Long before Rare became one of the most celebrated game developers in the world, and before Donkey Kong Country, GoldenEye 007, or Banjo-Kazooie appeared on a Nintendo system, Tim Stamper was learning how video games worked by getting close to the machinery that made them possible.
The story begins in Britain during the late 1970s and early 1980s, when commercial video games were still largely associated with arcades rather than home consoles. Tim and his younger brother Chris Stamper worked in the coin-operated amusement industry, gaining experience with arcade hardware at a time when relatively few British developers had direct access to the technology behind popular Japanese and American machines.
Looking back in 2015, Tim remembered repairing arcade boards and studying the ways software could be altered to make something different happen on the screen. He recalled working with conversions involving Space Invaders and Galaxian hardware before the brothers began writing their own software for existing arcade equipment. That background would become one of the defining advantages of their careers. When less experienced programmers encountered severe hardware limitations, the Stampers had already spent years learning how to squeeze more from machines than their specifications seemed to promise.
Contemporary reporting supports that basic picture. A 1983 issue of Your Computer described the Stampers as arcade developers who had turned their attention toward the new British microcomputer market. The move might have looked like a change of direction, but for Tim it was really an extension of what he and Chris already knew. Arcade programming had taught them to think economically, to treat memory and processing power as resources that could never be wasted.
That philosophy would follow Tim Stamper for the rest of his career.
Ultimate Play the Game
The British home computer boom gave the Stampers their first opportunity to become famous.
Operating through Ashby Computers and Graphics in Ashby-de-la-Zouch, Leicestershire, Tim, Chris, and the small group around them created the label Ultimate Play the Game. The company’s first ZX Spectrum releases arrived in 1983, most notably Jetpac and Pssst.
The effect was immediate.
Contemporary computer magazines were struck by how much Ultimate managed to fit into the Spectrum’s limited memory. Jetpac and Pssst were followed by Cookie and Tranz Am, and then by a succession of increasingly ambitious games that established Ultimate as one of Britain’s premier software houses.
Ultimate was not a large studio in the later sense of the term. It was closer to a tightly controlled family workshop. A 1988 CRASH retrospective described Tim and Chris Stamper and Tim’s wife Carole as the heart of the business, assisted by a small number of programmers and artists. Tim increasingly became associated with the visual side of the operation while Chris concentrated heavily on programming. At Rare several years later, contemporary photographs identified Tim specifically as the company’s graphics director and Chris as its software director.
Tim’s surviving credits from the Ultimate period reflect that division. His graphics work is associated with games including Jetpac, Pssst, Cookie, Tranz Am, Lunar Jetman, Atic Atac, Sabre Wulf, Underwurlde, Knight Lore, and Gunfright. Yet reducing his contribution to artwork alone misses how Ultimate actually operated. Game concepts, technology, graphics, design, packaging, marketing, and business decisions were intertwined inside an extremely small company.
The Stampers were not merely making games. They were deciding what a British game company could look like.
Building the Ultimate Style
Ultimate quickly developed an identity that was unusually coherent for an early home computer publisher. Its packaging looked distinctive. Its fantasy worlds seemed connected even when the games themselves differed. Its advertisements projected confidence, while the company’s unwillingness to explain itself created an aura that competitors struggled to reproduce.
Tim Stamper was central to that visual identity.
The Spectrum offered only modest graphical capabilities compared with the arcade equipment the brothers had previously known, but Ultimate treated those limits as design problems rather than excuses. Characters were bold and immediately recognizable. Screens were packed with objects without becoming completely unreadable. Box artwork, logos, and fantasy imagery helped suggest worlds much larger than the few kilobytes stored on a cassette.
The company’s secrecy became almost as famous as the games themselves. By the middle of the decade, journalists regularly complained that Ultimate was difficult to interview. The Stampers rarely appeared at industry events and generally preferred working to promoting themselves.
