Long before arcade cabinets were treated as museum pieces, thousands of them were simply old machines.
Operators sold them, converted them into newer games, stripped them for parts, or abandoned them in warehouses. Manuals disappeared. Cabinet artwork was painted over. Companies closed, and their records were scattered or destroyed. Even basic information about who manufactured a particular game, when it appeared, and what the original machine looked like could become surprisingly difficult to recover.
The International Arcade Museum grew out of an effort to prevent that kind of disappearance.
Its story did not begin with a museum building or even with a conventional historical organization. It began with arcade enthusiasts exchanging information through bulletin board systems, computer networks, and the early Internet. They were players and collectors trying to answer what initially seemed like a simple question: what arcade games had actually existed?
From those lists eventually came the Killer List of Videogames, better known as KLOV, one of the Internet’s oldest major arcade reference projects. From KLOV came a much larger preservation network involving collectors, databases, physical machines, exhibitions, historical publications, digitization projects, and eventually the International Arcade Museum and International Arcade Museum Library.
The history of the institution is therefore also part of the history of video game preservation itself. It shows how enthusiasts began saving arcade history years before video games had become a common subject for museums, universities, and professional historians.
Before the web
The roots of the International Arcade Museum reach into the computer culture of the 1980s.
Arcade enthusiasts were already using dial-up bulletin board systems and services such as CompuServe to exchange information about machines. According to the International Arcade Museum’s institutional history, a master list of coin-operated video games began emerging from these communities during the middle of the decade.
There was a practical reason for building such a list. Arcade games could be difficult to document even when they were relatively new. Machines might have different manufacturers or distributors in different countries. A cabinet could be converted to run another game. Titles might be remembered incorrectly. Some games were produced in enormous numbers while others disappeared almost completely.
Collectors needed a common reference.
The surviving online record becomes particularly valuable by 1990 because the people maintaining the list were leaving behind contemporary documentation of what they were doing.
On March 21, 1990, Jeff Hansen posted a message to the rec.games.video Usenet community under the title “Coin-Ops-A-Poppin’!!! (formerly KLOV!!!).” Hansen explained that he had chosen Coin-Ops-A-Poppin’ as a new name for the list after considering suggestions from other users.
Below that message appeared the list itself. Its heading credited the original compilation to Mike Hughey, extensive modifications to Hansen, and contributions from people across Usenet. Hansen invited readers to send additions, deletions, corrections, and suggestions.
That surviving post is especially important because it captures arcade preservation while it was still informal. There was no museum, professional catalog, or large archival organization behind the project. There were enthusiasts trying to identify games and combine what they knew into a shared record.
It also adds an interesting wrinkle to the later institutional chronology. The museum’s modern history page associates the Killer List of Videogames name with 1991, but Hansen’s March 1990 message explicitly refers to Coin-Ops-A-Poppin’ as “formerly KLOV.” The contemporary post therefore demonstrates that the KLOV name, or at least the abbreviation, was already circulating by early 1990.
The Killer List takes shape
By November 1991, the project had become more recognizable as the Killer List of Video Games.
A surviving November 20 Usenet posting by Jonathan Deitch carried both names in its heading, “Coin-Ops-A-Poppin'” and “Killer List of Video Games.” Once again, Mike Hughey received credit for the original list and Jeff Hansen for extensive modifications, but the document also demonstrated how much the project had evolved.
Deitch had converted the information into an AppleWorks database and enlarged it using information from the Video Connection catalog. He described the list as a monthly posting and invited readers to email corrections and additions.
This was a crucial development.
The project was becoming more than a long text file. A structured database allowed individual games and information about them to be organized more systematically. Just as importantly, the database was not being built by one person working from a private collection. The surrounding arcade community was effectively helping maintain it.
A March 1992 documentation file makes that process even clearer. Deitch again credited Hughey, Hansen, and the Usenet community and explained that copies of the underlying database were available to users with an Apple II equipped with enough memory to handle it.
The technical limitations now sound almost quaint. The database was large enough that an ordinary Apple II configuration might struggle with it. Yet the underlying idea is immediately recognizable today: create a central body of game information, allow a community to submit corrections and additions, organize that material into a database, and redistribute the improved information.
Modern online databases work on much the same principle.
In March 1993, Deitch distributed another version of the Killer List. Once again, its heading credited Hughey, Hansen, and the Usenet community while asking readers to contribute additions, comments, corrections, and suggestions.
A preservation network was forming before anyone involved necessarily thought of it as a museum.
