Contents.History Home computer era In the early years, two of Beam's programs were milestones in their respective genres., a 1982 text adventure by Philip Mitchell and Veronika Megler, sold more than a million copies. It employed an advanced parser by Stuart Richie and had real-time elements. Even if the player didn't enter commands, the story would move on. In 1985 Greg Barnett's two-player game helped define the genre of one-on-one fighting games on the home computer.
The game won Best Overall Game at the.In 1987 Beam's publisher, parent company Melbourne House, was sold to for £850,000. Beam chairman Alfred Milgrom recounted, '.around 1987 a lot of our U.K. People went on to other companies and at around the same time the industry was moving from 8-bit to 16-bit. It was pretty chaotic.
We didn't have the management depth at that time to run both the publishing and development sides of things, so we ended up selling off the whole Melbourne House publishing side to Mastertronic.' Subsequently games were released through varying publishers.
The 1988 fighting games and Fist +, the third installment in the Exploding Fist series, were published through Firebird label. 1988 also saw the release of space- Bedlam, published by GO!, one of 's labels, and, published by.Shift to consoles and PCs In 1987 Nintendo granted a developer's licence for the and Beam developed games on that platform for US and Japanese publishers.
Targeted at an Australian audience, releases such as and for the NES proved successful. In 1992 they released the original title, a dark superhero comedy game. The game was meant to be the first part in a series, but no sequels were ever made; however, it served as the basis for.In 1993 they released Shadowrun, with an innovative dialogue system using the acquisition of keywords which could be used in subsequent conversations to initiate new branches in the. In 1997, Beam relaunched the Melbourne House brand, under which they published the PC titles (KKND), and the sequels KKND Xtreme.
They released KKND2 in South Korea well before they released it in the American and European markets, and pirated versions of the game were available on the internet before it was available in stores in the U.S. They were the developers of the 32-bits versions of for the, and in 1996. They also helped produce games such as, and an updated version of International Cricket titled. They ported the Sega Saturn game to in August, 1996.1998 saw a return to RPGs with, again with a dialogue tree format. Also in 1998, the studio developed racing games and.In 1999 Beam Software was acquired by and renamed to Infogrames Melbourne House.2000s They continued to cement a reputation as a racing game developer with and (both and ), followed by the technically impressive , before a disastrous venture into third-person shooters with (, ).In 2004 the studio released for the based on the then current franchise. The game reached the top of the UK games charts, making it Melbourne House's most successful recent title.The studio then completed work on and ports of Eden's next-generation title.In December 2005, Atari decided to shift away from internal development, seeking to sell its studios, including Melbourne House.
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In November 2006 announced that it had acquired Melbourne House from and that the studio would be renamed to Krome Studios Melbourne. Games As Beam Software/Melbourne House. 1982:,. 1984:, Hampstead,. 1985:, Wham! September 1997. Retrieved 19 April 2018.
^. Archived from on 11 June 2010. Documentation for a 2007 exhibition. Sharwood, Simon (18 November 2012), retrieved 10 December 2012.
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^ DeMaria, Rusel and Wilson, Johnny L. (2004) High Score!: The Illustrated History of Electronic Games McGraw-Hill/Osborne, Berkeley, Calif., p. Retrieved 31 December 2017. Guter, Arthur (June 2016). Archived from on 24 February 2018. Neopets free. 'In the Studio'.
Retrieved 9 August 2009. Al Giovetti. The Computer Show. Retrieved 19 April 2018. Foster, Lisa (17 February 2006). Intent Media. Archived from on 9 June 2007.
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Retrieved 3 February 2010. Krome Studios. 3 November 2006.
Archived from on 29 September 2011. Retrieved 3 February 2010.External links. via. at.
Combilift’s Straddle Carrier is nearly ready to move a load of steel to a waiting trailer. After sliding a series of lifting bars beneath theload, the machine operator attaches the chains to the lifting bars, then lifts and transports the load.For industrial contractors that turn big steel into even bigger construction projects, the phrase “business as usual” has no meaning. Reinicke Athens Inc. (RAI), Athens, Ga., is one such company. Its customers, which include FORTUNE® 500 companies such as Anheuser-Busch InBev, Caterpillar Inc., General Mills, Georgia Pacific, Kellogg Co., Lockheed Martin, and Siemens, rely on RAI for all manner of work, including plant additions, relocations, and turnkey construction projects. RAI has its own fabrication shop, which brings in wide-flange sections such as I-beam, H-beam, and C-channel, cuts them to length, and welds them to make prefabricated components such as trusses, beams, columns, joists, struts, and gussets that are job site-ready.At the job site, RAI’s ironworkers put up steel almost as fast as it arrives. The key phrase is “almost as fast as it arrives.” While RAI’s fast-track capability is a point of pride, it often is a matter of necessity.
Some job sites simply have little free space, so in such cases the company delivers just one truckload of material at a time.Needless to say, the job site hums along at peak efficiency only when the yard runs at peak efficiency, meaning the company’s trailers have to be loaded and dispatched as quickly as possible, so the yard must run like clockwork. A load of material that arrives early has to wait until some space is cleared for the incoming material; a load that arrives late means that its team of ironworkers has to wait until the material arrives. Some projects require 60 loads, which means 60 opportunities to get it just right or to leave someone, or an entire team of someones, idle.The company’s conventional process was to cut, weld, and paint structural components job by job, but the order wasn’t critical. When parts were finished, they were moved outdoors to the inventory section of the yard. From there they were moved to organized stacks in the staging area, and when the time came, the parts were moved, one at a time, onto the waiting trailer. While no load is typical, it wasn’t uncommon for a load to require 8 man-hours to go from staging area to trailer, and some took even longer. One worker lifted and placed each piece with a forklift while the other stood on the trailer and worked as a spotter.
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It wasn’t easy, it wasn’t fast, and it wasn’t without risks. RAI President Mark Christopherson figured there had to be a better way to load the trailers. And then one day he found it.
One Trailer Load at a TimeLift truck manufacturer Combilift Ltd. Embraced the growing trend in containerized cargo when it developed the Straddle Carrier. As the name implies, the distance between its tires is wide enough that it straddles a semitrailer, grips the shipping container, lifts it, and carries it to an unloading area.
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