Tim later rejected the idea that secrecy had begun as some calculated public relations strategy. In the 1988 CRASH interview, he explained that the company was simply consumed by development. He described extraordinarily long working days and a schedule that left little time for interviews or publicity. Years later he expressed essentially the same philosophy, telling Develop that time spent talking about games was time that could have been spent designing them.
What appeared from the outside as mystery was, at least partly, obsession with the work.
Knight Lore and a Game Held Back
Few episodes illustrate Tim Stamper’s combination of design ambition and commercial calculation better than Knight Lore.
Released in 1984, Knight Lore used Ultimate’s Filmation technique to create rooms presented in a striking isometric perspective. Players moved Sabreman through spaces that seemed three-dimensional, climbing onto objects, navigating around obstacles, and solving spatial puzzles in a world that looked dramatically different from most contemporary Spectrum games.
Knight Lore became enormously influential. Its visual approach was imitated across the European computer industry, helping make isometric adventures one of the recognizable styles of the mid-1980s.
The extraordinary part of the story is that Ultimate could have revealed it sooner.
Tim told CRASH in 1988 that Knight Lore had actually been completed before Sabre Wulf. Ultimate deliberately withheld it because the Stampers believed that releasing the more technologically advanced game first would damage the commercial prospects of Sabre Wulf and perhaps Alien 8. The company therefore released Sabre Wulf before unveiling the game that made its earlier technology look old.
It was a revealing decision. Tim was not only asking what Ultimate could make. He was asking when the market was ready to see it.
That instinct, to develop something ahead of the existing market and then judge the correct moment to reveal it, would become a recurring theme throughout Rare’s history.
Looking Beyond the ZX Spectrum
Ultimate’s success could have encouraged the Stampers to remain permanently tied to British home computers. Instead, while much of the British software industry was still focused on machines such as the Spectrum and Commodore 64, Tim and Chris began looking toward Japan.
The machine that caught their attention was Nintendo’s Family Computer, better known as the Famicom and later redesigned for the West as the Nintendo Entertainment System.
In the 1988 CRASH interview, Tim explained that the brothers obtained early Nintendo hardware and software through their Japanese connections. They saw enormous potential in the system and spent months studying it before beginning development. Chris recalled that they then had to convince Nintendo they possessed the technical ability to create software for the machine.
Tim gave a similar account decades later. He remembered seeing the early Famicom, recognizing what could be done with it, and deciding that the brothers should build a company around producing software for dedicated consoles.
Rare Limited was officially incorporated on April 16, 1985. The legal record remains one of the cleanest fixed points in a company history that is sometimes obscured by the overlapping identities of Ashby Computers and Graphics, Ultimate Play the Game, and Rare.
Rare’s own fortieth-anniversary history likewise describes 1985 as the year Tim and Chris Stamper established the new studio with its attention directed toward the growing console business.
The Stampers were moving again before the rest of their market forced them to.
Rare and the Nintendo Gamble
Rare’s early headquarters at Manor Farm in Twycross became almost legendary in later accounts. From the outside, it was an English country property surrounded by fields, farm buildings, and animals. Inside were development systems, modified computers, imported Japanese games, arcade hardware, graphics equipment, and engineers trying to understand the next generation of interactive entertainment.
A 1988 visitor found clocks showing the time in Japan and America, an appropriate symbol for a company physically located in rural England but already thinking internationally.
Rare was still small. CRASH described a staff of only thirteen people at the time, with Tim serving as graphics director and Chris as software director. Yet the ambitions inside the farmhouse were enormous. Tim spoke of maintaining files filled with game ideas, some of which could not yet be realized because available hardware was not powerful enough.
Rare’s willingness to concentrate on Nintendo was a gamble. The Stampers were turning away from a British home computer business in which they were already proven stars and toward a Japanese console manufacturer that had not yet achieved the same level of dominance in Europe.
The gamble succeeded.