From a text list to a web encyclopedia
The next major transformation came with the World Wide Web.
According to the International Arcade Museum’s history, the list passed 1,000 entries in 1993. Around 1994 or 1995, Minnesota arcade collector Brian Johnson became the next KLOV Keeper, the informal title used for the person responsible for maintaining the project.
Johnson helped transform KLOV from a downloadable or posted list into something much closer to the encyclopedia people recognize today.
Rather than presenting everything as one massive collection of text, individual games received their own pages. Entries could include descriptions, technical information, photographs, cabinet information, screenshots, and other details. Visitors could send corrections and additional information to be incorporated into the database.
This change mattered because the visual appearance of an arcade game is often inseparable from the game itself.
Unlike a console cartridge that can be removed from one machine and played in another, the traditional arcade game was sold as a physical installation. The cabinet shape, marquee, control panel, side artwork, monitor orientation, joystick arrangement, buttons, steering wheels, guns, pedals, trackballs, and other controls could all be part of the original design.
Saving only the software could therefore preserve the program while losing much of the historical object.
KLOV’s development into a visual encyclopedia allowed collectors to compare surviving cabinets with documented examples and identify incomplete, altered, or converted machines.
By late 1999, the museum’s chronology says the database had reached approximately 2,000 entries. The project was becoming too large for one keeper to manage easily.
The hobbyist list of the early Internet was becoming infrastructure for an entire collecting community.
Greg McLemore, WebMagic, and a larger KLOV
In January 2000, Greg McLemore became the new KLOV Keeper.
McLemore was both an Internet entrepreneur and an arcade collector. His company, WebMagic, provided technical and financial support as KLOV entered another period of expansion. The KLOV.com domain was registered in January 2000, and the site’s underlying technology was expanded to make community participation easier to manage.
Instead of requiring one person to manually handle every submission, the site developed a moderated contribution system in which information supplied by users could be connected with the appropriate game record, reviewed, and incorporated into the encyclopedia.
The result was rapid growth.
According to the museum’s history, KLOV passed 3,000 video game entries by the end of 2000. Community forums were added, giving collectors a place to discuss restoration, technical problems, game identification, parts, buying and selling, and the history of particular machines.
The project even experimented with mobile access surprisingly early. In May 2001, KLOV released an application for the Palm VII wireless handheld device that allowed users to access game information away from a desktop computer.
The technology eventually became obsolete, but the idea behind it was forward-looking. Arcade collectors searching a warehouse, auction, convention, or private collection could carry a reference source with them rather than wait until they returned home.
KLOV was no longer simply documenting arcade culture. It had become part of how that culture operated.
The International Arcade Museum is formed
The decisive institutional step came in December 2002 when the International Arcade Museum was formed.
Rather than replacing KLOV, the museum expanded around it. KLOV became the video game component of a broader project concerned with arcade, amusement, and coin-operated machinery.
This wider focus is important because the arcade did not begin with video games.
Long before Pong, Space Invaders, Pac-Man, or Donkey Kong, coin-operated entertainment included mechanical games, strength testers, fortune tellers, shooting machines, vending devices, musical machines, trade stimulators, pinball, and electro-mechanical amusements. Many manufacturers that later entered the video game industry had roots in those older businesses.
The International Arcade Museum placed video games within that longer history.
Federal trademark records independently document the institution’s emergence during this period. WebMagic Ventures filed for the INTERNATIONAL ARCADE MUSEUM mark on November 21, 2002. A later United States Patent and Trademark Office record lists first use in January 2003 and includes educational research among the services associated with the name.
The government record is valuable because it provides evidence outside the museum’s own retrospective history for the organization’s establishment during the early 2000s.
When digital preservation met physical collecting
An online encyclopedia could preserve information, but an arcade museum also needed physical objects.
The International Arcade Museum developed access to collections containing arcade games, mechanical amusements, prototypes, design material, memorabilia, industry records, and other objects associated with amusement history.
Among the most important figures in this physical collecting effort was McLemore himself. The museum’s broader holdings would eventually incorporate or provide access to objects from several collections, including McLemore’s collection, Arcadia, the Atari History Museum, and others.
The result was an organization working in two directions at once.
One side attempted to catalog the history of arcade machines digitally. The other attempted to preserve the machines and surviving documentary record physically.
That distinction is significant. A photograph of a cabinet cannot entirely replace the cabinet. An emulated arcade ROM cannot reproduce the physical experience of standing at an original machine. At the same time, possessing a cabinet without preserving manuals, advertisements, trade catalogs, photographs, company records, technical documentation, and contextual information leaves another part of its history incomplete.
