Watching that $14 Elements demo for the iPad reminded me again of the throwaway line that geeks of a certain age make of the iPad — that it all seems a bit CD-ROM.
For those of you blessed with senile amnesia or youth, CD-ROMs were the first wave of “interactive media” in the mid-eighties, and the great hope for publishing houses struggling to understand what they might be doing in the 21st century. Companies from Dorling-Kindersley to News Corp threw millions into CD-ROM publishing, with very little ultimate return. They’d do some fancy-schmancy David Bowie joint project, or an incredibly complex animated re-working of their existing bestsellers. Each one won more awards than it sold copies, and eventually those “interactive divisions” were rolled into the “online media” departments, where their designers would get drunk and bitter, until one night they were sacked after uploading 640MB Adobe Director files onto the website front page.
look before you jump
Back then, geeks were unused to other industry sectors barging into our little rustic byte farmyards with their fancy suits and corporate expense accounts, braying triumphantly about digital convergence, and then, seconds later, striding into the business-model threshing machine that thrummed in the corner. We did not know then that there was a queue of people like this, waiting to dance past us into the bloody knives. We watched their cockiness with alarm, not with the disdain that would come later (and definitely not with own brand of hubristic Internet rockstar smugness, the smugness that tempts us all to look a bit less closely at ourselves, and a bit more closely at that thresher).
No, back then it was all a bit shocking. We assumed these people knew what they were doing. God knows we knew we didn’t have a clue. The only way we knew how to fill a CD-ROM was burning a complete archive of Fred Fish Amiga Freeware on it. Seven hundred megabytes just seemed an insanely large amount to want to fill with professional product.
Subsequent to the threshing, people muttered about how it was the Internet that killed the CD-ROM, but I think that, as ever, the real murderer was economics. A “professional” CD-ROM was just too expensive to produce, relative to the format it was generally parasitical upon.
The classic example for me was the brief phase of magazines including a free CD-ROM on the front of their mag. Dave and I would marvel at the incredible lopsided nature of this venture. The CD-ROM could hold close to a gigabyte of data, including programs, movies and graphics; all of which had to be commissioned, collated, edited, integrated together, checked for viruses, cleared for copyright, tested, mastered, and burned. If done welll, a front-mounted CD-ROM was clearly a far more complex and expensive venture than actually putting out a magazine — and yet they usually paid a single person to do it all, didn’t charge for the CD, and probably got little advertising revenue from it.
The ultimate portrayal of this problem was when, in a desperate attempt to include some unique content, they’d include on the CD-ROM a PDF file of the magazine it was sellotaped to. The PDF would usually take 50MB, if they were lucky. All that unique content that it had taken the rest of the editorial team a month to create — and there was still 650MB to go.
Most started attempting to bridge that gap with incredibly fancy interactive environments that would quickly consumer their annual budget. The ones that survived would ultimately collapse into padding the CD-ROM out with… well, the Fred Fish Amiga Archive, generally. Professional product got thrown out of the window in an attempt to feed the ever-hungry maw of interactive content.
This, to me, is the flipside of the “digital technology makes everything cheaper” argument. It makes a lot of work cheaper, but it can also professional media fantastically more expensive than its analogue equivalents.
In some ways, the equivalent to a newspaper is ...
Thanks for the transcript. I remember back in the early 90s reading an interview of some Sci-Fi author (William Gibson I think, but I'm not 100% sure) where he derided the Internet for not being up to par with CD-ROM's.
This is the best argument I've read for why the iPad simply can't succeed as (and wasn't designed to be) a consumption-only device. Indeed, content that exists only as an update of the "multimedia book" CD-ROM is going to face the same problems now as it did then.
The sustainable successes on the iPad will be apps that enable users to organize, create, record, learn, practice, share, and play.
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[ 0.26 ms ] story [ 21.6 ms ] threadcd-roms and ipads
Watching that $14 Elements demo for the iPad reminded me again of the throwaway line that geeks of a certain age make of the iPad — that it all seems a bit CD-ROM.
For those of you blessed with senile amnesia or youth, CD-ROMs were the first wave of “interactive media” in the mid-eighties, and the great hope for publishing houses struggling to understand what they might be doing in the 21st century. Companies from Dorling-Kindersley to News Corp threw millions into CD-ROM publishing, with very little ultimate return. They’d do some fancy-schmancy David Bowie joint project, or an incredibly complex animated re-working of their existing bestsellers. Each one won more awards than it sold copies, and eventually those “interactive divisions” were rolled into the “online media” departments, where their designers would get drunk and bitter, until one night they were sacked after uploading 640MB Adobe Director files onto the website front page.
look before you jump Back then, geeks were unused to other industry sectors barging into our little rustic byte farmyards with their fancy suits and corporate expense accounts, braying triumphantly about digital convergence, and then, seconds later, striding into the business-model threshing machine that thrummed in the corner. We did not know then that there was a queue of people like this, waiting to dance past us into the bloody knives. We watched their cockiness with alarm, not with the disdain that would come later (and definitely not with own brand of hubristic Internet rockstar smugness, the smugness that tempts us all to look a bit less closely at ourselves, and a bit more closely at that thresher).
No, back then it was all a bit shocking. We assumed these people knew what they were doing. God knows we knew we didn’t have a clue. The only way we knew how to fill a CD-ROM was burning a complete archive of Fred Fish Amiga Freeware on it. Seven hundred megabytes just seemed an insanely large amount to want to fill with professional product.
Subsequent to the threshing, people muttered about how it was the Internet that killed the CD-ROM, but I think that, as ever, the real murderer was economics. A “professional” CD-ROM was just too expensive to produce, relative to the format it was generally parasitical upon.
The classic example for me was the brief phase of magazines including a free CD-ROM on the front of their mag. Dave and I would marvel at the incredible lopsided nature of this venture. The CD-ROM could hold close to a gigabyte of data, including programs, movies and graphics; all of which had to be commissioned, collated, edited, integrated together, checked for viruses, cleared for copyright, tested, mastered, and burned. If done welll, a front-mounted CD-ROM was clearly a far more complex and expensive venture than actually putting out a magazine — and yet they usually paid a single person to do it all, didn’t charge for the CD, and probably got little advertising revenue from it.
The ultimate portrayal of this problem was when, in a desperate attempt to include some unique content, they’d include on the CD-ROM a PDF file of the magazine it was sellotaped to. The PDF would usually take 50MB, if they were lucky. All that unique content that it had taken the rest of the editorial team a month to create — and there was still 650MB to go.
Most started attempting to bridge that gap with incredibly fancy interactive environments that would quickly consumer their annual budget. The ones that survived would ultimately collapse into padding the CD-ROM out with… well, the Fred Fish Amiga Archive, generally. Professional product got thrown out of the window in an attempt to feed the ever-hungry maw of interactive content.
This, to me, is the flipside of the “digital technology makes everything cheaper” argument. It makes a lot of work cheaper, but it can also professional media fantastically more expensive than its analogue equivalents.
In some ways, the equivalent to a newspaper is ...
The sustainable successes on the iPad will be apps that enable users to organize, create, record, learn, practice, share, and play.