Rare became an unusually prolific Nintendo Entertainment System developer, producing original games while also handling licensed projects. Titles associated with the company during this era included Wizards & Warriors, Cobra Triangle, Snake Rattle ‘n’ Roll, and R.C. Pro-Am.
Tim did not retreat into an executive office as Rare expanded. Credits from the period show him continuing to work directly on graphics and design. R.C. Pro-Am, one of Rare’s most important early NES releases, credits Tim and Chris Stamper with design, while Tim’s surviving work from other projects includes graphics and visual development.
Battletoads and a New Rare Identity
By the beginning of the 1990s, Rare had developed enough experience on Nintendo hardware to create games that felt increasingly like products of a recognizable studio rather than simply contract assignments.
Battletoads became one of the clearest examples.
Created during the era when Teenage Mutant Ninja Turtles had demonstrated the enormous commercial appeal of colorful anthropomorphic action characters, Battletoads could easily have become a forgettable imitation. Instead, Rare produced a bizarre, technically ambitious action game filled with exaggerated animation, sudden changes in gameplay, unusual perspective tricks, racing sequences, and notorious difficulty.
Records of the development credit Tim Stamper and Chris Stamper with the original concept. Tim also contributed to design and graphics, and surviving credit research associates him with the game’s cover artwork. Later arcade credits continued to acknowledge Tim as one of the creators behind the original Battletoads concept.
The importance of Battletoads goes beyond one successful game. It demonstrated a Rare formula that would become increasingly visible during the next decade: technically impressive presentation combined with recognizable characters, genre experimentation, humor, and an almost compulsive desire to make the hardware perform tricks players did not expect.
That combination would soon transform Rare from an important developer into one of Nintendo’s most valuable partners.
Betting on Silicon Graphics
The next great Tim Stamper gamble involved technology again.
During the early 1990s, Rare invested heavily in Silicon Graphics equipment, the kind of expensive computer hardware normally associated with sophisticated three-dimensional visualization rather than ordinary console game production. Former Rare programmer Martin Hollis later remembered the investment as one of the best decisions the company ever made because it gave Rare a technological advantage over competitors.
The most spectacular result was Donkey Kong Country.
Nintendo entrusted Rare with one of its oldest characters, and the studio used computer-generated models to create graphics that were converted into imagery the Super Nintendo could display. The technique gave Donkey Kong Country a visual appearance that seemed astonishing in 1994, especially on hardware that was already facing competition from a new generation of consoles.
Tim Stamper was not simply watching this project from the company boardroom. The original Super Nintendo credits identify Gregg Mayles as game designer and Tim Stamper as game director.
The distinction matters. Tim’s career is sometimes summarized primarily through the fact that he co-founded Rare with Chris, but Donkey Kong Country demonstrates how close he remained to development during one of the most consequential projects in the company’s history.
The game became a phenomenon. Microsoft later reported that Donkey Kong Country had sold more than eight million copies, establishing Rare as one of the premier developers in the world.
Rare had once used technical knowledge to make 16K Spectrum games appear larger than they should have been. A decade later, the company was doing essentially the same thing on the Super Nintendo, only on an international scale.
GoldenEye and the Rare of the Nintendo 64 Era
Rare entered the Nintendo 64 era with remarkable momentum. During the following years the studio produced or developed major titles including GoldenEye 007, Diddy Kong Racing, Banjo-Kazooie, Perfect Dark, Donkey Kong 64, and Conker’s Bad Fur Day.
As the workforce expanded, individual development teams gained greater independence. Tim’s role increasingly involved creative direction across the larger company rather than personally producing every piece of artwork or every game system.
GoldenEye provides a revealing example of how that process worked.
Martin Hollis, who had been working on Killer Instinct, heard that Rare had an opportunity to develop a game based on the new James Bond film. Hollis later recalled going directly to Tim Stamper and asking to make it. Tim told him to prepare a design document. Hollis did, and the project that became GoldenEye 007 moved forward.