Preservation required both.
Penny Arcadia and a history older than KLOV
Another branch of the International Arcade Museum story begins in Britain rather than on the early Internet.
Jon Gresham developed an interest in amusement machines while working as a performer and showman. In 1970, a friend gave him an old coin-operated machine. Gresham began seeking additional machines throughout Britain and abroad, gradually assembling a major private collection.
With his wife Patricia, he decided that the machines should be shown to the public.
Penny Arcadia was incorporated in November 1980. In 1981, the Greshams purchased the former Ritz Cinema in Pocklington, England, east of York, and Penny Arcadia opened its museum there on July 17, 1982.
The attraction combined elements of a museum, arcade, exhibition, theater, and live entertainment venue. Its collection ranged across generations of amusement technology rather than treating electronic video games as an isolated invention.
Penny Arcadia also established an approach to collecting that would remain useful decades later. According to its institutional history, machines were selected because they were historically significant, because they demonstrated unusual ingenuity or craftsmanship, or because they had once been so popular that visitors would remember them.
After Jon Gresham died in 1994, Penny Arcadia gradually shifted toward special exhibitions.
In 2003, the International Arcade Museum and Greg McLemore took over Penny Arcadia’s operations and expanded the concept through Video Arcadia and Pinball Arcadia. This linked one preservation tradition born from physical collecting in Britain with another preservation tradition born from digital communities in the United States.
A major Arcadia and Penny Arcadia exhibition followed in California in July 2005. The museum’s account describes more than 150 classic machines at the event and visitors arriving from the United States, Britain, and Australia.
For a project sometimes imagined primarily as a website, the event demonstrated that physical, playable machines remained central to its understanding of arcade history.
VAPS and the census of surviving arcade games
Another important preservation movement eventually became closely connected with the museum: the Video Arcade Preservation Society, or VAPS.
Like KLOV, VAPS had roots in the enthusiast networks that existed before the modern web.
Its institutional history traces the organization to an informal collector list maintained by Rick Schieve during the 1980s and distributed through CompuServe and dial-up bulletin boards. Steve Ozdemir gave the organization its VAPS name in 1990 and became its first official keeper.
The concept was simple but historically valuable.
Collectors recorded the machines they owned.
Over time, that created something resembling a census of surviving arcade games in private hands. The records could not identify every surviving machine, since participation was voluntary, but they provided a way to measure the collecting community and locate examples of games that might otherwise be difficult to find.
Kevin Ruddy served as VAPS Keeper during much of the rise of the World Wide Web, and VAPS.org was registered in December 1994.
On January 23, 2006, the International Arcade Museum assumed management of VAPS. Connections were then created between the VAPS census and individual KLOV game entries so users could see how many examples of a particular title participating collectors reported owning.
The museum eventually had to warn users not to interpret those numbers as a definitive measurement of rarity. A game could be uncommon in registered collections without necessarily being rare in existence.
That caution illustrates both the usefulness and the limitations of enthusiast preservation. A voluntary census is not a complete archaeological record, but when maintained across decades it can preserve information that might otherwise never be assembled at all.
From collectors to a research library
As the museum’s collections and documentary holdings expanded, preservation increasingly moved beyond individual arcade machines.
Old trade magazines, manufacturer catalogs, flyers, technical manuals, advertisements, photographs, auction catalogs, design artwork, correspondence, and other paper materials can reveal information that no surviving machine can provide.
The International Arcade Museum Library was created to address that side of the historical record.
The distinction between the International Arcade Museum and the International Arcade Museum Library is important. They are closely related, but they are not simply two names for the same organization.
The International Arcade Museum dates to 2002. The International Arcade Museum Library, Inc. was incorporated on September 9, 2009, as a nonprofit public benefit corporation and has operated since 2010.
Its stated mission is to preserve, research, interpret, and disseminate knowledge about amusement machines, arcades, coin-operated technology, and video games from the nineteenth century to the present.
Its collections include books, catalogs, flyers, magazines, memorabilia, microfilm, photographs, original game design artwork, software recordings, and other historical materials.
The significance of such collections becomes greater with every passing year. Much of the arcade industry’s history was recorded in trade publications never intended to survive permanently. Operator magazines, sales literature, manuals, catalogs, and flyers were working documents. When their immediate usefulness ended, they could easily be discarded.
A research library turns those disposable objects into historical evidence.
