these limitations inspired the style of music known as chiptunes, which combines simple melodic styles with more complex patterns or traditional music styles, became the most popular sound of the first video games. With advances in technology, video game music has grown to include the same breadth and complexity associated with television and film scores, allowing for much more creative freedom. While simple synthesizer pieces are still common, game music now includes full orchestral pieces and popular music. Music in video games can be heard over a game’s title screen, options menu, bonus content, as well as during the entire gameplay. Modern soundtracks can change depending on a player's actions or situation, such as indicating missed actions in rhythm games. Video game music can be one of two options: original or licensed. In order to create or collect this music, teams of composers, music directors, music supervisors must work with the game developers and game publishers.
Many of the most notable original sophie game composers have been from Japan, including Nobuo Uematsu, Koji Kondo, Yuzo Koshiro, Yoko Shimomura, Junichi Masuda, Hip Tanaka, Masato Nakamura, Koichi Sugiyama, Yasunori Mitsuda, Michiru Yamane, Yuu Miyake, Takenobu Mitsuyoshi, Manabu Namiki, Shinji Hosoe, Hiroshi Kawaguchi. Notable Western game composers working today include Jeremy Soule, Jesper Kyd, Marty O' Donnell, Jason Graves, Austin Wintory, James Hannigan, Garry Schyman, Peter McConnell, some of whom work in film and television alongside video games. Today, original composition has included the work of film composers Harry Gregson-Williams, Trent Reznor, Hans Zimmer, Mark Rutherford, Josh Mancell, Steve Jablonsky, Michael Giacchino; the popularity of video game music has expanded education and job opportunities, generated awards, allowed video game soundtracks to be commercially sold and performed in concert's. At the time video games had emerged as a popular form of entertainment in the late 1970s, music was stored on physical medium in analog waveforms such as compact cassettes and phonograph records.
Such components were expensive and prone to breakage under heavy use making them less than ideal for use in an arcade cabinet, though in rare cases, they were used. A more affordable method of having music in a video game was to use digital means, where a specific computer chip would change electrical impulses from computer code into analog sound waves on the fly for output on a speaker. Sound effects for the games were generated in this fashion. An early example of such an approach to video game music was the opening chiptune in Tomohiro Nishikado's Gun Fight. While this allowed for inclusion of music in early arcade video games, it was monophonic, looped or used sparingly between stages or at the start of a new game, such as the Namco titles Pac-Man composed by Toshio Kai or Pole Position composed by Nobuyuki Ohnogi; the first game to use a continuous background soundtrack was Tomohiro Nishikado's Space Invaders, released by Taito in 1978. It had four descending chromatic bass notes repeating in a loop, though it was dynamic and interacted with the player, increasing pace as the enemies descended on the player.
The first video game to feature continuous, melodic background music was Rally-X, released by Namco in 1980, featuring a simple tune that repeats continuously during gameplay. The decision to include any music into a video game meant that at some point it would have to be transcribed into computer code by a programmer, whether or not the programmer had musical experience; some music was original, some was public domain music such as folk songs. Sound capabilities were limited; as advances were made in silicon technology and costs fell, a definitively new generation of arcade machines and home consoles allowed for great changes in accompanying music. In arcades, machines based on the Motorola 68000 CPU and accompanying various Yamaha YM programmable sound generator sound chips allowed for several more tones or "channels" of sound, sometimes eight or more; the earliest known example of this was Sega's 1980 arcade game Carnival, which used an AY-3-8910 chip to create an electronic rendition of the classical 1889 composition "Over The Waves" by Juventino Rosas.