It is a small moment in the larger GoldenEye story, but an important one for understanding Tim’s influence. His contribution was not necessarily to dictate what every designer should do. Rare increasingly depended on finding unusually talented people, giving them powerful tools, and allowing them enough freedom to surprise the company itself.
GoldenEye became one of the defining console games of the 1990s. Microsoft later credited it with worldwide sales exceeding eight million copies.
The project also illustrates something Tim had understood since the Ultimate years. Sometimes a company advances not because its leaders personally create every great idea, but because they recognize the idea worth allowing someone else to pursue.
The Culture Tim Stamper Built
Rare’s success created its own mythology. The studio became famous for talent, technology, secrecy, unusual humor, and an almost competitive unwillingness to reveal unfinished work.
That culture was closely related to Tim Stamper’s personal philosophy.
When interviewed in 2015, he defined Rare in remarkably simple terms as “innovative thinking and innovative product.” His ambition, he explained, had been to bring ideas to players years earlier than they might otherwise expect them.
Those words connect nearly every stage of his career.
Ultimate pushed arcade-style presentation onto inexpensive British microcomputers. Knight Lore introduced technology that the company had deliberately held back because it seemed too advanced for the moment. Rare committed itself to Nintendo while many British developers remained focused on home computers. The studio bought costly Silicon Graphics hardware before such equipment became normal in console development. Teams were encouraged to explore genres ranging from racing and fighting games to first-person shooters, platformers, and strange character-driven experiments.
Even Rare’s physical isolation probably helped reinforce that mentality. The company was not located in one of the world’s obvious technology centers. It grew in Twycross, surrounded by countryside, developing an internal culture that sometimes appeared almost disconnected from the rest of the British games industry.
In 1988, when asked about Rare’s relationships with other software companies, Tim emphasized the studio’s Japanese contacts rather than its British competitors. Rare was looking outward, particularly toward Nintendo, while simultaneously becoming more inward-looking as a creative culture.
The combination produced a studio that often seemed to be competing primarily with itself.
The Microsoft Sale
By the beginning of the 2000s, the economics of making major console games were changing. Development teams were getting larger, projects were becoming more expensive, and Rare’s relationship with Nintendo no longer guaranteed that the company would remain where it had spent much of its most famous period.
Microsoft, meanwhile, had entered the console industry with Xbox and wanted established developers capable of producing exclusive games.
On September 24, 2002, Microsoft announced that it had acquired Rare for $375 million in cash. It was one of the most significant game studio acquisitions of its era. Microsoft identified Tim as Rare’s co-founder and creative director, while Chris was chairman and technical director.
Tim summarized the opportunity around a familiar idea: creativity. Rare had always tried to push technological and creative limits, and Xbox provided another platform on which to attempt it.
The sale surprised many players who had come to think of Rare as almost inseparable from Nintendo. Yet from the perspective of the Stamper brothers’ longer careers, moving platforms was hardly unprecedented. They had already left the comfortable Spectrum market to pursue Nintendo when they believed dedicated consoles represented the future.
Tim later explained that increasingly expensive development made partnership particularly important to Rare and that the company wanted someone capable of broadening its opportunities. He remained complimentary toward Microsoft when discussing the decision years later.
In a 2003 interview conducted after the purchase, the Stampers described Rare as a company whose development methods had evolved internally rather than by following other studios. Tim emphasized hiring people who genuinely loved games and encouraging those enthusiasts to work together on the best products they could make.
Microsoft had purchased the company, but the philosophy Rare had spent years developing remained distinctly its own.
Leaving Rare
Tim and Chris Stamper remained at Rare for several more years after the Microsoft acquisition.
Then, in January 2007, Microsoft confirmed that both brothers were leaving the company they had created more than two decades earlier. Mark Betteridge became studio director, while Gregg Mayles took over creative leadership.
For two figures who had spent so much of their lives associated with Ultimate and Rare, the departure marked the end of an extraordinary continuous period in British video game history.
Tim later explained the decision as another need for change. He and Chris wanted a new direction and believed pursuing different ventures would give them the opportunity to create new products.