Digitizing the paper trail of the arcade
One of the most important extensions of this work has been digitization.
The International Arcade Museum and its library have made large quantities of historical material available electronically, including manuals and scanned trade publications. This transforms preservation from possession into access.
A rare magazine locked in an archive may survive, but only a small number of researchers can consult it. A properly scanned and indexed copy can become useful to historians, collectors, restoration specialists, journalists, students, and game designers around the world.
This is particularly important for coin-operated amusement history because the industry’s documentary record stretches far beyond video games.
A researcher studying the ancestry of the modern arcade might need to move backward from electronic games into pinball, electro-mechanical amusements, jukeboxes, vending technology, mechanical music, carnival devices, and nineteenth-century coin-operated machines.
The library explicitly treats those older machines as part of the same historical genealogy.
Video game history, in this interpretation, does not suddenly begin when electronic images appear on a television screen. It develops out of a much older culture of public amusement, mechanical invention, coin operation, commercial entertainment, and interactive machines.
Arcade history becomes an academic subject
The growth of projects such as KLOV also coincided with video game history becoming a serious area of academic research.
Megan Winget’s study of video game archives and preservation projects identified the International Arcade Museum and KLOV among significant game preservation resources. She described KLOV as a growing comprehensive list accompanied by related media and placed the museum within a broader discussion of the difficulties involved in preserving games and their associated materials.
Raiford Guins went further in his 2014 book Game After: A Cultural Study of Video Game Afterlife. His examination of what happens to games after their original commercial lives included the International Arcade Museum alongside projects such as the American Classic Arcade Museum, Videotopia, and California Extreme.
Guins even characterized the International Arcade Museum as an “online census project,” an especially useful description of what KLOV and VAPS had become.
The recognition matters.
What began as collectors exchanging lists had developed into a historical resource that scholars could use when studying the material culture of video games. Enthusiast knowledge had not been replaced by academic game history. In many cases, it provided some of the evidence upon which that history could be built.
More than a database
Reducing the International Arcade Museum to KLOV would therefore miss much of the story.
KLOV remains one of its best-known components, but the larger network has included the International Arcade Museum, Museum of the Game, VAPS, Arcadia, Penny Arcadia, physical collections, exhibitions, research facilities, forums, digitization efforts, and the International Arcade Museum Library.
Together, those projects attack the same preservation problem from different directions.
KLOV catalogs the machines.
VAPS helps document where surviving examples exist within the collector community.
Arcadia puts physical machines before audiences.
Collectors preserve original artifacts.
The library saves documentary evidence.
Digitization makes rare historical material available beyond the walls of an archive.
Forums preserve decades of technical knowledge and collector discussion.
Each component fills a gap that the others cannot completely address.
A museum without a conventional front door
The International Arcade Museum also challenges the traditional image of what a museum must look like.
For many people, their first visit has never involved walking through a ticket booth or gallery entrance. It has happened through a search engine while trying to identify an old cabinet, determine the manufacturer of an arcade game, locate a manual, examine a marquee, or understand the history of a machine they remember playing decades earlier.
The physical collections are not currently operated as a conventional large public museum. The museum states that its collections are not generally open to the public while it seeks a permanent exhibition facility in the Los Angeles area, although qualified researchers can receive access by appointment.
The International Arcade Museum Library likewise operates with limitations on general public visitation.
That makes its online presence particularly significant. For much of its history, the website itself has functioned as the museum gallery most people can actually enter.
Instead of glass cases, visitors encounter database records.
Instead of walking from cabinet to cabinet, they move from entry to entry.
Instead of a museum label beside an artifact, photographs, technical information, manuals, descriptions, and collector statistics provide context.
It is a museum shaped partly by the architecture of the Internet.
Preserving games that were never meant to last
Arcade preservation has always faced a fundamental problem.
Commercial arcade machines were not built because their manufacturers expected historians to study them fifty or one hundred years later. They were built to make money.
When a game stopped earning, an operator had little reason to treat it as a historical artifact. A cabinet could be converted, sold, dismantled, or discarded. Circuit boards failed. Monitors burned out. Control panels were drilled for different games. Artwork faded. Companies disappeared. Warehouses were emptied.
Yet those machines became important pieces of cultural history.
They document changing technologies, graphic design, industrial design, popular art, music, programming, business models, entertainment habits, and the evolution of interactive media.
