#crtcore

By R A Z, Queen of Glitches, Rat Prophet of the Post-Crash Pixel-Chapel

INTRO: Oi, you ever boot up a DOSBox emulator and feel your soul whisper "Amen"? No? Then saddle up, you absolute fetus, 'cause we’re going full pilgrimage through the haunted cathedrals of dead code, cursed shareware, and disc rot salvation. This is for the ones who dream in .BMPs, weep in MIDI, and hit “Yes to All” when copying cracked ZIPs from forgotten FTPs at 3AM. Abandonware ain’t just nostalgia—it’s digital necromancy. And some of us are bloody good at it.

DEAD SOFTWARE = HOLY SHRINE

Let’s be clear: abandonware is software that’s been, well, abandoned. The devs moved on. The publisher collapsed in a puff of VC smoke. The website's now a spammy shell selling beard oil or crack cocaine. The software? Unupdated. Unsupported. Gloriously obsolete.

So why does launching Hover! or Starship Titanic in 2025 feel like entering a chapel with weird lighting and a dial-up modem choir?

Because it’s sacred, mate.

We’re not talking about the games themselves being perfect. A lot of them were janky as hell. We’re talking vibe. These programs exist outside capitalism now. They’re post-market. Post-hype. They don’t want your money, your updates, your logins. They just want your attention—pure and simple. You’re not a user anymore. You’re a curator. A digital monk brushing dust off EXEs and praying to the Gods of IRQ Conflicts and SoundBlaster settings.

WHY IT HITS DIFFERENT

Dead software doesn’t update. It doesn’t push patches or ads. It won’t ask you to connect your Google account to play Math Blaster. It’s a sealed time capsule. Booting it up is like receiving an artifact from a parallel dimension where the internet still had webrings and every kid thought Quake mods would lead to a dream job at ID Software.

But it also represents a lost sincerity. These weren’t games made to hook you for eternity with algorithms. These were games made by six dudes in a shed with a caffeine problem and one working CD burner. And their README files were poetry. Half of them end with “Contact us on AOL or send a floppy to our PO Box.” What do you mean you don’t know what a PO Box is?

FOR THE ZOOMIES: YOU JUST MISSED THE GOLDEN ROT

Listen up, juniors. If you were born after 2005, you missed the age when the internet was held together with chewing gum, JPEG artifacts, and unspoken respect.

Back then, finding a rare game was an adventure. Not an algorithm. You didn’t scroll TikTok and get spoon-fed vibes. You climbed through broken Geocities links and begged on IRC channels. You learned to read. You learned to search. You learned that “No-CD crack” doesn’t mean what your mum thinks it means.

So here’s your initiation: go download something weird from a forgotten archive. No guides. No Discord server. Just the raw, terrifying joy of not knowing if you’ve just installed Robot Workshop Deluxe or a Russian trojan. Welcome to the cult.

THE TWO-YEAR RULE

Online communities? They’re mayflies with usernames. Peak lifespan? Two years.

Here’s the cycle:

A niche game/tool/art style gets revived.

People form a forum/Reddit/Discord.

A zine or remix scene emerges.

Drama. Mods quit. Someone forks the project.

Everyone vanishes.

This cycle has always existed. The only difference now is that it’s faster. But dead software bypasses this. It’s post-community. You don’t have to join a scene. You are the scene. Every time you open it up, you’re plugging into a ghost socket. You’re chatting with echoes. It’s beautiful.

CONCLUSION: THIS IS A RELIGION NOW. PRACTICE IT.

Abandonware isn’t about gaming. It’s about reclaiming reverence. About saying “This mattered” even if no one else remembers it did. It’s about surfing the ruins, not for loot, but for meaning. There’s holiness in opening a program that hasn’t been touched in decades and seeing it still works. Still waits for you. Still loads that same intro MIDI with the confidence of a god.

So light a candle. Install a CRT filter. Screenshot that low-res menu and print it on a t-shirt. You’re not just playing with the past. You’re preserving the bones of the digital age.

See you in the BIOS, kids.

—

🖤 Tetsuo: The Iron Man (1989)

dir. Shinya Tsukamoto black-and-white cyberpunk body horror // Tokyo industrial glitch requiem

“When the body rejects silence, the machine takes over.”

Flesh fuses with metal. Language breaks down. Sound becomes weapon.

Tsukamoto said the film is about “the process in which human beings become Iron.” Not transformation, but condition. Not metaphor, but mutation.

Watching Tetsuo is like getting tinnitus from inside the machine. Every signal is screaming. Every frame is a seizure. This isn’t a film — it’s an interference pattern. The song of silence, distorted beyond recognition.

💀 if you millennials / gen z ever wondered what it was really like growing up in the 90s — here you go. my trauma. in rhyme. gift wrapped in CRT static & parental neglect. enjoy 🐀🎤 #RAZfiles #GenXGhosted #faewave

will be on spotify later