Again, the reasoning sounded remarkably consistent with choices made decades earlier. Staying in one place simply because it had been successful was never really the Stamper pattern.
An Inventor as Well as a Developer
The surviving documentary record also reveals a side of Tim Stamper’s career that is easy to overlook when concentrating only on famous games.
His name appears on patents connected with Rare’s technological experiments.
Patent records identify him formally as Timothy David Joseph Stamper and connect him with inventions involving communication between games, captured images, multiplayer gaming, and the transfer of features between gaming devices. One image-related patent assigned to Rare lists Tim alongside Chris Stamper, Mark Edmonds, Russell Irwin, and other inventors, while another later application concerning the transfer of features between gaming devices lists Tim, Chris, and Paul Machacek.
These records matter because they reinforce something already visible throughout his career. Tim was not simply a businessman who happened to own a game studio. His work repeatedly crossed the boundary between art, game design, technology, and product development.
Even as Rare grew into a company capable of selling tens of millions of games, its co-founder remained interested in what the machinery might be made to do next.
Life After Rare
Tim remained relatively quiet after leaving Rare, consistent with the low public profile he had maintained for much of his career.
By the middle of the following decade, however, he had become involved with new game ventures. One of them was FortuneFish, a Nottingham-based mobile developer associated with his son Joe Stamper. Tim described himself and Chris as investors and said he spent some of his time with the company while continuing to work on other ventures.
In 2015, Tim and Chris received the Development Legend award at the Develop Industry Excellence Awards. Tim attended to accept the honor and used the event to introduce the mobile puzzle game Cat Logic.
The award recognized more than nostalgia for Rare’s Nintendo years. By that point, the brothers’ influence extended across several generations of British game developers. Former Rare employees had carried ideas learned at Twycross into other companies and independent studios, while games created under the Stampers continued to be rediscovered through rereleases, retrospectives, and Rare Replay.
Yet Tim showed little interest in simply reconstructing the past. In his 2015 interview, he emphasized the need to “push forward to the future” rather than continually revisit what Rare had already accomplished.
For someone whose career had repeatedly depended on recognizing the next machine before everyone else did, it was an appropriate position.
Tim Stamper’s Place in Video Game History
Tim Stamper occupies an unusual place in gaming history because there is no single job title that adequately explains his importance.
He was an artist and graphics director who helped establish the visual language of Ultimate Play the Game. He was a designer connected with early Spectrum classics and NES titles. He helped conceive Battletoads. He served as game director on Donkey Kong Country. He became Rare’s creative director and one of the people responsible for deciding which ideas would become projects. He was an inventor whose name appears on technology patents. He was also a company founder who helped guide one British developer from cassette-based Spectrum games to Nintendo cartridges and eventually into a $375 million acquisition by Microsoft.
His career also complicates the popular image of early game development as an industry dominated entirely by individual programmers.
Chris Stamper’s technical brilliance was crucial to Ultimate and Rare. Gregg Mayles, Kevin Bayliss, David Wise, Martin Hollis, Grant Kirkhope, Chris Sutherland, Mark Betteridge, and many others eventually became important figures in their own right. Rare’s greatest games were collaborative achievements.
Tim’s significance lies partly in helping create the environment in which those people could do exceptional work.
The approach was visible as early as Ultimate. Learn the hardware. Do not accept its apparent limitations. Give the game a strong visual identity. Keep ideas until the technology or market can support them. Hire people obsessed with games. Avoid spending too much time watching competitors. Move to a new platform before the old one forces you to leave. Above all, try to make something the player does not expect.
Rare celebrated its fortieth anniversary in 2025, four decades after Tim and Chris Stamper formed the company that would follow Ultimate into the console age. Microsoft’s modern Rare is a very different organization from the thirteen-person operation photographed at Manor Farm in the 1980s, but the historical line connecting them remains intact.