A preserved arcade cabinet can tell historians how a game was physically presented to players. A manual can explain how operators maintained it. A trade advertisement can reveal how the manufacturer sold it. A magazine can show how the industry understood it. A photograph can establish where and how the machine was played.
Preserving only one of those things preserves only one part of the story.
The International Arcade Museum emerged from collectors gradually realizing that all of them mattered.
From a Usenet list to a historical archive
There is something fitting about returning to Jeff Hansen’s March 1990 Usenet message.
He wrote that he had been asked why he was compiling his arcade game list and admitted, with humor, that he did not really know.
The answer became clearer with time.
The list existed because arcade history was already becoming difficult to hold together. There were always more obscure games, more forgotten manufacturers, more regional releases, more conversions, more machines sitting unseen in storage.
Hansen, Hughey, Deitch, Johnson, McLemore, the KLOV community, VAPS members, collectors, researchers, archivists, and countless contributors were participating in a preservation effort whether or not they initially called it one.
More than three decades later, the importance of that work is easier to see.
An arcade cabinet may disappear.
A company may close.
A manual may be thrown away.
A collector may die, and a collection may be scattered.
Websites themselves can vanish.
Preservation is the effort to keep enough pieces together that the story can still be reconstructed afterward.
The International Arcade Museum grew from one of the earliest community attempts to do exactly that for arcade games. Its history begins not in a marble museum hall but in text moving between computers, enthusiasts comparing notes about machines that mainstream culture had already begun to forget.
From those lines of text came a database.
From the database came a community.
From the community came a museum, collections, exhibitions, a preservation society, and a research library.
In that sense, the history of the International Arcade Museum is not simply the history of an institution.
It is the history of how players and collectors began turning the disappearing world of the arcade into history before much of the rest of the world realized it needed to be saved.
Sources & Further Reading
International Arcade Museum. “About Us / Our History.” Museum of the Game. Accessed October 13, 2026. https://www.arcade-museum.com/about-us.
Hansen, Jeff. “Coin-Ops-A-Poppin’!!! (formerly KLOV!!!).” rec.games.video, March 21, 1990. Google Groups. https://groups.google.com/g/rec.games.video/c/S-ttz1jEdbw/m/cB9QQtzyxwsJ.
Deitch, Jonathan. “Killer List of Video Games 11/91 A-M.” rec.games.video.arcade, November 20, 1991. Google Groups. https://groups.google.com/g/rec.games.video.arcade/c/ipBfsExJ2oQ.
Deitch, Jonathan. “The Killer List of Video Games – A-M.” rec.games.video.arcade, February 15, 1992. Google Groups. https://groups.google.com/g/rec.games.video.arcade/c/IMUayNi77k8.
Deitch, Jonathan. “Killer List of Video Games – Read Me!” rec.games.video.arcade, March 16, 1992. Google Groups. https://groups.google.com/g/rec.games.video.arcade/c/10qrMiJMno4.
Deitch, Jonathan N. “The Killer List of Video Games, A to I.” rec.games.video.arcade, March 12, 1993. Google Groups. https://groups.google.com/g/rec.games.video.arcade/c/05MrZ6fk3HQ.
Video Arcade Preservation Society. “VAPS Membership List.” rec.games.video.arcade.collecting, October 1995. Google Groups. https://groups.google.com/g/rec.games.video.arcade.collecting/c/SCp389cp-LU/m/3MgN4PHPiFoJ.
International Arcade Museum. “Historical News Archive, 1989–1999.” Museum of the Game. Accessed October 13, 2026. https://www.arcade-museum.com/news?page=4.
International Arcade Museum. “Historical News Archive, 2000–2009.” Museum of the Game. Accessed October 13, 2026. https://www.arcade-museum.com/news?page=3.
WebMagic. “WebMagic.” Accessed October 13, 2026. https://www.webmagic.com/.
United States Patent and Trademark Office. “International Arcade Museum.” Registration No. 2,896,466. Official Gazette, October 19, 2004. https://www.uspto.gov/web/trademarks/tmog/20041019_OG.pdf.
United States Patent and Trademark Office. “International Arcade Museum.” Registration No. 2,932,074. Official Gazette. https://www.uspto.gov/web/trademarks/tmog/20111108_OG.pdf.
Justia. “International Arcade Museum Trademark, Serial Number 78187467.” Justia Trademarks. Accessed October 13, 2026. https://trademarks.justia.com/781/87/international-arcade-78187467.html.
International Arcade Museum. “Penny Arcadia.” Museum of the Game. Accessed October 13, 2026. https://www.arcade-museum.com/penny-arcadia.