Konami's 1981 arcade game Frogger introduced a dynamic approach to video game music, using at least eleven different gameplay tracks, in addition to level-starting and game over themes, which change according to the player's actions. This was further improved upon by Namco's 1982 arcade game Dig Dug, where the music stopped when the player stopped moving. Dig Dug was composed by Yuriko Keino, who composed the music for other Namco games such as Xevious and Phozon. Sega's 1982 arcade game Super Locomotive featured a chiptune rendition of Yellow Magic Orchestra's "Rydeen". Home console systems had a comparable upgrade in sound ability beginning with the ColecoVision in 1982 capable of four channels. However, more notable was the Japanese release of the Famicom in 1983, released in the US as the Nintendo Entertainment System in 1985, it was capable of one being capable of simple PCM sampled sound. The home computer Commodore 64 released in 1982 was capable of early forms of filtering effects, different types of waveforms and the undocumented abilit
A computing platform or digital platform is the environment in which a piece of software is executed. It may be the hardware or the operating system a web browser and associated application programming interfaces, or other underlying software, as long as the program code is executed with it. Computing platforms have different abstraction levels, including a computer architecture, an OS, or runtime libraries. A computing platform is the stage. A platform can be seen both as a constraint on the software development process, in that different platforms provide different functionality and restrictions. For example, an OS may be a platform that abstracts the underlying differences in hardware and provides a generic command for saving files or accessing the network. Platforms may include: Hardware alone, in the case of small embedded systems. Embedded systems can access hardware directly, without an OS. A browser in the case of web-based software; the browser itself runs on a hardware+OS platform, but this is not relevant to software running within the browser.
An application, such as a spreadsheet or word processor, which hosts software written in an application-specific scripting language, such as an Excel macro. This can be extended to writing fully-fledged applications with the Microsoft Office suite as a platform. Software frameworks. Cloud computing and Platform as a Service. Extending the idea of a software framework, these allow application developers to build software out of components that are hosted not by the developer, but by the provider, with internet communication linking them together; the social networking sites Twitter and Facebook are considered development platforms. A virtual machine such as the Java virtual machine or. NET CLR. Applications are compiled into a format similar to machine code, known as bytecode, executed by the VM. A virtualized version of a complete system, including virtualized hardware, OS, storage; these allow, for instance, a typical Windows program to run on. Some architectures have multiple layers, with each layer acting as a platform to the one above it.
In general, a component only has to be adapted to the layer beneath it. For instance, a Java program has to be written to use the Java virtual machine and associated libraries as a platform but does not have to be adapted to run for the Windows, Linux or Macintosh OS platforms. However, the JVM, the layer beneath the application, does have to be built separately for each OS. AmigaOS, AmigaOS 4 FreeBSD, NetBSD, OpenBSD IBM i Linux Microsoft Windows OpenVMS Classic Mac OS macOS OS/2 Solaris Tru64 UNIX VM QNX z/OS Android Bada BlackBerry OS Firefox OS iOS Embedded Linux Palm OS Symbian Tizen WebOS LuneOS Windows Mobile Windows Phone Binary Runtime Environment for Wireless Cocoa Cocoa Touch Common Language Infrastructure Mono. NET Framework Silverlight Flash AIR GNU Java platform Java ME Java SE Java EE JavaFX JavaFX Mobile LiveCode Microsoft XNA Mozilla Prism, XUL and XULRunner Open Web Platform Oracle Database Qt SAP NetWeaver Shockwave Smartface Universal Windows Platform Windows Runtime Vexi Ordered from more common types to less common types: Commodity computing platforms Wintel, that is, Intel x86 or compatible personal computer hardware with Windows operating system Macintosh, custom Apple Inc. hardware and Classic Mac OS and macOS operating systems 68k-based PowerPC-based, now migrated to x86 ARM architecture based mobile devices iPhone smartphones and iPad tablet computers devices running iOS from Apple Gumstix or Raspberry Pi full function miniature computers with Linux Newton devices running the Newton OS from Apple x86 with Unix-like systems such as Linux or BSD variants CP/M computers based on the S-100 bus, maybe the earliest microcomputer platform Video game consoles, any variety 3DO Interactive Multiplayer, licensed to manufacturers Apple Pippin, a multimedia player platform for video game console development RISC processor based machines running Unix variants SPARC architecture computers running Solaris or illumos operating systems DEC Alpha cluster running OpenVMS or Tru64 UNIX Midrange computers with their custom operating systems, such as IBM OS/400 Mainframe computers with their custom operating systems, such as IBM z/OS Supercomputer architectures Cross-platform Platform virtualization Third platform Ryan Sarver: What is a platform