It stretches from arcade circuit boards and 16K Spectrum cassettes through R.C. Pro-Am, Battletoads, Donkey Kong Country, GoldenEye 007, Banjo-Kazooie, and the Xbox era.
Running through that history is Tim Stamper, usually away from the cameras, often difficult for journalists to reach, but repeatedly present when British video game development was about to change direction.
For a man famous for saying relatively little in public, the games said quite a lot.
Sources & Further Reading
Goodwin, Candice. “In Search of the Ultimate Game.” Home Computing Weekly, no. 23, August 9–15, 1983, 33. https://archive.org/stream/home-computing-weekly-023/Home_Computing_Weekly_023#page/n32/mode/1up
Kelly, David. “The Gang of Four.” Popular Computing Weekly 2, no. 33, August 18–24, 1983, 13. https://archive.org/stream/popular-computing-weekly-1983-08-18/PopularComputing_Weekly_Issue_1983-08-18#page/n12/mode/1up
“Arcade Aces Turn to Micros to Produce Jet Pac and PSSST.” Your Computer, June 1983, 49. https://archive.org/details/your-computer-magazine-1983-06
“Psst, Is This the Ultimate?” Personal Computer Games, no. 1, June 1983, 5. https://archive.org/stream/personalcomputergames-magazine-01/PersonalComputerGames_01#page/n6/mode/1up
“Fortress Ultimate.” Commodore User, no. 22, July 1985, 20–21. https://archive.org/stream/commodore-user-magazine-22/Commodore_User_Issue_22_1985_Jul#page/n19/mode/2up
Kean, Roger, and Nik Wild. “A Rare Interview with Ultimate Play the Game.” The Games Machine, no. 4, March 1988, 29–36. https://retrocdn.net/images/c/c1/TGM_UK_04.pdf
Kean, Roger. “The Best of British: Ultimate Play the Game.” CRASH, no. 51, April 1988, 35–38. https://www.crashonline.org.uk/51/ultimate.htm
“Ultimate to Become Less Rare.” CRASH, no. 62, March 1989, 9. https://archive.org/stream/crash-magazine-62/Crash_62_Mar_1989#page/n8/mode/1up
Companies House. “Rare Limited: Company No. 01905690.” Accessed October 15, 2026. https://find-and-update.company-information.service.gov.uk/company/01905690
Companies House. “Rare Limited: Filing History.” Accessed October 15, 2026. https://find-and-update.company-information.service.gov.uk/company/01905690/filing-history
Companies House. “Rare Limited: Officers.” Accessed October 15, 2026. https://find-and-update.company-information.service.gov.uk/company/01905690/officers
Microsoft. “Microsoft Acquires Video Game Powerhouse Rare Ltd.” September 24, 2002. https://news.microsoft.com/source/2002/09/24/microsoft-acquires-video-game-powerhouse-rare-ltd/
Doree, Adam. “The Rareware Interview.” Kikizo, February 17, 2003. https://games.kikizo.com/features/rareware_int.asp?f=rareware_int.asp
MCV Staff. “Return of a Legend: Rare Co-Founder Tim Stamper on the Past, Present and Future.” MCV/DEVELOP, August 3, 2015. https://mcvuk.com/development-news/return-of-a-legend-rare-co-founder-tim-stamper-on-the-past-present-and-future/
MCV Staff. “Tim Stamper Has ‘No Idea’ Why Nintendo Didn’t Buy Rare.” MCV/DEVELOP, August 3, 2015. https://mcvuk.com/business-news/publishing/tim-stamper-has-no-idea-why-nintendo-didnt-buy-rare/
Sinclair, Brendan. “Stamper Brothers Leave Rare.” GameSpot, January 3, 2007. https://www.gamespot.com/articles/stamper-brothers-leave-rare/1100-6163684/