International Arcade Museum. “Arcadia.” Museum of the Game. Accessed October 13, 2026. https://www.arcade-museum.com/arcadia.
International Arcade Museum. “About VAPS.” Museum of the Game. Accessed October 13, 2026. https://www.arcade-museum.com/vaps/about-vaps.
International Arcade Museum. “VAPS Statistics.” Museum of the Game. Accessed October 13, 2026. https://www.arcade-museum.com/members/statistics.
International Arcade Museum Library. “About Us.” Accessed October 13, 2026. https://library.arcade-museum.com/about.
International Arcade Museum Library. “Visiting.” Accessed October 13, 2026. https://library.arcade-museum.com/visit.
International Arcade Museum Library. “Collections.” Accessed October 13, 2026. https://library.arcade-museum.com/reference.
International Arcade Museum Library. “Magazine Holdings.” Accessed October 13, 2026. https://library.arcade-museum.com/magazines.
International Arcade Museum Library. “Coin-Operated Machine Catalogs.” Accessed October 13, 2026. https://library.arcade-museum.com/catalogs.
International Arcade Museum Library. “Auction Catalogs.” Accessed October 13, 2026. https://library.arcade-museum.com/auctions.
International Arcade Museum Library. “Vision.” Accessed October 13, 2026. https://library.arcade-museum.com/vision.
International Arcade Museum Library. “Finances and Governance.” Accessed October 13, 2026. https://library.arcade-museum.com/finances.
International Arcade Museum Library. “Board of Directors and Advisors.” Accessed October 13, 2026. https://library.arcade-museum.com/boards.
International Arcade Museum. “The Collections.” Museum of the Game. Accessed October 13, 2026. https://www.arcade-museum.com/collections.
International Arcade Museum. “Copyright and Trademark Policies.” Museum of the Game. Accessed October 13, 2026. https://www.arcade-museum.com/acceptable-use-copyright-trademarks.
International Arcade Museum. “Museum of the Video Game.” Museum of the Game. Accessed October 13, 2026. https://www.arcade-museum.com/museum-of-the-videogame.
International Arcade Museum. “Pong In-A-Barrel.” Museum of the Game. Accessed October 13, 2026. https://www.arcade-museum.com/Videogame/pong-in-a-barrel.
International Arcade Museum. “eLibrary.” Accessed October 13, 2026. https://elibrary.arcade-museum.com/.
Internet Archive. “KLOV.com.” Wayback Machine. Accessed October 13, 2026. https://web.archive.org/web/*/http://www.klov.com/.
Internet Archive. “Arcade-Museum.com.” Wayback Machine. Accessed October 13, 2026. https://web.archive.org/web/*/http://www.arcade-museum.com/.
Internet Archive. “VAPS.org.” Wayback Machine. Accessed October 13, 2026. https://web.archive.org/web/*/http://www.vaps.org/.
Wolf, Mark J. P., ed. The Video Game Explosion: A History from PONG to PlayStation and Beyond. Westport, CT: Greenwood Press, 2008. https://books.google.com/books?id=Cq1fAAAAYAAJ.
Guins, Raiford. Game After: A Cultural Study of Video Game Afterlife. Cambridge, MA: MIT Press, 2014. https://mitpress.mit.edu/9780262526050/game-after/.
Winget, Megan A., and Caitlin Murray. “Collecting and Preserving Videogames and Their Related Materials: A Review of Current Practice, Game-Related Archives and Research Projects.” Proceedings of the American Society for Information Science and Technology 45, no. 1 (2008): 1–9. https://doi.org/10.1002/meet.2008.1450450250.
Winget, Megan A., and Caitlin Murray. “Collecting and Preserving Videogames and Their Related Materials: A Review of Current Practice, Game-Related Archives and Research Projects.” arXiv, November 19, 2008. https://arxiv.org/abs/0811.3137.
Setoodeh, Ramin. “Collecting: Just Add Quarters.” Newsweek, July 18, 2005. https://www.newsweek.com/collecting-just-add-quarters-117967.
“Preserving Video Arcade Games.” GAMES Magazine, no. 243, September 2008. https://www.arcade-museum.com/news?page=3.
Orland, Kyle. “How The Last of Us Re-created a 2003 Arcade with the Help of True Enthusiasts.” Ars Technica, March 2023. https://arstechnica.com/gaming/2023/03/how-the-last-of-us-recreated-a-2003-arcade-with-the-help-of-true-enthusiasts/.