Hollis, Martin. “The Restless Vision of Martin Hollis, the Man with the GoldenEye.” Interview by Simon Carless. Game Developer, June 2007. https://www.gamedeveloper.com/business/the-restless-vision-of-martin-hollis-the-man-with-the-i-goldeneye-i-
Hollis, Martin. “From Me to Wii: Martin Hollis’ Journey.” Game Developer. https://www.gamedeveloper.com/design/from-me-to-wii-martin-hollis-journey
Stuart, Keith. “GoldenEye on N64: Miyamoto Wanted to Tone Down the Killing.” The Guardian, October 26, 2015. https://www.theguardian.com/technology/2015/oct/26/goldeneye-james-bond-n64-nintendo-shigeru-miyamoto-gamecity
Mason, Graeme. “The Ultimate-Rare Story: 40 Years of Brilliant British Games, from Jetpac and GoldenEye to Sea of Thieves.” The Guardian, August 7, 2023. https://www.theguardian.com/games/2023/aug/07/ultimate-rare-40-years-british-videogames-jet-pac-goldeneye-sea-of-thieves
Nintendojo. “Interview: David Wise.” Nintendojo, 2011. https://www.nintendojo.com/features/interviews/best-of-nd-2011-interview-david-wise
Rare Gamer. “Rare Gamer Interviews Grant Kirkhope.” July 2010. https://www.raregamer.co.uk/games/rare-gamer-interviews-grant-kirkhope-july-2010/
Whitehead, Thomas. “Donkey Kong Country’s Fate Was Determined by a Risky Rare Investment.” Nintendo Life, February 27, 2014. https://www.nintendolife.com/news/2014/02/donkey_kong_countrys_fate_was_determined_by_a_risky_rare_investment
Nintendo Life. “Month of Kong: The Making of Donkey Kong Country.” February 2014. https://www.nintendolife.com/news/2014/02/month_of_kong_the_making_of_donkey_kong_country
MobyGames. “Tim Stamper: Video Game Credits.” Accessed October 15, 2026. https://www.mobygames.com/person/51914/tim-stamper/credits/
MobyGames. “Donkey Kong Country: SNES Credits.” Accessed October 15, 2026. https://www.mobygames.com/game/5199/donkey-kong-country/credits/snes/
MobyGames. “Battletoads: NES Credits.” Accessed October 15, 2026. https://www.mobygames.com/game/6134/battletoads/credits/nes/
MobyGames. “Battletoads: Arcade Credits.” Accessed October 15, 2026. https://www.mobygames.com/game/63391/battletoads/credits/arcade/
Stamper, Timothy David Joseph, and Paul John Machacek. “System, Method and Data Storage Medium for Sharing Data Between Video Games.” U.S. Patent 6,820,265. Filed June 29, 1999. https://patents.google.com/patent/US6820265
Stamper, Christopher, Timothy Stamper, Mark Edmonds, Russell Irwin, Beau Chesluk, et al. “Portable Game Machine Having Image Capture, Manipulation and Incorporation.” U.S. Patent Application US20020082082A1. Published June 27, 2002. https://patents.google.com/patent/US20020082082A1/en
Stamper, Timothy, Christopher Stamper, and Paul Machacek. “Transfer of Features Between Gaming Devices.” U.S. Patent Application US20070293319A1. Published December 20, 2007. https://patents.google.com/patent/US20070293319A1/en
Stamper, Timothy, Christopher Stamper, and Paul Machacek. “Multi-Player Gaming.” U.S. Patent Application US20080004117A1. Published January 3, 2008; U.S. Patent 8,075,404, December 13, 2011. https://patents.google.com/patent/US20080004117
Stamper, Timothy, and Gregg Mayles. “User Creatable Machines.” U.S. Patent Application US20090005138A1. Published January 1, 2009. https://patents.google.com/patent/US20090005138A1/en
Park, Adam. “Rare Celebrates 40 Years with Ruby-Themed Exclusives and More.” Xbox Wire, August 4, 2025. https://news.xbox.com/en-us/2025/08/04/rare-40th-anniversary-rewards-sea-of-thieves/